“Seth material” search engine (Jane Roberts)

(I don’t. This hasn’t really been a point with me, although at times I would get mad at Artistic for at least not offering me something more. At the same time I told myself the low pay prevented me from ever deciding to make a career of it there, and let it go at that.)

Your mother is quite shrewd however, and has grown these years. In the past she would have been quite able to face and handle everyone’s honesty, and honesty would have been far kinder. So the true love and compassion goes crying, while you are forced to express an exterior love and compassion many times.

Yesterday he allowed some of these feelings to arise only because he was so miserable. (While we were in Sayre; Jane was doing the washing; mother was cooking dinner, etc.) He remembered you and the pendulum, and having none there instead allowed submerged feelings up. You should know what they were. (Jane told me about some of them at the time; which I thought an advancement.) He was scandalized and outraged. Sundays were the days he could not escape his mother. There was no school, no excuses to get out. It was a day of encounters with her—her two-hour bath, the preparation of meals, and the wild hope that he could escape after supper for a few hours.

(I have suspected this at times.)

(I didn’t add that I was well aware of the time sequence here—that according to Seth I had a rather long life in Denmark in the 1600 ‘s —and that Rembrandt lived in Holland from 1606 to 1669.)

You were very close to Rembrandt at one time—you looked up to him. (Pause.) I almost have a name. Pinot (spelled).

(Rembrandt copiously achieved this effect in his later works, especially the last ten years or so of his life. I don’t believe Jane knew this in those terms. I am well aware of it, and want to use effects similar to this in my own work, and have done so at times in past works. I haven’t discussed it with Jane, though, just considering it a technical problem involved in the art, as I would suppose she would work at writing a paragraph, etc.

(I am still much interested in the technical side of painting, so much so that a few years ago I drew back from getting too involved in this aspect lest I spend too much time at it, detracting from the painting itself. I still conduct experiments, though.