“Seth material” search engine (Jane Roberts)

SESSION 605

(At 9:20 PM Jane said she “felt Seth around. I get a word or two in my head, so I know he’s here.” We had just finished a snack. Jane had read the last session while she ate. Her pace was quite slow to begin.)

(Pause at 9:35; one of many.) The old Sumerians (spelled) are singing their chants now at the same time that Ruburt is trying to translate them now in your terms. I wish I could impress upon you this great transparency of time so that you could experience its dimensions. In one way of speaking you have (in quotes) “not yet” developed the proficiency, with sound that would now allow for the building of structures such as those we described in the last session.

(Nabene is the name for a personality of mine that presumably lived as a male in the first century AD in Rome, Italy. We know little about that life; one evening with Sue Watkins, who also lived then, I managed to tune into that existence to some degree via images. Seth has referred to Nabene a few times, and my role as a record keeper and teacher. Sue was one of my pupils. I was quite a taskmaster, I’m told. Jane and I would like to hold a session to learn more about this life, including who else we know was involved then, etc. I also lived in Jerusalem.

(“I do. It just doesn’t seem as strong....” We continued to wait. At 10:15: “I had the feeling at break.” Jane said, “that Seth had gone away, rather than staying close like he usually does—as though he’d left to gather information or something. I’m perfectly willing to continue the session, though.”

(10:25. “And beside that the instruments also set up some kind of extra charge that we don’t understand yet, around objects that were so constructed, like the pyramids,” Jane continued. She was speaking faster now that she had in the session. “Doors and passageways inside the pyramids will open through the correct sound messages and signals, and were designed only to open if those correct signals were given.”

(Break at 10:35. “I wanted to take a break,” Jane said. “I never heard of anything like that. It sounded so crazy I didn’t even want to say it, about the invisible pyramids.... The chanting was over here.” She gestured to her left as she sat in her rocker; we were holding the session in her study in apartment four again. Jane’s gestures thus indicated the large open center area of the room, as though she was reaching over a wall almost. “I got some of the chants, but I couldn’t quite carry it through. Seth didn’t tell me anything like this was going to happen.”

And with that I will close our session. Think also however of the sound in connection with your paintings, of sounds that will make the paintings themselves more vital and the material last longer. And with that I will leave you.