“Seth material” search engine (Jane Roberts)

Drawing and painting during such periods was considered both sacred and immensely useful at the same time. There is indeed a kind of communal dream life, then, in which each individual contributes—a dream life in which both living and dead play a part, in your terms.

At its very heart, creativity of that nature is indeed both sacred and highly useful, and from that dimension of activity all of the initial patterns (underlined) for your highly technological society have come. Your society has emphasized and exaggerated the objective characteristics of life to such an extent, however, that art seems to be an esthetic, fairly remote phenomenon, quite divorced from physical time. It might delight the eye as decoration, or cover a blank spot upon the wall.

When all that was changed, as indeed it should have been (pause), the world underwent great changes. It may not have been much, but a yeoman’s son in the past would always be a yeoman’s son. He would follow in his father’s footsteps. He was not of equal value with a prince, either of church or state. His position was a poor one, yet its freedoms and limitations were known, and his value, whatever it was, was accepted as his station in life. He might be a good yeoman or a poor one, but a yeoman he was.

My viewpoint is, I admit, more cosmopolitan than yours, but your own inner knowledge is also far-reaching in those terms, and that knowledge can indeed be shaken loose from social confinement. You can often follow social mores quite easily, when you realize they are mores (intently), and not moral pronouncements—and that is all. I think you are learning.