“Seth material” search engine (Jane Roberts)

(The session started late because Jane became so involved in a painting after supper. It was one in which she was attempting to follow in a still-life some of the techniques I’d showed her a few days ago, when I repainted another still-life composition she’d started, and showed her how to get more opaque effects for variety; a demonstration, then, for she’d asked for “a lesson.” Since then there have been some rather humorous episodes—I mean it kindly—as Jane tries to use those methods, with very mixed results. But interestingly, she ran into conflicts between her old method, in which she used mostly transparent color, and the new one, which, she complained in her frustration, was “muddy, and lacking vitality. And without the vitality, what good is it?”

(Pause.) Now Ruburt has had such a condition, for many reasons often given. He is trying to free himself. To do so he must change his own reality, alter his feeling of relationship with himself, and between himself and others. His physical situation—the symptoms—are public to the extent that others know he has difficulties. New sentence: When attempts are made to change that reality, then the reality of family and friends is also changed to some extent. Your dreams and Sue’s allow you, ever so subtly, to change your own views of Ruburt’s behavior. You see him operating normally. So has Tam, incidentally. Such dream behavior helps to break the heavy-handed stress of “daily physical evidence.” (Pause.) Exterior changes begin on the inside, and appear then physically—and not the other way around.

Let us look at his painting. He digs into it, this present one, concentrates. Forgets how much he loves to paint, and considers all the problems involved in a new technique. And considers how he can never be as good as you in that regard. He uses effort. He forgets his ease, and the same thing applies to “trying to get better.”