“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?”

(Our dream discussion before the session led me to voice a question about dreams that I don’t think Seth has covered in just that way. Sue Watkins visited us last night, and related several recent dreams in which she saw Jane functioning normally physically. [I’ve also had others in which Jane was okay physically – walking well, and so forth.] “But what happens,” I asked, as we waited for the session to begin, “after I have the dream about you, for example? Do you receive it? Do you accept it or reject it, or does it do you good on certain levels? How come, with all of these positive dreams, you aren’t improving physically to any observable degree? If you get the messages we sent you, do they do any good at all?” The questions would apply in any dream exchange among people, of course.

(Jane was “just mad,” though, as we waited for the session to start at 10:10. Mad about it all, she said. “What good does it do for Seth to go into me? None that I can tell....” She’d been upset about her painting too, of course. She’s been trying to follow her impulses more spontaneously recently, in light of the recent session material, and I think has shown good improvement there. But she was blue earlier today, when various portions of her anatomy bothered her. Her legs have bothered a lot lately, and she’s felt down at times.

(Jane’s delivery was good, interspersed with many pauses. and often fast and emphatic.

(Long pause.) Now he wanted to hold such beliefs because he felt he needed that quite painful facade to protect himself from his own spontaneity, and then to protect himself against the world because he felt he was too spontaneous. The answer was to cut down on physical spontaneity. Spontaneity is easy, so we will make it hard. We believe it is the most difficult thing in the world. I have given endless material on that. Privately and through your dreams and Sue’s, Ruburt with your help in the dream state sees that motion can be and is easy. He responds telepathically to your dreams.

Now: remember that while your dreams occur one night at a time, their logic is timeless. You may deal with several issues over several nights. Your hearing the voice of God dream (this morning), and your fast car dream (of the morning before) were, then, related. The beginning of our sessions represents to you your own version of hearing the voice of God, in that you felt that it was the first time in your life that in whatever guise, some portion of the universe “had a message for you”—or that you were in contact with anything beyond the ordinary, that at least held hopes for a glimpse of any real knowledge beyond the known.

(Pause.) The trooper, elevated from the ground in the car dream, was another dream version carrying the theme further, though it actually occurred, I believe, before the God dream (the morning before). Do you follow me?

(10:58.) The answer of course is that the permission you were given to go “faster” applied to a completely different dimension of motion and activity. You actually interpreted it in more mundane terms than was meant, and because you so interpreted it, the end result was that you did not seem to cover the ground any faster than others.

Your father dream. Your father represented your father, but he also stood for your version of the race [species] of man itself, of the nameless old men seemingly worn down by age, the lack of communication between nameless fathers and sons. Yet the old man does sleep in a gigantic shoe that is also like a cradle, from which he and all of civilization continue to emerge. Your question was why the lack of communication and compassion, the inarticulateness of love? And as you consoled your father, you tried to console humanity. And how? Through expression of the words, but also through your art, for you saw all art as an expression of love, a love in which the old man and civilization was ultimately held.