2 results for (book:ur1 AND session:679 AND stemmed:both)
mystical
Linden
photograph
n.y
church
(To me, both photographs had a certain mysterious quality that I’d often found intriguing — an aura due partly to their being old, personal, and so irreplaceable, I suppose. But for a long time I’d been aware of other feelings connected with them. Jane had begun delivering the Seth material late in 1963, and soon afterwards Seth started developing his ideas on probabilities.1 Many times while looking at the snapshots since then I’d found myself speculating about the probable realities surrounding their two young subjects. I told Jane now that I understood the course of action each of us had chosen to make physical, or “real” in our terms. But what of all the other paths our probable selves had embarked upon since those pictures had been taken? By now, did those photographs actually depict the immature images of us, the Jane and Rob we knew and had always been, or from our standpoint did they show a probable Jane, a probable Rob — two individuals who long ago had set out upon their own journeys through other realities? I wasn’t clear on what I wanted to know, and had trouble expressing myself to Jane. Maybe I just wanted Seth to comment on probabilities in a more personal way. [And added later: At the time, I had no idea that my questioning would trigger a new Seth book.2]
The writing ability would follow as its handmaiden. In this world the artistic abilities were put first, but the mystical nature was given greater chances to expand and develop. And both were given the opportunity and the challenge of shattering old, historic frameworks, and of rising beyond them.
The symptoms also served to focus that fantastic energy, while he figured out how it should be used. He could not accept a new psychic framework while within it there were questions concerning your joint ideas of business, and divided loyalties about writing and painting; your personal fears, jointly, about spontaneity in general, and the need to protect your talents both from your own sexual natures and the distractions of others.
You see his joyful potential, and he knows that you do. Sometimes he feels lost, however, as an emotional human being, groping toward that potential, and he needs to be comforted. As you know now, comforting him can be frightening to you, because it returns you both to deep emotional realizations and feelings that you sublimate in your paintings, and even to mystical experiences that you also channel through your work.