“Seth material” search engine (Jane Roberts)

(With some elaborations, the following account of my “fourth Roman” is directly from the description I wrote upon awakening. The notes, added later, are intended to give a minimum of “ordinary” background material, and to explore a few of the questions referred to above.)

(Jane held her ESP class that same evening. Long after class break toward the end of the night, I presented my fourth Roman by reading from the notes just given. Class members passed my sketches around. Almost immediately Seth came through with further elaborations on his ideas about counterparts. He also cleared up a few points for me. Seth:)

6. My ruminations in notes 3 and 4 should indicate how difficult it can be for the conscious mind to interpret psychic data arising from other “layers” of itself. Jane and I haven’t been to Jerusalem, although we’d like to make the trip some day, but even if we did I don’t think it would be easy to identify the physical site of my “fourth Roman.” To do so would take much cautious study. For one thing, I’m sure that my imagery — and drawings — of Jerusalem’s fortifications would turn out to be much too meager in scale; surely those “real” works would be far more overpowering in height and mass. To insist upon interpreting my mental information in literal terms only might lead into a labyrinth of supposition, then.

13. Early in this appendix I wrote that I added these notes later, to give “ordinary background material” for my fourth Roman. So now, what do I make of the considerable similarities between my Jerusalem episode and Peter’s? Although his internal data reinforce mine to some extent, he can be no more specific about a physical location in the city for his visions than I can be for mine. (See Note 6.) I’ve also written about the conflicts involving authority that I believe my two Roman soldiers are expressing. Here I feel on more “solid ground” symbolically than physically. Just as I do, Peter rebels in his own peaceful ways against conventional authority, preferring to go his individual route in the arts, no matter how dubious his rewards may be.