“Seth material” search engine (Jane Roberts)

“Not long after I closed my eyes I saw, almost in silhouette, a Roman soldier standing on the top of a square, crenelated tower that formed a corner or angle in a massive stone wall. My position was at ground level. I’d lost all sensation of my body lying on the cot. The scene was very faint, so much so that it might almost be called more of an idea than an image. The sky behind the soldier was darkly overcast; I was aware of very little color. I ‘knew’ that the tower I faced marked the southeastern corner of Jerusalem, and I ‘knew’ that the wall itself was an enormous fortification that had surrounded that ancient city sometime during the first half of the first century A.D.

“What would a Roman soldier be doing up there?, I wondered. For below, on the flat ground outside the wall, were the hordes⁴ of the Roman army. I don’t know whether they were preparing for an attack, or had some other reason to be assembled there. I saw only a forest of helmets and spears pointing upward, with light glinting dully on metal here and there. I write ‘saw,’ yet it would be just as accurate to note that I sensed these figures. They were turned toward the soldier on the tower.

“A sound effect was involved here that was unique for me — doubly so, actually. First, until now my internal perceptions have staged themselves like old silent films; second, the sound itself was quite unusual: The clustered troops on the ground were emitting a low rhythmic chanting or wailing. This was no happy occasion. This sound, rising and falling in such mournful cadences, was unintelligible to me.

4. A literal interpretation of “flat ground” and “hordes” would be very questionable, however. I discuss what I mean in Note 6.

As best I can interpret the objective information at hand, the physical locale of my subjective experience is a precarious one, since outside the eastern and southern boundaries of Jerusalem the terrain quickly drops away into valleys close and steep enough to protect the city from large-scale attack — with hardly enough room there for the “hordes” of Roman soldiers I saw on the “flat ground.” I cannot explain my terminology or choice of locations, except to say that I expressed just what I wanted to. I trust the elements of those perceptions, and my reactions to them, but their conscious understanding and integration remain beyond my abilities at this time. Obviously (as will be explained), I think it wise to ascribe as much of the episode’s validity to its symbolic meanings as to its physical ones.

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.