“Seth material” search engine (Jane Roberts)

(“I’m a professional artist,” I wrote to the scientist, “and at times have been puzzled enough by questions about evolution to consider making my own series of drawings that would show the transformation from reptile to bird, for instance, just to see if I could do it convincingly…. [...] Second, the idea of my drawings makes me think that others must have done it already, not once but many times. [...]

[...] By evidence in this case I mean drawings, based upon the best scientific assumptions as to what all of those intermediate creatures must have looked like. [...]

You can get rid of all the illness when you realize that you have the habit of creating and drawing it to you out of fear. What you fear most you draw to yourself. [...] You can learn to concentrate upon what you want and draw that to yourself and you can learn and without too much difficulty, to completely restructure the health habits of your family. [...]

[...] But first of all you must understand that you can draw health to yourself and vitality and strength and that you are not at the mercy of any poor crawling germs or little flying monsters that come to attack you or your family, nor are you at the mercy of any fact. [...]

[...] I was showing a young man in his early twenties some things about drawing. [...] He had a drawing board to which he had fastened a sheet of rough watercolor paper, and carried this around with him. I saw that he had covered the paper with fine-line figure drawings and portraits, in pencil and pen. [...] Good drawings, and I still remember one profile head in line, quite clearly.

When you were a boy and went off by yourself to draw, your mother often acted rejected. [...] At times you felt as a child that painting, or rather drawing, hurt her, and that also she might retaliate by withholding her support in other areas. You also used the drawing and your talent to some degree as a method of exerting your own independence from her oftentimes smothering love. [...]

[...] Those inequalities however also cause him to draw upon muscular reserves, and trigger greater strength than he has had.

[...] Watch television or whatever, but imagine—lightly, now—a pyramid with each of you at its base, going upward into Framework 2. The energy you sense in whatever program you watch imagine almost like a generator, as energy here drawing power from Framework 2 into the room, into Ruburt’s body and your own, activating both your physical and psychic existences.

[...] You can draw upon their knowledge, and you can also draw upon the knowledge of your own reincarnational selves, “past,” in quotes, and “future.”

[...] The printed drawing on page one of the object is made up of a complicated pattern of curving lines, which Seth could have interpreted as twisted. [...]

[...] We believe he was getting at the construction of the drawing on page 1 of the object. [...]

[...] There can be a literal interpretation: The drawing of the milkweed on page one of the object is V-shaped in the abstract sense—wide at one end, narrowing to a point, as did Jane’s gesture. [...]

(“Four vertical lines,” While giving this data Jane held the object vertically, as indicated by T on page 4. The data is too general to be sure; the drawing on page 1 would have some upright lines in it while the object is held vertically, but nothing exactly vertical.

[...] There are banks of activity from which you can draw or choose not to draw.

[...] Personal association, therefore, is highly involved with your personal bank of symbols, and it operates in the dream states precisely as in waking life — but with greater freedom, and drawing from the future, in your terms, as well as from the past.

[...] The inner banks of symbols, however, operate as a drawing account, latent unless you take advantage of them. [...]

[...] It shocked him to know that people of the past were reading the book in his present, and seemed to draw him closer to those original associations that caused him to leave Saratoga.

[...] He should be drawing gratitude and health from this thought reality. [...]

Through the anima and the animus, so-called, present personalities are able to draw upon the knowledge and intuitions and background that was derived from past existences as the opposite sex. [...]

[...] An “older” reincarnational body has come to your aid, from which you draw strength through the memory of its health.

[...] The drawing represents a synthesis of the knowledge that you learned during that personality. [...] Another drawing of a woman and a baby also represents you as a young mother with a child.

(“What is the personal significance of the drawing of the old woman I am now working on, in egg tempera?”

[...] The inner self has a vast and infinite reservoir from which to draw knowledge and experience. [...]

Now: it is not true—and I emphasize this strongly—that so-called unconscious material, given any freedom, will draw energy away from the egotistically organized self in a normal personality. [...]

[...] At break, Jane told us she couldn’t draw versions of the symbols based upon those she’d done in trance. [...] Looking at the last drawing, number five, Jane did say that the serpent’s tail was supposed to be represented by the lower loop. [...]

(Now Seth returned as Sue and I began to discuss the drawings Jane had done in trance.)

(Drawing in the air, Seth-Jane finished the list, then told me that I was to place a second one, with its own heading, opposite the first. [...]

[...] You cannot draw it out, however, until a specified date. [...]

[...] Otherwise you would be drawing salaries. [...]

[...] There are excess energies now that act as magnets, drawing other positive energy to him in such proportion that the entire gestalt becomes in effect a psychic helper.

[...] This sort of phenomena occurs in one way or another with those who have the capacity to draw upon great energies, but the manifestation, you see, can be beneficial or detrimental.

[...] The knowledge here gives you benefits that are beneficial in highly (underlined) and significant ways; and do indeed enable you to draw upon abilities that you did not realize you possessed.

(Copy of the drawing by me, used as the object in the 79th envelope experiment, in the 306th session for December 5,1966.)

[...] The inner ego (long pause) draws instant and continuous support from the universal consciousness, and the more the exterior ego keeps that fact in mind, the greater its own sense of stability, safety, and self-esteem.

(Today I finished the 23rd drawing [out of 40] for Jane’s Dialogues.)

The fetus itself, before its conception, responds to a self not yet physically apparent; and the future, in those terms, draws new life from the past. [...]

[...] In a very casual way lately I’ve been trying to tune in to a “future” existence so that I can do some writing and drawing about it, but haven’t made any meaningful contact so far.