“Seth material” search engine (Jane Roberts)

[...] I thought of getting up to make a drawing of what I had seen, but decided I would not forget. [...] I do intend making a drawing, in color, for those who may be interested.

(Tracing of the drawing and verse used in the 26th envelope test,in the 221st session for January 10,1966.)

[...] Perhaps I could include a drawing of the face I saw so clearly. [...]

[...] draws a blank with us. [...]

(Jane still didn’t remember the children’s drawings in the hallway of the school on one of the occasions when we took the vaccine, but I did—again, when Seth mentioned it.

[...] “Interactions with others do occur, of course,” Seth told us long ago, “yet there are none that you do not accept or draw to you by your thoughts, attitudes, or emotions.” [...]

[...] And all of this presupposes that each of us will be ready to draw “new facts” into our daily lives from Framework 2.

And from Session 613 for September 11, 1972: “Interactions with others do occur, of course, yet there are none that you do not accept or draw to you by your thoughts, attitudes, or emotions. [...]

(Last Thursday I finished the final pen-and-ink drawing of the 40 I’d planned for Jane’s book of poetry, Dialogues of the Soul and Mortal Self in Time.¹ I spent Friday checking the batch, then on Saturday morning I mailed them to Tam Mossman, Jane’s editor at Prentice-Hall. [...]

[...] It is as though you had an unlimited bank of abilities and characteristics from which to draw, and yet were afraid of doing so — fearing that any addition could make you less instead of more. [...]

To some extent you can actualize portions of your own unknown reality, and draw them into the experienced area of your life. [...]

[...] It happened to be one of my best drawings, done very quickly above the spot where we had placed the small refrigerator. [...]

[...] I asked Peg to draw a diagram of their motel and its nearby neighborhood. [...]

[...] This time I had to wait until I got back to my body to write down what had happened, and draw my diagram.

[...] It is a humorous drawing made by Ann Diebler, who works in my office at Artistic Card Co.; Piggie, incidentally, refers to pigeon. I had mentioned the drawing to Jane several weeks ago, but not since, and of course she did not know I had brought it home. [...]

2. It’s true, following the enthusiasm we felt when Seth first described Frameworks 1 and 2 three years ago, that Jane and I haven’t consistently tried all that hard to draw from that overall concept the results we think we consciously want.

[...] Briefly and very simply, Seth maintains that Framework 2, or inner reality, contains the creative source from which we form all events, and that by the proper focusing of attention we can draw from that vast subjective medium everything we need for a constructive, positive life in Framework 1, or physical reality.”

[...] The character in the play is seemingly alive (creatively) for the play’s duration, perception being limited to that framework, yet to play that role the actor draws upon the experience of his own life. [...]

[...] By its nature art basically is meant to put each artist of whatever kind into harmony with the universe, for the artist draws upon the same creative energy from which birth emerges.”

He was unused to setting himself up against his own spontaneity so strongly, yet when you did show signs of drawing the line, say, at fear of spontaneous sessions fairly early in the game, he felt on the one hand relieved, and on the other angry at giving up this new prerogative.

[...] You can put up with noncontact comparatively speaking far better than Ruburt, and will be the first one to draw the line here. [...]

(11:43 P.M. An aside: Lately I’d delayed typing these sessions from my notes because I’ve been so busy doing the finished pen-and-ink drawings for Jane’s Dialogues. [...]

6. Several of my drawings in Part Two of Adventures relate visually to the idea of an “original self” (or “source self,” in Jane’s vocabulary) that never appears in physical reality. [...]

[...] To answer one letter would draw its author to our doorstep at once: “I am your Seth,” and: “I will visit you as soon as I hear from you.” [...]

(Drawing of a draft beer can. [...]

[...] You not only draw upon this overall energy, but you do so automatically, for your existence is dependent upon it.

[...] I’d been concerned about my stewing over insurance, for I didn’t want to draw negative probabilities to us. [...]

[...] This doesn’t mean that I make believe we have no challenges, but that I for one refuse to dwell upon them, so as to not draw forth unwanted probabilities. [...]

(A reduced version of the on-the-spot drawing I made of my vision after 10PM on Tuesday, November 23, 1971, as I sat typing in our second apartment across the hall from where Jane was holding her ESP class. My crude drawing can’t begin to reproduce the delicate, shimmering and transparent beauty of what I briefly saw floating before me.)

(Long pause.) The multidimensional experience of this group was suddenly and surprisingly present for Ruburt to draw upon last evening. [...]

In a way his progress has been dependent upon the state of his learning, so that he has been trying to stretch the abilities of normal consciousness by drawing in other “strands.” [...]

[...] But also, negative, meaning pictures, is called to mind because Wendell’s letter deals with a group of artists who worked together in a studio, drawing comic strips, in 1941-3. In addition I personally have a studio here in the apartment, and the envelope used as object was kept in this studio. [...]

(“How successful was Jane’s projection attempt, that we made the drawings for?”

[...] She wrote him describing the experiment shortly afterward, and enclosed drawings of some things she picked up.)

[...] The TV show had ended at 3:00 p.m. Jane also said she “saw,” or remembered, what the insect trap looked like, but she couldn’t make a drawing of it. [...]