“Seth material” search engine (Jane Roberts)

(I will have photocopies of the two drawings made for insertion into the carbon copies of this record. My personal feeling is that Seth’s enormous cranium in the drawings is a symbolic one—perhaps one pertaining to Bill’s feeling that Seth possesses greater or different knowledge than we do.

(This reproduction, combining the two drawings Bill MacDonnel made of the apparition he saw in the 68th Session, was published in 1970 by Prentice-Hall, Inc., in Jane’s The Seth Material. Bill’s first drawing is the smaller of the two.)

(Here Jane paused beside Bill and picked up the first pen drawing he had made of his sighting of the apparition of Seth.)

[...] I caught a glimpse of the drawing as she waved it briefly in my direction.)

“Rob: In one of my own ‘past-life’ memories, I was a guard or sentry on a tower like the one in your drawings. [...] I was overcome and pushed off the tower, falling backwards in the position your drawing shows. [...]

[...] Jokingly, I thought, I’d probably ‘get something’ just when I’d have the least amount of time to write it up afterward, make any drawings I could, and just plain take a while to think about it. [...]

[...] I also tried to capture the overcast mood of the entire episode in a couple of quick drawings done on typing paper with a ballpoint pen. [...]

[...] A student I’ll call Mary told me about just having met a black woman [in a most prosaic night-school class] who looked “exactly like” my drawing of Maumee,¹⁴ the woman in my Jamaica experience of three weeks ago. [...]

[...] I was quite surprised to find two days later, in the New York Times for September 12, a photograph that contained strong resemblances to my drawing of Nebene’s pendant: an Egyptian pendant possibly dating from around the time of King Tutankhamen, circa 1355 BC. [...] My own notes contain a detailed chronology of events between my drawing, when we were given the newspaper containing the photo in question, etc. [...] It seemed that the similarity between the Egyptian piece shown and my own drawing was a bit too coincidental. [...]

Your drawing of the jewelry does represent a piece of jewelry that Nebene wore all of the time. [...]

(A note: When Seth remarked about the pendant Nebene wore being an unorthodox procedure for those times, it reminded me that I’d had the same thought while doing the drawing. [...]

(I then showed Jim and Bill the two drawings of my visions of the night before; I did the drawings this afternoon. The drawing of the head, with the brimming eyes, struck Jim rather forcibly. In his quiet way he said the drawing was very disturbing to him, and mentioned this several times after I had put them away. [...] As it happened, both drawings were rather successful; I felt I had done a good job of getting my memory of the visions down on paper.

(“What is the significance of that drawing to him?”)

[...] The images in your mind draw to themselves all the proper emotional energy and power needed to fill them out as physical events.

[...] A realization of this would allow you at any age to draw upon qualities and knowledge that “existed” in your past or “will exist” in your future. [...]

If you were twenty, you would be able to draw upon the wisdom you imagine you would have at thirty.

[...] From what seems to be the past you draw only those memories that reinforce your condition, and you project those into the future. [...]

When you are writing a regular book you draw upon associations, memories, and events that are known to you and others, that perhaps you had forgotten but that suddenly spring to mind in answer to your intent and following your associations. [...] Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting. [...]

[...] You will therefore structure your experience, drawing to yourself from Framework 2 only that which fits. [...]

[...] They will draw other such units to them, for example, according to the intensity of the emotional tone of the particular consciousness at any given “point.”

Their characteristics draw them toward constant interchange. [...]

[...] I made two ball-point pen drawings of my wife while she lay on her side with her beautiful eyes still open; they were blue flecked with hazel, and were as clear and peaceful as those of a child. I had the vague idea that I’d use the drawings as references for portraits that I would paint of her. [...]

(Jane now made a drawing of what she could recall of the atom image she had attempted at first break. [...] Jane was not satisfied with the drawing because she could not indicate the thickness or depth it should have, she said.)

(She explained her drawing to me, and I have translated it into three colors. [...] According to Jane we should think of this drawing as being of many thicknesses.

[...] I subsequently made a watercolor drawing of this leaf and another. [...]

[...] is interesting to me, a good description of how the two leaves curled at the edges during the several days it took me to make the very detailed drawing. [...]

[...] I am speaking to you personally because you still do not draw upon it as freely as you can. [...]

You are drawing people to you now, you see, in a different way than you were before. [...]

[...] You can draw the lines where you will for convenience’s sake, but each identity retains its individuality and inviolate nature even while it constantly changes.

Now last Sunday evening, as I studied that “old” drawing of myself, I thought once more of my father in his last days — then a whole block of information came to me regarding his present nonphysical circumstances and “plans.” [...]

[...] Where do they draw the lines of identity? [...]

8. Strange — but recently I visually approached the idea of interrelated consciousnesses in two pen-and-ink drawings for Jane’s book of poetry, Dialogues of the Soul and Mortal Self in Time: I incorporated humanoid features on large rocks. [...]

[...] Certain portions of that person, as you know, would have been satisfied with drawing comics, or doing certain kinds of commercial work. That person was committed to a love of drawing but not to a life of art. [...]

[...] Children draw, play with images, with language, with the sounds of their voices creatively and artistically. [...]

[...] 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. [...]

(Seth here refers to a large painting I have planned and made a pen-and-ink drawing for in small scale. [...]

[...] I made the pen-and-ink drawing then. [...]

The painting itself, and any painting, rises out of the empty board through the force of your own emotions, and the board becomes the focal point that collects, draws together and directs the energy from your inner self, into form.

[...] to me represented the round bottle of ink showing in the photo on the table beside my drawing board, and to the standard color mixing tray on the drawing board itself; this contains four circular wells.

[...] In the photo I am sitting at a drawing table. [...] In the envelope photo it can be clearly seen that my drawing table is covered with white paper, for cleanliness while working. [...]

He is obviously drawing upon knowledge that is beyond his own conscious abilities. [...]

[...] It was indeed a healing one, when he was dealing with the plasticity of events, and bringing those he wanted into better focus, by consciously drawing upon his own larger creative abilities. [...]

[...] You draw on their knowledge as they draw on yours, and this of course applies to personalities that you would consider future. You have a gigantic pool of information and experience to draw upon, but this will be utilized according to your present conscious beliefs. [...]

[...] You can draw then from your own bank of probable abilities, for there will be traces of them in you. [...] (To me:) In deciding to do some writing (for the Seth books, as an example), you are also drawing upon abilities that you have worked on in another system, and through your intent you are to a certain extent blending probabilities.¹¹

[...] In each now-moment, you draw from the vast bank of unpredictable actions certain ones that are “significant” to you; and your private idea of significance will result in what then seems to be predictable action.

[...] Having an unpredictable field to draw from, they select activity according to those significances. [...]

(A copy of my drawing, and of drawings of the clock by Bill Gallagher and by Jane herself, will be included in the notes at next break.)

[...] Since she was so definite about the clock’s shape, I made a quick drawing of my version of her description. [...]

(Jane and Bill now made their drawings of the clock, without seeing each other’s or mine, and my copies of all three are below. [...]

[...] She does not know where to draw the line for her own good. She will be quite satisfied if someone she respects helps her draw a line of adequate behavior. [...]

[...] The drawing is made up of rounded lines and shapes, is rounded in overall shape, and fits into the black rectangular frame. We don’t particularly know why Seth uses large here, unless he means that the drawing could not be much larger and still fit into the rectangular shape.

[...] Tracing of the pencil drawing of Jane, used as the object in the 56th experiment.)