“Seth material” search engine (Jane Roberts)

(My first question asked Seth for more data about the two horizontal lines. See page 194. “I have the impression of two dark horizontal lines, one rather toward the top and one rather toward the bottom.” [Jane gestures.] It will be remembered that when Seth gave this data the first time, Jane held the envelope to her forehead with its long dimensions horizontal to the floor. As explained, this meant the spines of the two leaves were also roughly horizontal to the floor and her insight. Seth elaborates a bit here now, although Jane now sat holding the envelope in her lap, and with its short dimensions parallel to the floor.

(“Two horizontal lines, rather widely separated from each other.” Since Jane had held the envelope to her forehead in the position above indicated, it can be seen that the “spines” of the two leaves, taped to the Bristol, would be roughly horizontal to the floor and thus to her vision. Provided Seth gives this data in our terms in such cases. We wondered if by horizontal Seth, or Jane, could possibly mean parallel, since the leaves are quite parallel to each other on the Bristol.

(At 10:13 Jane took the envelope for our 57th experiment from me without opening her eyes. She held it to her forehead with its long axis horizontal, as she almost always does. This position is rather important to the results of the experiment, as will be shown. Jane remembers holding the envelope in this fashion, and I watched her do so.)

Also something in the center of the oval. (Jane now lowered the envelope to her lap with her left hand, sitting however with her other hand still to her closed eyes.) Two horizontal lines, rather widely separated from each other.

[...] Jane said she saw within a small round object, with horizontal lines running across it; she thought of a postmark on an envelope, with the cancellation lines, but knew this wasn’t it. [...] Jane said the straight-across lettering, Key Value, is in the position of the horizontal lines she saw within. There are also ruled-in horizontal lines on the drawing.

[...] Horizontal rather than vertical, in the position in which I hold this.” As stated on page 321, Jane held the rectangular double envelope up with its long edge parallel to the floor, and moved it back and forth to indicate most definitely her insistence upon the horizontal attribute. This is most interesting, for the envelope object itself contains neither vertical or horizontal lines or masses. [...]

(My drawing contains lines that are horizontal and straight. There are two sets of these horizontal lines, across the top and the bottom of the words Key Value, and when one turns the drawing over on the back—not shown here—is seen the dark smudges of my pencil as I prepared the drawing for tracing onto paper. Jane said these lines and the dark smudges beneath them are what she believes she was referring to, more so than the other two horizontal sets of lines below the end of the key.

(Without opening her eyes, Jane held the envelope before her in a horizontal position, and moved it from side to side to show horizontal movement. [...]

[...] But she changed her mind, obviously; then at 9:25 she told me she knew what Seth was going to talk about: “The horizontal consciousness.”)

[...] Consciousness has become more horizontal in that respect. [...]

[...] Your living room reaches out horizontally in space as far as your consciousness is concerned. [...]

[...] It is the official line of consciousness that has become horizontal, yet in so doing it has also opened up questions to which it would have been blind otherwise—and because of its focus your news events, of course, show only one side of the picture.

[...] Jane, while holding the envelope, and the object inside it, horizontally, made a vigorous crossing and vertical motion with an arm. [...] With the object held horizontally, the stick is also horizontal and divides the drawing in half easily enough; the horizontal attribute of her gesture was stressed by Jane. [...]

In making this sign, she stressed the horizontal attributes of it, and repeated it.

[...] (I would like to add that while making the above cross sign, Jane held the envelope with its long dimension also horizontal. [...]

(There is a less clear vertical division to be seen on the object while in the horizontal position, although the brush marks in the upper left corner help to mark off a portion. [...]

[...] The theory that all or any other intelligent life exists on the same horizontal plane as your own, and that it necessarily exists in your own known camouflage universe, is another.

[...] When fifth dimension is understood, it in itself will show the existence of other realities not on your own horizontal plane. [...]

[...] And the quantitative distance on your own particular horizontal plane actually amounts to a qualitative difference, in that the theories of universal laws as presently conceived simply will not hold.

There are other intelligent beings on your own horizontal level. [...]

Horizontal lines (envelope still to forehead horizontally) with a small square. [...]

(At 9:42 she took the envelope for our 75th experiment from me and pressed it to her forehead in a horizontal position. [...]

[...] Jane still held the envelope horizontally to her forehead, but by now she had shifted hands several times while doing so. [...]

[...] Jane said that by squares she meant the little boxes strung out along the horizontal lines on the object. [...]

(“The darks horizontal,” Note the fold marks on the copy of the envelope object on page 327. When the object was folded and then held in a roughly horizontal position in the rectangular double envelope, the dark patterns of the fingers would be horizontal within the envelopes.

The darks horizontal, the verticals bright. [...]

[...] If this is a reference to the white spaces between the fingers of the print, then these would be horizontal also. [...]

(“and horizontal lettering.” My writing on the object follows the horizontal or long dimension of the object. [...]

[...] My fourth question asked for the content of the horizontal lettering mentioned by Seth. Seth named both horizontal lettering and red before in the data. [...]

A thin border on the object, and horizontal lettering. [...]

(“What does the horizontal lettering say?”)

(It has been noted that Jane held the sealed envelopes to her forehead in a horizontal position, or with their long axes parallel to the floor. Thus part of the black border on the object, or the pattern on the shirt, would appear horizontal if Seth picked this data up in a somewhat literal way.

[...] Her eyes closed, she raised it to her forehead in a horizontal position, as usual. [...]

[...] And a solid horizontal line, black or dark. [...]

(“And a solid horizontal line, black or dark". [...]

[...] (Without opening her eyes Jane took the double envelope for the 62nd experiment from me, and held it to her forehead in a horizontal position.)

(Still holding the envelope horizontally with one hand, Jane indicated each end of the envelope with her other hand.)

[...] The first concerned a card shape, rectangular, with balancing designs on each end of it while held horizontally. [...]

[...] It was folded once horizontally as indicated, although there were vertical fold marks in it also. [...]

[...] Her eyes open, she gestured with the envelope as she held it in a plainly horizontal position. [...]

[...] It was folded once horizontally in the double envelopes, as indicated, although there were also vertical fold marks in it.

[...] See page 216, and the indication of the horizontal fold used. [...]

[...] I want this done in a certain way — the heading, “A State of Grace,” written thusly (with horizontal gestures), then a line drawn down … and under it, “Health” … and under that, “Wealth” …

I also have the impression of a tavern of some sort, or place of refreshment; of tall parallel lines, and of horizontal parallel lines. [...]

(From the sketch on page 250 it can be seen that parallel lines, both horizontal and tall, or vertical, are present; these are the customary wavy lines of cancellation. [...]

[...] Vertical, that is, vertical lines, on the top and bottom, and horizontal on the sides.” The insurance receipt contains clear black printed lines, both horizontal and vertical on the front, and horizontal only on the back. [...] Thus lines that were vertical at one time would become horizontal, and it seems this would apply whether in relation to her as the clairvoyant observer, or the floor or whatever. [...]

[...] That is, vertical lines, on the top and bottom, and horizontal on the sides.

[...] This is travel along what we may call for simplicity’s sake a horizontal level.

[...] Other constructions exist simultaneously with your own, of an entirely different nature, also however on what you may call a horizontal plane. [...]

I speak in terms of vertical and horizontal only to make things easier for you. [...]

[...] This time she saw herself in the enlarged kitchen, looking out of a horizontal-type window at the river.

[...] Writing or printing in a lower left-hand corner perhaps, very small, holding the object horizontally. (Jane gestured with the envelope, which she now held horizontally.)

(“Writing or printing in a lower left-hand corner perhaps, very small, holding the object horizontally.” Jane at this time held the envelope horizontally. [...]

[...] She held it to her forehead in a horizontal position.)

[...] She still held the envelope to her forehead with the other hand, as usual in a horizontal position, or nearly so.

[...] The bill used as object contains verticals and horizontals.

[...] As stated, and seen on page 115, the bill used as object contains vertical lines as well as horizontal, and these are quite thin on the actual object. [...]

[...] Horizontal lines that are similar to each other. [...]

[...] “A border” regarding the test object does not ring a bell, but “Horizontal lines that are similar to each other,” are the postmark cancellation lines. [...]

[...] She pressed it to her forehead in a horizontal manner.)

[...] (Jane was now gesturing often with the envelope, though still mainly holding it horizontally.) Five plus one. [...]

[...] In giving the data Jane gestured often with the envelope, her eyes closed; she would then return it to her forehead in mainly a horizontal position. [...]

[...] These include a kind of horizontal psychological extension, the translation of one kind of dream into another kind—the transference of information from one system to another, in which the symbols themselves come alive.