“Seth material” search engine (Jane Roberts)

(When she took a break Jane also received the first line of a poem, she told me when she came back into the living room. [...]

[...] I am no poet, but as in one of Ruburt’s poems, think of the brain as a web you form about the inner self. [...]

In the matter of publishing, or selling paintings, others are involved—others who very rarely in their lives experience that important encounter between, say, the self as actualized and the idealized sensed self, between the painting or the poem as an ideal and the actualization of that ideal. [...]

[...] They do not just help you paint a picture, or write a poem, but they help you form the living picture of your lives. [...]

[...] The Stonehenge poem (that Jane began writing earlier in March, when we received an English postcard from Michael Lorimer) in a way is a case in point, since it shows the reawakening of a certain kind of creative and psychic activity. [...]

[...] She’s been working on “I Am Alive Again,” her longest poem for If We Live Again. [...]

[...] As mentioned many, many sessions ago, however, her poem The Fence, written in May 1963, clearly foreshadows the Seth material, dealing with [but not always by outright name] such subjects as reincarnation, dreams, unperceived worlds, etc. [See the poem on page 28, Session 5, in Volume 1 of The Early Sessions.]

[...] On the tape she manifested many voice changes, while reading G. K. Chesterton’s narrative poem Lepanto, that were quite reminiscent of the way the deceased Father Trainor had read it. Afterward Jane endeavored to answer a question of Bill’s by reading a few lines from the poem aloud. [...]

[...] Immediately the same voice effect again manifested itself in no uncertain terms, and Jane then swept through the long poem without pause. [...]

[...] Jane was inspired by the dream to write a series of excellent short poems about it today.

[...] I wrote that at the age of 25, nine years before initiating the sessions, Jane expressed the moment point in her poem, “More Than Men.” [...]

One of the poems Jane wrote for me a year ago, when I became 60 years old (in June 1979), fits in well here also. [...]

[...] A poem, a musical masterpiece, a sculpture, a novel, an opera, into a great piece of architecture. [...]

(At about the same time Emir was mailed, Jane sent Richard Bach “a crazy poem” that she’d written a couple of days earlier. [...]

Ruburt wrote a poem yesterday morning (Thursday), considering it afterward briefly, wondering whether it was really good enough to type as it was, throwing off in an odd moment a thought, a concept that would represent the highest revelation to Ida, if she could understand what it means.

Ruburt is working out toward a complete symbolic understanding in a poem he began yesterday, and he will know the one to which I am referring.

[...] See page 269 of the 232nd session for Frederick Fell’s request to see the book plus the tape recording Jane made of some of the poems. [...]

[...] We did not use twine on the package, incidentally, but did use it on the package containing the tape recording Jane made of some of the poems in the poetry book. [...]

[...] The few lines below are from Pathetique, a long poem she wrote in 1959. [...]

[...] Jane used to write poems to get back in Marie’s good grace: “At the same time I felt like I was betraying myself for doing it. [...]

[...] She recalled that back in her 20s—some 15 years before she initiated the Seth material—she’d written a series of poems about our species returning to the earth from space. [...]

[...] “Now I don’t know what to do — I could go to bed or continue the session for hours. …” She’d spent most of her day writing lyrics for rock music — for reasons not necessary to go into here — and now that activity reminded her of a poem she’d written in May 1963, well over six months before she began speaking for Seth. [...]