“Seth material” search engine (Jane Roberts)

(Check the printed copy in the center of the object. Beside the word “wars” there, we see the words “for” and “foreign.” Seth mentioned “the number four in the center of a square.” The envelope object is rectangular rather than square. We wondered whether the square reference was to the “larger white object,” mentioned at the end of the envelope data. See page 27. The inside envelope used in these experiments is almost square.)

The object is a small round object in a small square box. There is also cotton in the box. The object is shaped somewhat like a ring, but it is not a ring. The circle is not complete. It is of a grayish color, like stone. Perhaps somewhat speckled, and it is very old.

The number four in the center of a square. A connection with a turnabout, and a street or avenue, as an avenue of escape.

The appearance of a neat, even, script, with small letters. The main paragraph forming a neat rectangular form, but neatly squared off. A block of matter.

(“A connection with many small colored squares. [...] As stated, Jane had images of small colored squares. [...] The painting is made up of many three-quarter-inch squares of brilliant color.

[...] Here I meant the shape of the envelope object; Seth could have referred to the larger object containing the colored squares, however, because I did not make any distinction. As it happens, both the object and the op painting which contains the small colored squares are rectangular.

[...] A connection with many small colored squares. [...]

(“Can you say anything more about the colored squares?”)

(Question: “Can you say something more about four squares?” “I believe not.” See the four square data on page 301, referring to the Masonite I bought and had cut to size. [...] As stated, the four squares data meant nothing to her, but quite a lot to me. [...]

[...] Four square, or four and four squares.

(“Connection with black, and a small square. [...] The arrangement on the back is not square, being more rectangular.

(“Four square, or four and four squares.” [...]

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

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

(“Horizontal lines with a small square.” [...] The word square here may refer to the next data.

(“Piccadilly Square.” [...] Piccadilly Square, London, England, might refer to the fact that a professor at Elmira College, with whom Jane would like to work as an assistant, teaches English Literature and specializes in Victorian English. [...]

(“A small square.” [...] This small symbol is topped by a very small square, with a dot in it. The square about 1/16” on a side.

(Jane mentioned the 4¢ postage stamp on the object; strictly speaking the stamp is not quite square, but if the stamp had been perceived clairvoyantly perhaps its shape was interpreted as a square.

[...] A small square. [...]

Small squares, not in line. [...]

[...] Small squares, perhaps three of these. And a connection with, I believe, the same number of large colored squares or rectangles. [...]

(“Small squares, perhaps three of these.” Upon examination it can be seen that the linen canvas used as object is made up of small squares of thread, especially when it is held up to the light. [...]

(“And a connection with, I believe, the same number of large colored squares or rectangles. [...] Some of my recent work has been in the abstract vein, also, and incorporates squares, angles, etc., some of them in brilliant primary colors. [...]

[...] I made no square panels for instance, not caring for this proportion.

(“A small square, and perhaps a larger one.” Our interpretation here, without in any way being positive, was that this concerned the square cardboard cake box described earlier—which was square as we recall it—and the smaller birthday card. However we are not sure now whether the card was enclosed in a square envelope or a rectangular one. [...]

(“A square object.” We feel reasonably sure here that this refers to the box we carried the cake in, home from the bakery, the afternoon of July 1. We recall the box as square, of the folding type. [...]

[...] A square object.

[...] A small square, and perhaps a larger one.

(“A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.” [...] Although none of the shapes on the original object are square, they do give the impression of being balanced one upon another. [...]

[...] A square object, perhaps a small square shape at the top center of the object, balanced by another shape at the bottom center.

The square shapes again, now, as in small patterns.

(“The square shapes again, now, as in small patterns.” [...]

[...] Four square, or four squares. [...]

(“Four square, or four squares.” [...]

(5th Question: Can you say more about the four squares? [...] In asking this question I sought to tie the four squares data to that of the geometric shapes, and Seth confirms the idea. [...]

(“Can you say more about the four squares?”)

(First Question: Can you say more about the yellow square? “I have the image of a small, neat yellow square, in a lower right hand position.” [...] But it was a rectangular rather than square object.

(“A yellow square.” The poem to me was written by Jane on a piece of yellow typing paper the size of this page, and folded as indicated in the tracing on page 1. Jane had an image of a small yellow square. [...]

A yellow square. [...]

(“Can you say more about the yellow square?”)

(“A yellow square.” [...] Jane, oddly enough, said she had an image of a yellow square.

(“A very small image, such as the square or rectangle on the item.” [...] But as stated the object was not mailed alone, and bears no stamp, etc, nor any marking like a square or rectangle.

A yellow square. [...]

A very small image, such as the square or rectangle on the item. [...]

[...] He could have been in any instance right or wrong, but he met you squarely and spontaneously, and you felt that aliveness and responded to it. [...]

And you (to Harry) have not looked up once and faced me squarely in the eye. [...]

(“A rectangle and a square. Perhaps the square within the rectangle.” [...] Actually the smaller piece is also, but inclines in proportion toward the square to a much greater degree. [...]

A rectangle and a square. Perhaps the square within the rectangle. [...]

I have the impression of a circular shape, with a smaller square in the center. The square much smaller than the circle.

(“I have the impression of a circular shape, with a smaller square in the center. The square much smaller than the circle.” [...]

[...] A cube or square-shaped object like a dice. [...]

(“A square, and a round object, perhaps inside the square.” [...] What we have is a rectangular area with rounded corners inside the square object. Perhaps Seth/Jane’s perception of the rounded corners led to the statement concerning a round object inside the square.

[...] A square, and a round object, perhaps inside the square. [...]

(Perhaps the small black squares refer to type? Also—Macy’s Herald Square is mentioned twice on the page 11 side of the object.

The impression of small squares with orange, I believe, circles in the center. [...]

[...] A date above, connection with black small squares. [...]

(“The impression of small squares with orange, I believe, circles in the center.” [...]

[...] Now one place they stay: has water on one side and foliage on the other with large square openings in the front; and I do not believe here by the large square openings there is any glass. [...]

[...] Now one place they stay: has water on one side and foliage on the other, with large square openings in the front, and I do not believe here by the large square openings there is any glass. [...]

(“and with square objects, in design fashion.” The bricks in the photo are rectangular, not square. [...]

[...] Also perhaps with a July date, and with square objects, in design fashion.

[...] A visual connection, with square or rectangular objects in the center of a larger area, with modern connotations as a design might have. [...]

(Seth continues in answer to the first question: “A visual connection, with square or rectangular objects in the center of a larger area”, refers to the rectangular bricks marching up across the center of the object. [...]

[...] The impression on the object, on the lower bottom, of very small rectangles or squares, (pause) one after another—bright, but outlined in darker color, as perhaps a transparency of some kind.

The impression again of the rectangular or square shapes in a series at the bottom, across the bottom (gesture), surrounded by darker areas. [...]

(“The impression on the object, on the lower bottom, of very small rectangles or squares…” On the back of the object is the phrase “Side-opening loading-port for easy rapid-load.” [...]

[...] However he interpreted them literally you see in terms of the small transparent rectangles or squares. [...]