“Seth material” search engine (Jane Roberts)

A statue, I do not know here. It is connected with a general, but I believe the man whose image is represented by the statue, stabbed the general.

(On leaving Nassau October 31, we passed a memorial, though not a statue, dedicated to Sir Harry Oakes, who was murdered. This made a very big impression on us, because Peg has always been interested in the murder, and Peg and Bill asked questions about it of several people. [Discussion of the murder and the landmarks was one of the important parts of their trip.])

Metal connected with the statue…

[...] While talking about the statue opposite the row houses, she did not see the statue, she said, but was aware of it nevertheless. She thought the statue might have been on an “island” in the center of the road. [...]

[...] A statue. [...] It is connected with a general, but I believe the man whose image is represented by the statue stabbed the general. [...]

Metal connected with the statue (pause) and it seems a modern street light very close nearby. [...]

[...] A flower garden is shown at the foot of the statue of Mother Goose, on the object. The flowers surround three sides of the statue base, and appear to be petunias, red and white.

[...] The flowers at the foot of the statue are also red, with a few in white.

[...] In back of the statue of Mother Goose is a dense, dark green pine forest, as indicated on the tracing on page 16, as well as several trees nearer the foreground. [...]

(Seth said that originally the statue was accepted as a gift by a missionary, a Father Hogan, in payment for healing the daughter of a chieftain. [...] Seth said the statue is not an original dating from the 12th century; this one dates from the late 18th century. [Bill Gallagher later verified this, telling us that a professor of Tibetan art at Cornell University, in Ithaca where they had bought the statue, had so stated. [...]

(Seth was rather loathe to discuss the statue at first, but kept throwing out bits of information about it in between his protests. [...] The statue, of a mythological or Godlike being in a sitting position with its arms upraised, did come from Tibet, Seth said—a small area in a southwestern corner of the country. [...]

(The statue originated in the 12th century, and its name is not the same now as it was, Seth said. The statue represented the God of the Universe. [...]

“The statue of the deer represents that idealistic image of the past; finding it broken in Brenner’s yard connects its real environment where Rob lived as a small boy [on Harrison Street] to Wilbur Avenue where he lived later; meaning that he’d idealized both backgrounds. The statue of the deer, an inanimate animal, contrasts with the waste left by a living animal. Idealized ones, statues, don’t leave waste, but they don’t live either.

[...] Then to my amazement I saw that the supposed animal was actually the broken remnants of a hollow, life-sized metal statue of a deer that had stood for years in the front yard of a house on Harrison Street, in Sayre, at the other end of town. [...]

In one of the homes of those present there is a statue immediately within a front door, and perhaps a hallway. The statue seems to be crouching, short rather than tall and erect.

[...] That is, you would perhaps think that a statue would be extremely lifelike because it exists in space and depth, having width and girth. [...]

[...] The statue actually imprisons vitality more than a painting or musical composition or poem, because it is bound to you by so many ties. [...]

[...] There is a man vastly interested in the idea of coloring sculptures—the statues.

[...] You came from a different country, where the weathering effect upon statues was different. [...]

[...] Think of the classical statue of Shiva standing on the crushed baby—a loving participation in the illusion of tragedy. [...]

A man who makes a statue uses his conscious mind, his creative abilities, his physical body, and the inner resources of his own being.

In all relaxation exercises he should imagine himself as fluid, as wind or water, and not as a statue. [...]

Ashen statues

[...] For instance, he included among other impressions, “a commemoration of a murder … a statue …” It developed that the Gallaghers had passed a statue, a memorial to Sir Harry Oakes who had been murdered in a sensational, well-publicized case in 1943. [...]

[...] The whole of the news story indicated on the back of the object, as shown on page 169 concerns law, statues, the Constitution, overthrow, rights, government, etc., plus the mention of two names: Feinberg, and Aronowitz. [...]

[...] Now I am speaking now of any given particular issue, not for example, of an entire mental life style, but beneath the humility a stubbornness; an attention to detail; a freedom of thought on the one hand, but an attention to detail having to do also, with this life when you took care of a sacristy and attended to altar veils and the placement of candles, missals and statues in specific and given places. [...]

[...] The sculptor’s statue, however, comes from the inner environment, the patterns of probabilities. [...]

[...] A separation of a kind that has occurred, and a connection with tall statues.

[...] The camouflage here however in the matter of a statue is too much like a prison. [...]

[...] “Think of the classical statue of Shiva standing on the crushed baby—a loving participation in the illusion of tragedy. [...]

[...] He’s walking away, out of the chute and into this great big Seth who’s like a statue.