“Seth material” search engine (Jane Roberts)

There is, as I have told you, an inner (pause) “psychological” universe, from which your own emerges, and that inner universe is also the source of Framework 2 as well. It is responsible for all physical effects, and is behind all physical “laws.”

It is not just that such an inner universe is different from your own, but that any real or practical explanation of its reality would require the birth of an entirely new physics—and such a development would first of all necessitate the birth of an entirely new philosophy. The physics cannot come first, you see.

It is not [so much] that such developments are beyond man’s capacity as it is that they involve manipulations impossible to make for all practical purposes, from his present standpoint. He could theoretically move to a better vantage point in the twinkling of an eye, relatively speaking, but for now we must largely use analogies. Those analogies may lead you or Ruburt, or a few others, to a more advantageous vantage point, so that certain leaps become possible—but those leaps, you see, are not just leaps of intellect but of will and intuition alike, fused and focused.

Ruburt glimpsed some of the principles involved when you were at [your downtown apartments] on several occasions—once when he tried to write a poem about the comprehensions that simply would not be verbalized.² I do not know how to explain some of this, but in your terms there is (underlined) light within (underlined) darkness. Light has more manifestations than its physical version (intently), so that even when it may not be physically manifested there is light everywhere, and that light is the source of your physical version and its physical laws. In a manner of speaking, light itself forms darkness. Each unit of consciousness, whatever its degree, is, again, composed of energy—and that energy manifests itself with a kind of light that is not physically perceived: a light that is basically, now, far more intense than any physical variety, and a light from which all colors emerge.

(Pause at 9:06.) So-called empty spaces, either in your living room between objects, or the seemingly empty spaces between stars, are physical representations—or misrepresentations—for all of space is filled with the units of consciousness, alive with a light from which the very fires of life are lit.

Now: On certain occasions, sometimes near the point of death, but often simply in conscious states outside of the body, man is able to perceive that kind of light. In some out-of-body experiences Ruburt, for example, saw colors more dazzling than any physical ones, and you saw the same kind of colors in your dream. They are a part of your inner senses’ larger spectrum of perception, and in the dream state you were not relying upon your physical senses at all.

(Long pause.) The paintings that you have envisioned, for example, exist there, and they are every bit as real as the paintings in your studio. I am not speaking symbolically here. There is indeed light that you do not see, sound that you do not hear, sensation that you do not feel. All of these belong to the realm of the inner senses. The inner senses represent your true powers of perception. They represent, say, your native nonphysical perceptive “equipment.” The physical senses are relatively easy to distinguish: You know what you see from what you hear. If you close your eyes, you do not see.

The inner senses, though I have in the past described them by separating their functions and characteristics, basically operate together in such a way that in your terms it would be highly difficult to separate one from the others. They function with a perfect spontaneous order, aware of all synchronicities. In that psychological universe, then, it is possible for entities “to be everywhere at once,” aware of everything at once. Your world is composed of such “entities”—the units of consciousness that form your body. The kinds of conscious minds that you have cannot hold that kind of information.

That is as far as we can carry that for this evening. We need some new carriers for the concepts. But the light itself represents that inner universe, and the source of all comprehension.

A note: I can add that I didn’t give up on my dream painting after all. The morning after this session was held I repainted that still-wet wall of colors I’d struggled with the day before. I managed to carry off the painting this time—merely giving impressions of the colors and foregoing their fantastic intensities and patterns. Next, I painted a small oil of the lights emitted by the two table lamps in my waking experience. The practice on the dream painting helped: This time I was able to hint more easily at the great combined radiance of those lights. However, I’ve learned that contending with the light of the universe can be a humbling task indeed….)

“My friend, Floyd Waterman (I’ll call him), and I were in a five-and-ten-cent store in Sayre, my old hometown. We were both dressed, but knew that we had to take some sort of tests for sexual potency. We stood near the large plate-glass windows at the front of the store—quite exposed for all to see, in other words, including those eating at nearby tables, yet no one seemed to be paying any attention to us…. Floyd had to take the test first, stepping into a little booth such as a cashier might use. As I waited to go next I turned to look out the front windows—and suddenly found myself surrounded on three sides by walls of the most beautiful floor-to-ceiling, intricate and colorful latticework of diamond-shaped glass crystals I could possibly imagine. I cannot describe the intrinsic shimmer and sparkle of those faceted walls, shining and vibrating in warm oranges, browns, yellows, reds, and violets. Each segment of each color was held within a very thin black frame, as on a much cruder scale the pieces of a stained-glass window can be contained by channeled lead strips. I can still ‘see’ those dream lights and colors as I write this account several hours later, after describing them to Jane. I’ve thought of trying to do a painting of my best dream images of all time … yet wonder how I can do it….”

“I’d been at once reminded of my dream of the night before, in which I’d seen many colors. But while these lights were ‘only’ white, they were both warm and cool, indescribable in their intensity, and really contained all colors.

2. We moved from our downtown apartments into the hill house almost five years ago (in March 1975), but Jane thinks she tried to write the poem Seth referred to several years before that. (She began speaking for Seth late in 1963.) I have no memory of her struggling with such a poem. I was most curious to see it so that I could quote a bit of it here. Jane has stacks of journals, poetry notebooks, manuscripts, and loose notes of all kinds, but neither of us could dig out what we wanted. Very frustrating! We hadn’t been as careful then about dating our work as we are now. “But I know I didn’t throw out whatever I did on that poem,” Jane said. One of us will probably find it someday—while looking for something else.

4. It took me a while to realize that Seth had made a most interesting statement here—implying that somehow I’d picked up Floyd’s worries about his age and virility. Floyd, Jane, and I are good friends, and he’s well acquainted with our work. He’s a few years younger than I am (I’m 60), but as far as I can remember the two of us haven’t discussed such matters, even jokingly. Consciously. I enjoy and appreciate my age and virility each day without being concerned about them, yet my dream certainly revealed that on other levels I’m at least speculating about such issues. It’s easy to say those cares represent negative beliefs, but I think much more than that is involved—universal questions, actually, that all men and women have chosen to contend with in physical life.