“Seth material” search engine (Jane Roberts)

(9:25. With many pauses, but all intently:) Ruburt has had particular difficulty, however, with “the theory of reincarnation,”²² because as it is usually described, it seemed that people used it to blame as the source of current misfortune, or as an excuse for personal behavior whose nature they did not otherwise understand, and it has been so maligned. Its reality, however, serves to generate activity throughout time’s framework as you understand it, to unite the species, to reinforce structures of knowledge, to transmit information, and perhaps most of all to reinforce relationships involving love, brotherhood, and cooperation between generations of men and women that would otherwise be quite separate and apart from each other.

Religion was hampered—and is—by its own interpretation of good and evil, but it did not deny the existence of other versions of consciousness, or differing kinds of psychological activity and life. (Long pause.) Reincarnation suggests, of course, the extension of personal existence beyond one time period, independently of one bodily form, the translation or transmission of intelligence through nonphysical frameworks, and implies psychological behavior, memory and desire as purposeful action without the substance of any physical mechanism—propositions that science at its present stage of development simply could not buy, and for which it could find no evidence, for its methods would automatically preclude the type of experience that such evidence would require.

2. At times after Jane began to really show her physical symptoms, my awareness of the fact that basically she’s a mystic became submerged beneath many other more “practical” matters. Perhaps I should have stressed her nature more throughout Dreams. I never took that essential quality of hers for granted during those times, but instead accepted it so easily that I lost conscious stress upon it. She doesn’t use the word in connection with herself, yet I think that Jane’s mystical nature, which is so at odds with the realities most people create for themselves, actually offers the only real framework for understanding her physical condition, her choices, in our probable reality.

“In fact, Seth gave us Framework 1 and 2 stuff in there, to help me. I did grab hold several times, and with the God of Jane book, the new inspiration there and the material on following impulses, made some very good improvements. [Rob’s emphasis:] But far more than Rob from the beginning, I was nervous and anxious about directly coming out with many of the ideas—which at the same time I fervently and even passionately believe in…. I may fear that if you go too far … telling it like it is … that the establishment will just cut off your platform … or that people will stop buying the books … something like … biting the hand that feeds you. You can only go so far. Yet I’ve always known that these ideas conflicted with official ones. It’s just that [earlier our] ‘attack’ was less direct.

“We have to go beyond that—back to stressing the creative larger-than-life aspects. Otherwise all we have is a better problem-solving framework…. I’ve rejected all that kind of hash projected onto Seth’s books by others or myself—the assumptions that Seth must prove himself as a problem-solver—or the importance of functionalism over art. The larger view is that art, by being itself, is bigger than life while springing from it; that Seth’s and my books go beyond that simply by being themselves. They automatically put people in a different, vaster psychological space, another frame of reference, in which a good number of problems vanish or simply do not apply….

“To [achieve] that, I have to drop those old feelings of responsibility as a primary focus, because they strain the Seth-book framework, particularly when I demand that in each book Seth answer all questions and so forth.

“Again as with master events, we’re dealing with a different framework of action entirely, where the Mona Lisa is ‘more real’ than the physical properties that compose it. This is not to deny the validity of its [materials]. But to discuss Seth and his ideas primarily from the true-or-false framework is the same thing as considering the Mona Lisa only from the validity of the physical properties of its paint and panel: very very limiting…. I don’t have to ‘live up’ to anything. I don’t have to ‘make the material work,’ or prove through my actions that it does, because it proves itself in the way that creativity does, by being beyond levels of true-false references. Otherwise I’m at cross-purposes with myself.”

“They were these: that the entire world with its organization was kept together by certain stories, like those of the Roman Catholic Church; that it was dangerous beyond all knowing to look through the stories or examine them for the truth, and that all kinds of taboos existed to keep us from doing this, since … on the other side, so to speak, there was an incomprehensible frightening chaotic dimension, malevolent; powers beyond our imagining; and that to question the stories was to threaten not just personal survival but the fabric of reality as we know it. So excommunication was the punishment, or damnation … which meant more than mere ostracism, but the complete isolation of a person from those belief systems, with nothing between him or her and those frightening realities … without a framework in which to even organize meaning. This was what damnation really meant. To seek truth was the most dangerous of well-intentioned behavior, then … and retribution had to be swift and sure.

“The book was based on the idea that nature was against man; and that religion was man’s attempt to operate within that unsafe context. The feelings I was getting went even further, that religion or science or whatever weren’t attempts to discover truth—but to escape from doing so, to substitute some satisfying tale or story instead. And I suppose that if someone persisted long enough, he or she would find the holes in the stories … and undo the whole works. The idea of the stories was to save each man from having to encounter reality in such a frightening fashion…. The characters in the stories did this for him in their own fashion, and if you kept [searching] … you threatened the fine framework of organization that alone made life possible….”

“Ruburt became afraid that if he went too far he would discover that he had catapulted himself into a realm where both questions and answers were meaningless. To do that is one thing, but to take others with you would be, he felt, unforgivable—and in the framework of those fears, as his work became better known he became even more cautious.

“Outside of that context, none of those fears make any sense at all. In a large regard the church through the centuries ruled through the use of fear far more than the use of love. It was precisely in the area of artistic expression that the inspirations might quickest leap through the applied dogmatic framework. The political nature of inspirational material of any kind was well understood by the church. Ruburt well knew even as a child that such religious structures had served their time, and his poetry provided a channel through which he could express his own views as he matured.

“Ruburt found great comfort in the church as a young person, for if it created within its members the image of a sinful self, it also of course provided a steady system of treatment—a series of rituals that gave the individual some sense of hope the sinful self could be redeemed, as in the framework of most of Christianity, through adherence to certain segments of Christian dogma.

“He began to search actually from childhood in a natural fashion toward some larger framework that would offer an explanation for reality, that bore at least some resemblance to the natural vision of his best poetry. I have said before that many creative people, highly gifted, have died young in one way or the other because their great gifts of creativity could find no clear room in which to grow. They became strangled by the beliefs of the cultural times.

“His poetry acted in some regards as a stimulator. That breakthrough, you might say, with perhaps some exaggeration, was a lifesaver, for without some such expansion Ruburt would have felt unable to continue the particular brand of his existence. It is not possible to say in words what one person or another looks for in life, or what unique features best promote his or her growth and development. Even two plants of the same kind sometimes require completely different treatments. The sessions, then, opened the door to a particular kind of value fulfillment that was natural to Ruburt’s being. Now to some extent it was that poor, unhappy sinful self, a psychological structure formed by beliefs and feelings, that was also seeking its own redemption, since even it had outgrown the framework that so defined it.

“Now Ruburt had only one parent available most of the time, and he did not feel secure in that relationship—a situation chosen ahead of time, now. There is great leeway in the nature of such bondings…. With some people, they are so secure that they provide an overall, fairly permanent inner and outer framework. Ruburt’s relationship with his mother left much to be desired. The bonding did not secure him that vital sense of safety, and he felt threatened by abandonment. His bonding to the cultural beliefs of religion was very strong to make up for that initial lack. The sinful-self material represents those ideas that were a strong element in his original belief structures. The ‘troublesome’ material remained relatively inactive until his curiosity and ability led him to actively challenge those ideas while [he was] also in a situation where the natural fear of abandonment might be suggested. At certain points, the assimilation of new information is so qualifiedly different from the original belief structure that in order to assimilate it the personality is left for a time between belief systems.

“Now remember that Ruburt’s mother used phrases like: ‘I hereby disown you,’ and: ‘You are hereby disinherited,’ and: ‘I consider you no longer my daughter.’ Such situations increased Ruburt’s sense of not being safe, yet also reinforced feelings of independence, for he did not have to feel as dependent upon Marie as he might otherwise. The time would come, however, when the old bondings had to be encountered, for they simply could not hold the newer larger frameworks of understanding. The ideas of the so-called sinful self represent several layers of activity, then—troublesome aspects of belief structures that are shared by millions in your society, and by certain levels of Ruburt’s personality. He is now trying to assimilate a greater framework, to become bonded to a higher sequence of knowledge.