“Seth material” search engine (Jane Roberts)

For one thing, [the] Cinderella [tale] has a happy ending, of course, and is therefore highly unrealistic (with irony), according to many educators, since it does not properly prepare children for life’s necessary disappointments. Fairy godmothers are definitely a thing of the storyteller’s imagination, and many serious, earnest adults will tell you that daydreaming or wishing will get you nowhere.

In the Cinderella story, however, the heroine, though poor and of low estate, manages to attain a fulfilling and seemingly impossible goal. Her desire to attend a spectacular ball, and meet the prince, initiates a series of magical events, none following the dictates of logic. The fairy godmother, suddenly appearing, uses the normal objects of everyday life so that they are suddenly transformed, and we have a chariot¹ from a pumpkin, and other transformations of a like nature.

The tale has always appealed to children because they recognize the validity behind it.² The fairy godmother is a creative personification of the personalized elements in Framework 2 — a personification therefore of the inner ego, that rises to the aid of the mortal self to grant its desires, even when the intents of the mortal self may not seem to fit into the practical framework of normal life. When the inner ego responds in such a fashion, even the commonplace, ordinary, seemingly innocuous circumstances suddenly become charged with a new vitality, and appear to “work for” the individual involved. If you are reading this book you are already too old to clearly remember the constant fantasies of your early childhood. Children however know quite well, automatically, that they have a strong hand in the creation of the events that then seem to happen to them.