“Seth material” search engine (Jane Roberts)

On these other levels the child knows, for example, of its contemporaries born at about the same time. Each person’s “individual” life plan fits in somewhere with that of his or her contemporaries. Those plans are communicated one to the other, and probabilities instantly are set into motion in Framework 2. To some degree or another calculations are made so that, for instance, individual A will meet individual B at a marketplace 30 years later — if this fits in with the intents of both parties. There will be certain cornerstone encounters in each person’s life that are set up as strong probabilities, or as plans to be grown into.

Your mental life deals with psychological events, obviously, but beneath so-called normal awareness the child grows toward the mental body of events that will compose his or her life. Those unique intents that characterize each individual exist in Framework 2, then — and with birth, those intents immediately begin to impress the physical world of Framework 1.

(10:26) A child may be born with a strong talent for music, for example. Say the child is unusually gifted. Before he [or she] is old enough to begin any kind of training, he will know on other levels the probable direction that music will take during his lifetime. He will be acquainted in the dream state with other young budding musicians, though they are infants also. Again, probabilities will be set into motion, so that each child’s intent reaches out. There is great flexibility, however, and according to individual purposes many such children will also be acquainted with music of the past. To one extent or another this applies to every field of endeavor as each person adds to the world scene, and as the intents of each individual, added to those of each other person alive, multiply — so that the fulfillment of the individual results in the accomplishments of your world.³ And the lack of fulfillment of course produces those lacks that are also so apparent.

He was looking for a state of higher consciousness that would represent a unique and yet universal source of information and revelation. Such a source does exist for each individual, regardless of how it is interpreted. The white light is characteristically a symbol in such cases. He could not assimilate the information, and became frightened, to some extent at least, at the vastness of the experience involved, as if the ancient yet new knowledge that he sought for his individual reasons was so encompassing that his own individuality would have trouble handling it while retaining its own necessary frame of reference. A natural-enough reaction, simply because of the usual unfamiliarity of such experiences.

He was bathed in that light, however, filled with it, refreshed by it, and given new comprehensions that will now emerge in his experience in a piecemeal fashion that can be assimilated in his normal frame of reference. Translations, then, are even now being made. The contact will also be reestablished.

But naturally, I told Jane recently — again — I chose to become involved with the whole Seth phenomenon in the most intimate ways. I did so because I knew from its very beginning (in late 1963) that this process of discovery with Seth was more than worth it. I still think so. I added that I’d certainly choose to do the same thing again, and that I hoped to stay involved with the Seth books indefinitely. Granted that Seth’s material may “only” be bringing into our conscious awareness knowledge we already possess and use on other levels, still it’s a fine thing that his material makes us aware of that inner comprehension — and so new dimensions of consciousness become available to us. I “drew” a rough analogy with painting (to make a pun): The artist may start working on a blank canvas, yet each physical brush stroke he or she delineates is built upon inner knowledge and experience; in the painting these qualities are objectified in new combinations, which in turn add further to the artist’s conscious comprehension. And when the painting is finished, the artist contemplates a new reality of his or her own creation.

3. Seth’s material on individual creativity at once reminded me of a certain passage of his in the private, or deleted, portion of the 580th session for April 12, 1971. I came across it recently while looking for some other references he’d made to Jane, or Ruburt. (The regular part of the 580th session, incidentally, was for a book, too: Chapter 20 of Seth Speaks.) I like the following quotation so much that I’ve made copies of it for us to keep where we can refer to them — in my case, pinned up on a wall in my studio. This little affair is a typical example of how something good can get lost in the constantly growing mass of Seth material; even with our attempts at indexing, it’s very difficult to keep track of single paragraphs like this: