“Seth material” search engine (Jane Roberts)

(Pause.) Briefly, remember analogies I have made in the past, comparing the landscape of physical experience to the painter’s landscape — which may be dark, gloomy, filled with portents of disaster, and yet still be a work of art. In that regard, every person paints his or her own portrait in living color — a portrait that does not simply sit in a tranquil pose at a table, but one that has the full capacity for action. Those of you now living, say, are in the same life class. You look about to see how your contemporaries are getting along with their portraits, and you find multitudinous varieties: tragic self-portraits, heroic self-portraits, comic self-portraits. And all of these portraits are alive and interacting, and as they interact they form the planetary, mass social and political events of your world.

These portraits obviously have a biological reality. In a manner of speaking, now, each person dips into the same supplies of paint, and so forth — which are the elements out of which your likenesses emerge. There must be great creative leeway allowed for such portraits. Each one interacting with each other one helps form the psychological and physical reality of the species, so you are somehow involved in the formation of a multitudinous number of portraits. I simply want you to keep that analogy in the background.

(Pause.) These portraits, however, are the result of creativity so inborn and miraculous that they are created automatically — an automatic art. At certain levels the species is always creatively embarked upon alternate versions of itself. The overall patterns will remain. Biological integrity is [everywhere] sustained. What you think of as diseases, however, are quite creative elements working at different levels, and at many levels at once.

I have told you that at microscopic levels there is no rigid (underlined) self-structure like your own. There is identity. A cell does not fear its own death. Its identity has traveled back and forth from physical to nonphysical reality too often as a matter of course.

It “sings” with the quality of its own life. It cooperates with other cells. It affiliates itself with the body of which it is part, but in a way it lends itself to that formation. (Pause.) The dreams of the species are highly important to its survival — not just because dreaming is a biological necessity, but because in dreams the species is immersed in deeper levels of creativity, so that those actions, inventions, ideas that will be needed in the future will appear in their proper times and places. In the old terms of evolution. I am saying that man’s evolutionary progress was also dependent upon his dreams.

You dreamed you spoke languages before their physical invention, of course. It was the nature of your dreams, and your dreams’ creativity, that made you what you are, for otherwise you would have developed a mechanical-like language — had you developed one at all — that named designations, locations, and dealt with the most simple, objective reality: “I walked there. He walks there. The sun is hot.” You would not have had that kind of bare statement of physical fact. You would not have had (pause) any way (pause) of conceiving of objects that did not already exist. You would not have had any way of imagining yourselves in novel situations. You would not have had any overall picture of the seasons, for dreaming educated the memory and lengthened man’s attention span. It reinforced the lessons of daily life, and was highly important in man’s progress.

(10:35.) Give us a moment… The creativity of the species is also the result of your particular kind of dream specialization. It amounts to — amounts to — a unique state of existence by itself, in which you combine the elements of physical and nonphysical reality. It is almost a threshold between the two realities, and you learned to hold your physical intent long enough at that threshold so that you have a kind of brief attention span there, and use it to draw from nonphysical reality precisely those creative elements that you need. Period.

Animals, as a rule (underlined) are less physically-oriented in their dreaming states. They do dream of physical reality, but much more briefly than you. Otherwise, they immerse themselves in dreams in different kinds of dreaming consciousness that I hope to explain at a later date (louder).