“Seth material” search engine (Jane Roberts)

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.

(9:46.) Many viruses are vital to physical existence, and in your terms there are gradations of activity, so that only under certain conditions do viruses turn into, say, what you think of as deadly ones. The healthiest body contains within it many so-called deadly viruses in what you may call (underlined) an inactive form — inactive from your viewpoint, in that they are not causing disease. They are, however, helping to maintain the body’s overall balance. In a way (underlined) in each body, the species settles upon a known status quo, and yet experiments creatively at many levels with cellular alterations, chromosomal variations, so that of course each body is unique. There are kinds of gradations, say, in the lines and kinds of disease. Certain diseases can actually strengthen the body from a prior weaker state, by calling upon the body’s full defenses. Under certain conditions, some so-called disease states could insure the species’ survival.

(Long pause at 10:01.) Your culture has its biological effect upon the species. I am not speaking of obvious connections in a derogatory manner, such as pollution and so forth. If you were thinking in old terms of evolution, then I would be saying that your cultures and civilizations actually alter the chromosomal messages. Your thoughts affect your cells, again, and they can change what are thought of as hereditary factors. Give us a moment… Your imaginations are intimately connected with your diseases, just as your imaginations are so important in all other areas of your lives. You form your being by imaginatively considering such-and-such a possibility, and your thoughts affect your body in that regard. In a way, illness is a tool used on behalf of life, for people have given it social, economic, psychological, and religious connotations. It becomes another area of activity and of expression.

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.

(10:20.) Give us a moment… Now many of the characteristics you consider human — in fact, most of them — appear to one extent or another in all other species. It was the nature of man’s dreams, however, that was largely responsible for what you like to think of as the evolution of your species. (Intently:) You learned to dream differently than other creatures. I thought you would like that quotation.

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).

(She paused. Then: “I seem to get things that are different toward the ends of books, like where one is leading into the next one. Take the idea of the book Seth mentioned on therapy and value fulfillment, and so forth, and what you said today about body consciousness. Everything’s related.”

(Then a minute later: “Another thing I just got was that when man was with other men in the physical world, he could point to stuff to share descriptions with others, but that he learned to really speak when he tried to describe dreams. It was the only way — speech — by which he could share data that couldn’t be seen. He could point to a tree and grunt, but there wasn’t anything in a dream he could point to. He had to have a method of expression to describe invisible things. Inventions could have come about when he tried to tell others what he saw in his dreams, too.”)