“Seth material” search engine (Jane Roberts)

‘The appearance of the old house stands for our ordinary physical reality — but its high location and closed shutters prevent me from looking inside it, into another reality; the negligee represents my knowledge that Jane is in that new dimension. Our meeting is her message to me that she is well, rejuvenated, with her abilities and personality intact after her death. My reluctance to fully return her hugs is a sign that I’m not yet ready to join her. Her youth also stands for the plasticity of time.

‘The glowing, very beautiful and alive grass also represents Jane’s new reality. The bridge arching over the lawn symbolizes another connective between that universe and my physical one. Jane doesn’t ask me to cross the bridge now. I think that the structure also stands for the ‘psychological bridge’ upon which she met Seth during her sessions with him. (Seth wasn’t in this experience, however.)

‘The hospital obviously represents the jumping-off point into another reality for Jane. She died in such an institution. But more often than not people go to hospitals to prevent their physical deaths, to stay away from realities like the one Jane is in for as long as possible. I also think that at this time in our history the hospital — any hospital — is a powerful social symbol for our species’ strengths and weaknesses. I use the hospital in a positive way by plunging out into the hall; I signal myself that I mean to keep on living physical.

[...] The inner senses provided him with much, but the manuscript itself [as written up] also represented an achievement of the conscious mind. [...]

[...] Seth was right; I had grown anxious wondering just when to dispense with it in a session and let him speak, yet it represented something solid and real that helped the transition take place. [...]

It was in this session that Seth made the analogy of the “weird creature with two faces,” one turned to physical reality and one to inner reality, both conscious and aware, each representing one facet of our consciousness.

“And now … the objects represent inner things we don’t recognize, and when we move them around, we rearrange the inner feelings too; or vice versa. [...]

[...] The unwillingness on Miss Cunningham’s part represented her present personality’s protest against the change that a deeper part of herself deemed necessary and proper.

[...] Part of the subconscious fantasy in the dream was valid, representing a watered-down version of the actual communication — for example, Miss Cunningham’s dark apparel.

[...] It will finally understand, however, that it will not be dumped aside but taken along as itself, independent as always, to stand beside other independent egos each of whom represents facets of the entire entity …

[...] Mental enzymes are actually the property of the inner world, representing the conversion of vitality into camouflage data which is then interpreted by the physical senses. [...]

[...] It does not build up the image of a man, but it builds up a composite sensation which represents, say, a given individual. [...]