“Seth material” search engine (Jane Roberts)

They will do so in the same way that a nightmare will disappear if you realize that it is a product of your own subconscious. If you treat it as a reality however, then you must deal with it as such, until you realize its origin, or return to the ordinary dream state.

But the reality of all of these constructions will be equally vivid, you see, for they are indeed equally real. I will give you one very simple example. Suppose you find yourself in a room with certain people, and you recognize later upon awakening that this room and these people both belong to a particular sequence in a novel. You think then, “This was no projection, simply a dream.”

It may however be a valid projection. The room and the people exist, but they do not exist in the manner which you endorse as reality. They exist in another dimension, but as a rule you cannot perceive it. In this case, you see, since the book has already been written you could say that the scene was a past event, at least of the imagination, at the time the author conceived of it.

Obviously, physical reality only happens to be the portion of reality you recognize. The paintings that you will paint exist now. It is possible for you to project yourself into one of your own future landscapes. This would not be an imaginative projection. This is what I am trying to tell you.

You may find yourself in the midst of a battle that was once planned in some general’s mind, a battle that never materialized in physical reality.

I have the impression of two dark horizontal lines, one rather toward the top and one rather toward the bottom. (Jane again gestured with the envelope. She held it in the same position as noted before, the small dimensions parallel to the floor. She hadn’t changed its position by idly turning it, for example.) Both inside, but just an oval shape. Holding the object this way. (The same gesture again.) Now I suggest your break. Unless you have any more questions.

(“Again, I have the impression of something round—more oval, perhaps. Fairly large in the center of a square or rectangular object.” As noted Jane held the envelope to her forehead with the long axis parallel to the floor. No matter which long edge was uppermost this places the large poinsettia leaf in the center of the card as far as the short edges are concerned. Even so the large leaf would be off center, either above or below, as far as the long edges are concerned. I hoped Seth would mention two objects, but he did not.

(“Two horizontal lines, rather widely separated from each other.” Since Jane had held the envelope to her forehead in the position above indicated, it can be seen that the “spines” of the two leaves, taped to the Bristol, would be roughly horizontal to the floor and thus to her vision. Provided Seth gives this data in our terms in such cases. We wondered if by horizontal Seth, or Jane, could possibly mean parallel, since the leaves are quite parallel to each other on the Bristol.

(My first question asked Seth for more data about the two horizontal lines. See page 194. “I have the impression of two dark horizontal lines, one rather toward the top and one rather toward the bottom.” [Jane gestures.] It will be remembered that when Seth gave this data the first time, Jane held the envelope to her forehead with its long dimensions horizontal to the floor. As explained, this meant the spines of the two leaves were also roughly horizontal to the floor and her insight. Seth elaborates a bit here now, although Jane now sat holding the envelope in her lap, and with its short dimensions parallel to the floor.