“Seth material” search engine (Jane Roberts)

(Pause.) The intellect has been taught to divorce itself from its source. It realizes in that regard a sense of powerlessness, for to some extent it is philosophically cut off from its own source of power. When it looks, therefore, at the world of political events, the problems seem insoluble. Man makes many decisions that may seem quite wrong to the intellect because of its belief systems, and because it is so cut off from other sources of information. A goodly number of those mistaken decisions, or “poor moves,” often represent self-corrective actions, decisions taken on knowledge not consciously perceived, but this escapes your consciousness.

(9:44.) It is certainly too simple to say what I am going to say, yet it is almost as if you would be better off turning the entire rational approach upside down, taking it for granted that all of its assumptions were false, for they are indeed more false than true (intently). Again, you see, the divisions are arbitrary on your part. The intellect is, again, the result of highly spontaneous processes of which it itself knows nothing, and the intuitions that are considered so undisciplined and unreasonable are based upon calculations far more spectacular than those of which the conscious mind can conceive. The intellect could not follow them, so the distinctions are not basic: They are the result of beliefs and habitual usage. Therefore, of course, I speak of them separately, as you think of them.

(“Seth, of course, not only dictates his magical material — the session — but must keep the whole session in mind while doing so, so that each sentence as he delivers it makes sense compared to its predecessors, and those to follow. Quite a feat on his part, and Jane’s, once you stop to think about it. How is this possible? Seth has no script to go by, nor can he refer during the session to my own notes to check up on what he’s already said.

“I was not conscious of my age, 61, in the dream, nor do I remember anything about being committed to draw a daily strip also. I had a much younger assistant who reminded me of Tom Lantini, an artist friend who had been a year behind me in Sayre High, our hometown school in Sayre, Pennsylvania. In the dream, I’d left certain areas blank in the panels making up the Sunday page, and my nameless assistant had done the art to fill in those places. My main character, a male who wore a tight-fitting Superman-type costume with a flowing cape, occupied a space several panels high right in the middle of the page — quite a daring concept for a comic layout. I knew the character type well because in the early 1940s, in ‘real’ life, I’d been one of the artists who had drawn the very popular comic-book hero, Captain Marvel. My dream character stood confidently facing the reader — except that I’d omitted drawing his head! My assistant had drawn the head, though, on a small separate piece of board, and protected it with a piece of tracing paper. I thought the head was too small, but well done, quite youthful with curly black hair and handsome features, as one would expect such a magical character to have. I also saw that the head was almost too youthful for the strong physique of the character I’d drawn, although I wasn’t critical of this. All that remained was for the printer to fit the head and the body together. I sat at the drawing table examining the assistant’s work.”

“Another great dream of Rob’s. In our sessions lately Seth has been talking about the natural self or natural person, saying that it is also the magical person. In this dream Rob is in the process of working out that idea, visually. His closest connection to magic would be his comics experience when he drew Captain Marvel — a magical character. The resulting image, in two parts, shows that the idea is almost completed in his mind, just needing to be put together. In the dream he sees himself returning to the comics, only the Sunday edition (special), and the superhero character is much more prominent than the comics would ordinarily have it; the smaller head representing, I think, the idea that the intellect’s place is smaller or of a lesser nature than he earlier supposed. At dream’s end Rob says that the head was almost too youthful for the body he’d drawn — maybe a reminder that the natural person is younger in ways than the intellectual self. I think that Rob is himself in the dream, represented by the super character as the magical self; and also that he is the assistant who had prepared the figure’s head.

“Difficult to recall, and what I do recall makes no sense to me at all. In vivid color: I dreamed that Jane and I were eating at a little table in an open-air restaurant or cafe-type setting. It was a beautiful summer day. Our friend Mary came up to us. She was by herself and I don’t recall her saying anything to us. She was carrying a large sketch pad, perhaps a 22-by-30-inch size. One would expect the pages of the pad to be white, ready for drawing. Instead, as Mary lifted the cover of the pad, holding the pad out for Jane and me to see, we saw that the top page was covered by a lovely large floral pattern of leaves and flowers, as one might see on bedsheets these days. I examined several pages of Mary’s pad and saw that all of them were covered by the same design, in reds and greens, etc. The pattern made the pages of the pad quite useless for their ordinary purpose. I woke up several times with this dream in mind, telling myself to remember it.”

But, I told Jane, she did a far better conscious and intuitive job of interpreting my dream of Mary than I ever could. I’m grateful!

The individual I painted in 1968 is very similar to the magical “Captain Marvel” kind of character I created 12 years later, in my dream in 1980. I do not claim any connections between the two, although some may exist on other than conscious levels.