“Seth material” search engine (Jane Roberts)

MAN AND OTHER SPECIES. MISTAKES AS CORRECTIVE ACTION. DEFINITION OF THE MAGICAL APPROACH.

In those terms (underlined), it is quite as truthful to say — as I have said before — that man’s intellect is also instinctive. He begins thinking at once. He cannot help but use his intellect. The intellect, again, operates magically, spontaneously, automatically. Its most keen reasoning processes rise as a result of that natural magical action (deliberately.

First of all, if you realize that the intellect itself is a part of nature, a part of the natural person, a part of magical processes, then you need not overstrain it, force it to feel isolated, or put it in a position in which paranoid tendencies develop. It is itself supported, as your intuitions are, by life’s magical processes. It is supported by the greater energy that gave you and the world birth. That power is working in the world, and in the world of politics, as it is in the world of nature, since you make that distinction.

When you follow that so-called rational approach, however, you are bound to feel threatened, divorced from your body. Your thoughts and your body seem separate. Divisions seem to appear between the mental and the physical, where again each are supported by those magical processes. That rational approach goes against what I can only call life’s directives and life’s natural rhythms. It is contradictory to biological integrity, and again, it does not make sense.

The magical approach takes it for granted, in the simplest terms, that the life of any individual will fulfill itself, will develop and mature, that the environment and the individual are uniquely suited and work together. This sounds very simple. In verbal terms, however, those are the beliefs (if you will) of each c-e-l-l (spelled). They are imprinted in each chromosome, in each atom. They provide a built-in faith that pervades each living creature, each snail, each hair on your head. Those ingrained beliefs are, of course, biologically pertinent, providing the impetus of all growth and development.

The magical approach takes it for granted that the human being is a united creature, fulfilling purposes in nature even as the animals do, whether or not those purposes are understood. (Pause.) The magical approach takes it for granted that each individual has a future, a fulfilling one, even though death may be tomorrow. The magical approach takes it for granted that the means for development are within each individual, and that fulfillment will happen naturally. Overall, that approach operates in your world. If it did not, there would be no world. If the worst was bound to happen, as the scientists certainly think, even evolution, in their terms, would have been impossible, of course — a nice point to put somewhere (all intently).

You needed this background, for I want to build up the atmosphere in which this magical approach can be comprehended. Then specific material can be utilized.

In your dream³ you were, of course, in the process of forming new ideas about the nature of the magical self (through my art) and also in your way working that idea out through imagery. The dream is above all an example of “work” being done at other levels of awareness.

One note: Do have Ruburt tell you how he is doing moodwise, for now you can help him there. He must realize that relaxation is also a part of the creative process. Left alone, he would do “the right thing.” We will continue this discussion at our next session, and in the meantime be on the lookout for other hints and clues that will bring you a better idea of the magical approach.

I wish you a magically content evening. My heartiest regards to you both.

(This is certainly magical — Jane’s performance as Seth, in the sessions. This note, which I wrote a couple of days later, was inspired by Seth’s material in this session:

(“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.

1. When I wrote these notes on July 17, I hardly expected that several weeks later Seth would so effectively “put them in their place,” so to speak, as he enlarged upon his discussion of the magical approach:

“Anyhow, each morning when I scatter birdfeed in the driveway of the hill house, the cardinals and the mourning doves, the chickadees and the blue jays and the other birds are waiting in the nearby Russian elms, the oak tree, or lined up on the telephone wires. Their behavior is the same each morning. If Jane and I and our house evaporated between one day and the next, and our lot was magically transformed into its native habitat, the birds would simply switch to ‘natural’ seeds instead of consuming the sunflower seeds, millet and other grain products that our marketplace so conveniently packages for them.

“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.

“In the dream the assistant is a fellow student. I’m not sure of the connection unless it means that at the time he knew Tom, as youthful artists both Rob and Tom believed in the magical aspects of life — which now come to Rob’s aid, assisting him by drawing the character’s head.”

4. Two days after delivering the first session for The Magical Approach, Jane made notes about her mental exchange with our dear longtime friend, “Mary” (the name I’ve given her):

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.