“Seth material” search engine (Jane Roberts)

(She didn’t have any questions for Seth. “I think he’s going to go into some of that stuff I got last night about true and false, so I just thought I’d let him go.

Those structures include the unexperienced portions of your own identities. All of your concepts of gods and goddesses are basically creative attempts to portray psychological dramatizations of other portions of the psyche that do not appear in the flesh. To hint of other abilities and dimensions of being that cannot of themselves be squeezed into your own smaller definitions. So when Ruburt asks such questions from the framework of old beliefs, with their old meanings, then he can find no adequate answers.

(9:14.) The yes-or-no, true-or-false categories simply do not work when you are dealing with such issues. (Long pause.) In that regard it is important that he realize this. The entire concept of the Sinful Self can only exist at certain levels of experience. It can only seem to make sense in a very limited context. (Pause.) The creative abilities most often serve as psychological bridges, enabling man to conceive of the existence of realities outside of his own particular point of reference. They can hint at the greater diversity of being, the larger dimension of events. They can present dramatizations. They can serve as thresholds (long pause), but they cannot contain direct experience themselves with events that are intrinsically beyond those reaches.

When Ruburt closes his mind to the feelings of the Sinful Self, he locks it up within a prison as if it could receive no new information, but must always operate with the distorted beliefs of its birth. It cannot get feedback.

(10:03. “The same to you, Seth. What’s this he’s playing with about the Speaker’s manuscripts?”)

Ruburt knows and does not know he is onto something. We will see how far he carries it. It can be highly important, of course, but it and he should be left in that regard to their own paths right now, so I will let the matter rest.