“Seth material” search engine (Jane Roberts)

(The material itself of course, came from another state of consciousness, and this Jane called her “aspects channel.” More on aspects came to her spontaneously at intervals during the next two years. Throughout this period she did a great deal of other work: Besides holding class and continuing Rich Bed, she produced in their entirety Dialogues, Personal Reality, Volume 1 of “Unknown” Reality, and started Volume 2. Toward the end of this period the aspects channel began opening up regularly, providing further refinements on her original inspirations. And Jane put it all together; the class experiments she’d started out with in 1971, and all of the later material, became Adventures in Consciousness: An Introduction to Aspect Psychology. For Part Two of that book I drew 16 diagrams to illustrate her theories.

(As she probed the Jane-Ruburt-Seth relationship in Adventures, Jane found herself developing her own nomenclature, separate from Seth’s, for many of the concepts she and Seth had experienced over the years. “But I didn’t plan it that way,” she said. “That’s just the way it all came out.” She calls the conscious self the “focus personality,” for instance, since it’s focused in this physical [camouflage] reality. The focus personality is composed of aspects of the “source self” [or entity]. Each aspect exists independently, in its own dimension of actuality, but the aspects’ combined attributes form the basic components of the selves that we know. To Jane, Seth is a ‘personagram” — an actual personality formed in the psyche at the intersection point of the focus personality with another aspect.

(Shortly after Jane finished Seven, the entire idea for what she calls “Aspect Psychology” came to her — an “intuitive construct” that she thought was large enough to contain her experience. At one sitting she wrote 20 or so pages of material in which she understood her relationship with Seth, Seth Two, the Sumari, the characters in Seven, and other psychic concepts — all as aspects of a larger self that was independent of space and time. The aspects represented the dynamics of personality. As Jane wrote, she realized that the questions she had been struggling with in Adventures had triggered a new psychology, a new way of approaching the creative portions of human personality.

(Nor did Seth agree with Jane’s assessment of her reactions to her Seth voice. He was very outspoken — yet his material came through with a much lighter touch than these printed words alone can indicate:) … Ruburt’s voice sounds rather dreary in this transitional phase, [yet] the one thing that pleases me immensely is the way he can translate at least a few of my humorous remarks and the inflections of my natural speech … As a man’s voice I fear he will sound rather unmelodious. I do not have the voice of an angel by any means, but neither do I sound like an asexual eunuch, which is all I’ve been able to make him sound like all night. And incidentally, Ruburt, you were a good brother at one time. The so-called male aspect of your personality has always been strong, but by this I mean powerful. Without the loyalty that you are learning as a woman, your character had many defects — and there, I said I would not get into anything serious.

[...] Certain portions of it, however, choose to take different focuses in order to bring those aspects in more clearly.

[...] These have their own kind of superlife because they so clearly represent certain living aspects within each psyche.

The aspects are personified in the character. [...]