“Seth material” search engine (Jane Roberts)

When you create a poem or a song or a painting you are in a state of play, of enjoyment, of freedom. You intend to make something different, to produce a new version of reality. You create out of love, for the sake of the experience. At one time or another almost everyone has that kind of experience, but children have it often. They compose songs and music and paintings in their heads. They alter the focus of their consciousnesses frequently. They do not stop to ask whether or not the play is real or pertinent. Physically, play develops their body mechanisms. It also flexes the great capabilities of their minds.

People have written here asking about soul mates.³ In certain circles this is the latest vogue. The idea is an old one; it is based upon the reality of counterparts, and presents another version of the theory. But, again, it is treated with an almost pompous seriousness. (Pause.) Many of those who use the term do it to hide rather than to release their own joyful abilities. They spend time searching for their soul mates — but the search involves them in a pilgrimage for a kind of impossible communication with another, in which all division is lost, with the two then trying to join in a cementing oneness, suffocating all sense of play or creativity. You are not one part, or one half, of another soul,⁴ searching through the annals of time for your partner, undone until you are completed by your soul mate.

To me, beside whatever relationship it might have with counterpart reality, the soul-mate belief embodies strongly distorted versions of the ideas contained in the two Seth passages quoted above.

Sue Watkins, who had introduced Peter to Jane and me in 1973, was involved in the question through her friendship with all of us. It was Sue who verified that several months ago Peter had described to her what he now felt to be the same psychic event I’d tuned in to just a few weeks ago (on December 3, 1974) — only Peter’s experience had taken place in 1967! I called my version of it my “fourth Roman,” and presented an account of it in Appendix 22; through internal pictures I saw, in Jerusalem in the first century A.D., the violent death of my traitorous Roman-soldier counterpart.