“Seth material” search engine (Jane Roberts)

The psyche as you know it, then, is composed of a mixture of these families of consciousness. One is not superior to the others. They are just different, and they represent various ways of looking at physical life. (Pause.) A book would be needed to explain the dimensions of the psyche in relation to the different families of consciousness. Here, in this manuscript, I merely want to make the reader aware of the existence of these psychic groupings. I am alert to the fact that I am using many terms, and that it may seem difficult to understand the differences between probable and reincarnational selves, counterparts and families of consciousness. At times contradictions may seem to exist. You may wonder how you are you in the midst of such multitudinous psychic “variations.”

When I speak in terms of counterparts, then, or of reincarnational selves and probable selves, I am saying that in the true symphony of your being you are violins, oboes, cymbals, harps — in other words, you are a living instrument through which you play yourself. You are not an instrument upon which you are played. You are the composer and the symphony. You play ballads, classical pieces, lyrics, operas. One creative performance does not contradict the others.

There are many kinds of music. I could say: “Music is triumphant,” or “Music is tragic.” You would understand that I am not contradicting myself. You would not say, or (humorously) at least I hope you would not say: “Why would anyone write a composition like Tchaikovsky’s Pathetique?”⁸ Why would a composer choose a somber mood? The music itself would have its own sweep and power, and would indeed be beautiful beyond all concepts of good and evil.

(All very intent, leaning forward, eyes wide and dark:) In some manner, even a tragic composition of merit transcends tragedy itself. The composer was exultant in the midst of the deepest emotions of tragedy, or even of defeat. In such cases the tragedy itself is chosen as an emotional framework upon which the psyche plays. The framework is not thrust upon it, but indeed chosen precisely because of its own characteristics — even those of despondency, perhaps.