“Seth material” search engine (Jane Roberts)

The Sumari abilities are highly creative ones, however. To a large extent they have been inhibited in your society. I have been speaking of them here so that each individual can learn to recognize his or her own degree of Sumariness. The playful, creative elements of personality can then be released. These qualities are particularly important as they add to, temper, or enhance the primary characteristics of the other families of consciousness.

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.”

(9:45.) Give us a moment … A young man was here last evening. He possesses great mastery of the guitar. As he played, it was obvious that any given composition “grew” from the first note, and had always been latent within it. An infinite number of other “alternate” compositions were also latent within the same note, however, but were not played last night. They were quite as legitimate as the compositions that were played. They were, in fact, inaudibly a part of each heard melody, and those unheard variations added silent structure and pacing to the physically actualized music.

8. It’s no coincidence that Seth used the Pathetique here in his material. The symphony is, probably, Jane’s and my favorite musical composition. We “discovered” the Pathetique during our courtship 21 years ago, and many times during the following months we listened to the two scratchy old records that carried the piece. But even then we were impressed — awed — by its creative power, over and above the obvious emotional connotations we put upon it.

9. Much of Seth’s material in Chapter 18 of Personal Reality applies here; see especially Session 665. Then see (in the same book) Session 667 for Chapter 19.

My comments here are certainly reminiscent of those in Note 4 for the last session: I explained how Jane and I missed out on what I think would have been excellent material simply because she was interrupted by a visitor just as she began to deliver it. Then see Note 2 for Appendix 22, which contains some of the reasons why we often find it difficult to return to a certain session to flesh out a certain subject.