“Seth material” search engine (Jane Roberts)

(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.

(10:48.) In that case, you see, there would be in another reality a carpenter or his equivalent with a latent love of words, unexpressed — and that individual would then begin to develop; reading books on how to write, perhaps, and taking up a hobby that would allow him to express in words his love of the land and its goods. (With emphasis:) The creativity of the psyche means that no one world or experience could ever contain it. Therefore does it create the dimensions in which it then has its experiences.

Each portion, by whatever name, contains within it the latent potentials of the whole. If the unknown reality exists, it is because you play one melody over and over and so identify yourself, while closing out, consciously at least, all of the other possible variations that you could add to that tune.

7. In Volume 1, see Appendix 2 for Seth’s discussion of the conflicts I felt between my artistic, writing, and sportsman selves. I spent a number of years working to resolve those feelings. From the private session for January 30, 1974, which I quoted in Appendix 2: “Your father’s creativity … had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. The writing self became latent as the sportsman did, yet the writing self and the artist were closely bound. You felt conflicts at time. It never occurred to you that the two aspects could release one another — one illuminating the other — and both be fulfilled. Instead you saw them as basically conflicting. You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household….”