“Seth material” search engine (Jane Roberts)

(As we waited for the session to begin Jane abruptly received a block of impressions from Seth. They concerned the opposing uses of personal power by two individuals whom we’d encountered within the last week: the woman lawyer who had interrupted the session last Wednesday evening, and who is so afraid of her power; and the young classical guitarist who had visited us last night, and who revels in the positive use of his power. The impressions are for use in either “Unknown” Reality, Jane said, or in Psychic Politics.⁵ She grinned: “Thanks, Seth.” Then she launched into the session before I could finish these notes. I came back to them at first break.)

So you look back through the historical past. All of the counterparts alive as contemporaries then form, together, a musical composition in what you think of as a present; and once that multidimensional song is struck then its past ripples out behind it, so to speak, and its future sings “ahead.” But the song is being created from its beginning and its end simultaneously. In this case, however, it is as if each note has its own consciousness and is free to change its portion of the melody. Yet all are in the same overall composition, in “time,” so that time itself serves as the scale (gesturing) in which the [musical] number is written — chosen as a matter of organization, focus, and framework.

(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.

From the outside, for instance, it might seem as if a young person dies because in one way or another he or she is dissatisfied with life itself. Certainly it is usually taken for granted that suicides are afraid of life. However, suicides and would-be suicides often have such a great literal lust for life that they constantly put it into jeopardy, so that they can experience what it is in heightened form. The same applies to many who follow dangerous professions. It is fashionable to suppose that these people have a death wish. Instead, many of them have an intensified life wish, so to speak. Certainly it seems destructive to others. To those people, however, the additional excitement is worth the risk. The risk, in fact, gives them an intensified version of life.⁹

To some extent you can actualize portions of your own unknown reality, and draw them into the experienced area of your life. There is an obvious relationship between one note and another in a musical composition. Now in terms of physical families and in larger terms of countries, there is a relationship between realities, which constantly change as the notes do. To some extent your reality is picked up by your contemporaries. They accept it or not according to the particular theme or focus of their lives.

In those terms, you are not a part of any reality that is not your own. If you share it with others, it is because others are concerned with variations of the same theme. This applies in terms of world goals “at any given time.”

(The phone stopped ringing — at last.) As contemporaries, counterparts choose a particular time framework. The time format alone makes certain focuses clear, that in your terms could not be made in another context. What you learn in your present about industry — “progress” — and the equitable sharing of the earth’s products, could only be learned in a context in which industrialism was experienced as going too far, where technology was seen and known as a growing jeopardy.

(12:01 A.M. The ending was quick. Jane’s trances and deliveries had been excellent — strong and vital. “Seth’s going into historical probabilities in the next session,” she said. “I could go into that stuff right now, I feel so good. I could do it for another hour without any hassle. There’s a lot there on national counterparts, too.”¹² Then while I wrote this note she proceeded to tell me more about what Seth had in mind.

(“Tonight I did have the feeling — for the first time — that ‘Unknown’ Reality was heading toward an end,” Jane said, “that Seth will soon be getting ready to tie it up, and incorporate the ending with the beginning … Not right away; but it’s the first time I’ve felt that.”

(Actually, she now had many channels open from Seth. It seemed that every topic we mentioned engendered another one. Seth even had “a bunch of stuff” available on Jane, myself, and music. This included data on my starting to take violin lessons when I was eight years old — an event I hadn’t thought of for what seemed to be decades [it took place in 1927], but which I was able to instantly recall as soon as Jane mentioned it.)

The 726th session was held on a Monday night, and was the last one for “Unknown” Reality for the year. During a private session on the Wednesday night following, Seth had a few things to say relative to our upcoming house adventures:

For those who may be puzzled by Seth’s reference to “pendulums,” I’ll quote a paragraph of my own for the 619th session at 10:01, in Chapter 4 of Personal Reality:

3. In Volume 1 of “Unknown” Reality, see sessions 693–94, with their notes.

6. For some of Seth’s material in Personal Reality on true aggression, see Session 634 for Chapter 8, and Session 642 for Chapter 11.

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.

10. For some Seth material on suicide, see the first delivery for the 546th session, in Chapter 11 of Seth Speaks. In the 642nd session for Chapter 11 of Personal Reality, Seth mentioned that suicide can be “the result of passivity and distorted aggression, and of natural pathways of communication not used or understood.”

11. See the 657th session for Chapter 15 of Personal Reality; Seth talked about how to “repattern your past from the present.”

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.