“Seth material” search engine (Jane Roberts)

(“Then in the eyes of this Seth there are two little Seths looking out. Both of these images are like your portrait. Now they climb out of the eyes; with their bodies they make a garland around the big Seth’s head; they sit on it back-to-back like a pair of bookends.” Pause, eyes closed. “Wow — a whole bunch of these little Seths climb up on top of the giant head — but in perfect poses. They’re very stylized, but all real. And Seth will explain it,” Jane abruptly said, evidently quite surprised. “The little images face in all directions around the head of the big Seth. I know it’s not right, not a good analogy, but they’re like gargoyles on a steeple….

(10:36. “Wow,” Jane exclaimed as she emerged from her short but excellent delivery. “Before the session I didn’t feel a thing. I was just sort of happily dopey — no ideas at all. But I really clicked in before this break. Seth finally found something he could use to make analogies. I wasn’t aware of traffic noise or anything else … The whole thing surprises me: Look what I’d have missed if I’d decided not to have a session. And I didn’t know Seth was going to explain those visions until I got that flash from him just before he came through. I have the feeling that inside that experience I traveled a great distance….”

This is not necessarily the best analogy, but I wanted to make the point that various scales of awareness contain their own infinities, no matter how finite they may appear to be.

There are, of course, close relationships concerning this delivery of Seth’s for the 740th session, the material in this note, and the musical analogies Seth presented in the 735th session, when he discoursed upon the inaudible variations inherent in the compositions played by the young classical guitarist who’d visited us over the weekend of February 2. (I’ve been saving this reference for this particular note.) At 9:45, for instance, in that 735th session: “An infinite number of other ‘alternate’ compositions were also latent within the [first] note, however … They were quite as legitimate as the compositions that were played … and … added silent structure and pacing to the physically actualized music.”

For the same session Seth also offered evocative analogies involving heard and unheard musical compositions on the one hand, and counterpart, probable, and reincarnational selves on the other.