“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.

Returning to our comments about the alternate compositions, you can at any time bring into your own life-composition elements from any “alternate” ones. Period.

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.

(All with a rolling intensity:) I must of necessity tell this story in serial terms, but the world and all of its creatures actually come together like some spontaneously composed, ever-playing musical composition in which the notes themselves are alive and play themselves, so that the musicians and the notes are one and the same, the purpose and the performance being one, with each note played continuing to strike all of its own probable versions, forming all of its own probable compositions while at the same time taking part in all of the themes, melodies, and notes of the other compositions—so that each note, striking, defines itself, and yet also exists by virtue of its position in the composition as a whole.

In a way, your world follows its own theme in creativity’s composition. [...]

Many difficulties arise when you compare yourselves to stylized or idealized versions of yourselves—to composite images of yourselves that you may have picked up along the way—a subject that we have mentioned earlier. [...]

He may think of some hypothetical literary writer—a composite image again, comfortable enough, slightly avant-garde, fashionably so, in contact with his peers, quite forgetting again that his—and his mind has always been far less conventional than that, far more probing and again, forgetting that he always enjoyed viewing society from a vantage point slightly outside of it. [...]

[...] You should always address yourself to the natural person, and when Ruburt becomes confused about images, it is because he is relating himself to other composite versions that he thinks he should live up to. [...]

[...] Concepts have what we will call electrical and chemical composition [as thoughts do]. [...]

[...] You use the bacon and the eggs in your physical composition; and you use your emotions and your thoughts in your mental composition. [...]

[...] The interested reader will also be able to compare her composition with certain passages in her long poem, Dialogues of the Soul and Mortal Self in Time, when that work is published in book form in September 1975.

(Thus Jane demanded in her composition of this afternoon, October 7, 1974:)

[...] Physical life is everywhere filled with the universal energy that is its source, so it can hardly be inferior to it’s own composition.

[...] I was concerned about form in this painting, and this concern, linked up with composition, gave me quite a little tussle in this painting. Form and composition usually are easy for me.

[...] I hadn’t said anything to Jane about my concern with this painting; in fact, everyone who saw it in progress, even at the beginning, seemed to like it, remarking especially upon the form and composition.

[...] There are indeed connections between what is called ectoplasm and the composition of dream images. [...]

[...] Dream images are nevertheless almost fibrous projections, almost a thinned-out composition, more plastic basically than physical matter, but composed of a number of the same properties. [...]

This time, though, I have the translation of a whole composition to present. [...]

[...] Then from Seth, mentally, I thought, I got the information that Atlantis, as it’s come down to us in myth and story, was actually a composite of three civilizations. [...]

Its composition is not easy to explain in your terms. [...]

[...] Also with saline composition of the body at various times of the year.

[...] A self that is conceived of as a physical composition only would never be able to project, nor survive physical death.

[...] composite.”)

Now as a compromise, but not as a composite. [...]

([Theodore:] “I see, and form a compromise—composite.”)

Now as a compromise, but not as a composite. [...]

There will be a core within your own paintings, from which the whole composition springs, and it is here that you can find rapport with the center of your self. [...]

[...] And so the landscape, not one but many landscapes in one, for while it is unique in a given moment, still it is a composite in your terms of the pasts that have formed it, and the futures that act upon it even now.

You (to Theodore) see a composite personality. In your terms, I see a composite personality. [...]

Now in close marriages or those of long duration, there is a kind of superimposed family personality, a composite, to which each member contributes, and to which all members respond. [...]

[...] The overly conscientious self on both of your parts to a strong degree becomes a composite personality. [...]

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.

[...] With creative people, however, there are always intrusions, hints or clues from ways of thinking that certainly appear foreign, and creative people use those hints and clues to construct an art, a musical composition or whatever. [...]

Instead, such people will indeed perform a kind of artistry of relationships, composing, say, symphonic, emotional compositions that indeed play as masterfully upon the emotions as the pianist upon the keys. [...]