“Seth material” search engine (Jane Roberts)

[...] The sense of ease is, again, all important, the sense of creative play, so that Ruburt does not try too hard. [...]

[...] Neither of you have moved mentally, even playfully, ahead in terms of imagining what you will do. [...]

As you allow your mental creativity reign in this direction you automatically bring into play exactly what is necessary to make such creativity practical. [...]

[...] It may also have a part to play in some mediumistic activities on the part of the surviving personality who wishes to communicate, and it may be used in out-of-body experiences that involve other than physical reality.

[...] So the walk is momentarily uneven; sometimes more so than usual, as different muscles release, come into play newly after some time. [...]

[...] He was very quick and impatient, particularly with the mental incapacity of others, yet he played upon their weakness in that regard. [...]

[...] I realize more and more that life’s experience is played out in a framework that stretches between life’s contrasts. [...]

[...] Seven told Ruburt not to forget to be playful. My existence is quite as earnest as your own—yet may I also remind you to remember and to encourage the playful elements of your own being.

[...] But in his own way, and no matter how misguided, he was trying to pace himself and his temperament with yours, to play up those mental writing abilities that would help his career, and in which you took such pride—and while doing that, play down qualities that might distract you from your own work, by encouraging physical activities—parties, vacations, travelings, that would further take up your time, when you were already taking time away from your art to help him in psychic work.

[...] The outer ego is most in the role, acting out a play that the inner self has written. [...]

[...] Each individual has his part to play in projecting these EE units into physical actuality. [...]

The analogy is perhaps an old one, but the fragment is like an actor playing a character role, partially lost within it, perhaps disliking the character he plays, and yet through the part learning lessons that he will use in his own private life with its greater dimensions. [...]

His mental attitude should be “Of course I can feel fine in the morning,” and instead of imagining himself dragging down the stairs, he should playfully imagine himself ahead of you, as if he were playing a game. [...]

Again, a note: when Ruburt talks about his work, this is often a ruse, an excuse, to hold back from free, playful, intuitive or psychic experiences. [...] This also means, however, that you inhibit natural, playful creativity and sometimes what I will call high art, because you are so obsessed with your images. [...]

[...] You do not understand as yet the prime part played by the nervous system in the transformation of psychic material into physical matter.

[...] Nevertheless this intensification is a pretense that one part of the self plays upon the other part, for the very intensity of the emotional reaction on the part of the ego to even small stimuli, allows the ego to say to itself “I feel deeply, therefore I know the depths of myself.” [...]

Because I am so sympathetic, I will then leave you as I found you, in peace and quiet, though indeed there are times, after the quiet of our sessions, when I would indeed speak with more spontaneity, for I have grown most fond of you both, and therefore I become more willing to display what I may call my more playful nature.

I am after all more than a fountain of information, forever seeping over with facts for your edification, and I would speak to you in more playful conversation, when and if the opportunity presents itself. [...]

Each such incident is like, now, a small morality play, with a lesson to be learned, and therefore each such incident is a step ahead in terms of progress and understanding. [...]

[...] Then, as of Monday, he can begin to correlate the new physical activity with his writing, gently, by settling upon three hours a day of the basic “time put in”—but with the stress upon creativity, ideas, and free creative play that may or may not include Seven on any given day.

In the second dream (on April 4, 1979), Bill Macdonnel, whom you do not consider an excellent artist, reflects your own sometimes confused feelings about what might have happened had you devoted your work primarily and exclusively to art, or played the artist, as Bill does. [...]

[...] In dreaming, the conscious mind itself is far more lenient and playful. [...]

(10:10.) The dream state provides you with a preliminary stage in which working hypotheses can be creatively formed and tried out in a context of playfulness. [...]

(To Ron.) And this applies even to you who feel that you have so many webs in front of your brain that you cannot possibly see through them, and of course you can, and the webs are there because you want to play with them at this time, and so feel free to do so. [...]

Our friend over here plays a game. [...]

[...] Finally as Jane began dictating he cornered a larger insect and then began to play with it about the living room floor. [...]

You see your cat suffers no ill effects from such play, although on another value level it would be termed destructive. [...]

[...] However on this first instance I had no phenomenon, and was somewhat distracted by children playing outside.

[...] The point of course being that once the play begins the actors are so completely immersed in their roles that they forget that they themselves wrote the play, constructed the sets, or are even acting. [...]

[...] The fact is that realization to some degree can come and often does come after the play is well under way, and at this point the camouflage action is so involved that the realization itself appears in the framework of the camouflage, and is often indistinguishable from it.