“Seth material” search engine (Jane Roberts)

The artist who paints such a scene may do so for several reasons: because he hopes through portraying such inhumanity to awaken people to its consequences, to make them quail and change their ways; because he is himself in such a state of disease and turmoil that he directs his abilities in that particular manner; or because he is fascinated with the problem of destruction and creativity, and of using creativity to portray destruction.

Through observing his creations he learns how to use these abilities better. He checks on his inner progress by seeing the physical materialization of his work. The work, the reality, is still a creative achievement, although it may portray a tragedy or unspeakable terror in your terms at any given time.

[...] The first is to paint a portrait of a person whom you know, trying to portray the essence of that person, their deepest agonies and highest joys, their highest capabilities and fears of failure. (Pause.) This would induce on your part an honest effort to face the raw emotion of another personality, and portray it.

The emphasis would not necessarily (underlined) be upon technique nor detail, though it could be, but upon portraying in one portrait, if you will forgive the phrase, the agony and the ecstasy of individual existence. [...]

[...] In your culture, at least, the educated in the literary arts provide you with novels featuring antiheroes, and often portray an individual existence [as being] without meaning, in which no action is sufficient to mitigate the private puzzlement or anguish.

(11:30.) Such programs do indeed pick up the generalized fears of the nation, but they also represent folk dramas — disdained by the intelligentsia — in which the common man can portray heroic capabilities, act concisely toward a desired end, and triumph.

Those programs often portray your cultural world in exaggerated terms, and most resolution is indeed through violence. [...]

Earth life is seen as murky, a dim translation of greater existence, rather than portrayed as the unique, creative, living experience that it should be. [...]

The main issue, however, in that particular era, was a shared belief system, a system that consisted of, among other things, implied images that were neither here nor there—neither entirely earthly nor entirely divine—a mythology of God, angels, demons, an entire host of Biblical characters that were images in man’s imagination, images to be physically portrayed. [...]

[...] The point is that the images the artists were trying to portray were initially mental and emotional ones, and the paintings were supposed to represent not only themselves but the great drama of divine and human interrelationship, and the tension between the two. [...]

[...] Artists decided to stick to portraying the natural world as they saw it with their natural eyes, and to cast aside the vast field of inner imagery. [...]

[...] All of your concepts of gods and goddesses are basically creative attempts to portray psychological dramatizations of other portions of the psyche that do not appear in the flesh. [...]

I recognize the difficulties, for example, that you encounter quite personally as you struggle with Ruburt’s physical condition, or those you experience, say, watching television news as you see spread before your vision unfortunate events that seem to portray most clearly evidence of man’s flawed nature. [...]

[...] Intuitively any real artist feels the spirit within matter, and unconsciously at least tries to portray it. [...]

It portrays the new consciousness seeing itself unique and separate, evolving from the tree of life and therefore able to examine its fruits, to see itself for the first time as different from others, like the serpent who crawled upon the surface of the earth. [...]

[...] As such it also portrays the importance of belief, for using hypnosis you “force-feed” a belief to yourself, or one given to you by another — a “hypnotist”; but you concentrate all of your attention upon the idea presented.

[...] They portray the same compulsive-type behavior that can be seen in many instances in your ordinary experience.

[...] The very fact that anyone looking at him sees he has not solved all problems is meant to portray exactly that message.

[...] The experience was to inform you emotionally and spiritually of the great meaning of each individual, portray the lovely brilliance that is within each human being, and let you know that the integrity of the self and the soul exists beyond the possibility of annihilation, as you yourself will continue to exist regardless of which path you choose to take — dying within two years, or living physically on for many more. [...]

The picture of man, animals, and nature depicted in the movie of which you were speaking is the only possible portrayal of reality that could be logically shown, considering the beliefs upon which the premise rests.

[...] In this book, Dreams, “Evolution,” and Value Fulfillment, for example, Seth portrays us as a vibrant, well-intended species—a physically attuned kind of consciousness beautifully tailored by our own cosmic ingredients to live lives of productivity, of spiritual and physical enjoyments, with each individual life in charge of its own fate and adding to the potentials of all other life as well.

[...] An excellent portrayal — or portrait — of the infinite inner self watching and guiding the physical self’s existence.

[...] There are no facts that can be given that can portray with any faithfulness the attributes of All That Is.

[...] The blockage occurs because the symbols used to portray reality are themselves limited by the reality that you know. [...]

[...] It is difficult to portray to you the complexity of the realities themselves. [...]

[...] Now were I a kind and well-known beloved uncle who has passed over, you could perchance see me, but for now you must be content with the little of me that I am able to portray through Ruburt’s personality. [...]

However scandalous or unrealistic this proposition sounds, the fact is that people do not “will” a specific outcome of events while their imaginations vividly portray the opposing outcome.

In one way you have begun to do so, in the manner that you have chosen to paint clothing—that is, the types of clothing you have chosen to portray. [...]