“Seth material” search engine (Jane Roberts)

But each of the others of you in your own way, still cling to the old methods. You do not really trust yourselves to put these ideas into practice, to trust your lives with them and until you trust your lives with them, you will not see the fruits. The props are beautiful, they are yours and you have created them. And do not ask me what I mean by props for each of you secretly know well what I mean, in your own lives. You must dispense with the props for each one that you hold secretly in your mind holds you back from freedom.

Now what I am telling you, is not easy and it is not simple unless you realize that it is. It is as spontaneous as being. You do not realize how much energy you have used to produce these props in your personal thinking and how these props hold you back from the realization of what you are.

I told you that this was a break and I intentionally left the word props open so that each of you could interpret the ways in which you make and use your own props.

Now I wish you a fond good evening, props and all, and I hope that you will look into yourselves and discover what these props are. A hearty good evening.

[...] All so-called closed systems are caused by a limiting of perception, a narrowing down of distinction, a subconscious agreement that the props are real, and that boundaries exist. [...]

[...] Identity is not really lost though you may seem to forget yourself, but the props of identity are lost. [...]

[...] A somewhat similar loss of the props can also be achieved by partial immersion in an idea with which you are already familiar, as a stepping stone; and this is really what contemplation is.

I am not minimizing the necessity or power of intellect, but any activity in which the individual momentarily forgets the props of identity, and immerses himself, such an activity allows him to dispense with the practical limitations inherent in a closed system, and refreshes his psychic ability.

[...] You create the props, the settings, the themes; in fact you write, produce, and act in the entire production — you and every other individual who takes part.

[...] These have their own scenery, their own props. [...]

[...] These appearances however are a part of the complicated props that you have set up “beforehand,” and within the play you must accept these as real.

[...] These periods, of course, coincide with your sleep states and dreaming conditions; but there are also other times when each actor sees quite clearly that he is surrounded by props, and when his vision suddenly pierces the seeming reality of the production.

[...] Without words or symbols you must learn to look through the props. You can still use them as props, but you will know that more exists. [...]

Now, our educated friend over here knows full well and better than any of you that the table is made of atoms and molecules, but it does not forbid him from using the table very nicely as a prop, and so you can still use the prop with which you are familiar, but you must realize that is all they are. [...]

[...] It is simply a matter of new orientation, and doing without certain props that are basically unimportant, but practically extremely convenient; such props as the divisions of sensation, fenced in from each other by pickets of minutes.

[...] For the most part she sat with one leg drawn up, an arm resting upon the knee, her hand to her head as though propping it up. [...]

Clock time is one prop that even in our usual sessions Ruburt is accustomed to rely upon, though not of course to the extent that he relies upon it in the periods of more ordinary consciousness.

[...] She has not shown outright opposition to experimenting, but from various remarks of hers I know she is still not enthusiastic about giving up any of the props she has become accustomed to—the pacing, the open eyes, etc. [...]

[...] Once again she’d spoken with what seemed to be considerable effort as she lay on her back, her head propped up on several pillows, her right arm swaddled closely in the blue and white canvas sling that held it close to her side and across her lower chest. [...]

Yet within the dream state the familiar physical props sometimes disappear. [...]

Nevertheless primaries also exist within the physical universe, and secondaries appear often as props within the dream world.

[...] That is, you have the medical beliefs themselves, with their appropriate props immediately available, so that suggestion becomes remarkably effective.”

[...] “With our ideas, however, there are no props available, just waiting to be used, no organizations that personify or represent the core of our beliefs—only the individual more or less stubbornly interacting with a private universe, trying to establish this new beachhead.”

[...] Underneath the table I found a large jagged piece of glass, close to a foot across, propped up against the inner table leg where I usually sit. [...]

[...] Half crying and moaning in no time, arms and hands moving from where I’d propped them up. [...]

[...] This feat enabled her to bring the session closer to her eyes, so that she didn’t have to read with it propped up against her knee—she held the papers where she wanted them. [...]

[...] As I propped her left leg with the pillow, I discovered that it would still move, for the tendons were still soft. [...]

(Jane was uncomfortable, up to her shoulders on two full chucks, propped and wedged so she couldn’t move. [...]

(Jane has achieved more motion and movement in her legs—her knees especially—since we began propping her feet up on a box as she lays in bed. [...]

So, often such dreams are like programmed dramas, in that you clothe such visitations in familiar props. [...]

[...] The experience itself will automatically to some extent allow you to understand the dimensions of your own identity, but old familiar props will not be available.

[...] It was large, framed, and cocked at an odd angle to the floor, as if propped up by invisible hands. [...]

[...] She resumed from this position, her head propped up on one hand, her voice quiet, her eyes closed. [...]

[...] The box idea (propping up her legs while she’s prone on the bed) is an excellent one, but should be tried very gradually and easily at first, and then gradually expanded in time. [...]

[...] At times also, Jane sits with her feet propped up on this seat while dictating. [...]