“Seth material” search engine (Jane Roberts)

(Arnold told of a repeated scene he has had.)

(During break a discussion of the campfire scene and the sacrificing of a baby. [...]

(Bette said she felt a section of the campfire scene was missing.)

[...] It becomes very difficult to explain such occurrences in the light of the plots and scenes provided by your usual mental programming. [...]

Each character, however, or portion of a scene, would represent in fragmented form another quite valid program [or reality, in brackets]. [...]

If you have good vision, then you can see both pleasant scenes and unpleasant scenes. [...]

[...] That night in bed, without trying for the desired state, I saw within many brief woodland scenes; they flashed before me as though projected. Each scene was seen as though through a milky screen, but was in color and easily distinct enough to be made out. [...]

[...] (Pause.) Dane or Norwegian, domestic scenes, 1700’s. (Pause.) Straggly grass scenes and small mounds of ground, brownish foregrounds. [...]

[...] It is easier to feel yourself as the artist, also a part of the landscape that you paint; to sense the merging of your own energy into the scene before you, and to realize that you are a part of it also. [...]

[...] It inspires you, reveals to you names and facts and scenes from the storehouse of memory. [...]

[...] It inspires you, guides you, reveals to you names and facts and scenes from the storehouse of memory. [...]

[...] This scene will change not necessarily because of any particular effort to reenact the scene differently imaginatively, but because of the overall “as if” game. [...]

Let us look at a scene from a play called “Getting Up in the Morning.”

[...] The scene was lovely. [...]

[...] If you want to relax and you are tense, it is often simpler to bypass the issue, and tell yourself instead to imagine a peaceful scene, in which case you will relax without ordering your muscles to do so. [...]

[...] I figured there were reasons for the finger thing erupting so suddenly to begin with, and leading us against our conscious wills into the whole hospital scene at St. Joe’s, so whatever lessons there are in those experiences are still being assimilated. [...]

(After tonight’s session, and echoing my own ideas of how adamant Jane was becoming about the medical scene, I said that it would be ironic indeed if her encounters with the medical establishment furnished the final great impetus she needed to divest herself of the symptoms and inflate recovery; anything to get away from the massively negative pronouncement of the doctors, to dump old ideas, to set the body free to heal itself. [...]

(I’ll begin the private material with a paragraph that’s not strictly private, in order to set the scene—although actually Seth says little enough to me.

[...] I believe that before this scene, he’d had another similar episode, where an accident had halted his performance and he’d ended up frustrated and confused, but I don’t remember it clearly enough to describe.)

In the first scene of this dream you see a probable self, who could reasonably be expected to be the kind of son your father might have, gifted with his hands mechanically, assertive enough to own his own business, however—after all, a part of the American dream, embarked upon employment that he enjoyed, and yet one that provided a service, hence physically seen between the ice (and roller-skating) rink, representing pleasure or fun, and the grocery store, representing service or nourishment. [...]

In the next scene, you have the introduction of the artistic ability, however, personified by your friend of your younger New York artistic past. [...]

[...] You may see a scene. [...]

[...] They have set the scene, so to speak. [...]

In this new book, therefore, I will sometimes provide my own “scene setting.” [...]

[...] You follow certain scenes or actors. [...]

In this book I will try to tell you what goes on behind the scenes — to show you the ways in which you choose your daily physical programs, and to describe how those personal choices mix and merge to form a mass reality. [...]

[...] The voices of strangers and beloved ones are often the same voices, and the scenes that you see often, you have seen before. [...]

(Jerry said that emotionally Jane acted much like Billie, that there was good contact here, and that in the fight scene she thought that Jane was Billie. [...]

(Jane said that previous experience was a great help in guiding her over the rough emotional involvements like the fight scene—that she “got through” these quite well and wasn’t alarmed. [...]

[...] From this scene I went directly into the second dream. [...]