“Seth material” search engine (Jane Roberts)

[...] To do this he concentrated less and less upon inner reality, and therefore began the process of inner reality only as it was projected outward into the physical world.

[...] Since you must operate within the world as you perceive it, then the opposites will appear to be conditions of existence. [...]

(Five items could be the station wagon, a cup of coffee, a pile of bricks, paint-stained khakis, and the world itself; but this is open to other interpretations, we would say. A strongly circular design I interpret as the world. [...]

[...] These take it for granted that any stressful situation will worsen, that communication with others is dangerous, that self-fulfillment brings about the envy and vengeance of others, and that as individuals they live in an unsafe society, set down in the middle of a natural world that is itself savage, cruel, and caring only for its own survival at any cost.

We will be involved with a study of the characteristics of the dream world in general, and attempt to isolate it as a separate reality simply for the purposes of examination. [...]

[...] In such a philosophical world it would seem that man had no power at all.

(It might be interesting to quote here the first paragraph of notes Jane made that evening: “Basic idea is that the senses are developed not to permit awareness of an already existing material world, but to create it. The inner image [idea] is projected by the senses outward to create the world of appearances. [...]

[...] As mentioned many, many sessions ago, however, her poem The Fence, written in May 1963, clearly foreshadows the Seth material, dealing with [but not always by outright name] such subjects as reincarnation, dreams, unperceived worlds, etc. [...]

[...] Strength is respected, but true strength is the result of excellent communication between the outer self that faces the world, and the inner self that looks inward.

We here have been concerned with expectation, and the way it influences the environment, and the actual world that you create for yourself. [...]

[...] The front or foremost line of the cube, like a gate, can open or close; and it points toward the outer world of physical matter. [...]

[...] You will find that an analysis of your dreams will further your inner development, and also make your way easier in the outer world. [...]

[...] You live without consciously knowing how you maintain this miracle of physical awareness in the world of flesh and time.

[...] Breath, which represents the most intimate and most necessary of your physical sensations, must flow out from what you are, passing into the world that seems to be not you. [...]

Your entire world of commerce and advertisements, of competition and of business, prolong such attitudes. [...]

[...] After that, Ruburt felt that he must protect his ability, guarding it against the world, and even against any other tendencies that he felt might run counter to his ability. [...]

[...] They are worlds apart, the two personalities.

[...] Despite any other theories to the contrary, the world, all of its physical aspects, and all of its creatures, depends upon an inborn cooperation. [...]

[...] The many people, and connecting rooms, represented the new structure of vaster beliefs that are all interconnected while you are still, however, concentrating upon the private creative self, and from that viewpoint viewing the world — hence your private corner in which you painted, as from that corner of private creativity you viewed the large interacting structure of new beliefs.

This private probability
isn’t half bad
when you consider
the public worlds
we had to travel
to get here:
molecules waiting
in the wings,
looking for
the precise
time-space
to leap into,
tiny strands of
consciousness
reuniting
after centuries,
sorting out ourselves
from a million
other forms
we’ve taken part in—
reassembling
just those we wanted
to call Rob and Jane.

[...] These are met most immediately in Ruburt’s most intimate contact—body meeting world. [...]

There are other constructions, quite as valid, which make little or no impression on the outer senses, but constructions with which the inner self is fairly familiar; and these so-called immaterial constructions exert a strong influence indirectly upon the world of physical construction.

[...] These immaterial constructions include among others dream constructions, and also certain intangible, necessary constructions upon which the material worlds rest.

[...] Some of these cannot be touched, as a table can be touched, and yet are perceivable indirectly within the material world.

[...] You usually identify with the outside of yourself, and with the outside of the world. [...]

[...] For Chapter 19 of Politics (which is to be published in 1976) Jane transcribed from her library, in part: “If you imagine the official numbers 1 to 10 in a row, then there would be an infinite number of unofficial 1’s hidden in the 1 you saw, and an infinite number of spaces between the official 1 and 2. The position of the 1 on the paper would represent our sense-data world, while the invisible 1’s behind the official 1 would represent the official 1’s hidden values and infinite probabilities.”

There are worlds about us in which we have no share.

These were the methods he took then in line with his beliefs about the world and the nature of the self. [...]

Some mountain climbers, when asked why they climb a certain peak, respond “because the mountain is there to be climbed,” so the natural approach, the magical approach, is to be used because it exists—and because it represents an open doorway into a world of reality that is always present, always at the base of all of your cultures and experience. [...]