“Seth material” search engine (Jane Roberts)

You have fallen for the same conventionalized beliefs that they have, only you chose the subjective side. They were so afraid of subjective thought that they ran willy-nilly in the other direction, and they envy your choice—again, to some degree. In summer, you think you should do the lawn. You feel that conflicts with your subjective interests, and that the two are not compatible. You see Joe frantically mow his lawn. You are contemptuous—somewhat—and envious at the same time. The same applies to the snow, so you disapprove of yourself whether you have the grass or the snow taken care of—or whether you try to do it yourself.

If you believe, however, that you must have one at the expense of the other, then you will always face a dilemma between exterior and subjective activity. Your friends the Gallaghers inhibit their subjective natures strongly, both of them (as I was speculating about the other day). They are indeed afraid of aging, and so press onward in more and more exterior activity, because they fear that age will show itself there first. They forget the nature of “youthful thoughts.” They believe there is a polarity, and they have chosen the other side.

When you were both children, to some degree each of you felt that you were different because of your intense subjective activity—and to some extent, and different for both of you—you felt that you had to “fight for” the freedom to pursue subjective reality.

[...] Dreams are particularly interesting from this viewpoint, as the original dream experience is a direct electrical experience, decoded electrically, subjectively then translated for the various areas of the inner self. All seemingly purely subjective experiences which take up no physical space, but are emotionally or subjectively felt, all such experiences exist first of all electrically.

They are brought into existence in a subjective manner, but they then are independent action, and as such may continue to exist in duration within the physical field, according to their original electric potential. [...] The subjective habits of individuals are largely responsible for their own attractions to various types of such electric actions, and here indeed like attracts like.

We must go much further into this particular subject. [...] Because thoughts and emotions, as electrical actualities, are independent from their subjective point of origin, a given thought or emotion, initiated by an individual, may be rejected by him and cast out. [...]

For an exercise, then, imagine for a while that the subjective world of your thoughts, feelings, inner images and fantasies represent the “rockbed reality” from which individual physical events emerge. [...] Imagine that physical experience is somehow the materialization of your own subjective reality. [...] For indeed your subjective world causes your physical experience.

As mentioned before (in Session 828), early man had such an identification of subjective and objective realities. [...] To develop that kind of structure necessitated a division between subjective and objective worlds. [...]

[...] Thoughts, feelings, or beliefs appear to be secondary, subjective — or somehow not real — and they seem to rise in response to an already established field of physical data.

[...] It seems also that your subjectivity has a mysterious unknown quality about it, and that even your mental life has a sort of insidious dropping-off point, a subjective cliff over which thoughts and memories fall, to disappear into nothingness. Therefore to protect yourself, to protect your subjectivity from drifting, you erect various psychological barriers at what you suppose to be the danger points. [...]

You try to maintain a constant, relatively permanent physical and subjective self in order to maintain a relatively constant, relatively permanent environment. [...] Those that you refuse to acknowledge are precisely those that would give you a much better understanding of the true nature of reality, individual subjectivity, and the physical environment that seems to surround you.

[...] Its condition perfectly mirrors your subjective state at any given time. [...]

[...] (Pause.) We will hope to show that this divine subjectivity is as present in the world of your experience as it was before the beginning of the universe. Again, I refer to this original subjectivity as All That Is. [...]

The experience, the subjective universe, the “mind” of All That Is, was so brilliant, so distinct, that All That Is almost became lost, mentally wandering within this ever-flourishing, ever-growing interior landscape. Each thought, feeling, dream, or mood was itself indelibly marked with all of the attributes of this infinite subjectivity. [...]

[...] It was engrossed with its own subjective experiences, even divinely astonished as its own thoughts and imaginings attained their own vitality, and inherited the creativity of their subjective creator. [...]

[...] But the greater subjective reality of that moment does not appear physically in such a photograph. [...]

[...] There are many kinds or varieties of dreams, some more and some less faithful to your memories of them — but as you remember a dream you automatically snatch certain portions of subjective events away from others, and try to “frame” these in space and time in ways that will make sense to your usual orientation. [...]

[...] As during your lifetime you collect a series of photographs of yourself, taken in various times and places, so in the dreaming state you “collect” subjective photographs of a different kind. [...]

[...] The subject agrees to accept the beliefs of the hypnotist. Since telepathy exists (as described in Chapter Three), the subject will react not only to verbal commands but to the unspoken beliefs of the practitioner, thereby “proving,” of course, the hypnotist’s theory of what his profession is.

[...] In formal hypnosis, the hypnotist and the subject play a game. If the hypnotist orders the subject to forget what happened, that individual will pretend to do so. [...]

[...] Structured hypnosis merely allows the subject to utilize full powers of concentration, thereby activating unconscious mechanisms.

[...] This present book, devoted to dreams and subjective experience, led me into deeper self-examination. [...] The poetry itself provides a clear record of subjective thoughts and emotions. [...]

[...] Seth continues to deliver material on dreams, along with other subjects. [...] This automatically presents the material in order, preserving the sense of continuity, and serves as a progressive, subjective journal of dream experiences as Rob and I, and later my students, followed Seth’s suggestions. [...]

I’m including in this chapter a few poems as notes of a subjective autobiography, to show what events triggered this first release of unconscious material on my part, opening the doors to the interior universe; for now I believe that certain personal conditions are characteristic prerequisites for such developments, that the channels of intuitive knowledge are opened according to the intensity of individual need. [...]

[...] They allow you to materialize certain subjective experiences into three-dimensional reality. Before I leave the subject, however, let me remind you that these emanations in varying degrees rise from all consciousness, not simply your own. [...]

[...] If, on the other hand, your feelings and subjective experience are fairly well balanced, fairly optimistic and creative in a constructive manner, then it will seem to you that you have been blessed with unusual luck, for your pleasant suppositions will come to pass so quickly.

Now: A whole book could easily be written upon this subject. [...]

(Long pause at 8:50.) You are bound to have, then, many larger dream formations that can only be called group dreams—subjective events in which your own dreams happen, and in which your own dreams take part. [...] It should be no surprise, then, that this same kind of “fitting together” includes subjective life also—or that, say, your private dreams are also fragments in a vaster dream reality. [...]

[...] It is instead one area of subjective experience that is everywhere prevailing within the universe.

[...] That is, they change their form, their subjective force or direction, and become part of the working mechanics of the universe. [...]

[...] The Something is subjective, but its effects have appeared so beautifully and effectively in physical terms, that the physical changes themselves add to the subjective joy, relief, and sense of direction.

[...] Subjectively I feel this was as significant a development—almost—as the original Seth session. [...]

(Long pause at 3:52.) The electrons themselves have their own subjective lives. They are also subjective events, therefore, so there is always a correlation between those electrons in your bodies and those in the objects you see about you. Nevertheless again, subjective continuity itself never falters, in that it is always a part of the world that it perceives, so that you and the world create each other, in these terms.

(“Every time we get on this subject something happens,” I said. [...]

[...] They are highly dependent upon your own subjective focus. [...]

[...] All That Is disperses itself, therefore, so that it is on the one hand “a massive” subjective entity, a psychological structure—and on the other hand, it also disperses itself into the phenomenal world. [...] Your thoughts are the invisible partners of your words, and the vast unstated subjectivity of All That Is is in the same way behind all stated or manifest phenomena.

[...] In other words, of course, I hope to inspire both your imagination and your intelligence in this chapter and in this section of the book, devoted to such subject matter.

Remember, again, the manifest [universe] emerges from a subjective reality, one that is implied in the very nature of your world itself. [...]

It allowed you to feel that you were capturing the subject, and to assure yourself that the subject was not capturing you. [...]

Working with subjects that initiate joy within you will also help free you, though you are to some extent frightened even of joy, distrusting it. Still you will experience freedom when you deal with subjects that are evocative to you, of the joy of life or abundance of nature. [...]

The precise delineation helped create the subject of the painting beautifully, with almost “supernatural” in quotes, precision. [...]

[...] To that extent they cut themselves off from large portions of their own subjectivity. [...]

[...] The child does not have to cry out or address or search for a particular kind of God, because it understands through such subjective behavior that its own precious singularity is also a part of the greater us-ness of all other creatures, and that its singularity is automatically assured, as is its own us-ness within that larger context. [...]

[...] It is only when the us-ness of the self begins to fade that a sense of relative personal helplessness begins to mar the picture of subjective experience. [...]

The subject of matter then becomes one of correlating inner data with outward experience and appearance. The inner core of the self has no difficulty in uniting and correlating the outward experience of its many personalities, but the subject of reincarnation cannot be understood without a knowledge of the nature of matter.

[...] She has no idea of subject matter, title, etc., for any projected book by Seth. [...]

[...] Ruburt is psychically working out some of his concerns over reincarnation in his novel, coming to grips with the subject creatively, and in ways that have deep meaning, not only for himself but for others.

Now because All That Is contains within itself such omnipotent, fertile, divine creative characteristics, all portions of its subjective experience attained dimensions of actuality impossible to describe. [...] Those events soon found that a transformation must occur (pause), if they were to journey into objectivity—for no objectivity of itself could contain the entire reality of subjective events that existed within divine subjectivity. [...]

(Pause at 9:56.) Subjectivity still largely ruled. [...]

[...] In terms of time, the realization of that purpose will emerge with another momentous explosion of subjective inspiration into objectivity, or into another form. [...]

[...] The free flow of his experience goes rather easily, and incidentally, safely and exuberantly from what you think of as objective and subjective experience, and his creative gifts then make subjective knowledge objective in terms of art.

[...] It is his freely allowed subjective experience now that results in books—mine, and Seven’s. He has set up barriers however against his own personal inner mobility. [...]

[...] He has been afraid of letting himself go and utilizing his energies fully, not objectively but subjectively.

There is a part of man that Knows, with a capital K. That is the portion of him, of course, that is born and grows to maturity even while the lungs or digestive processes do not read learned treatises on the body’s “machinery,” ⁶ so in our book we will hope to arouse within the reader, of whatever persuasion, a kind of subjective evidence, a resonance between ideas and being. [...] There are all kinds of definite, even specific, subjective evidence for the nature of your own reality—evidence that is readily apparent once you really begin to look for it, particularly by comparing the world of your dreams with your daily life.

In other words, subjective play is the basis for all creativity, of course—but far more, it is responsible for the great inner play of subjective and objective reality.

[...] [Some of them are on reincarnation, and I plan to present them when Seth gets into that subject in Dreams.] On October 7, a Sunday, Jane saw for the first time the work Sue Watkins has done on Conversations With Seth, the book she’s writing about the ESP classes Jane used to hold. [...]

[...] Slightly let yourself fall out of focus, look away, and then back to the face of the subject. [...]

[...] Such a portrait will immediately be fascinating, particularly of course to the subject, who will intuitively and unconsciously recognize its components.

A too-rigid rendition can frighten the subject by imprisoning him within the moment, from which it seems he cannot escape. [...]