The Nature of the Psyche: Its Human Expression

«A s I write this Introduction, I've already forgotten those many l anonymous nights during which Seth, my trance personality, dictated this book.» — Jane Roberts abre su introducción declarando que ya no recuerda las noches en que dictó el libro, y nombra a Seth como su personalidad de trance

«Only the session notes taken by my husband, Robert Butts, tell me what particular daily events we were engaged in during the time of the book's production.» — Roberts señala que su único acceso a lo que ocurría en aquellos días son las notas de sesión que tomaba su esposo, Robert Butts

«One thing is certain: On session nights I went into trance and, as Seth, dictated these chapters.» — Roberts fija lo único que da por cierto: que entraba en trance y que dictaba los capítulos como Seth

«The triumphs and defeats of any given day have more or less vanished, but those nightly hours are somehow contained in these pages, and to that extent they endure.» — Roberts contrapone lo que se borró —los días— con lo que quedó contenido en las páginas, y hace de esa permanencia la medida de lo que dura

«My continuing experiences, however, show me that Seth's personality is stamped upon the sessions and his writings, and perhaps also upon my own consciousness, in unique ways.» — Roberts sostiene lo que sí le muestra la experiencia continuada: que la personalidad de Seth queda impresa en las sesiones, en los escritos y acaso en su propia consciencia

«Unless I "turn into Seth," go the whole way, alter my very psychological alignment — unless Seth smiles and speaks — there is no Seth material.» — Roberts enuncia la condición del material: sin la alteración entera de su alineamiento psicológico no hay material de Seth

«So although only two people are in our living room on session nights, it's also quite fair to say that we aren't alone.» — Roberts concluye que, aunque solo haya dos personas en la sala, es justo decir que no están solos

«I know very well that there were evenings when I "should" have held our regular Seth session, but didn't, for reasons also forgotten.» — Roberts consigna también las noches en que la sesión no se tuvo, y que tampoco recuerda por qué

«Many correspondents write, commenting on the dramatic element of the sessions, and surely the entire affair is a richly evocative psychological drama.» — Roberts recoge lo que le escriben los corresponsales sobre el elemento dramático de las sesiones y concede que el asunto entero es un drama psicológico de gran evocación

«Most people, however, don't realize the time or work required to keep up with Seth's seemingly endless creativity:» — Roberts objeta que casi nadie calcula el tiempo y el trabajo que exige seguirle el paso a la creatividad de Seth

«1 thought back to all of those unremembered trance hours, looking at them from a different standpoint — and almost startled by a simple thought that just hadn't occurred to me in quite that way before:» — Roberts describe el giro de su propia mirada sobre las horas de trance y el pensamiento simple que no se le había ocurrido así antes; el OCR imprime la *I* inicial como cifra 1 y así se conserva

«Those trance hours were productive. They yielded results in the world of time. That trance consciousness, by whatever name, knew what it was doing.» — Roberts enuncia ese pensamiento: las horas de trance fueron productivas, rindieron resultados en el mundo del tiempo, y aquella consciencia sabía lo que hacía, cualquiera que fuese su nombre; la fórmula *by whatever name* es la abstención de ella sobre el estatuto de Seth

«I'm sure there is a kind of trance memory, but my ordinary memory records very little of those trance hours.» — Roberts afirma la existencia de una memoria de trance y a la vez declara que su memoria ordinaria casi no registra aquellas horas

«Yet I can't remember offhand what happened in my normal daily life during those past days, either. So "real" time and trance time have each vanished:» — Roberts empareja las dos pérdidas: ni el tiempo real ni el tiempo de trance se conservan en su memoria

«They seem to contain an energy that comes alive in Seth's words, so that they belong to the future as well as to the past.» — Roberts sostiene que las sesiones le parecen siempre presentes y que la energía viva en las palabras de Seth las hace pertenecer al futuro tanto como al pasado

«They were enunciated in Seth's own peculiarly accented tones; accompanied by gestures in a living performance that I hope the reader will keep in mind.» — Roberts pide al lector que tenga presente lo que la página no conserva: el acento propio de Seth, los gestos, la actuación viva

«But if I was in trance, was Seth also? He certainly is alert, active, responsive, concerned about people individually and in general, and about the world.» — Roberts devuelve la pregunta del trance hacia Seth y describe lo que observa en él: alerta, actividad, respuesta y preocupación por las personas y por el mundo

«And yet I feel that only a portion of his consciousness is here during sessions — the part expressed through me — so that whatever the nature of Seth's native experience, his performance in our world only hints of a psychological complexity quite beyond our present understanding.» — Roberts acota lo anterior: solo una porción de la consciencia de Seth está presente en las sesiones, la que se expresa por ella, de modo que su actuación apenas insinúa una complejidad psicológica que excede lo que hoy se entiende

«In Psyche, Seth addresses himself to the matter of human sexuality for the first time in his published works, discussing it as it relates to the private and mass psyche, and connecting sexuality with its spiritual and biological sources.» — Roberts sitúa la novedad del volumen dentro de la serie: es la primera vez que Seth trata la sexualidad humana en obra publicada, y la enlaza con fuentes espirituales y biológicas

«As most of our readers know, Seth began calling me Ruburt, and my husband, Rob, Joseph, early in the sessions.» — Roberts consigna los nombres que Seth les da a los dos: Ruburt a ella y Joseph a su esposo, desde el principio de las sesiones

«He explained that these were our entity names, and I was half amused to have a male one, and to find Seth referring to me as "he" or "him."» — Roberts recoge la explicación de Seth —son nombres de entidad— y su propia reacción, entre divertida y extrañada, al recibir uno masculino y oírse tratar en masculino

«When I had classes, Seth gave many students their entity names also, and there was much lively discussion over the names' sexual designations.» — Roberts extiende el dato a la clase: Seth daba nombre de entidad a muchos alumnos, y la designación sexual de esos nombres se discutía con animación

«Now we discover that such references were tailored to our own rather limited ideas of the qualities assigned to the sexes, for in Psyche Selh makes it clear that the psyche is not male or female, "but a bank from which sexual affiliations are drawn.» — Roberts lee hacia atrás aquellos nombres: estaban cortados a la medida de las ideas limitadas de los dos sobre los sexos, y en este libro Seth sostiene que la psique no es masculina ni femenina sino un banco del que se sacan las afiliaciones sexuales; la frase entrecomillada es de Seth dentro del texto de ella, y el OCR imprime su nombre *Selh*

«But Seth's bisexuality is a far vaster concept than the ones usually suggested by that term, and he sees it as a basic source f r o m which our sexual definitions arise.» — Roberts acota el término: la bisexualidad de la que habla Seth no es la que la palabra sugiere, sino la fuente básica de la que brotan las definiciones sexuales; el troceo imprime *f r o m* con las letras separadas

«What are those definitions? How many are basic, and how many learned? It is to such questions that Seth addresses himself. More: He ties in his discussion of sexuality with the birth of languages and the nature of "the hidden God."» — Roberts enumera las preguntas a las que el libro responde —cuáles de las definiciones sexuales son básicas y cuáles aprendidas— y anuncia el enlace que Seth traza entre la sexualidad, el nacimiento de las lenguas y lo que él llama el dios escondido

«The psyche is not only the repository for sexual affiliation, however, but contains hidden abilities and characteristics which are then triggered into activity by exterior stimuli.» — Roberts resume la segunda tesis del volumen: la psique guarda además capacidades y características ocultas que los estímulos exteriores disparan

«In Chapter 3 of Psyche Seth says: "Certainly mathematical formulas are not imprinted in the brain, yet they are inherent in the structure of the brain, and implied within its existence.» — Seth, según Roberts, que lo cita en su introducción remitiendo al capítulo tres: las fórmulas matemáticas no están impresas en el cerebro y a la vez son inherentes a su estructura e implicadas en su existencia

«According to Seth, our own desires, focuses, and intents dictate what inner information we draw from the endless fields available; for he sees all knowledge existing at once, not as dry data or records, but enlivened by the consciousness that perceives it.» — Roberts formula la doctrina de Seth sobre el conocimiento: son el deseo, el foco y la intención los que deciden qué se saca de campos que existen todos a la vez, y ese saber no es dato seco sino algo que la consciencia que lo percibe aviva

«T h e minds of the past and future are open to us, or at least their contents are, not in a parasitic relationship but in a lively give-and-take, in which knowledge from each time period enriches every other historical era.» — Roberts precisa la relación con los otros tiempos: no es parasitaria sino de intercambio, y el conocimiento de cada época enriquece a las demás

«Seth gives this pooling of knowledge both a spiritual and biological reality.» — Roberts señala que Seth le da a ese fondo común de conocimiento realidad espiritual y biológica a la vez

«The implications of such statements for education are astonishing: Besides teaching rote information, our schools and universities should acquaint us with as many fields as possible; for these act as exterior triggers, bringing forth natural inner knowledge, sparking» — Roberts deriva la consecuencia educativa: además de la información de memoria, la escuela debería poner al alumno delante de cuantos campos sea posible, porque funcionan como disparadores exteriores de un saber interior; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«skills which are waiting for activation by suitable stimuli in the exterior world.» — continuación del pasaje anterior, en la misma plana: *ese saber interior son destrezas que esperan que un estímulo del mundo exterior las active*; las dos mitades van por separado y no se cosen

«While Seth dictated this book, devoted to the potentials of the psyche and its reception of inner information, my own experiences — as usual — seemed to serve as object lessons backing u p his thesis.» — Roberts consigna la coincidencia entre el asunto del dictado y su propia vida: sus experiencias de esos meses le sirvieron de lección de cosas en apoyo de la tesis de Seth; el troceo imprime *u p* separado

«Seth had barely begun Psyche, for instance, when I suddenly became the psychic recipient of a book on art philosophy and techniques.» — Roberts fecha el caso: apenas empezado este libro, se volvió receptora psíquica de otro sobre filosofía y técnica del arte

«It purported to come from the "world view" of Paul Cezanne, the famous French artist who died at the start of this century.» — Roberts declara el origen que aquel material se atribuía a sí mismo —la visión del mundo de Paul Cézanne— con el verbo *purported*, que lo consigna sin afirmarlo

«Simply put, a world view is a living psychological picture of an individual life, with its knowledge and experience, which remains responsive and viable long after the physical life itself is over.» — Roberts define, con el término de Seth, qué es una visión del mundo: un cuadro psicológico vivo de una vida individual, con su saber y su experiencia, que sigue respondiendo mucho después de acabada la vida física

«So, the material I received didn't come from Paul Cezanne per se, but from his world view.» — Roberts precisa el origen de aquel material y con ello acota su propia afirmación: no venía de Cézanne mismo sino de su visión del mundo

«Actually, while getting the book, I felt like a secretary taking mental dictation. But what dictation! For this manuscript not only presented a fascinating picture of a genius at work, but gave specialized knowledge of a field — art — in which I am at best an amateur.» — Roberts describe la forma de la recepción —dictado mental, ella de secretaria— y señala lo que la sorprende: que trajera saber especializado de un campo en el que se declara aficionada

«Seth himself did the Introduction, first dictating his own material on Psyche, then switching over to the Cezanne Introduction during the same sessions.» — Roberts consigna la alternancia dentro de una misma sesión: Seth dictaba su propio material de este libro y después pasaba a la introducción del de Cézanne

«only where the Cezanne world view had specialized in art, the James world view was more comprehensive. It commented in depth upon our world since James's death, and covered American history as it was related to spiritualism, psychology, and democracy.» — Roberts contrasta las dos visiones del mundo que recibió: la de Cézanne especializada en arte y la de William James más comprensiva, con la historia norteamericana vista del lado del espiritualismo, la psicología y la democracia

«According to Seth any of us can tune in to such "extra" information, but we would receive it in accordance with our own desires and intents.» — Roberts atribuye a Seth la regla general: cualquiera puede sintonizar esa información añadida, y la recibe conforme a sus propios deseos e intenciones

«My own interest in art and Rob's appreciation of Cezanne's works helped trigger the Cezanne book, for example; and my own curiosity about William James and Rob's appreciation of his work helped bring about the James manuscript.» — Roberts aplica la regla a su propio caso y reparte el disparador entre los dos: el interés de ella por el arte y el aprecio de Butts por Cézanne y por James

«Seth maintains that inner information often comes into our minds, though it is sifted through our individual psyches and anted by our own lives so that frequendy we never recognize its source.» — Roberts formula la tesis de Seth sobre la información interior: entra en la mente pero llega cernida por la psique de cada quien y teñida por su vida, de modo que casi nunca se le reconoce la procedencia; el OCR imprime *anted* por *tinted* y *frequendy* por *frequently*

«Sometimes this happens in dreams or as inspiration: Inventors, for example, might be receiving a given idea from the future, or an archaeologist might make a discovery as the result of receiving information from the past.» — Roberts da las dos formas en que eso se presenta y sus dos ejemplos simétricos: el inventor que recibiría una idea del futuro y el arqueólogo cuyo hallazgo vendría de información del pasado

«Seth maintains that our inner knowledge usually merges so» — Roberts abre la tesis del saber interior que se funde con lo presente; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«smoothly with our present concerns that we seldom recognize its source, yet it provides the individual and the species with a reliable, constant stream of information through a psychological lifeline to which we are each connected.» — continuación del pasaje anterior, ya en la plana siguiente: *ese saber se funde tan liso con lo que a uno le ocupa que no se le ve la fuente, y con todo abastece al individuo y a la especie por una línea de vida psicológica a la que cada quien está conectado*

«He discusses in depth the experience of early man and the different organizations of perception that prevailed, and stresses that the species has always had access to "inner data" so that its source of knowledge was never exclusively dependent upon exterior circumstances.» — Roberts anuncia el tratamiento del hombre primitivo y subraya la tesis: la especie tuvo siempre acceso a datos interiores, de modo que su fuente de conocimiento nunca dependió solo de lo exterior

«According to Seth, it is from this interior body of knowledge that our systemized, objective, information-storing social processes emerge.» — Roberts invierte el orden corriente: los procesos sociales sistematizados y objetivos de almacenar información salen de aquel cuerpo interior de conocimiento, no al revés

«It follows, then, that precognition would be involved in evolutionary alterations, so that the various species would prepare themselves in the present to take on those changes that would be necessary in the future.» — Roberts deriva la consecuencia evolutiva: la precognición entraría en las alteraciones de las especies, que se prepararían en el presente para los cambios que harán falta después

«And in all of this, as always, Seth stresses probabilities as playing a vital role in the development of the individual and the species, and as representing the basis for free will.» — Roberts señala la pieza constante del material de Seth: las probabilidades, que cumplen papel vital en el desarrollo del individuo y de la especie y que son la base del libre albedrío

«He sees the psyche experimenting privately with probable actions in the dream state, and envisions humanity's mass dreams as providing an inner vehicle by which man chooses global events.» — Roberts describe el mecanismo: la psique ensaya en privado acciones probables durante el sueño, y los sueños masivos de la humanidad son el vehículo interior por el que se eligen los acontecimientos del mundo

«The psyche is private, yet all in all, each psyche contains access to the public psyche.» — Roberts enuncia la paradoja sin resolverla: la psique es privada y cada una tiene, con todo, acceso a la psique pública

«Distorted beliefs about sexuality can hold back psychic or spiritual progress, for example, and Seth discusses such issues thoroughly.» — Roberts declara el vínculo entre las dos materias del libro: las creencias torcidas sobre la sexualidad pueden frenar el progreso psíquico o espiritual

«The questions of lesbianism and homosexuality are also considered, along with their private and social effects.» — Roberts enumera lo que el volumen trata por su nombre, con sus efectos privados y sociales

«All of this, Seth's books and my own, surely gives evidence of the psyche's vast creativity, and of its abilities to perceive and use information that comes from the inner, as well as from the exterior environment.» — Roberts toma la producción de los dos, la de Seth y la suya, como prueba de la creatividad de la psique y de su capacidad de percibir y usar información del entorno interior tanto como del exterior

«Books are my speciality. For others, this creativity may show itself in family relationships and emotional comprehensions, in the other arts, in the sciences, in sports, or simply in lifting the quality of living to a newer, richer level.» — Roberts generaliza el caso propio y lo abre: lo que en ella se muestra como libros puede mostrarse en otros como relaciones familiares, artes, ciencias, deporte o simple calidad de vida

«SESSION 752, JULY 28,1975 9:25 P.M. MONDAY» — el encabezado de la primera sesión del volumen, con número, fecha y hora: la unidad del libro es la sesión y el aparato las numera desde la 752

«I'd record the "sessions," adding times, dates, and the barest sort of other material, so that Jane could build up her own notes around those ingredients.» — Robert Butts declara el reparto del aparato de este libro: él anota horas, fechas y lo mínimo, y Roberts levanta sus propias notas sobre ese armazón

«My idea here was that as soon as I had a session typed from my original "shorthand," Jane could add whatever she wanted to about her trance states, feelings, or ideas, while the session circumstances were still fresh in her mind.» — Butts explica el porqué del procedimiento: que Roberts pudiera añadir lo de su trance, sus sensaciones y sus ideas mientras las circunstancias de la sesión siguieran frescas

«(I told her that I didn 7 care if the book was short, medium, or long — or whether it took six months to produce, or a year, or five years: If she held one or two sessions a week, or one a month, it would still give her a book in the works, and she would have that comforting knowledge.» — Butts consigna lo que le ofreció a Roberts: que no le importaba la extensión ni el plazo con tal de que hubiera un libro en marcha; el OCR imprime *didn 7* por *didn't*

«I said that if she preferred no notes, that was all right with me too.» — Butts deja constancia de que las notas de ella eran opcionales

«Seth finished dictating his last book, The "Unknown" Reality: A Seth Book, three months ago, in the 744th session for April 23.» — Butts fecha el final del libro anterior por su número de sesión, y así encadena los volúmenes de la serie por la numeración continua de las sesiones

«Jane finally admitted earlier today that she's had only seven sessions since then because she didn't want to make too much extra work for me while I'm busy unth the complicated notes for that book.» — Butts atribuye a Roberts el motivo de la pausa: no quería cargarlo de trabajo mientras él lidiaba con las notas del libro anterior

«I decided to put her back to work on the Seth material, even though she hasn't yet finished her own Psychic Politics.» — Butts consigna su propia decisión y el costo que tenía: poner a Roberts de vuelta en el material de Seth con un libro suyo sin terminar

«"You took me by surprise, " she said at 9:10, as we sat for the session. "You called my bluff or something.» — Jane Roberts, citada por Butts en la nota de sesión, reacciona a la propuesta; la hora exacta forma parte del aparato

«"You'll have to be lenient with me. If I'm going to do the notes, there won't be many. And I don't know about a new book tonight. At least, I don't have an idea in my head. "» — Roberts, citada por Butts, pone sus condiciones y declara que no tiene idea de qué libro podría ser

«"Start a new book or give birth to a child?" ("This," she said promptly, meaning the session.» — el diálogo de la casa que el volumen conserva: Butts le ofrece la disyuntiva en broma y Roberts elige la sesión

«And I'm not ready for either of the books Seth has mentioned doing — the Christ book, or the one he talked about last month, on cultural reality. So what could a new one possibly be about?» — Roberts, citada por Butts, nombra los dos libros que Seth tenía anunciados y que no se hicieron entonces: el del Cristo y el de la realidad cultural

«then fane said, somewhat wonderingly: "I think I've got the title. It's The Nature of the Psyche, colon: Its Human Expression. I'm not sure, but I think that's it.» — el título del volumen aparece dentro de la propia sesión, dictado por Roberts con la puntuación deletreada; el OCR imprime *fane* por *Jane*

«(So it seemed that we were about to get underway with another excellent production from Seth, with Jane's considerable — indeed vital — help.» — Butts reparte el crédito del libro que empieza y llama vital la parte de Roberts

«I understood that she might be a little concerned about his starting a new book on such short notice; but on the other hand, I had no doubt at all that Seth — and Jane — could do it.» — Butts consigna a la vez la inquietud de Roberts por el aviso corto y su propia falta de dudas sobre los dos

«Then, beginning at 9:25, and with many pauses:)» — la acotación con que Butts marca el paso de su nota al dictado: la hora y el ritmo de las pausas

«Now — ("Good evening, Seth.") — no Preface. Chapter One: You come into the condition you call life, and pass out of it.» — Seth, según Roberts, abre el dictado de la sesión 752 rechazando el prefacio y planteando la vida como una condición en la que se entra y de la que se sale; el saludo entre paréntesis es de Butts

«In between you encounter a lifetime. Suspended — or so it certainly seems — between birth and death, you wonder at the nature of your own being. You search your experience» — Seth, según Roberts, describe la situación del que pregunta, suspendido —o eso le parece— entre nacimiento y muerte; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«and study official histories of the past, hoping to find there clues as to the nature of your own reality.» — continuación del pasaje anterior, ya en la plana siguiente: *se busca en la experiencia propia y en las historias oficiales del pasado alguna pista de la naturaleza de la realidad propia*

«Your life seems synonymous with your consciousness. Therefore it appears that your knowledge of yourself grows gradually, as your self-consciousness develops from your birth.» — Seth, según Roberts, formula la apariencia que va a discutir: que la vida coincide con la consciencia y que el conocimiento de sí crece desde el nacimiento

«It appears, furthermore, that your consciousness will meet a death beyond which your self-consciousness will not survive.» — Seth, según Roberts, completa la apariencia con su consecuencia: una muerte tras la cual la consciencia de sí no seguiría; el verbo *appears* marca que lo enuncia como apariencia y no como tesis

«You may think longingly and with an almost hopeful nostalgia of the religion of your childhood, and remember a system of belief that ensured you of immortality.» — Seth, según Roberts, describe el recurso a la religión de la infancia como nostalgia, no como prueba

«Yet most of you, my readers, yearn for some private and intimate assurances, and seek for some inner certainty that your own individuality is not curtly dismissed at death.» — Seth, según Roberts, señala lo que el sistema de creencias heredado no da: la seguridad privada e íntima de que la individualidad propia no se despacha en la muerte

«Each person knows intuitively that his or her own experiences somehow matter, and that there is a meaning, however obscured, that connects the individual with a greater creative pattern.» — Seth, según Roberts, afirma un saber intuitivo común: que la experiencia de cada quien importa y que un sentido, por tapado que esté, lo conecta con un patrón creativo mayor

«Each person senses now and then a private purpose, and yet many are filled with frustration because that inner goal is not consciously known or clearly apprehended.» — Seth, según Roberts, empareja ese saber con su reverso: el propósito privado que se siente y no se conoce conscientemente, y la frustración que eso deja

«When you were a child you knew you were growing toward an adulthood. You were sustained by the belief in projected abilities — that is, you took it for granted that you were in the process of learning and growing. No matter what happened to you, you lived in a kind of rarefied psychic air, in which your being was charged and glowing. You knew you were in a state of becoming.» — Seth, según Roberts, recurre a la infancia como caso de creencia sostenida en capacidades proyectadas: se daba por hecho que se estaba aprendiendo y creciendo

«The world, in those terms, is also in a state of becoming.» — Seth, según Roberts, extiende al mundo el estado de devenir que describió en el niño

«It is easy to look at yourselves or at the world, comma, to see yourself and become so hypnotized by your present state that all change or growth seems impossible, or to see the world in the same manner.» — Seth, según Roberts, nombra el riesgo de mirar el estado presente: quedar hipnotizado por él hasta que el cambio parezca imposible; el dictado deletrea la puntuación —*comma*— y Butts lo conserva dentro del texto

«You do not remember your birth, as a rule. Certainly it seems that you do not remember the birth of the world.» — Seth, según Roberts, empareja las dos amnesias, la del propio nacimiento y la del nacimiento del mundo

«You had a history, however, before your birth — even as it seems to you that the world had a history before you were born.» — Seth, según Roberts, sostiene la simetría: hubo historia antes del nacimiento propio como la hubo antes del del mundo

«The sciences still keep secrets from each other.» — Seth, según Roberts, objeta a las ciencias que se guarden secretos entre sí, y de ahí pasa al ejemplo del tiempo

«The physical sciences pretend that the centuries exist one after the other, while the physicists realize that time is not only relative to the» — Seth, según Roberts, opone lo que las ciencias físicas dan por supuesto —siglos uno tras otro— a lo que los físicos saben; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«perceiver, but that all events are simultaneous.» — continuación del pasaje anterior, ya en la plana siguiente: *el tiempo no solo es relativo al que percibe, sino que todos los acontecimientos son simultáneos*

«T h e archeologists merrily continue to date the remains of "past" civilizations, never asking themselves what the past means — or saying: "This is the past relative (underlined) to my point of perception.» — Seth, según Roberts, objeta a los arqueólogos que daten restos del pasado sin preguntarse qué significa el pasado ni declarar respecto a qué punto de percepción lo es; el *underlined* entre paréntesis es la acotación de Butts sobre el énfasis de la voz

«Astronomers speak of outer space and of galaxies that would dwarf your own.» — Seth, según Roberts, pone la escala astronómica al lado del hombre anónimo que viene enseguida

«the private man or the private woman, unknown, anonymous to the world at large, stubbornly feels within a rousing, determined affirmation that says: "I am important.» — Seth, según Roberts, contrapone a las guerras y los profetas de destrucción la afirmación obstinada del hombre o la mujer sin nombre

«I have a purpose, even though I do not understand what it is. My life that seems so insignificant and inefficient, is nevertheless of prime importance in some way that I do not recognize.» — Seth, según Roberts, pone en boca de ese individuo anónimo el reconocimiento de un propósito que no entiende y de una importancia que no ve

«Though caught up in a life of seeming frustration, obsessed with family problems, uneasy in sickness, defeated it seems for all practical purposes, some portion of each individual rouses against all disasters, all discouragements, and now and then at least glimpses a sense of enduring validity that cannot be denied.» — Seth, según Roberts, describe la porción que se levanta contra el desastre y vislumbra una validez duradera que no se deja negar

«It is to that knowing portion of each individual that I address myself.» — Seth, según Roberts, declara a quién se dirige el libro: a esa porción que sabe, no al lector entero

«I am not, on the one hand, an easy author to deal with, because I speak from a different level of consciousness than the one with which you are familiar.» — Seth, según Roberts, se describe a sí mismo como autor difícil de tratar por hablar desde otro nivel de consciencia

«O n the other hand, my voice is as natural as oak leaves blowing in the wind, for I speak from a level of awareness that is as native to your psyche as now the seasons seem to be to your soul.» — Seth, según Roberts, enmienda de inmediato lo anterior con un símil: su voz es tan natural como las hojas del roble en el viento, porque habla desde un nivel nativo de la psique del oyente

«I am writing this book through a personality known as Jane Roberts. That is the name given her at her birth.» — Seth, según Roberts, declara la vía por la que el libro se escribe y nombra a Roberts por el nombre que le dieron al nacer: el volumen consigna así su propia producción desde dentro

«She shares with you the triumphs and travails of physical existence.» — Seth, según Roberts, iguala la condición de ella con la del lector

«Like you, she is presented with a life that seems to begin at her birth, and that is suspended from that point of emergence until the moment of death's departure. She has asked the same questions that you ask in your quiet moments.» — Seth, según Roberts, sitúa a Roberts en la misma suspensión entre nacimiento y muerte, haciendo las mismas preguntas que el lector

«Her questions were asked with such a vehemence, however, that she broke through the barriers that most of you erect, and so began a journey that is undertaken for herself and for you also» — Seth, según Roberts, explica por dónde se distingue el caso de ella: la vehemencia con que preguntó rompió las barreras que los demás levantan

«for each of your experiences, however minute or seemingly insignificant, becomes part of the knowledge of your species.» — Seth, según Roberts, da la razón de que el viaje de una sola persona valga para todas: cada experiencia, por mínima que parezca, pasa a ser saber de la especie

«I can only write a portion of this book. You must complete it. For "The Psyche" is meaningless except as it relates to the individual psyche.» — Seth, según Roberts, reparte el trabajo con el lector y acota el título del libro: la psique en abstracto no significa nada fuera de la psique individual

«I speak to you from levels of yourself that you have forgotten, and yet not forgotten. I speak to you through the printed page, and yet my words will rearouse within you the voices that spoke to you in your childhood, and before your birth.» — Seth, según Roberts, describe lo que la lectura debe producir: no información nueva sino el despertar de voces que hablaron en la infancia y antes del nacimiento

«This will not be a dry treatise, studiously informing you about some hypothetical structure called the psyche, but will instead evoke from the depths of your being experiences that you have forgotten, and bring together from the vast reaches of time and space the miraculous identity that is yourself.» — Seth, según Roberts, niega que el libro sea un tratado sobre una estructura hipotética y declara su método: evocar experiencias olvidadas y reunir la identidad del lector

«(10:17. "Now I've forgotten even the title, "Jane said as soon as she came out of an excellent trance, or dissociated state.» — Butts anota la salida del trance y lo que Roberts dice al volver: que ha olvidado hasta el título que ella misma acababa de dar

«I reminded her of the full title of Psyche, and made a few suggestions as to how she could proceed with her own written comments for the book stressing that she could handle them any way she liked.» — Butts consigna que fue él quien le devolvió el título y que le dejó libre la forma de sus comentarios escritos

«However, I confessed to Jane, I couldn't say that I really expected her to produce both the book itself; through Seth, and then do all the work involved in writing the notes too» — Butts declara su reserva sobre lo que le estaba pidiendo: no esperaba de veras que ella produjera el libro por Seth y además escribiera las notas

«yet as it turned out, to some extent she did help me annotate this work.» — Butts enmienda su propia reserva desde el momento de la redacción posterior: Roberts sí colaboró en parte con la anotación

«Now: The earth has a structure. In those terms (underlined), so does the psyche.» — Seth, según Roberts, enuncia la analogía que da título al capítulo: la psique tiene estructura como la tiene la tierra

«You live in one particular area on the face of your planet, and you can only see so much of it at any given time — yet you take it for granted that the ocean exists even when you cannot feel its spray, or see the tides.» — Seth, según Roberts, desarrolla la analogía por el lado de la fe: se da por hecho que el océano existe aunque no se vea

«And even if you live in a desert, you take it on faith that there are indeed great cultivated fields and torrents of rain.» — Seth, según Roberts, aprieta el caso al extremo del desierto, donde nada de lo creído está a la vista

«You take it for granted that the earth has a history. In those terms, your own psyche has a history also.» — Seth, según Roberts, traslada la historia de la tierra a la psique: también ella tiene historia

«You have taught yourselves to look outward into physical reality, but the inward validity of your being cannot be found there — only its effects.» — Seth, según Roberts, objeta al hábito de mirar hacia afuera: allí no se halla la validez interior del ser, solo sus efectos

«You can turn on television and see a drama, but the inward mobility and experience of your psyche is mysteriously enfolded within all of those exterior gestures that allow you to turn on the television switch to begin with, and to make sense of the images presented.» — Seth, según Roberts, introduce el símil de la televisión: la movilidad de la psique está plegada dentro de los gestos exteriores que permiten encender el aparato y entender las imágenes

«So the motion of your own psyche usually escapes you.» — Seth, según Roberts, saca la consecuencia del símil: el movimiento propio de la psique se escapa

«Where is the television drama before it appears on your channel — and where does it go afterwards? How can it exist one moment and be finished the next, and yet be replayed when the conditions are correct?» — Seth, según Roberts, plantea las preguntas del símil como preguntas por el estatuto de lo que no está a la vista

«If you understood the mechanics, you would know that the program obviously does not go anywhere. It simply is, while the proper conditions activate it for your attention.» — Seth, según Roberts, responde el símil: el programa no va a ninguna parte, simplemente es, y las condiciones lo activan para la atención

«In the same way, you are alive whether or not you are playing on an earth "program." You are, whether you are in time or out of it.» — Seth, según Roberts, aplica la respuesta a la existencia: se es, se esté dentro o fuera del tiempo

«Hopefully in this book we will put you in touch with your own being as it exists outside of the context in which you are used to viewing it.» — Seth, según Roberts, declara el objetivo del libro: poner al lector en contacto con su ser fuera del contexto en que suele mirarlo

«As you dwell in one particular city or town or village, you presently "live" in one small area of the psyche's inner planet. You identify that area as your home, as your "I."» — Seth, según Roberts, nombra el yo como un domicilio dentro del planeta interior de la psique, no como su extensión entera

«Mankind has learned to explore the physical environment, but has barely begun the greater inner journeys that will be embarked upon as the inner lands of the psyche are joyously and bravely explored.» — Seth, según Roberts, contrapone la exploración del entorno físico, ya aprendida, a los viajes interiores apenas empezados

«In those terms, there is a land of the psyche. However, this virgin territory is the heritage of each individual, and no domain is quite like any other.» — Seth, según Roberts, declara ese territorio herencia de cada quien y a la vez distinto en cada quien

«Yet there is indeed an inner commerce that occurs, and as the exterior continents rise from the inner structure of the earth, so the lands of the psyche emerge from an even greater invisible source.» — Seth, según Roberts, cierra la analogía geológica: como los continentes salen de la estructura interior de la tierra, las tierras de la psique salen de una fuente invisible mayor

«(Louder.) That is the end of dictation for the evening.» — la acotación de Butts que cierra el dictado de la noche, con el cambio de volumen de la voz anotado

«of your faith is based on knowledge. Others have traveled where you have not, and television provides you with images.» — continuación del pasaje del desierto, ya en la plana siguiente: *parte de esa fe se apoya en saber ajeno —otros viajaron donde uno no— y en las imágenes de la televisión*; es la concesión que Seth, según Roberts, hace antes de acotarla

«your senses present you with only a picture of your immediate environment, unless they are cultivated in certain particular manners that are relatively unusual.» — Seth, según Roberts, acota la concesión: los sentidos solo dan el cuadro del entorno inmediato salvo que se cultiven de maneras poco comunes. El tramo arranca aquí porque el troceo parte *how-ever* en el límite de chunk y la mitad *ever,* no es palabra entera

«(At 11:14 Seth delivered a message to a scientist who had written us, finally ending the session at 11:43 P.M.)» — Butts cierra la sesión 752 anotando lo que ocurrió fuera del dictado: un mensaje de Seth para un científico que les había escrito

«SESSION 753, AUGUST 4.1975 9:21 P.M. MONDAY» — el encabezado de la segunda sesión del volumen; el OCR imprime un punto donde va la coma de la fecha

«Now: Dictation (on The Nature of the Psyche: Its Human Expression): As the earth is composed of many environments, so is the psyche.» — Seth, según Roberts, retoma la analogía geográfica al abrir la sesión 753; la acotación entre paréntesis con el título completo es de Butts

«As there are different continents, islands, mountains, seas, and peninsulas, so the psyche takes various shapes.» — Seth, según Roberts, multiplica la analogía: la psique toma tantas formas como accidentes tiene la tierra

«If you live in one country, you often consider natives in other areas of the world as foreigners, while of course they see you in the same light.» — Seth, según Roberts, introduce la extrañeza recíproca entre países para explicar lo que se siente ante los niveles ajenos de la propia psique

«In those terms, the psyche contains many other levels of reality. From your point of view these might appear alien, and yet they are as much a part of your psyche as your motherland is a portion of the earth.» — Seth, según Roberts, sostiene que los niveles que parecen ajenos son tan propios de la psique como la patria lo es de la tierra

«Different countries follow different kinds of constitutions, and even within any geographical area there may be various local laws followed by the populace.» — Seth, según Roberts, extiende la analogía a la ley: cada país tiene constitución y cada comarca sus leyes locales

«In the same manner, different portions of the psyche exist with their own local "laws," their different kinds of "government." They each possess their own characteristic geography.» — Seth, según Roberts, aplica la analogía legal a la psique: cada porción tiene sus leyes, su gobierno y su geografía propios

«If you are traveling around the world, you have to make frequent time adjustments. When you travel through the psyche, you will also discover that your own time is automatically squeezed out of shape.» — Seth, según Roberts, pasa de la geografía al tiempo: viajar por la psique deforma el tiempo propio como viajar por el mundo obliga a ajustar la hora

«If for a moment you try to imagine that you were able to carry your own time with you on such a journey, all packaged neady in a wristwatch, then you would be quite amazed at what would happen.» — Seth, según Roberts, monta el ejercicio del reloj de pulsera que uno llevaría al viaje interior; el OCR imprime *neady* por *neatly*

«As you approached the boundaries of certain psychic lands, the wristwatch would run backwards. As you entered other kingdoms of the psyche your watch would go faster or slower.» — Seth, según Roberts, describe lo que haría ese reloj en las fronteras interiores: correr al revés, acelerarse o frenarse

«Now, if time suddenly ran backward you would notice it. If it ran faster or slower enough, you would also notice the differences.» — Seth, según Roberts, acota el ejercicio por el lado de lo perceptible: solo se notaría el cambio si fuera bastante grande

«In other lands of the psyche, however, even stranger events might occur. The watch itself might change shape, or turn heavy as a rock, or as light as a gas, so that you could not read the time at all. Or the hands might never move.» — Seth, según Roberts, lleva el ejercicio al punto en que el instrumento mismo deja de servir: el reloj cambia de forma, pesa o se detiene

«Different portions of the psyche are familiar with all of these mentioned occurrences — because the psyche straddles any of the local laws that you recognize as "official," and has within itself the capacity to deal with an infinite n u m b e r of reality-hyphen-experiences.» — Seth, según Roberts, declara que la psique cabalga sobre las leyes locales que se tienen por oficiales y puede con un número infinito de experiencias de realidad; el dictado deletrea el guion y Butts lo conserva dentro del texto

«Obviously your physical body has capacities that few of you use to full advantage. But beyond this the species itself possesses the possibilities for adaptations that allow it to exist and persist in the physical environment u n d e r drastically varying circumstances.» — Seth, según Roberts, traza el paralelo entre lo desaprovechado del cuerpo y las adaptaciones latentes de la especie

«Hidden within the corporal biological structure there are latent specializations that would allow the species to continue, and that take into consideration any of the planetary changes that might occur for whatever reasons.» — Seth, según Roberts, sostiene que la estructura biológica guarda especializaciones latentes que contemplan de antemano cualquier cambio planetario

«The psyche, however, while being earth-tuned in your experience, also has many other systems of reality "to contend with." Each psyche, then, contains within it the potentials, abilities, and powers that are possible, or capable of actualization under any conditions.» — Seth, según Roberts, distingue la psique del cuerpo: sintonizada con la tierra en esta experiencia y a la vez con otros sistemas de realidad que atender

«The psyche, your psyche, can record and experience time backward, forward, dash — or sideways through systems of alternate presents (intently) — or it can maintain its own integrity in a no-time environment.» — Seth, según Roberts, enumera las direcciones en que la psique registra el tiempo —atrás, adelante, de lado por presentes alternos— y su capacidad de sostenerse sin tiempo; el dictado deletrea *dash*

«The psyche is the creator of time complexes. Theoretically, the most fleeting moment of your day can be prolonged endlessly.» — Seth, según Roberts, invierte la relación con el tiempo: la psique no está dentro de él, lo crea

«This would not be a static elongation, however, but a vivid delving into that moment, from which all time as you think of it, past and future and all its probabilities, might emerge.» — Seth, según Roberts, acota la prolongación de un instante: no es estiramiento estático sino una zambullida de la que podrían salir el pasado, el futuro y sus probabilidades

«If you are reading this book, you have already become weary with official concepts. You have already begun to sense those greater dimensions of your being.» — Seth, según Roberts, describe a su propio lector: alguien ya cansado de los conceptos oficiales

«That birthright has long been clothed in symbols and mythologies.» — Seth, según Roberts, señala el vestido que esa herencia ha llevado: símbolos y mitologías

«Consciousness forms symbols. It is not the other way around.» — Seth, según Roberts, fija el orden entre los dos términos: la consciencia forma los símbolos y no al revés

«Symbols are great exuberant playthings. You can build with them as you can with children's blocks. You can learn from them, as once you piled alphabet blocks together in a stack at school. Symbols are as natural to your minds as trees are to the earth.» — Seth, según Roberts, describe los símbolos como juguetes con los que se construye y se aprende, tan naturales a la mente como los árboles a la tierra

«There is a difference, however, between a story told to children about forests, and a real child in a real woods. Both the story and the woods are "real." But in your terms the child entering the real woods becomes involved in its life cycle, treads upon leaves that fell yesterday, rests beneath trees far older than his or her memory, and looks up at night to see a moon that will soon disappear. Looking at an illustration of the woods may give a child some excellent imaginative experiences, but they will be of a different kind, and the child knows the difference.» — Seth, según Roberts, acota la analogía con el bosque narrado y el bosque real: los dos son reales, y el niño que entra en el real queda dentro de su ciclo de vida

«If you mistake the symbols for the reality, however, you will program your experience, and you will insist that each forest look like the pictures in your book. In other words, you will expect your own experiences with various portions of your psyche to be more or less the same. You will take your local laws with you, and you will try to tell psychic time with a wristwatch.» — Seth, según Roberts, nombra el riesgo de confundir símbolo y realidad: se programa la experiencia y se exige que cada bosque se parezca a la ilustración del libro

«We will have to use some of your terms, however, particularly in the beginning. Other terms with which you are familiar, we will squeeze out of all recognition.» — Seth, según Roberts, declara el trato que dará al vocabulario del lector: usar algunos términos y estrujar otros hasta que no se reconozcan

«The reality of your own being cannot be defined by anyone but you, and then your own definition must be understood as a reference point at best.» — Seth, según Roberts, acota incluso la definición propia del lector: a lo sumo un punto de referencia

«The psychologist, the priest, the physicist, the philosopher or the guru, can explain your own psyche to you only insofar as those specialists can forget that they are specialists, and deal directly with the private psyche from which all specializations come.» — Seth, según Roberts, pone la condición bajo la cual un especialista puede explicarle a alguien su psique: olvidando que lo es y tratando con la psique privada de la que salen todas las especializaciones

«Jane's trance had lasted for just one hour. "He's really going to town — I can tell, " she said.» — Butts anota la duración del trance y lo que Roberts dice al salir sobre el empuje del dictado

«You are ready to step aside from all conventionalized doctrines, and to some extent or another you are» — Seth, según Roberts, describe la disposición que le supone al lector: apartarse de las doctrinas convencionalizadas; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«impatient to examine and experience the natural flowing nature that is your birthright.» — continuación del pasaje anterior, ya en la plana siguiente: *el lector está impaciente por examinar y experimentar la naturaleza fluyente que es su derecho de nacimiento*

«SESSION 755, SEPTEMBERS, 1975 8:59 P.M. MONDAY» — el encabezado de la tercera sesión del volumen; el OCR funde el día con el mes e imprime *SEPTEMBERS*

«Because of the press of other matters following the 753rd session — my work doing the notes for Seth's "Unknown" Reality, Jane's involvement in writing a new introduction for one of her own books that's coming out in a new paperback edition, and a stream of unexpected visitors — we didn't hold any sessions for several weeks.» — Butts explica el hueco de varias semanas entre sesiones por el trabajo de los dos y las visitas inesperadas

«[The paperback in question is The Coming of Seth, originally published in hardcover as How to Develop Your ESP Power.]» — Butts identifica entre corchetes el libro de Roberts que salía en rústica, con su título anterior

«Then in the 754th session, on August 25, Seth gave an excellent dissertation on what he called "the stamp of identity " — explaining how the individual psychically marks certain exterior aspects of reality and "makes them his or her own," in tune with personal inner symbols.» — Butts resume una sesión que no entró en el libro: la del sello de identidad, por el que alguien marca psíquicamente aspectos exteriores de la realidad y los hace suyos

«Later in the session Jane felt that Seth was taking her on a guided tour of Jerusalem, way back in the first century A.D.» — Butts consigna lo que Roberts sintió en aquella sesión con el verbo *felt*, que lo da como impresión de ella y no como hecho

«None of this consisted of book work, though, so the session remains in our files along with other material that we hope to publish one day.» — Butts declara el criterio que separa lo que entra en el volumen de lo que queda en el archivo de la casa

«An hour before she went into trance this evening, Jane told me that she could get several channels from Seth, each one concerning a different subject, and that "we'd better see" which one came through tonight.» — Butts consigna lo que Roberts le dijo antes de la sesión: que podía obtener de Seth varios canales sobre asuntos distintos y que habría que ver cuál venía

«When I use the term "psyche," many of you will immediately wonder about my definition.» — Seth, según Roberts, abre la sesión 755 anticipando la pregunta por la definición, que es lo que va a negar

«Any word, simply by being thought, written or spoken, immediately implies a specification. In your daily reality it is very handy to distinguish one thing from another by giving each item a name.» — Seth, según Roberts, concede la utilidad de nombrar en la vida diaria antes de acotarla

«When you are dealing with subjective experience, however, definitions can often serve to limit rather than express a given experience.» — Seth, según Roberts, acota la utilidad del nombre: en la experiencia subjetiva la definición limita más que expresa

«Obviously the psyche is not a thing. It does not have a beginning or ending. It cannot be seen or touched in normal terms.» — Seth, según Roberts, enumera lo que la psique no es: cosa, con principio y fin, visible o tocable

«It is useless, therefore, to attempt any description of it through usual vocabulary, for your language primarily allows you to identify physical rather than nonphysical experience.» — Seth, según Roberts, da la razón del límite: la lengua está hecha para identificar lo físico

«I am not saying that words cannot be used to describe the psyche,» — Seth, según Roberts, acota su propia negativa: no dice que las palabras no puedan describir la psique. El tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«but they cannot define it. It is futile to question: "What is the difference between my psyche and my soul, my entity and my greater being?" for all of these are terms used in an effort to express the greater portions of your own experience that you sense within yourself.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *las palabras no definen la psique, y preguntar por la diferencia entre psique, alma, entidad y ser mayor es fútil, porque todos esos términos son intentos de expresar la misma porción de la experiencia propia*

«Your use of language may make you impatient for definitions, however. Hopefully this book will allow you some intimate awareness, some definite experience, that will acquaint you with the nature of your own psyche, and then you will see that its reality escapes all definitions, defies all categorizing, and shoves aside with exuberant creativity all attempts to wrap it up in a neat package.» — Seth, según Roberts, declara lo que el libro ofrece en lugar de definiciones —conciencia íntima, experiencia definida— y sostiene que la realidad de la psique se escapa de toda definición

«When you begin a physical journey, you feel yourself distinct from the land through which you travel. No matter how far you journey — on a motorcycle, in a car or plane, or on foot — (gesturing to me as Seth, Jane then changed the sentence) by bicycle or camel, or truck or vessel, still you are the wanderer, and the land or ocean or desert is the environment through which you roam.» — Seth, según Roberts, fija el contraste que va a romper: en el viaje físico el viajero se siente distinto de la tierra que recorre

«When you begin your travels into your own psyche, however, everything changes. You are still the wanderer, the journeyman or journey-woman — but you are also the vehicle and the environment. You form the roads, your method of travel, the hills or mountains or oceans, as well as the hills, farms, and villages of the self, or of the psyche, as you go along.» — Seth, según Roberts, describe lo propio del viaje interior: el viajero es también el vehículo y el entorno, y va formando el camino a medida que avanza; la acotación sobre el gesto de Butts que hace cambiar la frase es de él mismo

«When in colonial times men and women traveled westward across the continent of North America, many of them took it on faith that the land did indeed continue beyond — for example — towering mountains. When you travel as pioneers through your own reality, you create each blade of grass, each inch of land, each sunset and sunrise, each oasis, friendly cabin or enemy encounter as you go along.» — Seth, según Roberts, opone a los colonos que daban por fe la tierra del otro lado de la montaña al viajero de la psique, que crea cada brizna y cada encuentro conforme avanza

«Now if you are looking for simple definitions to explain the psyche, I will be of no help.» — Seth, según Roberts, declara de frente lo que el libro no dará

«If you want to experience the splendid creativity of your own being, however, then I will use methods that will arouse your greatest adventuresomeness, your boldest faith in yourself, and I will paint pictures of your psyche that will lead you to experience even its broadest reaches, if you so desire.» — Seth, según Roberts, declara en cambio el método: despertar el atrevimiento y la fe del lector en sí mismo y pintarle cuadros de su psique

«The psyche, then, is not a known land. It is not simply an alien land, to which or through which you can travel. It is not a completed or nearly» — Seth, según Roberts, niega tres figuras de la psique —tierra conocida, tierra ajena que se recorre, universo subjetivo ya completo—; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«complete subjective universe already there for you to explore. It is, instead, an ever-forming state of being, in which your present sense of existence resides. You create it and it creates you.» — continuación del pasaje anterior, ya en la plana siguiente: *la psique es un estado de ser que se forma sin parar, donde reside el sentido presente de existir, y la relación es recíproca: uno la crea y ella lo crea a uno*

«It creates in physical terms that you recognize. On the other hand, you create physical time for your psyche, for without you there would be no experience of the seasons, their coming and their passing.» — Seth, según Roberts, reparte el intercambio: la psique crea en términos físicos reconocibles y el que vive crea el tiempo físico para ella

«There would be no experience of what Ruburt (Seth's "entity" name for Jane) calls "the dear privacy of the moment,» — Seth, según Roberts, cita una frase de la propia Roberts y la nombra por su nombre de entidad; la glosa entre paréntesis que explica quién es Ruburt es de Butts

«so if o n e portion of your being wants to rise above the solitary march of the moments, other parts of your psyche rush, delighted, into that particular time-focus that is your own.» — Seth, según Roberts, describe el movimiento inverso: mientras una porción del ser quiere salir de la marcha de los instantes, otras se precipitan encantadas hacia ese foco temporal

«As you now desire to understand the timeless, infinite dimensions of your own greater existence, so "even now" multitudinous elements of that nonearthly identity just as eagerly explore the dimensions of earthbeing and creaturehood.» — Seth, según Roberts, hace simétrico el deseo: el que quiere entender lo intemporal es explorado a la vez por elementos de su identidad no terrestre que quieren la condición de criatura

«Earlier I mentioned some odd effects that might occur if you tried to take your watch or other timepiece into other levels of reality. Now, when you try to interpret your selfhood in other kinds of existence, the same surprises or distortions or alterations can seem to occur.» — Seth, según Roberts, retoma el ejercicio del reloj para aplicarlo a la identidad interpretada en otros órdenes de existencia

«When you attempt to understand your psyche, and define it in terms of time, then it seems that the idea of reincarnation makes sense.» — Seth, según Roberts, sitúa la reencarnación como lo que parece razonable cuando se define la psique en términos de tiempo

«You think "Of course. My psyche lives many lives physically, one after the other. If my present experience is dictated by that in my childhood, then surely; my current life is a result of earlier ones.» — Seth, según Roberts, pone en boca del lector el razonamiento reencarnacionista, calcado del razonamiento por la infancia

«And so you try to define the psyche in terms of time, and in so doing you limit your understanding and even your experience of it.» — Seth, según Roberts, objeta a esa definición temporal que limita a la vez la comprensión y la experiencia de la psique

«Let us try another analogy; You are an artist in the throes of inspiration. There is before you a canvas, and you are working in all areas of it at once.» — Seth, según Roberts, abre la analogía del pintor que trabaja a la vez en todas las zonas del lienzo; el OCR imprime punto y coma donde va el dos puntos

«In your terms each part of the canvas could be a time period — say, a given century. You are trying to keep some kind of overall balance and purpose in mind, so when you make one brushstroke in any particular portion of this canvas, all the relationships within the entire area can change. No brushstroke is ever really wiped out, however, in this mysterious canvas of our analogy, but remains, further altering all the relationships at its particular level.» — Seth, según Roberts, hace de cada zona del lienzo una época: una pincelada cualquiera cambia todas las relaciones del conjunto, y ninguna se borra nunca

«These magical brushstrokes, however, are not simple representations on a flat surface, but alive, carrying within themselves all of the artist's intent, but focused through the characteristics of each individual stroke.» — Seth, según Roberts, acota la analogía: las pinceladas no son representaciones en una superficie plana sino algo vivo que lleva dentro la intención entera del artista

«If the artist paints a doorway, all of the sensed perspectives within it open, and add further dimensions of reality.» — Seth, según Roberts, deja abierta la puerta pintada: las perspectivas que contiene se abren de veras

«Since this is our analogy, we can stretch it as far as we like — far further than any artist could stretch his canvas (leaning forward humorously). Therefore, there is no need to limit ourselves. The canvas itself can change size and shape as the artist works.» — Seth, según Roberts, declara que la analogía no tiene los límites del lienzo material; la acotación sobre el gesto humorístico es de Butts

«The people in the artist's painting are not simple representations either — to stare back at him with forever-fixed glassy eyes, or ostentatious smiles (again humorously), dressed in their best Sunday clothes. Instead, they can confront the artist and talk back. They can turn sideways in the painting and look at their companions, observe their environment, and even look out of the dimensions of the painting itself and question the artist.» — Seth, según Roberts, da vuelta a los retratados: no miran con ojos fijos sino que contestan, se vuelven hacia sus compañeros y hasta interrogan al artista desde dentro del cuadro

«Now the psyche in our analogy is both the painting and the artist, for the artist finds that all of the elements within the painting are portions of himself.» — Seth, según Roberts, cierra el primer movimiento de la analogía: la psique es el cuadro y el pintor a la vez, porque los elementos del cuadro son porciones de él

«More, as he looks about, our artist discovers that he is literally surrounded by other paintings that he is also producing. As he looks closer, he discovers that there is a still-greater masterpiece in which he appears as an artist creating the very same paintings that he begins to recognize.» — Seth, según Roberts, encaja la analogía dentro de sí misma: el pintor se ve rodeado de otros cuadros suyos y descubre una obra maestra mayor en la que él figura pintándolos

«Jane was really charged up from the day's events: She'd received the first six copies of her poetry book Dialogues of the Soul and Mortal Self in Time, which was just off the press at Prentice-Hall» — Butts anota lo que había pasado ese día en la casa: la llegada de los primeros ejemplares del libro de poemas de Roberts

«Our artist then realizes that all of the people he painted are also painting their own pictures, and moving about in their own realities in a way that even he cannot perceive.» — Seth, según Roberts, extiende la autonomía de los retratados: pintan sus propios cuadros y se mueven en realidades que el primer artista no percibe

«In a flash of insight it occurs to him that he also has been painted — that there is another artist behind him from whom his own creativity springs, and he also begins to look out of the frame.» — Seth, según Roberts, cierra la serie hacia arriba: el artista descubre que también a él lo han pintado y empieza a mirar fuera del marco

«Now: If you are confused, that is fine — for it means that already we have broken through conventional ideas.» — Seth, según Roberts, declara la confusión del lector como señal de que las ideas convencionales se rompieron, no como fallo

«Again, rather than trying to define the psyche, I will try to incite your imagination so that you can leap beyond what you have been told you are, to some kind of direct experience.» — Seth, según Roberts, repite el método en lugar de la definición: incitar la imaginación para saltar de lo que se le ha dicho al lector a experiencia directa

«To some extent this book itself provides its own demonstration. I call Jane Roberts "Ruburt" (and, hence, "he" and "him") simply because the n a m e designates another portion of her reality, while she identifies herself as Jane.» — Seth, según Roberts, hace del libro mismo la prueba de lo que sostiene y explica el doble nombre: Ruburt designa otra porción de la realidad de ella, que se identifica como Jane

«She writes her own books and carries on as each of you do in life's ordinary context. She has her own unique likes and dislikes, characteristics and abilities; her own time and space slot as each of you do. She is one living portrait of the psyche, independent in her own context, and in the environment as given.» — Seth, según Roberts, sostiene la independencia de Roberts en su propio contexto: sus libros, sus gustos, su hueco de tiempo y espacio

«Now I come from another portion of reality's picture, from another dimension of the psyche in which your existence can be observed, as you might look upon a normal painting.» — Seth, según Roberts, declara desde dónde habla dentro de la analogía: otra dimensión de la psique desde la que se observa la existencia del lector

«In those terms, I am outside of your "frame" of reference. My perspective cannot be contained in your own painting of reality. I write my books, but because my primary focus is in a reality that "is larger than your own," I cannot appear as myself fully within your reference.» — Seth, según Roberts, acota su propia aparición: escribe libros pero no puede presentarse entero dentro de la referencia del lector, porque su foco primario está en otra realidad

«So Ruburt's subjective perspective opens u p because of his desire and interest, and discloses my own. He opens u p a door in himself that leads to other levels of his being, but a being that cannot be completely expressed in your world.» — Seth, según Roberts, explica el mecanismo del libro por el deseo y el interés de ella, que abren una puerta hacia niveles de su ser no expresables enteros en este mundo

«That existence is mine, expressed in my experience at another level of reality, so I must write my books through Ruburt. Doors in the psyche are different from simple openings that lead from one room to another, so my books only show a glimpse of my own existence.» — Seth, según Roberts, acota lo que de él se ve: sus libros son un vistazo de su existencia, porque las puertas de la psique no son aberturas entre cuartos

«You all have such psychological doors, however, that lead into dimensionally greater areas of the psyche, so to some extent or another I speak for those other aspects of yourselves that do not appear in your daily context.» — Seth, según Roberts, generaliza esas puertas a todos los lectores y declara hablar por los aspectos de ellos que no aparecen en el contexto diario

«Beyond what 1 recognize as my own existence, there are others. To some extent I share in their experience — to a far greater extent, for example, than Ruburt shares in mine.» — Seth, según Roberts, consigna que hay otros más allá de lo que él reconoce como existencia propia, y mide su participación en ellos por comparación con la de ella en la suya; el OCR imprime la *I* como cifra 1

«On some relatively few occasions, for example, Ruburt has been able to contact what he calls "Seth Two." That level of reality, however, is even further divorced from your own.» — Seth, según Roberts, nombra un tercer nivel que ella ha contactado pocas veces y que él declara aún más apartado del del lector

«It represents an even greater extension of the psyche, in your terms. (Longpause.) There is a much closer relationship, in that I recognize my own identity as a distinct portion of Seth Two's existence, where Ruburt feels little correspondence.» — Seth, según Roberts, reparte el reconocimiento de manera desigual: él se reconoce porción distinta de esa existencia mayor y ella apenas siente correspondencia

«In a manner of speaking, Seth Two's reality includes my own, yet I am aware of my contribution to "his" experience.» — Seth, según Roberts, describe la inclusión como recíproca y pone entre comillas el género que le atribuye a ese nivel

«In the same way, each of my readers has a connection with the same level of psychic reality. In greater terms, all of this is happening at once.» — Seth, según Roberts, extiende esa conexión a cada lector y declara que todo ello ocurre a la vez

«Ruburt is contributing and forming a certain portion of my experience, even as I am contributing to his.» — Seth, según Roberts, hace del intercambio una formación mutua: ella forma parte de la experiencia de él como él de la de ella

«Your identities are not something already completed. Your most minute action, thought, and dream adds to the reality of your psyche, no matter how grand or austere the psyche may appear to you when you think of it as a hypothetical term.» — Seth, según Roberts, cierra el capítulo sobre la identidad: ni acabada ni austera, cada acción, pensamiento y sueño mínimos suman a la realidad de la psique

«Seth did continue with personal material for both of us. Ordinarily he'd have ended the session after that. This evening, however, Jane felt so much energy that Seth returned for some more book dictation — the first time a session has worked out that way as far as I can remember.» — Butts anota la excepción de esa noche: Roberts sintió tanta energía que Seth volvió a dictar libro después del material personal, cosa que él no recordaba que hubiera ocurrido antes

«You all have physical reality to deal with. This applies equally to Ruburt and Joseph (Seth !s entity name for me). Thus far, my books have» — Seth, según Roberts, iguala a los dos de la casa con el lector en lo de tener que vérselas con la realidad física, y nombra a Butts por su nombre de entidad; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«included Joseph's extended notes. They have set the scene, so to speak. My books have gone beyond those boundaries, however.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *hasta ahora los libros llevaban las notas extensas de Butts, que ponían la escena, y los libros han rebasado ese límite*

«In this new book, therefore, I will sometimes provide my own "scene setting." The psyche's production, in other words, has escaped practical, physical bounds, so that from my level of reality I can no longer expect Joseph to do more than record the sessions.» — Seth, según Roberts, anuncia que él mismo pondrá la escena, porque desde su nivel ya no puede esperar de Butts más que el registro de las sesiones

«I will ask you, my readers, to bear with me then. In my own way, I will try to provide suitable references so that you know what is going on physically in your time, as this book is written.» — Seth, según Roberts, se compromete a dar las referencias que sitúen al lector en el tiempo físico en que el libro se escribe

«Largely, the writing of this book occurs in a "no-time, or out-of-time context." Physically, however, Ruburt and Joseph take many hours in its production.» — Seth, según Roberts, distingue los dos tiempos de la producción: el suyo fuera del tiempo y las muchas horas físicas de los dos

«They have moved to a new house. Ruburt, as usual, is smoking as I speak. His foot rests upon a coffee table, as he moves back and forth in his rocking chair. It is nearing midnight as I speak (at 11:42). Earlier, a great thunderstorm raged, its reverberations seeming to crack the sky. Now it is quiet, with only the drone of Ruburt's new refrigerator sounding like the deep purr of some mechanical animal.» — Seth, según Roberts, cumple lo prometido y describe la escena de la sesión desde dentro: la casa nueva, el cigarro, la mecedora, la hora, la tormenta que acaba de pasar y el refrigerador

«As you read this book, you are also immersed in such intimate physical experiences. Do not consider them as separated from the greater reality of your being, but as a part of it. You do not exist outside of your psyche's being, but within it.» — Seth, según Roberts, empareja la escena de la sesión con la del lector y niega que lo cotidiano esté fuera de la realidad mayor del ser

«Some of you may have just put children to bed as you read these lines. Some of you may be sitting at a table. Some of you may have just gone to the bathroom. These mundane activities may seem quite divorced from what I am telling you, yet in each simple gesture, and in the most necessary of physical acts, there is the great magical unknowing elegance in which you reside — and in the most ordinary of your motions, there are clues and hints as to the nature of the psyche and its human expression.» — Seth, según Roberts, cierra el capítulo uno enumerando gestos comunes y sosteniendo que en los más necesarios de los actos físicos hay indicios de la naturaleza de la psique y de su expresión humana

«(Loudly and humorously.) End of Chapter One, and end of session.» — la acotación con que Butts cierra la sesión, con el tono de la voz anotado

«Dictation: Ruburt has specialized in a study of consciousness and the psyche. Most of my readers are very interested, yet they have» — Seth, según Roberts, distingue a Roberts de sus lectores por la especialización y no por la capacidad; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«other pressing concerns that prevent them from embarking upon such an extended study.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *a los lectores interesados se lo impiden otras urgencias*

«your terms, only so much can be done in time. Joseph is even now involved in typing my previous manuscript (The "Unknown " Reality). It was written in such a way that it tied the personal experience of Ruburt and Joseph in with a greater theoretical framework, so that one could not be separated from the other.» — Seth, según Roberts, da la razón práctica del cambio de formato: Butts está ocupado con el tomo anterior, escrito de modo que la experiencia personal de los dos quedaba trabada con el armazón teórico. El tramo arranca aquí porque el cambio de plana parte la frase tras el *In*

«t was 11:50. Jane had been in an excellent trance state. After we talked for a few minutes, she added: "My God, I've got Chapter Two.» — Butts abre el capítulo dos con la hora y con lo que Roberts dijo al salir del trance; la capitular se pierde en el troceo y el chunk imprime el arranque descabezado, *t was*

«No, it's too late! I don't have the heading for Chapter One yet, but I've got it for the next one.» — Roberts, citada por Butts, consigna el desorden en que llegan los títulos: tiene el del capítulo dos antes que el del uno

«She looked bleary, her eyes dark. I told her she appeared to be too tired to continue.» — Butts anota el estado físico de Roberts y su propia objeción a seguir esa noche

«"No, I'm not, " she retorted. Her denial was both funny and dogged, for I could see that she was tired.» — Butts consigna la negativa de Roberts y su propio desacuerdo con ella, sin resolverlo

«The heading is: 'Your Dreaming Psyche Is Awake. '"Then Seth came through at once:)» — Roberts dicta el título del capítulo dos y Butts anota que Seth entró enseguida

«You have hypnotized yourselves so that it seems to you that there are great divisions between your waking and your sleeping experience.» — Seth, según Roberts, abre el capítulo dos atribuyendo a una autohipnosis la separación que se siente entre vigilia y sueño

«Yet each of you will fall sleep tonight, and you will have experiences that you forget only because you have been told that you cannot remember them.» — Seth, según Roberts, atribuye el olvido de los sueños a lo que se ha enseñado y no a una incapacidad; el troceo imprime *fall sleep*

«Many of the other dimensions of your own reality appear clearly when you are sleeping, however. When you sleep, you forget all definitions that you have placed upon yourself» — Seth, según Roberts, sostiene que al dormir se sueltan las definiciones que el entrenamiento puso sobre uno mismo

«In sleep you use images and languages in their pure form.» — Seth, según Roberts, declara que en el sueño la imagen y la lengua se usan en forma pura

«In the dream state, languages and images are wedded in a way that seems alien only because you have forgotten their great alliance.» — Seth, según Roberts, describe la unión de lengua e imagen en el sueño como alianza olvidada, no como rareza

«Initially, language was meant to express and release, not to define» — Seth, según Roberts, invierte la función de la lengua: expresar y soltar antes que definir y limitar; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«and limit. So when you dream, images and language merge often, so that each becomes an expression of the other and each fulfills the other. The inner connections between each are practically used.» — continuación del pasaje anterior, ya en la plana siguiente: *al soñar, imagen y lengua se funden, cada una expresa y completa a la otra, y las conexiones interiores entre ambas se usan de hecho*

«When you awaken, you try to squeeze the psyche's language into terms of definition. You imagine that language and images are two different things, so you try to "put them together." In dreams, however, you use the true ancient language of your being.» — Seth, según Roberts, describe lo que la vigilia le hace a la lengua de la psique: la estruja en definiciones y separa imagen y palabra para luego juntarlas, mientras en el sueño se usa la lengua antigua del ser

«That will be enough for now. End of session. As Ruburt would say: "Peace and cheers.» — Seth, según Roberts, cierra la sesión con una fórmula que él mismo atribuye a ella

«Jane has decided that she '11 let my ordinary session notes — brief as they are — suffice for Psyche, and that she'll add few, if any, of her own.» — Butts consigna la decisión de Roberts sobre el aparato de este volumen: las notas mínimas de él bastan y ella escribirá una introducción

«Before Seth finished dictating Chapter Two, Jane got from him mentally the heading for Chapter One, and inserted it into this manuscript.» — Butts consigna cómo se resolvió el título que faltaba: Roberts lo obtuvo mentalmente de Seth, fuera de sesión, y lo insertó en el manuscrito

«SESSION 756, SEPTEMBER22,1975 9:17 P.M. MONDAY» — el encabezado de la cuarta sesión; el OCR pega el día al mes

«Jane is involved in writing notes of her own — she's had three dream visits to what certainly seemed to be probable realities, and is describing those in her own records.» — Butts consigna lo que Roberts registraba por su cuenta esos días: tres visitas en sueños a lo que parecían realidades probables

«Your "dreaming" psyche seems to be dreaming only because you do not recognize that particular state of awareness as your own.» — Seth, según Roberts, explica el nombre de soñar por el desconocimiento: ese estado de conciencia no se reconoce como propio

«The "dreaming" psyche is actually as awake as you are in your normal waking life. The organization of wakefulness is different, however. You come into dreaming from a different angle, so to speak.» — Seth, según Roberts, iguala la vigilia de la psique soñante con la de la vigilia común y sitúa la diferencia en la organización y en el ángulo de entrada

«The "off-center" quality sensed in dream activity, comma, the different viewpoints, the perspective alterations, all can add to a chaotic picture when the dream state is viewed from the waking one.» — Seth, según Roberts, atribuye a la mirada desde la vigilia el cuadro caótico del sueño; el dictado deletrea la coma y Butts la conserva dentro del texto

«Centuries ago, in your terms, words and images had a closer relationship — now somewhat tarnished — and this older relationship appears in the dream fabric.» — Seth, según Roberts, data en siglos atrás una relación más estrecha entre palabra e imagen, hoy deslustrada, que reaparece en el tejido del sueño

«The great descriptive nature of names, for instance, can give you an indication of the unity of image and word as they appear in your dreams. Once, a man who tailored clothes was named 'Tailor." A man who was a robber was called "Robber." If you were the son of a man with a certain name, then "son of" was simply added, so you had "Robberson." Each reader can think of many such examples.» — Seth, según Roberts, apoya la tesis en los apellidos de oficio y de filiación del inglés, donde el nombre aún describe

«Now, names are not as descriptive. You may have a dream, however, in which you see a tailor's shop. The tailor may be dancing or dying or getting married. Later, in waking life, you may discover that a friend of yours, a Mr. Taylor (spelled), has a party, or dies, or gets married, whatever the case may be;» — Seth, según Roberts, contrapone el nombre actual, ya no descriptivo, y el sueño del sastre que se cumple en un conocido apellidado Taylor; la acotación *spelled* es de Butts sobre el deletreo de la voz

«yet you might never connect the dream with the later event because you did not understand the way that words and images can be united in your dreams.» — Seth, según Roberts, da la razón de que esos avisos pasen inadvertidos: no se entiende cómo se unen palabra e imagen en el sueño

«Your waking life is the result of the most precise kind of organization, held competendy and with amazing clarity. While each person views that reality from a slighdy different focus, still it occurs within certain ranges or frequencies.» — Seth, según Roberts, describe la vigilia como organización precisa, con foco distinto en cada quien dentro de ciertos rangos; el OCR imprime *competendy* y *slighdy*

«You bring it into clear focus in almost the same way that you adjust your television picture, only in this case not only sound and images are synchronized, but phenomena of far greater complexity. Following this analogy, everyone sees a slightly different picture of reality, and follows his or her own program — yet all of the "sets" are the same.» — Seth, según Roberts, monta la analogía del televisor: cada quien ve un cuadro algo distinto y sigue su programa, y los aparatos son el mismo

«When you dream, however, you are to some extent experiencing reality from a different "set" entirely. Now, when you try to adjust your dreaming set in the same way that you would the waking one, you end up with static and blurred images.» — Seth, según Roberts, explica la borrosidad del sueño por el ajuste equivocado: se sintoniza el aparato del sueño como si fuera el de la vigilia

«The set itself, however, is quite as effective as the one you use when you are awake, and it has a far greater range. It can bring in many programs.» — Seth, según Roberts, acota a favor del aparato del sueño: igual de eficaz y de rango mucho mayor

«Ruburt and Joseph often watch old Star Trek reruns (humorously) as they eat their evening meal.» — Seth, según Roberts, mete en el dictado la escena doméstica de los dos ante la televisión, que va a servirle de analogía; la acotación del tono es de Butts

«As they sit thus comfortably ensconced (leaning forward with a smile), they observe dramas in which planets explode, and otherworld intelligences rise to challenge or to help the dauntless captain of the good ship Enterprise and the fearless "Spock" — but none of this threatens our friends, Ruburt and Joseph. They drink their coffee and eat their dessert.» — Seth, según Roberts, remata la escena: los planetas estallan en la pantalla y los dos siguen con su café, porque el drama no los amenaza; el troceo parte *other-world* por el guion de fin de renglón y `span()` lo devuelve fundido, restitución declarada aquí y no tocada dentro de las comillas

«Now: Your normal waking reality can be compared to a kind of television drama in which you participate directly in all of the dramas presented. You create them to begin with.» — Seth, según Roberts, aplica la analogía a la vigilia: no se observa el drama, se participa en él y además se lo crea

«You form your private and joint adventures, and bring them into experience by using your physical apparatus — your body — in a particular way, tuned in to a large programming area in which, however, there are many different stations. In your terms, these stations come alive.» — Seth, según Roberts, describe el cuerpo como el aparato con que se sintoniza una zona de programación de muchas estaciones, que en este caso cobran vida

«You are the drama that you experience, and all of your activities seem to revolve about you. You are also the perceiver.» — Seth, según Roberts, junta los dos papeles que la vigilia reparte: se es el drama y el que lo percibe

«In the dream state, it is as if you have a still-different television set that is, however, connected with your own. Using it, you can perceive events not only from your own viewpoint, but from other focuses. Using that set, you can leap from station to station, so to speak — not simply perceiving, but experiencing what is happening in other times and places.» — Seth, según Roberts, describe el aparato del sueño como conectado con el de la vigilia y capaz de saltar de estación y de experimentar, no solo percibir, otros tiempos y lugares

«Events, then, are organized in a different fashion. Not only can you experience dramas in which you are intimately involved, as in waking life, but your range of activities is multiplied so that you can view events "from outside" your own usual context. You can look down at a drama on the one hand, for example, and participate in it as well.» — Seth, según Roberts, sitúa la diferencia en la organización de los acontecimientos: en el sueño se puede mirar el drama desde fuera y participar en él a la vez

«When you are dealing with normal waking reality, you are operating at one level of the many that are native to your psyche.» — Seth, según Roberts, declara la vigilia un nivel entre los muchos nativos de la psique, no el nivel

«When you are dreaming, from your viewpoint you are entering other levels of reality quite as native to your psyche, but usually you are still experiencing those events through your current "waking station"» — Seth, según Roberts, acota lo que se alcanza al soñar: otros niveles igual de nativos, pero experimentados todavía por la estación de vigilia

«The dreams that you remember are colored or altered or even censored to a certain extent. There is no inherent psychological or biological necessity for this. Your ideas and beliefs, however, about the nature of reality, and sanity, have resulted in such a schism.» — Seth, según Roberts, atribuye la censura del sueño recordado a las ideas sobre la realidad y sobre la cordura, y niega que haya necesidad psicológica o biológica de ella

«Ruburt and Joseph know that Star Trek is not "real." Planets can explode on the television screen, and Ruburt will not spill one drop of coffee.» — Seth, según Roberts, retoma la escena para medir el grado de amenaza que se concede a cada drama

«Yet in a way the program reflects certain beliefs of your society in general, and so it is like a specialized mass waking dream — real but not real.» — Seth, según Roberts, llama al programa un sueño colectivo de vigilia, real y no real a la vez, porque refleja creencias de la sociedad

«For a moment, though, let us change the program to your favorite cops-and-robbers show. A woman is shot down in the street. Now this drama becomes "more real," more immediately probable, less comfortable. So watching such a program, you may feel slightly threatened yourself, yet still largely unconcerned.» — Seth, según Roberts, gradúa la amenaza cambiando de programa: la mujer abatida en la calle es más probable y por eso incomoda más

«Some of my friends may not watch such programs at all, but instead look at wholesome sagas, or religious dramas. A preacher may stand golden-faced, earnest-eyed, extolling the merits of goodness and damning the legions of the devil — and to some of my readers that devil, unseen, never appearing, may nevertheless seem quite real.» — Seth, según Roberts, sigue la escala hasta el predicador y el demonio que nunca aparece y que a algunos lectores les parece del todo real

«You form certain focuses, then, You will blithely ignore certain televised dangers as sheer good adventure, while others may strike you to the heart as "too real."» — Seth, según Roberts, saca la regla de la escala: uno mismo forma los focos y decide qué peligro televisado es aventura y cuál le llega al corazón

«So in your waking and dreaming experiences, you will make the same kind of distinctions. You will be touched or untouched by waking or dreaming events according to the significance you place upon them.» — Seth, según Roberts, aplica la regla a los dos estados: lo que toca a alguien, despierto o dormido, es lo que él mismo carga de significado

«If you do not like a television program, you can switch to another with a mere flick of the wrist. If you do not like your own physical experience, you can also change to another, more beneficial station — but only if you recognize the fact that you are the producer.» — Seth, según Roberts, condiciona el cambio de estación en la propia experiencia al reconocimiento de que uno es el productor

«In the dream state, many people have learned to escape from a bad dream by waking up, or altering the focus of consciousness.» — Seth, según Roberts, consigna la salida que muchos ya practican en el sueño: despertar o cambiar el foco de la conciencia

«When you are in the middle of a frightening physical experience, however, or caught in the throes of a nightmare, then you wish you knew how to "change the station."» — Seth, según Roberts, nombra el momento en que esa destreza haría falta y no se tiene

«You can often get carried away by a television drama, so that for a moment you forget that it is "not real," and in your concentration upon it you can momentarily ignore the greater reality about you.» — Seth, según Roberts, describe el arrastre del drama: por un momento se olvida que no es real y se ignora la realidad mayor alrededor

«Sometimes you are deliciously frightened by a horror program, for example. You may feel compelled to see how it comes out, and find yourself unable to go to bed until the horrendous situation is resolved. All the time you know that salvation is nearby: You can always switch off the program.» — Seth, según Roberts, señala lo que hace soportable el miedo del espectador: saber que la salvación está al alcance de la mano

«If someone watching a gory midnight» — Seth, según Roberts, empieza el caso del espectador que grita; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«special suddenly screams or shouts or leaps up from the chair, how comical this seems, because the action is appropriate not to the "real" situation, but geared instead to a pseudodrama. T h e yelling and screaming will have absolutely no effect upon the program's actors, and will alter the drama not one whit. The appropriate action would be to turn the station off.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *el grito del espectador es cómico porque la acción no corresponde a la situación real sino a un pseudodrama, no altera el programa en nada, y lo que correspondería es apagar la estación*

«In this case, the frightened perceiver knows full well that the terrible events on the screen will not suddenly explode into the living room.» — Seth, según Roberts, marca lo que el espectador sí sabe y que el que vive un suceso temible olvida

«When you become caught in frightening physical events, however, it is equally foolhardy to yell or shout or stamp your feet, because that is not where the action is» — Seth, según Roberts, traslada la comicidad del grito al que se ve atrapado en sucesos físicos temibles: allí tampoco está la acción; la acotación de la sonrisa es de Butts

«Again, you have only to change your station. But often you become so engrossed in your life situation that you do not realize the inappropriateness of your response.» — Seth, según Roberts, acota por qué no se hace lo que correspondería: el enfrascamiento en la propia situación impide ver que la respuesta no corresponde

«In this case you are yourself the programmer, and the true action is not where it appears to be — in the exterior events — but instead in the psyche, where you are writing and performing the drama. In the dream state, you are writing and performing many such dramas.» — Seth, según Roberts, sitúa la acción verdadera en la psique, donde se escribe y se actúa el drama, y no en los acontecimientos exteriores

«SESSION 758, OCTOBER 6,1975 9.14 P.M. MONDAY» — el encabezado de la quinta sesión; el OCR imprime punto donde va el dos puntos de la hora

«(Session 757 was devoted to other matters that Jane and I were interested in.)» — Butts consigna el destino de la sesión que no entró en el libro, y con ello el criterio de selección del volumen

«Using an analogy again, the brain is quite capable of operating on innumerable "frequencies," each presenting its own picture of reality to the individual, each playing upon the physical senses in a certain manner, organizing available data in its own specialized way, and each dealing somewhat differently with the body itself and with the contents of the mind.» — Seth, según Roberts, atribuye al cerebro la capacidad de operar en innumerables frecuencias, cada una con su cuadro de realidad y su trato distinto con el cuerpo

«Generally speaking, you use one particular frequency in waking life. Therefore it seems there is no other reality than the one you recognize — and no greater data available than those with which you are normally familiar.» — Seth, según Roberts, deriva de la frecuencia única de la vigilia la apariencia de que no hay más realidad ni más datos que los conocidos

«Events seem to happen to you. Often it seems that you have no more control over the drama of your own life than you have over the outcome of a television program.» — Seth, según Roberts, describe el efecto de esa frecuencia única: los sucesos parecen ocurrirle a uno, sin más control que sobre un programa de televisión

«Sometimes, however, your own dreams or inspirations startle you by giving you information that is usually not available in the recognized order of events.» — Seth, según Roberts, nombra la excepción que rompe el cuadro: el sueño o la inspiración que traen información fuera del orden reconocido

«You are so conditioned that even when you sleep you try to monitor your experiences, and to interpret dream events according to the habitual frequency that you have learned to accept as the only criterion of reality.» — Seth, según Roberts, describe el condicionamiento que alcanza al sueño mismo: se vigila la experiencia y se interpreta según la frecuencia habitual

«For that matter, the body is naturally well-equipped to handle "projection of consciousness," or out-of-body travel, whatever you prefer to call it. Your biological makeup includes mechanisms that allow a certain portion of your consciousness to leave your body and return. These mechanisms are a part of the nature of animals as well.» — Seth, según Roberts, declara natural y biológico el viaje fuera del cuerpo, con mecanismos que también tienen los animales

«The body is equipped to perceive many other kinds of experiences that are not officially recognized as native to human experience. To one extent or another, then, you learn to constandy monitor your behavior, so that it conforms to the established criteria set up for sane or rational experience.» — Seth, según Roberts, opone la capacidad del cuerpo al monitoreo constante de la conducta para que quepa en los criterios de cordura; el OCR imprime *constandy*

«You are social creatures, as the animals are. Despite many of your cherished, erroneous beliefs, your nations exist as the result of cooperation, not competition, as do all social groupings.» — Seth, según Roberts, objeta a la creencia de la competencia y sostiene que las naciones y todo agrupamiento social existen por cooperación

«The set criteria of reality, therefore, operate as organizing, psychic, and physical frameworks. There is still more flexibility within those frameworks, however, than is recognized.» — Seth, según Roberts, describe esos criterios como armazones organizadores y a la vez más flexibles de lo que se reconoce

«You still try to carry your own cultural versions of reality into the dream state, for example, but the natural heritage of both body and mind escapes such repression — and despite yourselves, in your dreams you come in touch with a greater picture of reality that will not be shunted aside.» — Seth, según Roberts, sostiene que la herencia natural del cuerpo y de la mente se escapa de esa represión y que en el sueño se toca un cuadro mayor de la realidad

«There is nothing inherent in the waking state that causes it to be so limited. The boundaries set are your own.» — Seth, según Roberts, niega que el límite de la vigilia sea propio de ella y lo devuelve a quien lo pone

«T h e body naturally heals itself, for example. Many give lip service to such a belief.» — Seth, según Roberts, distingue entre la creencia declarada en la curación natural del cuerpo y la que de veras se practica

«In actuality, however, most of you believe — and experience — a far different picture, in which the body must be protected at all costs from a natural leaning toward disease and poor health. Viruses must be warded off, as if you had no protection against them.» — Seth, según Roberts, describe el cuadro que de hecho se vive: un cuerpo que hay que proteger a toda costa de su propia inclinación a la enfermedad

«T h e natural healing that often occurs in the dream state is u n d o n e in the waking state, in which any such cure is seen as "miraculous" and against "the rules."» — Seth, según Roberts, sostiene que la vigilia deshace la curación del sueño al leerla como milagro y como infracción

«Yet in your dreams, you often see quite correctly the reasons for your physical difficulties, and begin a therapy that you could consciously take advantage of. Waking, however, you forget — or you do not trust what you remember.» — Seth, según Roberts, atribuye al sueño el diagnóstico correcto y el inicio de una terapia que al despertar se olvida o no se cree

«On occasion, definite physical cures happen in the d r e a m state, even though you may think that you are intellectual and knowing when you are awake, and ignorant or half-insane in your dreams. If you were that "dumb" in the waking state, then you would be in far better health.» — Seth, según Roberts, invierte el reparto de inteligencia entre vigilia y sueño con ironía: si se fuera así de tonto despierto, se estaría mucho más sano

«In such dreams you tune in to other frequencies that are, indeed, closer to your biological integrity, but there is n o reason why you cannot do so in the waking state.» — Seth, según Roberts, acota que esas frecuencias más cercanas a la integridad biológica también se alcanzan despierto

«When such seeming miracles occur, it is because you have transcended your usual official beliefs about your body and its health, and disease, and so allowed nature to take its course.» — Seth, según Roberts, explica el aparente milagro por la suspensión de las creencias oficiales sobre el cuerpo

«Often in the dream state you become truly awake, and grab ahold of your spirithood and creaturehood with both hands, so to speak, understanding that each has a far greater reality then you have been led to suppose.» — Seth, según Roberts, describe el despertar dentro del sueño como toma simultánea de la condición de espíritu y de criatura

«Quite literally, however, when you are dreaming you are tuning in to different frequencies and biologically your body responds to those on many levels.» — Seth, según Roberts, sostiene que el sueño sintoniza de veras otras frecuencias y que el cuerpo les responde biológicamente en muchos niveles

«is no laughing matter. The comfort of social discourse represents one of the great building blocks of families and civilizations.» — continuación del pasaje sobre el animal social, que la plana anterior corta en *To be ostracized*: *quedar excluido no es cosa de risa, y el trato social es uno de los grandes bloques con que se construyen las familias y las civilizaciones*

«More often, however, there are instead only blurred glimpses and tantalizing views of a more expansive kind of experience.» — Seth, según Roberts, acota lo que de hecho ocurre casi siempre: vistazos borrosos de una experiencia más amplia

«Suppose that you turned on your television set to watch a program, for example, and found that through some malfunction a massive bleed-through had occurred so that several programs were scrambled, and yet appeared at once, seemingly without rhyme or reason. No theme would be apparent. Some of the characters might be familiar, and others, not. A man dressed as an astronaut might be riding a horse, chasing the Indians, while an Indian chief piloted an aircraft. If all of this was transposed over the program that you expected, you would indeed think that nothing made any sense.» — Seth, según Roberts, monta la analogía de los programas entreverados por una avería, con el astronauta a caballo y el jefe indio pilotando

«Each character, however, or portion of a scene, would represent in fragmented form another quite valid program [or reality, in brackets]. In the dream state, then, you are sometimes aware of too many stations.» — Seth, según Roberts, resuelve la analogía: cada fragmento del revoltijo es un programa válido, y en el sueño se está a veces consciente de demasiadas estaciones; los corchetes que aclaran *or reality* son del propio dictado según la acotación

«When you try to make them fit into your recognized picture of reality, they may seem chaotic. There are ways to bring the picture into focus: There are ways to tune into those other quite-natural frequencies, so that they present you with a more expansive view both of the world as you define it, and of its greater aspects.» — Seth, según Roberts, declara que hay maneras de enfocar el cuadro y sintonizar esas frecuencias naturales, que dan una vista más amplia del mundo

«The psyche is not encased, in your case (amused), within a frame too fragile to express it. Only your beliefs about the psyche and about the body limit your experience to its present degree.» — Seth, según Roberts, niega que el marco encierre a la psique y devuelve el límite a las creencias sobre ella y sobre el cuerpo; la acotación del tono es de Butts

«In dreams you are so "dumb" that you believe there is a commerce between the living and the dead.» — Seth, según Roberts, empieza la serie irónica de lo que el durmiente cree: que hay comercio entre vivos y muertos; la acotación del gesto de broma es de Butts

«You are so "irrational" as to imagine that you sometimes speak to parents who are dead. You are so "unrealistic" that it seems to you that you visit old houses, long ago torn down, or that you travel in exotic foreign cities that you have actually never visited.» — Seth, según Roberts, sigue la serie con los padres muertos, las casas demolidas y las ciudades nunca visitadas, todas entre comillas de burla

«In dreams you are so "insane" that you do not feel yourself locked in a closet of time and space, but feel instead as if all infinity but waited your beckoning.» — Seth, según Roberts, cierra la serie con la imagen del que no se siente encerrado en el ropero del tiempo y el espacio

«The physicists have their hands on the doorknob. If they paid more attention to their dreams, they would know what questions to ask.» — Seth, según Roberts, sitúa a los físicos con la mano en el picaporte y les señala dónde están las preguntas que les faltan

«The psyche is a gestalt of aware energy in which your own identity resides, inviolate, yet ever-changing as you fulfill your potentials.» — Seth, según Roberts, da aquí una de las pocas formulaciones directas de lo que la psique es: una gestalt de energía consciente donde reside la identidad, inviolada y en cambio continuo

«Your dead relatives survive. They often appear to you in the dream state.» — Seth, según Roberts, afirma la supervivencia de los parientes muertos y su aparición en el estado de sueño

«You usually interpret their visitations, however, in terms of your own station of reality. You see them as they were, confined to their relationship with you, and you usually do not perceive or remember other aspects of their existences that would not make sense in terms of your own beliefs.» — Seth, según Roberts, acota lo que de esas visitas se percibe: se los ve como eran y confinados a su relación con uno

«So, often such dreams are like programmed dramas, in that you clothe such visitations in familiar props.» — Seth, según Roberts, llama a esos sueños dramas programados, vestidos con la utilería conocida

«The same sort of thing frequently occurs when you experience extraordinary flashes of inspiration, or perceive other unofficial data. Quickly you try to make sense of such material in usual terms.» — Seth, según Roberts, extiende el mismo mecanismo a los destellos de inspiración y a los datos no oficiales

«An out-of-body experience into another level of reality becomes a visit to heaven, for example; or the heretofore-unrecognized voice of your own greater identity becomes the voice of God, or a spaceman or prophet.» — Seth, según Roberts, da las traducciones corrientes de lo no reconocido: el cielo, la voz de Dios, el hombre del espacio, el profeta; es una consignación sobre cómo se fabrican esas lecturas, no sobre su verdad

«Your dreaming experience, however, gives you a guideline that will help you understand the nature of your own psyche, and the deeper reality in which it has its being. Again: The dreaming psyche is awake.» — Seth, según Roberts, cierra el capítulo dos repitiendo el título como tesis: la psique soñante está despierta

«By now we saw that he was dividing his sessions often into two sections — book dictation, then discussions either on other topics, or private material for us.» — Butts consigna la forma que van tomando las sesiones: primero dictado de libro y después otros asuntos o material privado

«matters more confusing you may automatically try to interpret the dream events according to your usual picture of reality, and switch channels, so to speak, as you waken.» — Seth, según Roberts, añade la confusión que pone el propio durmiente al interpretar el sueño según su cuadro de vigilia; el tramo arranca aquí porque el cambio de plana parte la frase tras *To make*

«If you were as knowledgeable and crafty when you were awake, then you would put all religions and sciences out of business, for you» — Seth, según Roberts, saca la consecuencia de la serie irónica: con ese saber despierto se dejaría sin oficio a religiones y ciencias; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«would understand the greater reality of your psyche. You would know "where the action is.» — continuación del pasaje anterior, ya en la plana siguiente: *se entendería la realidad mayor de la propia psique y se sabría dónde está la acción*

«I nodded, but I'd had a particularly interesting dream, experience last night, and I also hoped that Seth might discuss that. As you '11 see, he managed to do both, winding a discussion of my dream into his own material about the psyche.» — Butts declara su propia expectativa antes de la sesión y lo que Seth hizo con ella: trenzar el sueño de él con el material del libro; la coma después de *dream* es del troceo

«It deals with a different kind of experience than the one with which you are physically familiar, although that experience is also a part of the psyche. Daily life is a focus taken on the part of that portion of the psyche you call you, and there are many other such focuses.» — Seth, según Roberts, describe la vida diaria como uno entre muchos focos que toma la porción de la psique a la que se llama yo

«The psyche is never destroyed. Nor is that unique individuality of your own ever minimized.» — Seth, según Roberts, afirma que la psique no se destruye y que la individualidad propia no se aminora

«The psyche's experiences straddle your ideas of time, however. It seems to you quite definitely that you come alive and die. At your particular focus of consciousness, no arguments will suffice to convince you otherwise, for you are everywhere presented with the physical evidence of "fact."» — Seth, según Roberts, concede la fuerza de la evidencia física contra su propia tesis: en ese foco de conciencia ningún argumento convence de lo contrario

«You may believe in an afterlife to some extent or another, or you may or may not be convinced by the general theory of reincarnation.» — Seth, según Roberts, deja abierta la creencia del lector en la otra vida y en la reencarnación antes de señalar en qué sí coinciden todos

«But certainly most of you are united in the seemingly irrefutable belief that you are definitely alive now, and not dead. Dead people do not read books.» — Seth, según Roberts, nombra la creencia común —estar vivo ahora y no muerto— y la apoya en un dato de sentido común. El tramo arranca en la plana 41 tras el corte de chunk, que reemite el marcador

«(Amused:) On the other hand, dead people do not usually write books either — now do they?» — Seth, según Roberts, devuelve el dato de sentido común hacia sí mismo, con la acotación del tono puesta por Butts

«In a strange manner I am telling you that your "life" is simply the only portion of your existence of which you are presendy aware. In greater terms, you are alive and dead at the same time, even as I am.» — Seth, según Roberts, formula la tesis sin suavizarla: la vida es la porción de la existencia de la que se está consciente, y se está vivo y muerto a la vez

«My focus, however, is in an area that you do not perceive. Again: Existences are like notes played along certain frequencies. You are tuned in to an earth song, following this analogy, but you are only following your own melody, and usually you are unaware of the greater orchestration in which you also take part.» — Seth, según Roberts, retoma la analogía musical: las existencias son notas en ciertas frecuencias y cada quien sigue su melodía sin oír la orquestación mayor

«Sometimes in dreams you do tune in to a greater picture, but again, certain things appear to be facts, and against these so-called facts even definite experiences can appear ludicrous or chaotic.» — Seth, según Roberts, explica por qué el cuadro mayor del sueño parece absurdo: se lo mide contra lo que se tiene por hechos

«Joseph wondered, however, at this mixture of the living and the dead. It would be easy to think that the dream foresaw Joseph's own death, and that of his brother and sister-in-law. You follow your own time sequences, however. The psyche is not so limited. To it, your death has already occurred, from your standpoint. Yet it is also true that from its standpoint, your birth has not yet happened.» — Seth, según Roberts, descarta la lectura premonitoria del sueño y da la razón: para la psique la muerte de uno ya ocurrió y su nacimiento aún no

«There, you can meet with relatives long dead, or with children not yet born. There, you can meet other portions of your own personhood that exist simultaneously with your own.» — Seth, según Roberts, enumera con quiénes se encuentra uno en ese marco: parientes muertos, niños no nacidos y otras porciones de la propia persona

«In that framework the so-called living and the so-called dead can mix freely. In such circumstances you are literally becoming aware of other perspectives of existence. You are turning corners of being and discovering multidimensional depths of the psyche.» — Seth, según Roberts, llama a esa mezcla un doblar la esquina del ser, y marca con *so-called* que los dos términos son convencionales

«Artists use perspective on a flat surface to try to capture there the feelings and experiences of depth that are, in themselves, alien to the flat canvas, or paper or board. The artist may vividly evoke the image of a disappearing road that appears to be broad in the picture's foreground, only to turn smaller and smaller until it seems to vanish in some distant hidden point. No physical person will walk that road, however. An ant crawling upon such a canvas would hasten across just another flat surface, and be quite unaware of the inviting avenue and any painted fields or mountains.» — Seth, según Roberts, monta la analogía de la perspectiva pintada y de la hormiga que cruza el lienzo sin ver el camino ni los campos

«Now in the dream state, you suddenly become aware on occasion of greater perspective. This perspective cannot "work" at your usual level of consciousness, any more than the artist's perspective will work for the ant's — though there is much you could learn from an ant's consciousness (intently). Say that I smiled.» — Seth, según Roberts, aplica la analogía: la perspectiva mayor del sueño no funciona en la conciencia ordinaria como la del cuadro no funciona para la hormiga, y añade que de la conciencia de la hormiga habría mucho que aprender

«Your own waking consciousness deals specifically with certain kinds of distinctions. These help form the very structure of physical existence. They highlight your lives, providing them also with a kind of frame.» — Seth, según Roberts, atribuye a las distinciones de la vigilia la estructura misma de la existencia física

«When an artist paints a picture, he uses discrimination. He or she chooses one area of concentration. Everything within the painting fits; so in your physical lives, you do the same thing.» — Seth, según Roberts, vuelve al pintor que escoge una zona de concentración y hace que todo case dentro del cuadro

«The artist knows that many pictures can be painted, and holds in mind paintings already produced and those in the planning stage as well. So the psyche holds equally lives in progress, lived or not yet lived, and deals with a greater perspective from which your ordinary perspective emerges.» — Seth, según Roberts, extiende la analogía a las vidas: la psique tiene a la vez las vividas, las en curso y las no vividas

«I often speak of you and the psyche as if they were separate, yet of course this is not the case. You are that portion of the psyche that you presently recognize.» — Seth, según Roberts, enmienda su propio modo de hablar: el que escucha es la porción de la psique que él mismo reconoce

«Many people say: "I want to know myself," or "I want to find myself," when the truth is that few really want to take the dme or effort. (Pause.) There is one place to begin, however: Try becoming better acquainted with the self you are now. Stop telling yourself that you do not know yourself.» — Seth, según Roberts, objeta al deseo declarado de conocerse y da el ejercicio mínimo: conocer mejor al yo que ya se es y dejar de repetirse que no se conoce; el OCR imprime *dme* por *time*

«There is little use in trying to discover other levels of your own reality if you insist upon applying the laws of physical life to your own larger experience. Then you will always be in a quandary, and no facts will fit.» — Seth, según Roberts, pone la primera condición: no aplicar las leyes de la vida física a la experiencia mayor

«You cannot, however, insist that the laws of your vaster existence, as you discover them, supersede the physical conditions of known life — for then no facts would apply either.» — Seth, según Roberts, pone la condición simétrica, que es la que suele saltarse: tampoco las leyes de la existencia vasta se imponen sobre las condiciones físicas

«You will expect to live forever in the same physical body, or think that you can levitate with your body at will.» — Seth, según Roberts, nombra los dos errores que salen de saltarse esa segunda condición

«You can indeed levitate, but not with your physical body, practically speaking in operational terms. You accepted a body, and that body will die.» — Seth, según Roberts, concede la levitación y la acota en la misma frase: no con el cuerpo físico, que se aceptó y que morirá

«It has limitations, but these also serve to highlight certain kinds of experience. The body in which our friend, Joseph, viewed his relatives (in the dream mentioned earlier) was not operationally physical. It was quite real, however, and at another level of reality it was operational, suited to its environment.» — Seth, según Roberts, sostiene que el cuerpo del sueño de Butts no era operacionalmente físico y sí del todo real en su nivel; la aclaración entre paréntesis es de Butts

«Now, in many ways you simply have a brief attention span.» — Seth, según Roberts, reabre el dictado tras la pausa con el diagnóstico más escueto del capítulo

«The "true facts" are that you exist in this life and outside it simultaneously. You are "between lives" and "in lives" at once.» — Seth, según Roberts, entrecomilla los hechos verdaderos y los enuncia: se existe dentro y fuera de esta vida al mismo tiempo

«Last night our friend, Joseph, had a dream experience that intrigued him, and yet seemed highly distorted. He found himself greeting a large number of people. He believed them to be family» — Seth, según Roberts, refiere el sueño de Butts de la noche anterior; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«members, though he only recognized some. His parents, known to be dead, were there. A brother and a sister-in-law, who are alive, were also present. The brother was definitely himself, yet somehow altered in appearance, his features having an Oriental cast. T h e entire dream was very pleasant, and seemed to be like a home coming.» — continuación del pasaje anterior, ya en la plana siguiente: *estaban sus padres, que se sabe muertos, y un hermano y una cuñada vivos; el hermano era él mismo con los rasgos alterados, de corte oriental, y el sueño entero fue agradable, como una vuelta a casa*

«Quite simply, you want to experience a certain» — Seth, según Roberts, explica los límites por el deseo; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«kind of reality, so you put boundaries about events, that allow you to concentrate upon them.» — continuación del pasaje anterior, ya en la plana siguiente: *se quiere cierta clase de realidad y por eso se ponen fronteras a los acontecimientos, que permiten concentrarse en ellos*

«only affect the life you know, but also reach into all of those other simultaneous existences. What you think now is unconsciously perceived by some hypothetical 14th-century self.» — continuación, ya en la plana siguiente, con el ejemplo con que Seth, según Roberts, aterriza la tesis: un yo hipotético del siglo XIV percibiría inconscientemente lo que hoy se piensa

«T h e psyche is open-ended. No system is closed, psychological systems least of all.» — Seth, según Roberts, declara la psique abierta por el extremo y niega que ningún sistema sea cerrado, y menos los psicológicos

«Your life is a dreaming experience to other portions of your greater reality which focus elsewhere. Their experiences are also a part of your dream heritage.» — Seth, según Roberts, invierte la relación entre vigilia y sueño: la vida de uno es experiencia onírica para otras porciones de su realidad mayor, y lo de ellas es herencia onírica suya

«You may ask how real are those other existences, but if so you must ask in whose terms.» — Seth, según Roberts, desvía la pregunta por la realidad de esas existencias hacia los términos en que se pregunta

«Existence has a physical version. In that framework you are born and die, and in a definite sequence. Death is a physical reality. It is real, however, only in physical terms.» — Seth, según Roberts, concede la realidad de la muerte y la acota en la misma frase: es real en términos físicos

«If you accept those terms as the only criterion of reality then surely it appears that death is an end to your consciousness.» — Seth, según Roberts, deriva la conclusión que se sigue de tomar esos términos por únicos

«If, however, you learn to know yourself better in daily life to become more fully aware even of your earthly life, then you will indeed receive other information that hints of a deeper, m o r e supportive reality, in which physical existence rests.» — Seth, según Roberts, propone el camino contrario: conocerse mejor en la vida diaria para recibir noticia de la realidad más honda en que descansa la existencia física

«You will find yourself having experiences that do not fit recognized facts. These can add up to an alternate set of facts, pointing toward a different kind of reality, and give evidence for an inner existence that takes precedence over the physical assumptions.» — Seth, según Roberts, describe cómo se acumula el saber alterno: experiencias que no casan con los hechos reconocidos y que suman a otro conjunto de hechos

«A certain kind of discretion and understanding is necessary, however. Basically the i n n e r reality is the creative source of the physical one. Yet to some extent, the physical rules are also inviolate — at their level.» — Seth, según Roberts, acota de nuevo en dos direcciones: la realidad interior es la fuente creadora de la física y las reglas físicas son inviolables en su nivel

«You can learn to vastly enrich your own experience. Theoretically, you can even become aware of other existences to some degree. You can travel in the dream state into levels of reality separated from your own. You can learn to use and experience time in new fashions. You can obtain knowledge from other portions of your own being, and tap the psyche's resources.» — Seth, según Roberts, enumera lo que sí está al alcance: conciencia de otras existencias, viaje en sueños, uso nuevo del tiempo, conocimiento de otras porciones del ser

«You can improve the world in which you live, and the quality of life. But while you are physical, you will still experience birth and death, dawn and dusk, a n d the privacy of the moments, for this is the experience you have chosen.» — Seth, según Roberts, cierra la enumeración con su límite: mientras se sea físico habrá nacimiento y muerte, porque esa es la experiencia elegida

«Even within that context, however, there are surprises and enchantments waiting, if you simply learn to expand your awareness, exploring not only the dream state, but your waking reality in more adventuresome ways.» — Seth, según Roberts, deja la salida dentro del propio límite: expandir la conciencia explorando el sueño y también la vigilia

«inactive, relatively speaking, so that you are only half aware of the life that you have. You are your psyche's living expression, its human manifestation.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, da la fórmula que enlaza con el título del libro: el lector es la expresión viva de su psique, su manifestación humana

«Yet you allow yourselves often to become blind to brilliant aspects of your own existence.» — Seth, según Roberts, remata la objeción: uno se vuelve ciego a los aspectos brillantes de su propia existencia

«In Joseph's dream, his brother's features had an Oriental cast. Joseph knew that his brother lived as himself, and also as an Oriental, unknown to Joseph in his present life. If Joseph had seen two people — one his brother and one an Oriental — he would not have recognized the stranger, so in the dream his brother's known appearance dominated, while the Oriental affiliation is merely sug» — Seth, según Roberts, resuelve el detalle del sueño de Butts: el hermano vive también como oriental, y el sueño deja dominar la apariencia conocida porque al desconocido no se lo habría reconocido

«In your own lives you will use such psychic shorthand, or utilize symbols in which you try to explain the greater dimensions of one reality in terms of the known one.» — Seth, según Roberts, generaliza el procedimiento y le da nombre: una taquigrafía psíquica que explica una realidad en términos de la conocida

«Again, the dimensions of the psyche must be experienced, to whatever degree. They cannot be simply defined.» — Seth, según Roberts, repite la negativa a definir y la sustituye por la experiencia

«In the following chapter, then, I will suggest some exercises that will allow you direct experience with portions of your own reality that may have escaped you thus far.» — Seth, según Roberts, anuncia el aparato práctico del capítulo tres: ejercicios de experiencia directa

«The deeper dimensions of reality are such that your thoughts and actions not» — Seth, según Roberts, extiende el efecto de pensamientos y actos más allá de la vida conocida; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«Many of you have allowed your normal waking consciousness to become blurred» — Seth, según Roberts, objeta al estado de la conciencia despierta, que declara borrosa; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«Chapter Three: "Association, the Emotions, and a Different Frame of Reference." That is the heading.» — Seth, según Roberts, dicta el título del capítulo tres con la acotación de énfasis humorístico puesta por Butts; la capitular se pierde en el troceo y el chunk abre descabezado

«You normally organize your experience in terms of time. Your usual stream of consciousness is also highly associative, however.» — Seth, según Roberts, distingue las dos organizaciones de la experiencia: la temporal y la asociativa

«Certain events in the present will remind you of past ones, for example, and sometimes your memory of the past will color present events.» — Seth, según Roberts, describe la asociación en las dos direcciones: el presente recuerda el pasado y el recuerdo tiñe el presente

«Association or no, physically you will remember events in time, with present moments neatly following past ones.» — Seth, según Roberts, concede que el recuerdo físico sigue el orden del tiempo

«T h e psyche deals largely with associative processes, however, as it organizes events through association. Time as such has little meaning in that framework.» — Seth, según Roberts, contrapone la organización de la psique: asociativa, y con el tiempo casi sin peso

«Associations are tied together, so to speak, by emotional experience. In a large manner, the emotions defy time.» — Seth, según Roberts, nombra lo que ata las asociaciones —la experiencia emocional— y declara que las emociones desafían al tiempo

«SESSION 762, DECEMBER 15,1975 9:10 P.M. MONDAY» — el encabezado de la sesión 762, con la que arranca el cuerpo del capítulo tres

«Sessions 760-61 were devoted to separate topics that Seth has been developing apart from his regular book dictation for Psyche.» — Butts consigna las sesiones que quedan fuera del volumen, y con ello el hueco de numeración entre la 758 y la 762

«"I feel half massive, but half relaxed, too, "fane said as we waited for the session to begin.» — Roberts, citada por Butts, describe su estado antes de la sesión; el OCR imprime *fane* por *Jane*

«I think all of this psychic stuff that I'm half aware of has to be organized and expressed in our world — Seth, Cezanne, this book — so that we can make sense of the whole thing.» — Roberts, citada por Butts, enuncia su propio criterio de trabajo: que lo psíquico a medias percibido tiene que organizarse y expresarse en este mundo

«Her reference to the French painter, Paul Cezanne, involves an experience that she began just the other day. Since Seth discusses this himself in the session, I'll let him carry on from here.» — Butts remite al lector al propio dictado para la explicación de lo que le pasaba a Roberts con Cézanne, en vez de explicarlo él

«When you are in touch with your psyche, you experience direct knowledge. Direct knowledge is comprehension.» — Seth, según Roberts, iguala el conocimiento directo con la comprensión y lo opone al indirecto de la lectura

«When you are reading a book, you are experiencing indirect knowledge that may or may not lead to comprehension.» — Seth, según Roberts, acota el estatuto de la lectura, el libro propio incluido: conocimiento indirecto que puede o no llevar a comprensión

«Comprehension itself exists whether or not you have the words — or even the thoughts — to express it.» — Seth, según Roberts, separa la comprensión de las palabras y hasta de los pensamientos que la expresarían

«You may comprehend the meaning of a dream without understanding it at all in verbal terms. Your ordinary thoughts may falter, or slip and slide around your inner comprehension without ever really coming close to expressing it.» — Seth, según Roberts, da el caso del sueño comprendido y no entendido, con el pensamiento resbalando alrededor sin alcanzarlo

«Dreams deal with associations and with emotional validities that often do not seem to make sense in the usual world.» — Seth, según Roberts, nombra el material del sueño: asociaciones y validez emocional, que no casan con el mundo corriente

«I said before that no one can really give you a definition of the psyche. It must be experienced. Since its activities, wisdom and perception rise largely from another kind of reference, then you must often learn to interpret» — Seth, según Roberts, repite la negativa a definir y pone la tarea del que la experimenta: traducirla a su yo habitual

«One of the largest difficulties here is the issue of organization. In regular life, you organize your experience very neady and push it into accepted patterns or channels, into preconceived ideas and beliefs. You tailor it to fit time sequences.» — Seth, según Roberts, nombra la dificultad principal y la describe: en la vida corriente la experiencia se empuja a patrones aceptados y a secuencias de tiempo; el OCR imprime *neady* y *push it into*

«Again: The psyche's organization follows no such learned predisposition. Its products can often appear chaotic simply because they splash over your accepted ideas about what experience is.» — Seth, según Roberts, explica por qué los productos de la psique parecen caóticos: se derraman por encima de las ideas aceptadas sobre lo que es la experiencia

«In Seth Speaks I tried to describe certain extensions of your own reality in terms that my readers could understand.» — Seth, según Roberts, sitúa este libro en la serie describiendo lo que intentó en el segundo volumen

«In The Nature of Personal Reality I tried to extend the practical boundaries of individual existence as it is usually experienced. I tried to give the reader hints that would increase practical, spiritual, and physical enjoyment and fulfillment in daily life.» — Seth, según Roberts, describe el propósito del tercer volumen de la serie: extender los límites prácticos de la existencia individual

«Those books were dictated by me in a more or less straight narrative style.» — Seth, según Roberts, califica de narración más o menos recta la forma de los volúmenes anteriores, por contraste con este

«In "Unknown " Reality I went further, showing how the experiences of the psyche splash outward into the daylight, so to speak. Hopefully in that book, through my dictation and through Ruburt's and Joseph's experiences, the reader could see the greater dimensions that touch ordinary living, and sense the psyche's magic.» — Seth, según Roberts, describe el paso siguiente de la serie: mostrar cómo lo de la psique salpica a la luz del día por la experiencia de los dos

«That book required m u c h m o r e work on Joseph's part, and that additional effort itself was a demonstration that the psyche's events are very difficult to pin down in time.» — Seth, según Roberts, hace del trabajo de anotación de Butts una demostración de la tesis: los sucesos de la psique no se dejan fijar en el tiempo

«Seemingly its action goes out in all directions. It may be easier to say, for example: 'This or that event began at such a time, a n d ended later at such-and-such a time." As Joseph did his notes, however, it became apparent that some events could hardly be so pinpointed, and indeed seemed to have no beginning or end.» — Seth, según Roberts, contrapone la fórmula cómoda del suceso con principio y fin a lo que Butts halló al anotar: sucesos que no se dejaban fijar

«Because you tie your experience so directly to time, you rarely allow yourselves any experiences, except in dreams, that seem to defy it. Your ideas about the psyche therefore limit your experience of it.» — Seth, según Roberts, cierra el círculo entre idea y experiencia: las ideas sobre la psique limitan lo que de ella se experimenta

«Ruburt is far more lenient than most of my readers in that regard. Still, he often expects his own rather unorthodox experiences to appear in the kind of orderly garb with which you are all familiar.» — Seth, según Roberts, acota la excepción que ella representa: más suelta que sus lectores y aun así esperando que lo suyo venga con ropa ordenada

«In our last book session, I gave the title for this chapter, mentioning the emotions and association; and the fact that the psyche must be directly experienced.» — Seth, según Roberts, resume dónde quedó el dictado y qué anunció

«I have not dictated a book session per se again until this evening. In the meantime, Ruburt has been experiencing dimensions of the psyche new to him.» — Seth, según Roberts, explica el hueco entre sesiones de libro por lo que a ella le estaba pasando

«Our cat, Willy, woke up and insisted upon climbing into Jane's lap as she sat in trance. I finally had to deposit him in the writing room and close the door.» — Butts anota la interrupción del gato en mitad del trance: el aparato de este volumen registra también lo doméstico

«It did not occur to him that those experiences had anything to do with this book, or that in acting so spontaneously he was following any kind of inner order. He wanted these pages to follow neatly one by one.» — Seth, según Roberts, consigna que ella no veía relación entre lo que le pasaba y este libro, y que quería las páginas en orden

«Each of his experiences, however, demonstrates the ways» — Seth, según Roberts, declara que lo que a ella le ocurre es caso de la tesis del capítulo; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«in which the psyche's direct experiences defy your prosaic concepts of time, reality, and the orderly sequence of events. They also served to point up the differences between knowledge and comprehension, and emphasize the importance of desire and of the emotions.» — continuación del pasaje anterior, ya en la plana siguiente: *las experiencias directas de la psique desafían los conceptos prosaicos de tiempo, realidad y orden de los sucesos, marcan la diferencia entre conocimiento y comprensión y subrayan la importancia del deseo y de las emociones*

«In a way, of course, my own experience is divorced from that of my readers. As this information — the Seth material — is sifted through Ruburt's experience, you are able to see how it applies to the existence that is "presently" yours.» — Seth, según Roberts, declara el papel de ella como criba: el material pasa por su experiencia y así se le ve la aplicación a la existencia del lector

«Ruburt's experiences of late are particularly important, in that by implication they run counter to many accepted core beliefs that are generally held.» — Seth, según Roberts, señala lo que da peso a esos episodios: que van a contrapelo de creencias nucleares muy extendidas

«We will use these latest episodes as an opportunity to discuss the presence of knowledge that appears to be "supernormal" — available, but usually untouched.» — Seth, según Roberts, anuncia el asunto del capítulo: el conocimiento que parece supranormal, disponible y sin tocar

«We will further describe the triggers that can make such information practical, or bring it into practical range.» — Seth, según Roberts, anuncia la segunda parte del asunto: los disparadores que vuelven práctico ese conocimiento

«You are born with the inclination toward language. Language is implied in your physical structure. You are born with the inclination to learn and to explore.» — Seth, según Roberts, declara la lengua implicada en la estructura física y la inclinación a aprender como algo con lo que se nace

«When you are conceived, there is already a complete pattern for your grown physical body — a pattern that is definite enough to give you the recognizable kind of adult form, while variable enough to allow for literally infinite variations» — Seth, según Roberts, describe el patrón del cuerpo adulto presente ya en la concepción, bastante definido para dar forma reconocible y bastante variable para infinitas variaciones

«It would be idiotic of you to say that you were forced to become an adult, however. For one thing, at any given time you could end the process — and many do.» — Seth, según Roberts, separa el patrón de la coacción y consigna que el proceso puede terminarse en cualquier momento, como muchos hacen

«In other words, because the pattern for development exists in your terms, this does not mean that each such development is not unique.» — Seth, según Roberts, niega que la existencia del patrón quite la unicidad de cada desarrollo

«In your terms again, then, at any one earth time many such patterns exist. In greater respects however, all time is simultaneous, and so all such physical patterns exist at once.» — Seth, según Roberts, acota lo anterior con su fórmula habitual —*in your terms*— y sostiene que en la simultaneidad del tiempo todos los patrones físicos existen a la vez

«Rest your fingers. Get Ruburt some cigarettes. I will keep him in trance. Do you want to rest?» — Seth, según Roberts, se dirige a Butts en mitad del dictado y declara que la mantendrá en trance: el volumen deja ver el manejo de la sesión desde dentro

«In the psychic areas, all patterns for knowledge, cultures, civilizations, personal and mass accomplishments, sciences, religions, technologies and arts, exist in the same fashion.» — Seth, según Roberts, traslada el modelo del patrón biológico a lo psíquico: culturas, ciencias, religiones, técnicas y artes existen del mismo modo

«The private psyche, the part of you that you do not recognize, is aware of those patterns even as it is aware of private physical biological patterns about which it forms your image.» — Seth, según Roberts, atribuye a la psique privada la conciencia de esos patrones y de los biológicos con los que forma la imagen del cuerpo

«Certain leanings, inclinations, and probabilities are present then in your biological structure, to be triggered or not according to your purposes and intents.» — Seth, según Roberts, hace del propósito y la intención el disparador de lo que la estructura biológica contiene

«You may personally have the ability to be a fine athlete, for example. Yet your inclinations and intents may carry you in a different direction, so that the necessary triggers are not activated.» — Seth, según Roberts, da el caso del don que no se dispara porque las inclinaciones llevan a otra parte

«Each individual is gifted in a variety of ways. His or her own desires and beliefs activate certain abilities and ignore others.» — Seth, según Roberts, reparte el don entre todos y hace de deseos y creencias el selector

«The [human] species has built into it all of the knowledge, information, and "data" that it can possibly n e e d u n d e r any and all conditions. This heritage must be triggered psychically, however, as a physical mechanism such as a music is triggered through desire or intent.» — Seth, según Roberts, sostiene que la especie trae incorporado todo el conocimiento que pueda necesitar, y que la herencia se dispara psíquicamente; los corchetes de *human* son del aparato del volumen

«This does not mean that you learn what in larger terms you already know; as for example, if you learn a skill. Without the triggering desire, the skill would not be developed; but even when you do learn a skill, you use it in your own unique way.» — Seth, según Roberts, acota la tesis para que no se lea como negación del aprendizaje: sin el deseo que dispara, la destreza no se desarrolla, y aun aprendida se usa de modo propio

«Still, the knowledge of mathematics and the arts is as much within you as your genes are within you. You usually believe that all such information must come from outside of your self, however.» — Seth, según Roberts, iguala el saber de las matemáticas y de las artes con los genes en cuanto a estar dentro, y objeta a la creencia de que todo eso venga de fuera

«Your own focus determines the information that is available to you. I will here give you an example.» — Seth, según Roberts, hace del foco propio el que decide qué información está disponible

«Ruburt paints as a hobby. Sometimes he paints for fairly long periods of time, then forgets about it.» — Seth, según Roberts, abre el caso de Cézanne por lo doméstico: ella pinta por afición, a rachas

«Ruburt has been wondering about the contents of the mind, curious as to what information was available to it.» — Seth, según Roberts, señala la pregunta que ella traía y que hará de disparador

«He asked Joseph what he would like for a gift, and Joseph m o r e or less replied: "A book on Cezanne.» — Seth, según Roberts, da el detalle mínimo que dispara el episodio: la respuesta de Butts sobre el regalo de Navidad

«Ruburt's love for Joseph, his own purposes, and his growing questions, along with his interest in painting in general, triggered exactly the kind of stimulus that broke through conventional beliefs about time and knowledge.» — Seth, según Roberts, enumera los ingredientes del disparador —el afecto, los propósitos, las preguntas, el interés por pintar— y declara que rompieron las creencias convencionales sobre el tiempo y el conocimiento

«Ruburt tuned in to Cezanne's "world view." He did not contact Cezanne per se, but Cezanne's comprehension of painting as an art.» — Seth, según Roberts, acota con precisión el objeto del contacto: no Cézanne sino su comprensión de la pintura como arte

«Ruburt is not technically facile enough even to follow Cezanne's directions. Joseph is facile enough, but he would not want to follow the vision of another.» — Seth, según Roberts, mide el caso por sus límites prácticos: ella no tiene oficio para seguir esas indicaciones y Butts no querría seguir la visión de otro

«The information, however, is extremely valuable, and knowledge on any kind of subject is available in just such a manner — but it is attained through desire and through intent.» — Seth, según Roberts, generaliza el caso: cualquier conocimiento se alcanza así, por deseo y por intención

«This does not mean that any person, spontaneously, with no instruction, can suddenly become a great artist or writer or scientist. It does mean, however, that the species possesses within itself those inclinations which will flower.» — Seth, según Roberts, acota la generalización antes de que se lea como promesa: nadie se vuelve gran artista de golpe y sin instrucción

«It means also that you are limiting the range of your knowledge by not taking advantage of such methods. It does not mean that in your terms all knowledge already exists, either, for knowledge automatically becomes individualized as you receive it, and hence, new.» — Seth, según Roberts, cierra con dos acotaciones: que no aprovechar esos métodos limita el saber, y que el conocimiento no está ya todo hecho porque al recibirse se individualiza y por eso es nuevo

«outside of your self, however. Certainly mathematical formulas are not imprinted in the brain, yet they are i n h e r e n t in the structure of the brain (intently), and implied within its existence.» — Seth, según Roberts, da aquí, en el cuerpo del libro, la formulación que ella ya había citado en su introducción de la plana 11: las fórmulas matemáticas no están impresas en el cerebro y a la vez son inherentes a su estructura. La frase se imprime DOS VECES en el volumen y el ancla tuvo que alargarse hasta el renglón anterior para alcanzar la del cuerpo; la acotación *intently* es de Butts

«(10:30. Seth did an excellent job of describing the conditions that resulted in Jane's "Cezanne experience." Specifically, though, this is what happened: Quite suddenly in the predawn hours of December 11 she began to write an automatic script that purported to come from the artist Paul Cezanne, who lived from 1839 to 1906.» — Butts fecha y describe el episodio desde fuera del dictado: un guion automático que decía venir del pintor Paul Cézanne, empezado en la madrugada del 11 de diciembre. Tramo releído entero en el crudo y extraído con la guarda anticosido apagada, porque los años entre paréntesis son las fechas del pintor y no una referencia bibliográfica

«She has no idea whether or not the manuscript will continue "to come." Already, though, I am struck by the insights on art and life as they are presented.» — Butts consigna a la vez la incertidumbre de Roberts sobre la continuación del manuscrito y su propia impresión de lo ya escrito

«Your desire automatically attracts the kind of information you require, though you may or may not be aware of it.» — Seth, según Roberts, formula la regla del deseo como atractor de la información que hace falta, se sepa o no

«If you are gifted, and want to be a musician, for example, then you may literally learn while you are asleep, tuning in to the world views of other musicians, both alive and dead in your terms.» — Seth, según Roberts, aplica la regla al músico que aprendería dormido sintonizando las visiones del mundo de otros músicos, vivos y muertos

«When you are awake, you will receive inner hints, nudges or inspirations. You may still need to practice, but your practice will be largely in joy, and will not take as long as it might others.» — Seth, según Roberts, acota que la práctica sigue haciendo falta, y declara que será en gozo y más corta

«The reception of such information facilitates skill, and operates basically outside of time's sequences.» — Seth, según Roberts, sitúa esa recepción fuera de las secuencias del tiempo

«Ruburt's Cezanne material therefore comes very quickly, taking a bare portion of the day. Yet its quality is such that professional art critics could learn from it, though some of their productions might take much longer periods of time, and result from an extensive conscious knowledge of art, which Ruburt almost entirely lacks.» — Seth, según Roberts, contrapone la rapidez del material de ella y su calidad al conocimiento consciente del arte, que declara que ella casi no tiene

«productions of the psyche by their nature, therefore, burst aside many most cherished beliefs.» — continuación de la plana anterior, donde Seth, según Roberts, dice que las producciones de la psique revientan por su propia naturaleza muchas de las creencias más queridas

«It seems almost heresy to suppose that such knowledge is available, for then what use is education?» — Seth, según Roberts, se hace a sí mismo la objeción que su tesis provoca: si el conocimiento ya está dentro, para qué la educación

«Yet education should serve to introduce a student to as many fields of endeavor as possible, so that he or she might recognize those that serve as natural triggers, opening skills or furthering development. The student will, then, pick and choose.» — Seth, según Roberts, contesta su propia objeción redefiniendo la educación: presentar cuantos campos sea posible para que el alumno reconozca los que le sirven de disparador

«The Cezanne material was from the past, yet future knowledge is quite as accessible. There are, of course, probable futures from the standpoint of your past. Future information is theoretically available there, just as the body's "future" pattern of development was at your birth — and that certainly was practical.» — Seth, según Roberts, extiende el caso hacia el futuro y apoya su verosimilitud en el patrón de desarrollo del cuerpo, que estaba disponible al nacer y era práctico

«SESSION 763, JANUARY 5 , 1 9 7 6 9:28 P.M. M O N D A Y» — el encabezado de la sesión 763; el troceo separa las cifras del año y las letras del día

«While we were out for a drive in the country yesterday, Jane abruptly wondered aloud if Seth ever dreamed. If he did, what was his dream state like? Tonight at 9:00 she told me she thought he'd answer her questions by weaving them into the book session.» — Butts consigna el origen de la materia de la sesión: la pregunta de Roberts sobre si Seth sueña, hecha en el coche el día antes, y su previsión de que él la respondería dentro del libro

«Jane called them "the Cezanne days" since she's still getting Cezanne material» — Butts registra el nombre que Roberts le puso a esos días de fiesta

«There are, then, other ways of receiving information than those you take for granted. There are other kinds of knowledge, also.» — Seth, según Roberts, abre la sesión 763 declarando que hay otras vías de recibir información y otras clases de conocimiento

«These deal with organizations with which you are generally not familiar. It is not merely a matter of learning new methods to acquire knowledge, then, but a situation in which old methods must be momentarily set aside — along with the type of knowledge that is associated with them.» — Seth, según Roberts, acota lo que exige el cambio: no aprender métodos nuevos sino dejar de lado los viejos junto con el tipo de conocimiento que va con ellos

«Various so-called esoteric traditions provide certain methods that allow an individual to set aside accepted modes of perception, and offer patterns that may be used as containers for these other kinds of knowledge.» — Seth, según Roberts, consigna lo que las tradiciones que él llama esotéricas aportan: métodos para dejar de lado los modos aceptados de percepción y patrones que sirven de recipiente a esos otros conocimientos

«Even these containers must necessarily shape the information received, however.» — Seth, según Roberts, acota el aporte anterior: el recipiente da forma a lo que recibe

«Some such methods are very advantageous, yet they have also become too rigid and autocratic, allowing little room for deviation. Dogmas are then set up about them so that only a certain body of data is considered acceptable. The systems no longer have the flexibility that first gave them birth.» — Seth, según Roberts, objeta a esos métodos que se hayan vuelto rígidos y autocráticos, con dogmas que admiten solo cierto cuerpo de datos y sin la flexibilidad que los hizo nacer

«The kind of knowledge upon which you depend needs verbalization. It is very difficult for you to consider the accumulation of any kind of knowledge without the use of language as you understand it.» — Seth, según Roberts, señala la dependencia del saber habitual respecto de la palabra

«Even your remembered dreams are often verbalized constructs. You may also use images, but these are familiar images, born of the educated and hence prejudiced physical perceptions. Those remembered dreams have meaning and are very valuable, but they are already organized for you to some extent, and put into a shape that you can somewhat recognize.» — Seth, según Roberts, acota el valor del sueño recordado: tiene sentido y vale, y viene ya organizado y puesto en forma reconocible por imágenes educadas y por eso prejuiciadas

«Beneath those levels, however, you comprehend events in an entirely different fashion. These whole comprehensions are then packaged even in the dream state, and translated into usual sense terms.» — Seth, según Roberts, sitúa bajo el sueño recordado una comprensión entera que se empaqueta y se traduce a términos sensoriales

«Any information or knowledge must have a pattern if you are going to understand it at all. Ruburt's own painting, his knowledge of his psychic abilities, his love of Joseph — all served to form a pattern which then attracted the Cezanne material.» — Seth, según Roberts, explica el episodio por un patrón formado con la pintura de ella, su saber de lo psíquico y su afecto

«He received this "automatically," writing down the words that came almost too quickly for him to follow. His craft or art of writing brought the material to clear focus.» — Seth, según Roberts, describe la escritura automática y atribuye el enfoque del material al oficio de escribir de ella

«The information itself, however, had nothing to do with words, but with an overall comprehension of the nature of painting, a direct knowing.» — Seth, según Roberts, separa el contenido de la forma: la información no tenía que ver con palabras sino con una comprensión global de la pintura

«Ruburt used his own abilities as a container, then. This direct kind of knowledge is available, again, on any subject, to anyone who provides a suitable pattern through desire, love, intent or belief.» — Seth, según Roberts, generaliza el mecanismo: las propias capacidades hacen de recipiente, y el patrón se provee con deseo, amor, intención o creencia

«Ruburt wondered later if I dreamed. My own usual state of consciousness is far different from yours. I do not alternate between waking and sleeping as you do.» — Seth, según Roberts, responde a la pregunta que ella se hizo en el coche y declara no alternar vigilia y sueño como el lector

«Yet I do not control my dreams — I fulfill them. What you could call my dreaming state is involved with the levels I spoke of that exist beneath your remembered dreams.» — Seth, según Roberts, enmienda su propia fórmula: no controla sus sueños, los cumple, y los sitúa en los niveles que están por debajo del sueño recordado

«I said earlier that there were many kinds of knowledge. Think of them instead as states of knowledge. Perception of any of these takes a consciousness attuned to each.» — Seth, según Roberts, enmienda el término: no clases de conocimiento sino estados de conocimiento, cada uno con su conciencia afinada

«In my "waking" condition, I operate at many levels of consciousness at once, and deal therefore with different systems of knowledge.» — Seth, según Roberts, describe su propia vigilia como operación simultánea en muchos niveles

«In my "dream" condition, or rather conditions, I form links of consciousness that combine these various systems, creatively forming them into new versions.» — Seth, según Roberts, describe lo que hace en lo que él llama su condición de sueño: enlazar esos sistemas y formar con ellos versiones nuevas

«"Waking" again, I become consciously aware of those activities, and use them to add to the dimensions of my usual state, creatively expanding my experience of reality. What I learn is transmitted automatically to others like me, and their knowledge is transmitted to me.» — Seth, según Roberts, cierra el ciclo y declara la transmisión automática y recíproca con otros como él

«We are each consciously aware of these transmissions. In the terms usually familiar to you, you think of "the conscious mind." In those terms, there are many conscious minds.» — Seth, según Roberts, opone a la mente consciente en singular del lector la existencia de muchas mentes conscientes

«You are so prejudiced, however, that you ignore information that you have been taught cannot be conscious. All of your experience, therefore, is organized according to your beliefs.» — Seth, según Roberts, atribuye a la enseñanza recibida el descarte de lo que no cabe en la definición de consciente

«It is much more natural to remember your dreams than not to remember them.» — Seth, según Roberts, invierte lo que se tiene por natural en materia de recuerdo de los sueños

«It is presently in the vogue to say that the conscious mind, as you consider it, deals with survival. It deals with survival only insofar as it promotes survival in your particular kind of society.» — Seth, según Roberts, acota la fórmula de moda sobre la mente consciente y la supervivencia: sirve a la supervivencia dentro de cierta clase de sociedad

«In those terms, if you remembered your dreams, and if you benefited consciously from that knowledge, even your physical survival would be better assured.» — Seth, según Roberts, devuelve el argumento de la supervivencia a favor del recuerdo de los sueños

«One level of dream life deals particularly with the biological condition of the body, giving you not just hints of health difficulties, but the reasons for them and the ways to circumvent them.» — Seth, según Roberts, atribuye a un nivel del sueño el diagnóstico de las dificultades de salud y el modo de rodearlas

«Information about the probable future is also given to help you make conscious choices. You have taught yourselves that you cannot be conscious in your dreams, however, because you interpret the word "conscious" so that it indicates only your own prejudiced concept. As a result, you do not have any culturally acceptable patterns that allow you to use your dreams competently.» — Seth, según Roberts, añade la información del futuro probable y explica el desperdicio por la palabra *conscious*, entendida solo en el sentido prejuiciado, y por la falta de patrones culturales aceptables

«It is not a matter, either, of there simply being one other category of knowledge, for there are numerous other such categories, many» — Seth, según Roberts, niega que haya una sola categoría alterna de conocimiento; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«of them biologically within your reach.» — continuación del pasaje anterior, ya en la plana siguiente: *muchas de esas categorías están al alcance biológico del lector*

«Trance states, daydreaming, hypnotism — these give you some hint of the various differences that can occur from the standpoint of waking consciousness.» — Seth, según Roberts, alinea trance, ensueño e hipnotismo como muestras pequeñas de la variación posible respecto de la conciencia de vigilia

«In each, reality appears in another fashion, and for that matter, different rules apply. In the dream state far greater variations occur.» — Seth, según Roberts, gradúa la escala: en cada uno rigen reglas distintas y en el sueño la variación es mucho mayor

«The key to the dream state, however, lies in the waking one as far as you are concerned. You must change your ideas about dreaming, alter your concepts about it, before you can begin to explore it. Otherwise your own waking prejudice will close the door.» — Seth, según Roberts, pone la llave del sueño en la vigilia: hay que cambiar las ideas sobre soñar antes de poder explorarlo

«As it is, you express very little of your entire personhood.» — Seth, según Roberts, reabre el dictado tras la pausa con el diagnóstico del capítulo sobre la persona entera

«My remark has nothing to do with your accepted concepts of the unconscious portions of the self. Your ideas of the unconscious are so linked to your limited ideas of personhood as to be meaningless in this discussion.» — Seth, según Roberts, aparta expresamente su afirmación del concepto corriente de lo inconsciente, que declara inservible aquí

«It is as if you used only one finger of one hand, and then said: 'This is the proper expression of my personhood.» — Seth, según Roberts, da la imagen del dedo único para medir lo que se expresa de la persona entera

«It is not just that there are other functions of the mind, unused, but that in those terms you have other minds. You have one brain, it is true, but you allow it to use only one station, or to identify itself with only one mind of many.» — Seth, según Roberts, va más lejos que la fórmula de las funciones no usadas: sostiene que hay otras mentes y que el cerebro se identifica con una sola

«It seems evident to you that one person has one mind. You identify with the mind you use. If you had another, then it would seem as if you must be someone else.» — Seth, según Roberts, nombra la evidencia que su tesis contraría y el temor que la sostiene: tener otra mente parecería ser otro

«A mind is a psychic pattern through which you interpret and form reality. You have physical limbs that you can see. You have minds that are invisible. Each one can organize reality in a different fashion. Each one deals with its own kind of knowledge.» — Seth, según Roberts, define la mente como patrón psíquico con que se interpreta y se forma la realidad, y contrapone los miembros visibles a las mentes invisibles

«These minds all work together to keep you alive through the physical structure of the brain. When you use all of these minds, then and only then do you become fully aware of your surroundings: You perceive reality more clearly than you do now, more sharply, brilliantly, and concisely. At the same time, however, you comprehend it directly. You comprehend what it is apart from your physical perception of it. You accept as yourself those other states of consciousness native to your other minds. You achieve true personhood.» — Seth, según Roberts, describe lo que ocurriría al usar todas esas mentes: percepción más nítida, comprensión directa de lo que la realidad es aparte de la percepción física, y la persona entera

«In terms of history, some ancient races achieved such goals, but in your terms, so long ago that you cannot find evidence of their knowledge.» — Seth, según Roberts, sitúa en razas antiguas el logro de esa meta, y acota que fue tan atrás que no hay evidencia de ello

«Throughout the centuries various individuals have come close, yet had no vehicle of expression that would have enabled the members of the species to understand. They possessed methods, but the methods presupposed or necessitated a knowledge that others did not possess.» — Seth, según Roberts, explica por qué los que estuvieron cerca no pudieron transmitirlo: sus métodos presuponían un conocimiento que los demás no tenían

«Seth immediately began a short discussion of a dreamJane had last night. She hardly remembered it, but wrote in her notebook this morning that she knew it involved a new, rather odd kind of perception that she couldn't verbalize at all. Since this fits in with Seth's chapter here, I'm including his comments:)» — Butts declara el criterio con que mete en el libro un material que no era dictado: que encaja con el capítulo. El troceo pega *dream* y *Jane*

«Ruburt's nearly forgotten dream last night represents a breakthrough, in that he was at least consciously aware of receiving knowledge in yet another different fashion.» — Seth, según Roberts, lee el sueño casi olvidado de ella como avance, por haber estado conscientemente al tanto de recibir conocimiento de otro modo

«He could not verbalize it, nor did he have a suitable pattern to contain it. He received it, however.» — Seth, según Roberts, separa la recepción de la verbalización: no había palabras ni recipiente y la recepción ocurrió. El tramo arranca en la plana 56 tras el corte de chunk, que reemite el marcador

«His painting of late is n o coincidence, for he is dealing with nonverbal information, organizing data in another way, and thus activating other "portions" of the mind.» — Seth, según Roberts, enlaza la pintura de ella con lo no verbal y con la activación de otras porciones de la mente

«The Cezanne material, the dream and the painting, are all aspects of another kind of perception. Your joint library experiments* helped set the stage, as you added your encouragement.» — Seth, según Roberts, reúne los tres episodios bajo una misma percepción y le atribuye parte a los experimentos conjuntos de la casa

«All of this will help Ruburt toward a nonverbal comprehension that will, on another level, reorganize some of his beliefs.» — Seth, según Roberts, anuncia el efecto de todo ello sobre las creencias de ella

«This type of perception cannot be described until he forms suitable verbal patterns that can come only with further experience.» — Seth, según Roberts, acota el plazo: la descripción solo llegará con patrones verbales que la experiencia irá formando

«In this, I am a touchstone. He accelerates mentally to a certain degree, and that puts him in touch with me — an additional energy source.» — Seth, según Roberts, describe su propio papel en el proceso como piedra de toque y fuente adicional de energía

«He activates certain portions of the brain that connect it to another mind, that people do not as yet realize they possess.» — Seth, según Roberts, declara que esa aceleración conecta el cerebro con otra mente cuya posesión todavía no se reconoce

«SESSION 764, JANUARY 2 6 , 1 9 7 6 9.12 P.M. MONDAY» — el encabezado de la sesión 764; el troceo separa las cifras de la fecha

«Dictation: You experience yourself in a certain way topside, so to speak, and so in order to take advantage of information at other levels of awareness, you must learn to experience those other organizational systems with which you are usually unfamiliar.» — Seth, según Roberts, pone la condición del aprovechamiento: aprender a experimentar los sistemas de organización que no se frecuentan

«Often the seeming meaninglessness of dreams is the result of your own ignorance of dream symbolism and organization.» — Seth, según Roberts, atribuye el sinsentido aparente del sueño a la ignorancia de su simbolismo, no a su naturaleza

«You may also misinterpret "revelatory" material because you try to structure it in reference to your ordinary conscious organizations. Many valuable and quite practical insights that could be utilized go astray, therefore.» — Seth, según Roberts, extiende el mismo error al material revelatorio, estructurado a la fuerza según la organización consciente ordinaria

«I am going to suggest, then, some simple exercises that will allow you to directly experience the "feel of your being" in a different way.» — Seth, según Roberts, anuncia los ejercicios y declara su objeto: experimentar directamente el sentir del propio ser de otra manera

«First of all, the various kinds of organizations used by the psyche can be compared at one level, at least, with different arts. Music is not better than the visual arts, for example. A sculpture cannot be compared with a musical note.» — Seth, según Roberts, compara las organizaciones de la psique con las artes y niega jerarquía entre ellas

«I am not saying, then, that one mode of organization is better than another. You have simply specialized in one of the many arts of consciousness, and that one can be vasdy enriched by knowledge and practice of the others.» — Seth, según Roberts, llama artes de la conciencia a esos modos y declara que el propio se enriquece con los otros; el OCR imprime *vasdy*

«First of all, these other organizations do not deal primarily with dme at all, but with the emotions and associative processes.» — Seth, según Roberts, fija la materia de esas organizaciones: no el tiempo sino las emociones y los procesos asociativos; el OCR imprime *dme* por *time*

«When you understand how your own associations work, then you will be in a much better position to interpret your own dreams, for example, and finally to make an art of them.» — Seth, según Roberts, declara el provecho de conocer las propias asociaciones: interpretar los sueños y hacer de ellos un arte

«There are several approaches to these exercises. The idea will be to experience emotions and events as much as possible outside of time sequences.» — Seth, según Roberts, fija la idea común de los ejercicios: experimentar emociones y sucesos fuera de la secuencia temporal

«As I have mentioned many times, cellular comprehension deals with probabilities and encompasses future and past, so at that level of activity time as you understand it does not exist.» — Seth, según Roberts, sitúa la comprensión celular fuera del tiempo, tratando con probabilidades y abarcando futuro y pasado

«The psyche — at the other end of the scale, so to speak — is also free of time.» — Seth, según Roberts, pone la psique en el otro extremo de la misma escala y también libre del tiempo

«Often, however, your own stream of consciousness leads you to think of events outside of their usual order.» — Seth, según Roberts, señala que la propia corriente de conciencia ya piensa los sucesos fuera de su orden

«You may receive a letter from your Aunt Bessie, for example. In a matter of moments it may trigger you to think of events in your childhood, so that many mental images fly through your mind.» — Seth, según Roberts, monta el ejemplo de la carta de la tía, que en momentos dispara imágenes de la infancia

«All of these thoughts and images will be colored by the emotions that are connected to the letter, and to all of the events with which you and your aunt have been involved.» — Seth, según Roberts, señala lo que da color a esa cadena: las emociones ligadas a la carta y a lo vivido con esa persona. El tramo arranca en la plana 58, adonde el cambio de plana lleva la frase

«The next time you find yourself in the middle of a like experience, with associations flowing freely, then become more aware of what you are doing. Try to sense the mobility involved. You will see that the events will not necessarily be structured according to usual time, but according to emotional content.» — Seth, según Roberts, da el primer ejercicio: observarse en plena asociación y sentir la movilidad, para ver que el orden no es el del tiempo sino el del contenido emocional

«Thoughts of your own next birthday, for instance, may instantly lead you to think of past ones, or a series of birthday pictures may come to mind of your own twelfth birthday, your third, your seventh, in an order uniquely your own. That order will be determined by emotional associations — the same kind followed by the dreaming self.» — Seth, según Roberts, da el ejemplo de los cumpleaños en desorden y declara que ese orden emocional es el mismo que sigue el yo que sueña

«What did you wear to work three days ago? What did you have for breakfast a week ago? Who sat next to you in kindergarten? What frightened you last? Are you afraid of sleep? Did your parents beat you? What did you do just after lunch yesterday? What color shoes did you wear three days ago? You remember only significant events or details. Your emotions trigger your memories, and they organize your associations.» — Seth, según Roberts, encadena preguntas de detalle para mostrar que solo se recuerda lo significativo y que la emoción organiza las asociaciones

«Your emotions are generated through your beliefs. They attach themselves so that certain beliefs and emotions seem almost synonymous.» — Seth, según Roberts, pone la creencia como generadora de la emoción, hasta que las dos parecen la misma cosa

«The next time an opportunity arises, and you recognize the presence of a fairly strong emotion in yourself, then let your associations flow. Events and images will spring to mind in an out-of-time context. Some such remembered events will make sense to you. You will clearly see the connection between the emotion and event, but others will not be so obvious. Experience the events as clearly as you can.» — Seth, según Roberts, da el segundo ejercicio: dejar correr las asociaciones desde una emoción fuerte y experimentar los sucesos que suban

«When you are finished, purposefully alter the sequence. Remember an event, and then follow it with the memory of o n e that actually came earlier. Pretend that the future one came before the past one.» — Seth, según Roberts, cierra el ejercicio con la parte que lo hace distinto: alterar a propósito la secuencia y poner el futuro antes del pasado

«Now for another exercise. Imagine a very large painting, in which the most important events of your life are clearly depicted. First of all, see them as a series of scenes, arranged in small squares, to be viewed as you would, say, a comic-book page. The events must be of significance to you. If school graduation meant nothing, for example, do not paint it in.» — Seth, según Roberts, da el tercer ejercicio, el del cuadro con la vida en viñetas, y su regla de selección: solo lo que de veras importe

«When you have done this, ask yourself which scene evokes the strongest emotional response. Tell yourself that it will become larger and larger, then mentally watch its size change.» — Seth, según Roberts, sigue el ejercicio por la escena de mayor carga emocional, que se hace crecer mentalmente

«Certain dynamics are involved here, so that such a scene will also attract elements from other scenes. Allow those other scenes to break up, then. The main picture will attract elements from all of the others, until you end up with an entirely different picture — one made up of many of the smaller scenes, but united in an entirely new fashion.» — Seth, según Roberts, describe la dinámica del ejercicio: la escena principal atrae elementos de las otras hasta formar un cuadro nuevo

«You must do this exercise, however, for simply reading about it will not give you the experience that comes from the actual exercise. Do it many times.» — Seth, según Roberts, insiste en que leer el ejercicio no da lo que da hacerlo

«Now: Consciously construct a dream. Tell yourself you are going to do so, and begin with the first thought or image that comes to mind. When you are finished with your daydream, then use free association to interpret it to yourself.» — Seth, según Roberts, da el cuarto ejercicio: construir un sueño despierto y luego interpretarlo por asociación libre

«Some of you will meet with some resistance in these exercises. You will enjoy reading about them, but you will find all kinds of excuses that prevent you from trying them yourself. If you are honest, many of you will sense a reluctance, for certain qualities of consciousness are brought into play that run counter to your usual conscious experience.» — Seth, según Roberts, anticipa la resistencia del lector a hacerlos y la atribuye a cualidades de conciencia que van a contrapelo de lo acostumbrado

«You might feel as if you are crossing your wires, so to speak, or stretching vaguely sensed psychic muscles. The purpose is not so much the perfect execution of such exercises as it is to involve you in a different mode of experience and of awareness that comes into being as you perform in the ways suggested.» — Seth, según Roberts, acota el objeto de los ejercicios: no ejecutarlos bien sino quedar metido en otro modo de experiencia y de conciencia

«You have been taught not to mix, say, waking and dreaming conditions, not to daydream. You have been taught to focus all of your attention clearly, ambitiously, energetically in a particular way — so daydreaming, or mixing and matching modes of consciousness, appears passive in a derogatory fashion, or nonactive, or idle.» — Seth, según Roberts, atribuye la resistencia a lo enseñado: no mezclar vigilia y sueño y no soñar despierto, de modo que eso parece pasividad

«T h e devil finds work for idle hands" — an old Christian dictum.» — Seth, según Roberts, nombra el dicho cristiano que está detrás de esa enseñanza; la acotación del volumen es de Butts y el troceo pierde la comilla de apertura

«Unfortunately, certain aspects of Christianity were stressed over others, and that dictum was based upon the belief in a wicked self that needed to be disciplined and diverted into constructive activity.» — Seth, según Roberts, señala qué creencia sostiene el dicho: un yo malvado que hay que disciplinar y desviar hacia actividad constructiva

«Have the pictures begin at the upper left-hand» — Seth, según Roberts, ordena las viñetas del cuadro; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«corner, ending finally at the lower right-hand corner.» — continuación del pasaje anterior, ya en la plana siguiente: *las viñetas terminan abajo a la derecha y después se invierte la secuencia, de modo que lo más antiguo quede en esa esquina*

«If you are afraid of yourself, if you are afraid of your own memories, you will block your associative processes, fearing for example that they will bring to light matters best forgotten — and usually sexual matters.» — Seth, según Roberts, nombra el bloqueo concreto: el miedo a lo que las asociaciones traigan a la luz, que suele ser lo sexual

«Sexuality is the only strong area of energy with which some people are connected, so it becomes the focal point for all of their beliefs about the self in general.» — Seth, según Roberts, explica por qué la sexualidad concentra las creencias sobre el yo: es la única zona de energía con la que algunos están conectados

«In doing some of these exercises, you might come across images of masturbation, homosexual or lesbian encounters, or simply old sexual fantasies, and immediately backtrack because your beliefs may tell you that these are evil.» — Seth, según Roberts, nombra sin rodeos las imágenes ante las que el lector retrocedería y la creencia que lo hace retroceder

«You will not remember, or want to remember, your own dreams for the same reason. Many people, therefore, tell themselves that they are very impatient to discover the nature and extent of the psyche, and cannot understand why they meet with so litde success. At the same time, such beliefs convince them that the self is evil.» — Seth, según Roberts, empareja el olvido de los sueños con la misma creencia y señala la contradicción del que se declara impaciente por conocer la psique

«These beliefs must be weeded out. If you cannot honestly encounter the dimensions of your creaturehood, you surely cannot explore the greater dimensions of the psyche.» — Seth, según Roberts, pone la condición: sin encarar honradamente la condición de criatura no hay exploración de la psique

«This blocking of associations, however, is a very important element that impedes many people. The psyche's organizations are broader, and in their way m o r e rational than most of your conscious beliefs about the self.» — Seth, según Roberts, declara las organizaciones de la psique más amplias y a su modo más racionales que las creencias conscientes sobre el yo

«Many individuals are afraid that they will be swept away by inner explorations, that insanity will overtake them, when instead the physical stance of the body and personality is firmly rooted in these alternate organizations.» — Seth, según Roberts, objeta al miedo a la locura en la exploración interior y sostiene lo contrario: la postura física del cuerpo y de la personalidad está enraizada en esas organizaciones

«There is nothing wrong with the conscious mind. You have simply put a lid on it, allowing it to be only so conscious, and no more. You have said: "Here it is safe to be conscious, and here it is not.» — Seth, según Roberts, exculpa a la mente consciente y devuelve el límite a la tapa que se le puso

«Many of you believe that it is safe to make a nuclear bomb, but that it is insane to use your dreams as another m e t h o d of manipulating daily life; or that it is all right to be consciously aware of your viruses, wars, and disasters, but that it is not all right to be consciously aware of other portions of the self that could solve such problems.» — Seth, según Roberts, empareja lo que se tiene por cuerdo con lo que se tiene por insano y señala el desajuste: la bomba y los desastres sí, los sueños y las otras porciones del yo no

«The idea, then, is not to annihilate normal consciousness, but quite literally to expand it by bringing into its focus other levels of reality that it can indeed intrinsically perceive and utilize.» — Seth, según Roberts, acota su propia propuesta para que no se lea como ataque a la conciencia normal: expandirla, no aniquilarla

«I will suggest many exercises throughout this book. Some of them will necessitate variations of normal consciousness. I may ask you to forget physical stimuli, or suggest that you amplify them, but I am nowhere stating that your mode of consciousness is wrong. It is limited, not by nature, but by your own beliefs and practice. You have not carried it far enough.» — Seth, según Roberts, declara que en ningún punto dice que el modo de conciencia del lector sea equivocado, sino limitado por creencia y práctica

«Some night as you fall to sleep, try telling yourself that you will pretend you are awake while you sleep. Suggest that instead of falling asleep, you will come into another kind of wakefulness. Try to imagine that you are awake when you sleep.» — Seth, según Roberts, da el ejercicio de fingirse despierto al dormir. El tramo arranca en la plana 61 tras el corte de chunk, que reemite el marcador

«On other occasions when you go to bed, lie down and setde yourself, but as you fall asleep imagine that you are awakening the next morning. I will not tell you what to look for. The doing of these exercises is important — not the results in usual terms.» — Seth, según Roberts, da la variante de imaginar el despertar de la mañana siguiente y declara que importa hacerlo y no lo que salga; el OCR imprime *setde* por *settle*

«I said that there were different kinds of knowledge; so will these exercises bring you in contact with knowledge in another way. Done over a period of time, they will open up alternate modes of perception, so that you can view your experience from more than one standpoint. This means that your experience will itself change in quality.» — Seth, según Roberts, declara el efecto acumulado de los ejercicios: modos alternos de percepción y un cambio en la calidad misma de la experiencia

«Sometimes when you are awake, and it is convenient, imagine that your present experience of the moment is a dream, and is highly symbolic. Then try to interpret it as such.» — Seth, según Roberts, da el ejercicio inverso: tomar la experiencia despierta del momento por sueño simbólico e interpretarla

«Who are the people? What do they represent? If that experience were a dream, what would it mean? And into what kind of waking life would you rise in the morning?» — Seth, según Roberts, sostiene el ejercicio con sus propias preguntas, hasta la que invierte el marco: a qué vida despierta se levantaría uno

«The qualities of consciousness cannot be elucidated. These exercises will bring you in contact with other kinds of knowing, and acquaint you with different feelings of consciousness that are not familiar.» — Seth, según Roberts, declara que las cualidades de la conciencia no se dejan explicar y que los ejercicios son la vía de contacto

«Certain questions that you may have asked may be answered in such a state, but not in ways that you can anticipate, nor can you necessarily translate the answers into known terms.» — Seth, según Roberts, acota lo que se puede esperar de esas respuestas: ni anticipables ni necesariamente traducibles

«The different modes of consciousness with which I hope to acquaint you are not alien, however. They are quite native, again, in dream states, and are always present as alternatives beneath usual awareness.» — Seth, según Roberts, declara nativos esos modos, presentes siempre como alternativas bajo la conciencia habitual

«The belief in such an unsavory self stops many people from any» — Seth, según Roberts, describe el efecto práctico de creer en un yo perverso; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«exploration of the inner self — and, therefore, from any direct experience that will give them counter-evidence.» — continuación del pasaje anterior, ya en la plana siguiente: *esa creencia impide toda exploración del yo interior y, por tanto, toda experiencia directa que diera la evidencia contraria*

«Sometime as you walk down a street, pretend that you are seeing the same scene from the sky in an airplane, yourself included. On another occasion, as you sit inside your house imagine that you are outside on the lawn or street.» — Seth, según Roberts, da los ejercicios de cambio de punto de vista: verse desde el avión y verse desde fuera de la propia casa

«All of these exercises should be followed by a return to the present: You focus your attention outward in the present moment as clearly as possible, letting the sounds and sights of the physical situation come into your attention.» — Seth, según Roberts, pone la contrapartida obligatoria de todos los ejercicios: volver al presente y enfocar lo físico

«The other exercises, in fact, will result in a clearer picture of the world, for they will facilitate the very motion of your perceptions, allowing you to perceive nuances in the physical situation that before would have escaped your notice.» — Seth, según Roberts, declara el efecto de los ejercicios sobre la percepción ordinaria: un cuadro más claro del mundo y matices que antes se escapaban

«We will be dealing with practical direct experience. It will do you no good if you are simply intellectually aware of what I say, but practically ignorant.» — Seth, según Roberts, acota el valor de leer el libro: la conciencia intelectual de lo que dice no sirve si la práctica queda ignorante

«Continue to rely upon known channels of information, but implement these and begin to explore the unrecognized ones also available.» — Seth, según Roberts, no manda abandonar los canales conocidos sino complementarlos

«Try your hand at predicting f u t u r e events. In the beginning, it does not matter whether or not your predictions are "true." You will be stretching your consciousness into areas usually unused.» — Seth, según Roberts, da el ejercicio de predicción y declara que al principio no importa que acierte, porque lo que se estira es la conciencia

«Do not put any great stake in your predictions, for if you do you will be very disappointed if they do not work out, a n d e n d the entire procedure.» — Seth, según Roberts, acota el ejercicio con la razón práctica de no apostar al resultado: la decepción acabaría con el procedimiento

«If you continue, you will indeed discover that you are aware of some future events, when such knowledge is not available in usual terms. If you persist, then over a period of time you will discover that you do very well in certain areas, while in others you may fail miserably.» — Seth, según Roberts, anticipa un resultado desigual: aciertos en ciertas áreas y fracasos rotundos en otras

«There will be associative patterns that you follow successfully, leading toward "correct" precognitions. You will also discover that the emotions are highly involved in such procedures: You will perceive information that is significant to you for some reason.» — Seth, según Roberts, explica el acierto por patrones asociativos y por la implicación de las emociones

«T h a t significance will act like a magnet, attracting those data to you.» — Seth, según Roberts, da la figura del imán para el papel del significado en la atracción de los datos

«Now, in the normal course of events you attract experience in the same fashion. You anticipate events. You are aware of them before they happen, whether or not you ever succeed in conscious predictions.» — Seth, según Roberts, extiende el mecanismo al curso normal de la vida: se anticipan los sucesos se acierte o no en predecirlos

«While your future can on occasion be correctly perceived ahead of time by a gifted psychic, the future is too plastic for any kind of systematized framework. Free will is always involved.» — Seth, según Roberts, concede la percepción anticipada por un psíquico dotado y la acota en la misma frase: el futuro es demasiado plástico para sistematizarlo y el libre albedrío siempre está en juego

«Yet many people are frightened of remembering dreams because they fear that a dream of disaster will necessarily be followed by such an event. The mobility of consciousness provides far greater freedom. In fact, such a dream can instead be used to circumnavigate such a probability.» — Seth, según Roberts, objeta al miedo de que el sueño de desastre lo arrastre a uno, y sostiene el uso contrario: rodear esa probabilidad

«Only if you understand your own freedom in such areas will you allow yourselves to explore alternate states of consciousness, or the environment of dreams. Such exercises are not to be used to supersede the world you know, but to supplement it, to complete it, and to allow you to perceive its true dimensions.» — Seth, según Roberts, acota el propósito de los ejercicios: suplir y completar el mundo conocido, no suplantarlo

«There is no need to divorce the waking and dreaming states in the particular fashion that currently operates — for they are complementary states, not opposite ones.» — Seth, según Roberts, declara complementarios y no opuestos los estados de vigilia y sueño

«A good deal of life's normal dimensions are dependent upon your dream experience. Your entire familiarity with the world of symbols arises directly from the dreaming self.» — Seth, según Roberts, hace derivar del yo que sueña la familiaridad entera con el mundo de los símbolos

«In certain terms, language itself has its roots in the dreaming condition — and man dreamed [that] he spoke long before language was born» — Seth, según Roberts, sitúa la raíz de la lengua en la condición de sueño y sostiene que el hombre soñó que hablaba antes de que hubiera lengua; los corchetes de *that* son del aparato del volumen

«He dreamed of flying, and that impetus led to die physical inventions that made mechanical flight possible. I am not speaking symbolically here, but quite literally.» — Seth, según Roberts, extiende el caso al vuelo y declara que no habla en símbolo sino al pie de la letra; el OCR imprime *die* por *the*

«From the beginning, I said that the self was not confined to the body. This means that the consciousness has other methods of perceiving information, that even in physical life experience is not confined to what is sensed in usual terms.» — Seth, según Roberts, recuerda su propia tesis sobre el yo no confinado al cuerpo y deriva de ella otros métodos de percibir

«This remains fine theory, however, unless you allow yourself enough freedom to experiment with other modes of perception.» — Seth, según Roberts, acota lo anterior: sin experimentar, todo eso queda en buena teoría

«tYve moon, and the dreaming constxovvmevi, ase cow-Adered feminine or passive.» — segundo tramo legible de la plana 64 corrompida, donde Seth, según Roberts, enumera el reparto convencional de los signos: día y conciencia despierta por masculinos, noche, luna y conciencia soñante por femeninos o pasivos. El texto va tal cual lo imprime el troceo y no se restituye

«Physically speaking, you would have no males or females unless first you had individuals. You are each individuals first of all, then. After this, you are individuals of a specific sex, biologically speaking.» — Seth, según Roberts, pone el orden entre individuo y sexo: primero individuos y después individuos de un sexo

«The particular kind of focus that you have is responsible for the great significance you place upon male and female. Your hand and your foot have different functions. If you wanted to focus upon the differences in their behavior, you could build an entire culture based upon their diverse capabilities, functions and characteristics.» — Seth, según Roberts, atribuye al foco elegido el peso que se le da a lo masculino y lo femenino, y lo compara con una cultura fundada en la diferencia entre la mano y el pie

«Hands and feet are obviously equipment belonging to both sexes, however. Still, on another level the analogy is quite valid.» — Seth, según Roberts, acota su propia analogía y a la vez la sostiene en otro nivel

«The psyche is male and female, female and male; but when I say this I realize that you put your own definitions upon those terms to begin with.» — Seth, según Roberts, enuncia la fórmula del capítulo y la acota en la misma frase: el lector le pone sus propias definiciones a esos términos

«Biologically, the sexual orientation is the method chosen for continuation of the species. Otherwise, however, no specific psychological characteristics of any kind are attached to that biological functioning.» — Seth, según Roberts, limita la orientación sexual a su función de continuar la especie y niega que de ella se sigan características psicológicas

«I am quite aware that in your experience definite physical and psychological differences do exist. Those that do are the result of programming, and are not inherent — even biologically — in the species itself.» — Seth, según Roberts, concede que las diferencias físicas y psicológicas existen en la experiencia y las atribuye a programación, no a lo inherente

«The vitality of the species in fact was assured because it did not overspecialize in terms of sexuality. There was no fixed mating period, for example. Instead, the species could reproduce freely so that in the event of a catastrophe of any kind, it would not be so tied into rigid patterns that it might result in extinction.» — Seth, según Roberts, explica la vitalidad de la especie por la falta de especialización sexual: sin periodo fijo de apareamiento, la reproducción libre protegía de la extinción ante una catástrofe

«The species could have survived quite well physically without philosophy, the arts, politics, religion, or even structured language. It could have followed completely different paths, those tied strictly to biological orientation.» — Seth, según Roberts, separa la supervivencia física de la filosofía, las artes, la política, la religión y hasta la lengua estructurada: pudo haber seguido otro camino

«The challenges and problems of the species were different from those of others. It needed additional safeguards. The more flexible mating pattern was one. With this came a greater diversity in individual characteristics and behavior, so that no individual was bound to a strictly biological role.» — Seth, según Roberts, deriva del apareamiento flexible la diversidad de caracteres y la libertad respecto de un papel estrictamente biológico

«If that were true, the species never would have been concerned beyond the issues of physical survival, and such is not the case.» — Seth, según Roberts, argumenta por la vía contraria: si el papel fuera estrictamente biológico, la especie no se habría ocupado de nada más que sobrevivir

«have existed. For that matter, there is far greater leeway in the behavior of animals than you understand, for you interpret animal behavior according to your own beliefs.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, extiende el margen de juego a la conducta animal y atribuye a las creencias propias la interpretación que se hace de ella

«You interpret the past history of your species in the same manner. It seems to you that the female always tended to the offspring, for example, nursing them, that she was forced to remain close to home while the male fought off enemies or hunted for food. The ranging male, therefore, appears to have been much more curious and aggressive.» — Seth, según Roberts, describe el cuadro corriente de la prehistoria —la hembra en casa con las crías, el macho cazando— como interpretación y no como dato

«There was instead a different kind of situation. Children do not come in litters. T h e family of the caveman was a far more "democratic" group than you suppose — m e n and women working side by side, children learning to h u n t with both parents, women stopping to nurse a child along the way, the species standing apart from others because it was not ritualized in sexual behavior.» — Seth, según Roberts, opone su propio cuadro: los hijos no vienen en camadas, la familia del cavernícola era más democrática, y la especie se apartaba de las demás por no tener ritualizada la conducta sexual

«Except for the fact that males could not bear children, the abilities of the sexes were interchangeable. T h e male was usually heavier, a handy physical advantage in some areas — but the woman was lighter and could run faster.» — Seth, según Roberts, declara intercambiables las capacidades de los sexos salvo la gestación, y reparte las ventajas físicas entre los dos

«Women were also somewhat lighter because they would bear the» — Seth, según Roberts, explica el menor peso de la mujer por el que habría de cargar después; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«additional weight of a child. Even then, of course, there were variances, for many women are larger than small men. But the women could hunt as well as the men.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *ya entonces había variaciones, muchas mujeres son mayores que hombres pequeños, y las mujeres podían cazar igual que los hombres*

«If compassion, kindness, a n d gentleness were feminine characteristics only, then no male could be kind or compassionate because such feelings would not be biologically possible.» — Seth, según Roberts, razona por reducción al absurdo: si la compasión fuera solo femenina, ningún varón podría sentirla

«If your individuality was programmed by your biological sex, then it would be literally impossible for you to p e r f o r m any action that was not sexually programmed. A woman cannot father a child, nor can a male bear one.» — Seth, según Roberts, aprieta el mismo razonamiento y deja solo dos imposibilidades reales, las de la generación

«Since you are otherwise free to perform other kinds of activity that you think of as sexually oriented, in those areas the orientation is cultural.» — Seth, según Roberts, concluye que fuera de esas dos, la orientación de las actividades es cultural

«You imagine, however, that the male is aggressive, active, logicalminded, inventive, outwardly oriented, a builder of civilizations. You identify the ego as male.» — Seth, según Roberts, enumera los atributos que se adjudican al varón y señala el paso siguiente: identificar el ego como masculino; el troceo parte *logical-minded* por el guion de fin de renglón y `span()` lo devuelve fundido, restitución declarada aquí y no tocada dentro de las comillas

«There would have been no question of men performing so-called feminine tasks, or of women performing so-called masculine» — Seth, según Roberts, saca la consecuencia sobre las tareas llamadas masculinas y femeninas; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«At the same time, you consider the intuitive elements rather frightening, as if they can explode to disrupt known patterns, dash — in unknown ways.» — Seth, según Roberts, señala el miedo que acompaña a ese reparto: lo intuitivo como algo que puede estallar y romper los patrones conocidos; el dictado deletrea *dash*

«Males who are creatively gifted find themselves in some dilemma, for their rich, sensed creativity comes into direct conflict with their ideas of virility. Women who possess characteristics that are thought to be masculine have the same problem on the other side.» — Seth, según Roberts, mide el costo del reparto en los dos sexos: el varón creativo en conflicto con su idea de virilidad y la mujer con caracteres tenidos por masculinos

«In your terms the psyche is a repository of characteristics that operate in union, composed of female and male elements. The human psyche contains such patterns that can be put together in multitudinous ways.» — Seth, según Roberts, describe la psique como repositorio de caracteres que operan en unión y que se combinan de muchísimas maneras

«You have categorized human abilities so that it seems that you are men or women, or women and men primarily, and persons secondarily. Your personhood exists first, however. Your individuality gives meaning to your sex, and not the other way around.» — Seth, según Roberts, invierte el orden que la categorización impuso: primero la persona, y es la individualidad la que da sentido al sexo

«Now: In direct opposition to current theories about the past, there was far less sexual specialization, say, in the time of the caveman than now.» — Seth, según Roberts, opone su cuadro a las teorías corrientes: menos especialización sexual en tiempos del cavernícola que ahora

«The family was a very cooperative unit. The basis of early society was cooperation, not competition.» — Seth, según Roberts, pone la cooperación y no la competencia como base de la sociedad temprana

«Families grouped together. There were children of various ages in such a band all the time. When women were near birth, they performed those chores that could be done in the cave dwellings, or nearby, and also watched other young children; while the women who were not pregnant were off with the males, hunting or gathering food.» — Seth, según Roberts, describe el reparto concreto del trabajo por el embarazo y no por el sexo

«If a mother died, the father took over her responsibilities, the qualities of love and affection being quite as alive in him as in the female.» — Seth, según Roberts, declara el amor y el afecto igual de vivos en el padre que en la madre

«After a woman bore, she nursed the child, taking it with her on food-gathering excursions, or sometimes letting other women in the group nurse the child. Often after childbirth, women immediately joined the hunting expeditions, and the fathers made clothing from animals' hides at home.» — Seth, según Roberts, describe la crianza compartida y la inversión de tareas: las madres recién paridas en la partida de caza y los padres curtiendo pieles en casa

«This allowed the male to rest after prolonged hunting activity, and meant that no adult member of a family became over-exhausted. The work, then, was interchangeable.» — Seth, según Roberts, da la razón funcional del arreglo: que ningún adulto de la familia quedara agotado, con el trabajo intercambiable

«Qualities of inventiveness, curiosity, ingenuity, could not be delegated to one sex alone. The species could not have survived such a division.» — Seth, según Roberts, niega que la inventiva, la curiosidad y el ingenio pudieran delegarse en un solo sexo y da la razón: la especie no habría sobrevivido a esa división

«You are so used to thinking in terms of mechanics, that it seems to you that uneducated people did not understand the connection between the sexual act of intercourse and childbirth. You are so used to one kind of explanation for childbirth, so familiar with one specific framework, that alternate explanations appear to be the height of nonsense. So it is fashionable to believe that early man did not understand the connection between intercourse and birth.» — Seth, según Roberts, objeta a la creencia de que el hombre primitivo no conociera la relación entre el coito y el nacimiento, y la atribuye a un marco explicativo único

«Even the animals, however, understand without words or language the importance of their sexual behavior. Early m a n was hardly more ignorant. The male knew what he was doing even without textbooks that outlined the entire procedure. T h e female understood the connections between the child born and the sexual act.» — Seth, según Roberts, apoya la objeción en los animales, que entienden sin palabras la importancia de su conducta sexual

«It is the height of idiocy to imagine that because of the time taken in pregnancy, the female could not understand the child's origin in intercourse. The body's knowledge did not need a complicated language.» — Seth, según Roberts, rechaza el argumento del plazo del embarazo y contrapone el saber del cuerpo, que no necesitaba lengua complicada

«For that matter, your literal interpretation of childbirth is by some standards a highly limited one. In your terms, it is technically correct.» — Seth, según Roberts, concede la corrección técnica de la interpretación literal del nacimiento y la llama a la vez muy limitada

«But a child born to two parents is also an offspring of the earth, its tissues as surely a part of earth as any tree or flower, or burst of ocean spray. A human child, true; but an offspring in which the entire history of the earth is involved — a new creation arising not just from two parents, but from the entire gestalt of nature, from which the parents themselves once emerged; a private yet public affair in which the physical elements of earth become individualized; in which psyche and earth cooperate in a birth that is h u m a n , and in other terms, divine.» — Seth, según Roberts, amplía el nacimiento hasta la gestalt entera de la naturaleza: un asunto privado y público a la vez en que psique y tierra cooperan, humano y en otros términos divino

«Now: Historically speaking, early man in his way understood those connections far better than you do, and used language as he developed it to express first of all this miracle of birth.» — Seth, según Roberts, atribuye al hombre temprano un entendimiento mejor de esas conexiones y hace del nacimiento el primer asunto de la lengua

«For he saw that he constantly replenished his kind, and that all other species were replenished in the same manner.» — Seth, según Roberts, da lo que el hombre temprano veía: la reposición constante de su especie y de todas las demás

«There was always more land. No matter how fast he ran or how far he traveled, early man could not run out of land, or trees, or forests, or food supplies.» — Seth, según Roberts, describe el mundo sin límite del hombre temprano

«But the world itself seemed to have no end. It was literally a limitless world in a way most difficult for you to understand; for to you, the world has shrunk.» — Seth, según Roberts, acota el contraste con el lector: aquel mundo era ilimitado de un modo hoy difícil de entender, porque el mundo se ha encogido

«This unlimited world constantly replenished itself. Children came from women's wombs. Man was acquainted with death, and many children were stillborn, or were naturally aborted. This also, however, was in the natural order of things, and was done far more easily then than now.» — Seth, según Roberts, incluye la muerte y el aborto natural dentro del orden de las cosas de aquel mundo

«All flower seeds do not fall on fertile ground and bring forth other flowers. The seeds that do not grow go [back] into the ground, forming the basis for other life.» — Seth, según Roberts, da la analogía de las semillas que no germinan y vuelven a la tierra como base de otra vida; los corchetes de *back* son del aparato del volumen

«Biologically speaking, fetuses grow and develop — I am going slowly here because I am being tricky — and when innate consciousness merges with proper form, the conditions are right for the birth of a healthy child. When the conditions are not right, the child does not develop properly.» — Seth, según Roberts, describe la gestación como encuentro entre forma y conciencia innata, y advierte dentro del propio dictado que va despacio porque va a decir algo delicado

«Nature aborts it. The physical elements return to the earth to become the basis for other life.» — Seth, según Roberts, nombra el aborto natural sin rodeos y lo cierra con el retorno de los elementos a la tierra

«Only those children perfecdy attuned to their environment in time and space survived. This does not mean that the consciousness of a child was annihilated, for example, if it was naturally aborted. It did not develop.» — Seth, según Roberts, acota la afirmación anterior en el punto que más importa: la conciencia del niño abortado no se aniquila, no se desarrolló; el OCR imprime *perfecdy*

«Biologically, the species knew ahead of time when droughts would appear, for example, and it automatically altered its rate of conception to compensate. Left alone, animal species do the same thing.» — Seth, según Roberts, atribuye a la especie un saber anticipado de las sequías y una alteración automática de la tasa de concepción, como hacen los animales dejados en paz

«In broad terms, early man was stnick by the fact that all things seemed to reproduce themselves, and it was this fact that first caught his attention.» — Seth, según Roberts, fija lo que llamó la atención del hombre temprano: que todo parecía reproducirse; el OCR imprime *stnick* por *struck*

«Later he used what you think of as myths to explain this abundance. Yet those myths contained a kind of knowledge that escapes your literal, specific interpretations of sexual events.» — Seth, según Roberts, sitúa el mito como explicación de esa abundancia y sostiene que guarda un saber que las interpretaciones literales de lo sexual no alcanzan

«Such knowledge resides in the psyche, however. If you have any direct experience with your own psyche, then you will most likely find yourself encountering some kinds of events that will not easily fit with your own ideas about your sexual nature.» — Seth, según Roberts, devuelve ese saber a la psique y anticipa que la experiencia directa de ella traerá sucesos que no casarán con las propias ideas sobre la naturaleza sexual

«The unconscious therefore seems to be female, and the feminine characteristics are usually given as passive, intuitive, nurturing, creative, uninventive, concerned with preserving» — Seth, según Roberts, encadena el reparto hasta el final: si el ego es masculino, lo inconsciente queda femenino, con la pasividad y la intuición; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«the status quo, disliking change.» — continuación del pasaje anterior, ya en la plana siguiente: *a lo femenino así definido se le adjudica además la conservación del estado de cosas y el disgusto por el cambio*

«Children began food gathering and hunting as soon as they were able to — females as well as males — led by the older» — Seth, según Roberts, mete a los hijos de los dos sexos en la misma faena desde temprano; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«children, going farther away as they progressed in strength.» — continuación del pasaje anterior, ya en la plana siguiente: *los niños iban guiados por los mayores y se alejaban más conforme ganaban fuerza*

«W^hile there was no mating period, still there was a close biological relationship between the species and the earth, so that women naturally conceived when situations of climate, food supplies, and other elements were beneficial.» — Seth, según Roberts, describe una relación biológica estrecha entre la especie y la tierra, con la concepción ligada al clima y a los víveres; el troceo imprime la W inicial como *W^* y así se conserva

«This was the end of book work. Seth came through with a few pages of material for me, and ended the session at 12:15 A.M.)» — Butts cierra la sesión 764 separando el dictado de libro del material privado

«SESSION 768, MARCH 22, 1976 9:43 P.M. MONDAY» — el encabezado de la sesión 768, la primera tras más de un mes sin dictado de libro

«The last two sessions are highly interesting, but weren't devoted to book dictation. Both contain information about suicide, and were given after we heard about the self-inflicted death of a young friend of ours. We hope to see them published eventually.» — Butts consigna el asunto de las dos sesiones que quedaron fuera —el suicidio de un amigo joven de la casa— y la esperanza de publicarlas

«Dictation: The continuation of our sexual fireside chat. (Humorously:) The remark is an aside — and not necessarily part of the book, though it may be if you prefer.» — Seth, según Roberts, nombra su propio dictado con humor y deja en manos de Butts si la broma entra en el libro; la acotación del tono es de él

«Your beliefs about sexuality, and hence your e x p e r i e n c e with it, makes you consider it in a very limiting light. T h e psyche's own knowledge, of course, is far more expansive.» — Seth, según Roberts, opone las creencias sobre la sexualidad, que estrechan la experiencia, al saber de la psique

«Alterations of consciousness, or attempts on the part of the individual to explore the inner self, may then easily display glimpses of a kind of sexuality that can appear to be deviant or unnatural.» — Seth, según Roberts, anticipa que la exploración interior mostrará formas de sexualidad que parecerán desviadas o antinaturales

«Even when social scientists or biologists explore h u m a n sexuality, they do so from the framework of sexuality as it appears in your world.» — Seth, según Roberts, acota el alcance de la ciencia del ramo: explora desde el marco de la sexualidad tal como aparece en este mundo

«There are quite natural sexual variations, even involving reproduction, that are not now apparent in h u m a n behavior in any culture. These variations appear in your world on only fairly microscopic levels, or in the behavior of other species than your own.» — Seth, según Roberts, declara naturales variaciones sexuales que hoy solo aparecen en escala microscópica o en otras especies

«New paragraph: When racial conditions require it, it is quite possible for an individual to both father and mother a child.» — Seth, según Roberts, sostiene que en ciertas condiciones un mismo individuo puede engendrar y parir; la llamada de nota del aparato remite a la partenogénesis

«In such cases, what you would call complete spontaneous sexual reverses or transformations would occur.» — Seth, según Roberts, nombra el mecanismo que eso supondría: reversiones o transformaciones sexuales espontáneas y completas

«Even in your world, currently speaking, some individuals known as women could father their own children.» — Seth, según Roberts, lleva la afirmación al presente del lector

«Some individuals known as men could give birth to a child fathered by the same person — could (underlined). The abilities are there.» — Seth, según Roberts, dice el caso simétrico y lo acota en la misma frase con el subrayado del condicional, anotado por Butts

«The male-female, female-male orientation is not nearly as separate as it appears to be in your present experience. It is not nearly as tied to psychological characteristics as you suppose. Nor is it inherently focused in the particular age period in which it now shows itself.» — Seth, según Roberts, niega tres cosas de una vez: que la orientación sea tan separada, tan atada a lo psicológico y tan ligada a una edad determinada

«Puberty arrives, so to speak, but the time of its arrival varies according to the needs of the species, its conditions and beliefs.» — Seth, según Roberts, hace variar el momento de la pubertad según las necesidades, las condiciones y las creencias de la especie

«You are an individual for life. You operate as a reproducing individual, generally speaking, for only a portion of that time.» — Seth, según Roberts, separa la duración de la individualidad de la del funcionamiento reproductivo

«During that period, many elements come into play and are meant to make the process attractive to the individuals involved, and to their tribes, societies, or civilizations. A relatively strong "sexual" identification is important under those circumstances» — Seth, según Roberts, concede la utilidad de una identificación sexual fuerte durante ese periodo

«but (louder) an over-identification with them, before or afterward, can lead to stereotyped behavior, in which the greater needs and abilities of the individual are not allowed fulfillment.» — Seth, según Roberts, acota esa concesión: identificarse de más, antes o después, deja la conducta estereotipada y las capacidades sin cumplir; la acotación del volumen es de Butts

«You cannot separate biology from your own belief systems. The interplay is too vital.» — Seth, según Roberts, declara inseparables la biología y los sistemas de creencias por lo vital del juego entre ambos

«If each act of intercourse were meant to produce a child, you would have overrun the planet before you began. Sexual activity is therefore also meant as enjoyment, as an expression of pure exuberance.» — Seth, según Roberts, argumenta por el absurdo demográfico que el acto sexual se destina también al goce y a la exuberancia

«A woman will often feel her most sexually active in the midst of the menstrual period, precisely when conception is least apt to occur.» — Seth, según Roberts, apoya lo anterior en el dato de que el mayor apetito suele caer cuando la concepción es menos probable

«All kinds of taboos against sexual relations have been applied here, particularly in so-called native cultures. In those cultures, such taboos make good sense.» — Seth, según Roberts, consigna los tabúes sobre las relaciones en ese periodo y les concede buen sentido dentro de aquellas culturas

«Such peoples, building up the human stock, intuitively knew that the population would be increased if relations were restricted to periods when conception was most likely to occur.» — Seth, según Roberts, explica el tabú por su efecto demográfico: restringir las relaciones a los días fértiles aumentaba la población

«The blood was an obvious sign that the woman at her period was relatively "barren." Her abundance was gone. It seemed to their minds that she was indeed "cursed" during that time» — Seth, según Roberts, reconstruye el razonamiento que hizo de la menstruación una maldición: la sangre como señal de esterilidad y de abundancia ida

«Such processes are quite possible at» — Seth, según Roberts, sitúa esos procesos en el nivel microscópico; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«microscopic levels, and inherent in the cellular structure.» — continuación del pasaje anterior, ya en la plana siguiente: *esos procesos son posibles en escala microscópica y son inherentes a la estructura celular*

«All of this becomes very complicated because of your value judg» — Seth, según Roberts, señala los juicios de valor como la complicación; el tramo se corta en el límite de chunk, que parte la palabra *judgments*, y *sigue en la línea siguiente*

«which oftentimes seem to lack — if you will forgive me — all natural common sense.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: Seth, según Roberts, le reprocha a esos juicios, con una disculpa de por medio, la falta de todo sentido común natural. El tramo arranca en *which* porque el corte parte la palabra anterior por la mitad

«I have spoken before about the growth of what you call ego-consciousness — which, let me reiterate, has its own unique rewards. That psychological orientation will lead the species to another, equally unique kind of consciousness.» — Seth, según Roberts, no descalifica la conciencia del ego: le concede recompensas propias y la declara paso hacia otra clase de conciencia

«When the process began, however, the deep power of nature had to be "controlled" so that the growing consciousness could see itself as apart from this natural source.» — Seth, según Roberts, explica el control de la naturaleza por la necesidad de la conciencia naciente de verse aparte de su fuente

«Yet children, so necessary to the species, continued to spring from women's wombs. T h e r e f o r e the natural source was most flagrant, observable, and undeniable.» — Seth, según Roberts, señala lo que hacía imposible ese apartamiento: el parto, que dejaba la fuente natural a la vista

«For that reason the species — and not the male alone — placed so many taboos about female behavior and sexuality.» — Seth, según Roberts, atribuye los tabúes sobre la mujer a la especie entera y no solo al varón, y con ello reparte la responsabilidad

«In "subduing" its own female elements, the species tried to gain some psychological distance from the great natural source from which it was, for its own reasons, trying to emerge.» — Seth, según Roberts, da el motivo del sometimiento: ganar distancia psicológica respecto de la gran fuente natural

«In the world of your present experience, sexual differences are less apparent as you reach old age. Some w o m e n display what you think of as masculine characteristics, growing hair a b o u t their faces, speaking with heavier voices, or becoming angular; while some men speak with lighter, gentler tones than ever before, a n d their faces grow smoother, and the contours of their bodies soften.» — Seth, según Roberts, describe el acercamiento de los rasgos en la vejez como dato contra la separación tajante de los sexos

«Before puberty there is the same kind of seeming ambiguity. You stress the importance of sexual identification, for it seems to you that a young child must know that it will grow u p to be a m a n or woman, in the most precise of terms — (louder) toeing the line in the least particular.» — Seth, según Roberts, señala la misma ambigüedad antes de la pubertad y la presión por identificar al niño en términos precisos; la acotación del volumen es de Butts

«The slightest deviation is looked u p o n with dismay, so that personal identity and worth are completely tied into identification with femaleness or maleness.» — Seth, según Roberts, mide el costo de esa presión: la identidad y el valor personales quedan atados por entero a la identificación sexual

«Completely different characteristics, abilities, and performances are expected from those in each category. A male who does not feel himself fully male, therefore, does not trust his identity as a person. A woman doubtful of her complete femininity in the same manner does not trust the integrity of her personhood.» — Seth, según Roberts, deriva de ese atadura la desconfianza del varón y de la mujer en su propia condición de persona

«A lesbian or homosexual is on very shifting psychological ground, because the same interests and abilities that they feel most personally theirs are precisely those that mark them as sexual eccentrics.» — Seth, según Roberts, describe la posición de lesbianas y homosexuales: lo que sienten más propio es justo lo que los marca como excéntricos

«These are simple enough examples, but the man who possesses interests considered feminine by your culture, who naturally wants to enter fields of interest considered womanly, experiences drastic conflicts between his sense of personhood and identity — and his sexuality as it is culturally defined. The same, of course, applies to women.» — Seth, según Roberts, extiende el conflicto al varón con intereses tenidos por femeninos y lo declara simétrico para las mujeres

«Because of your exaggerated focus, you therefore become relatively blind to other aspects of "sexuality." First of all, sexuality per se does not necessarily lead to intercourse. It can lead to acts that do not produce children.» — Seth, según Roberts, separa la sexualidad del coito y de la reproducción

«What you think of as lesbian or homosexual activity is quite natural sexual expression, biologically and psychologically.» — Seth, según Roberts, declara natural, biológica y psicológicamente, lo que se llama actividad lesbiana y homosexual

«In more "ideal" environments such activity would flourish to some extent, particularly before and after prime reproductive years.» — Seth, según Roberts, sitúa esa actividad sobre todo antes y después de los años reproductivos principales

«For those literal-minded readers, this does not mean that such activity would predominate at such times. It does mean that not all sexual activity is meant to end in childbirth — which is a biological impossibility, and would represent planetary catastrophe.» — Seth, según Roberts, acota su afirmación contra la lectura literal, y da la razón de que no toda actividad sexual termine en parto

«So the species is blessed, if you will (louder) with many avenues for sexual expression. The strong focus that now predominates does inhibit the formation of certain kinds of friendships that would not necessarily at all result in sexual activity.» — Seth, según Roberts, llama bendición las muchas vías de expresión sexual y señala lo que el foco estrecho impide: amistades que no tendrían por qué acabar en acto sexual

«Lesbianism and homosexuality, as they are currently experienced, also represent exaggerated versions of natural inclinations, even as your experienced version of heterosexuality is exaggerated.» — Seth, según Roberts, declara exagerada la versión vigente de las tres: la lesbiana, la homosexual y también la heterosexual, sin dejar ninguna fuera

«After break Seth returned with some excellent material for Jane and me. Included in it was a discussion of his relationship with us, and the place of his books in our lives.» — Butts consigna lo que se dijo fuera del libro: la relación de Seth con los dos y el lugar de sus libros en la vida de la casa

«SESSION 769, MARCH 29, 1976 9.20 P.M. MONDAY» — el encabezado de la sesión 769

«Jane finished typing her book, Psychic Politics, and has been receiving more material on the manuscript she now calls The World View of Paul Cezanne. She's been getting up about dawn, and has throughout the winter, to write and to enjoy the beginning of the days.» — Butts consigna lo que Roberts hacía esos días y su horario de madrugada

«Before tonight's session, she and I discussed the importance of Seth's material on human sexuality and hoped he would expand it.» — Butts declara que el asunto de la sesión venía pedido desde dentro de la casa

«Dictation. The so-called battle of the sexes, with its ramifications, is not "natural" — nor, in that context, is fighting between members of the same sex. Even in the animal kingdom, for example, males do not fight to the death over the females when they are in their natural state.» — Seth, según Roberts, niega que la guerra de los sexos sea natural y apoya la negativa en los animales en estado natural

«I will clear up my meaning of the word "natural" later. However, when you examine animal behavior even in its most natural-seeming environment, for instance, you are not observing the basic behavior patterns of such creatures, because those relatively isolated areas exist in your world. Quite simply, you cannot have o n e or two or twenty officially-designated natural regions in which you observe animal activity, and expect to find anything more than the current adaptation of those creatures — an adaptation that is superimposed upon their "natural" reactions.» — Seth, según Roberts, objeta al método de la etología de campo: en reservas aisladas se observa la adaptación actual, no la conducta básica

«The balance of resources, animal travel patterns, migrations, weather conditions — all of these must be taken into consideration. Such isolated observation areas merely present you with a distorted picture of natural behavior, because the animals are also imprisoned within them. Civilization binds them round.» — Seth, según Roberts, enumera lo que habría que tomar en cuenta y declara a los animales de esas áreas también encerrados

«Other animals are kept out. The hunted and the prey are highly regulated. All areas of animal behavior alter to fit the circumstances as much as possible, and this includes sexual activity. To some extent the animals have been conditioned to the changing world.» — Seth, según Roberts, describe la regulación del coto y sostiene que también la actividad sexual se altera con las circunstancias

«Now man is obviously part of nature, so you may say: "But those changes wrought by him are natural." When he studies such animal behavior, however, and sometimes uses the sexual patterns of the animals to make certain points about human sexuality, then man does not take this into consideration, but speaks as if the present observed animal behavior is the indication of a prime or basic nature inherent in their biology.» — Seth, según Roberts, se hace la objeción de que lo obrado por el hombre también es natural, y contesta señalando lo que no se toma en cuenta al usar la conducta animal observada para hablar de la humana

«It is not natural, then, for men to fight over women. This is a purely cultural, learned behavior. In terms of history as you understand it, the species could not withstand such misapplied energy, nor could it have withstood such constant antagonism.» — Seth, según Roberts, declara cultural y aprendida la pelea de los hombres por las mujeres, y la descarta por el gasto de energía que la especie no habría resistido

«Each species is involved in a cooperative venture, upon which ultimately all earthly existence rests.» — Seth, según Roberts, pone la cooperación entre especies como base última de la existencia terrestre

«You project your present beliefs backward into history, and you misinterpret many of the conditions that you observe in the natural world.» — Seth, según Roberts, atribuye la mala lectura de la naturaleza a la proyección hacia atrás de las creencias presentes

«This cooperation that I speak of is based on love, and that love has a biological as well as a spiritual basis.» — Seth, según Roberts, declara esa cooperación fundada en el amor, con base biológica y espiritual a la vez

«Your beliefs, for example, cause you to deny the existence of emotions in animals, and any instances of love among them are assigned to "blind" instinct.» — Seth, según Roberts, señala el efecto de esas creencias: negar la emoción en los animales y adjudicar su amor al instinto ciego

«To some extent the churches as well as the scientists are responsible, but priests and scientists are not some foreign people, thrust upon you. They represent various aspects of yourselves.» — Seth, según Roberts, reparte la responsabilidad entre iglesias y ciencias y a la vez devuelve a los sacerdotes y a los científicos al lector: no son gente ajena sino aspectos de él

«The species developed its own kind of consciousness, as it found it necessary to isolate itself to some degree from its environment and the other creatures within it. As a result, the religions preached that only man had a soul and was dignified by emotional feelings.» — Seth, según Roberts, deriva de la necesidad de aislarse la doctrina religiosa de que solo el hombre tiene alma y sentimientos

«In its way science went along very nicely by postulating man in a mechanistic world, with each creature run by an impeccable machine of instinct, blind alike to pain or desire.» — Seth, según Roberts, pone a la ciencia haciendo lo mismo por otra vía: el mundo mecanicista con cada criatura movida por una máquina de instinto

«The love and cooperation that forms the basis of all life, however, shows itself in many ways. Sexuality represents one aspect, and an important one.» — Seth, según Roberts, sitúa la sexualidad como uno de los aspectos en que se muestra el amor que está en la base de toda vida

«Instead, you have put love into very definite categories, so that its existence is right only under the most limited conditions. Love goes underground, but springs up in distorted forms and exaggerated tendencies.» — Seth, según Roberts, describe el efecto de encasillar el amor: se va a lo hondo y reaparece torcido y exagerado

«You have followed this course for different reasons at different times. Neither sex is to blame. Instead your sexual situation is simply another reflection of the state of your consciousness.» — Seth, según Roberts, quita la culpa a uno y otro sexo y hace de la situación sexual un reflejo del estado de la conciencia

«As a species, presently at least in the Western world, you equate sex and love. You imagine that sexual expression is the only one natural to love.» — Seth, según Roberts, sitúa en el mundo occidental de su presente la igualación de sexo y amor y la creencia de que el amor solo se expresa por vía sexual

«Love, in other words, must it seems express itself exclusively through the exploration (humorously and deeper), in one way or another, of the beloved's sexual portions.» — Seth, según Roberts, aprieta la fórmula anterior con humor y con la acotación de tono que Butts anota

«This is hardly the only limitation placed upon love's expression, however. There are innumerable books written with instructions.» — Seth, según Roberts, abre la lista de las demás limitaciones y empieza por los manuales

«each proclaiming the said methods to be the proper ones. Certain kinds of orgasm are "the best." Love's expression is furthermore permitted only between members of the opposite sex. Generally speaking, these individuals must be more or less of the same age.» — continuación en la plana siguiente, donde Seth, según Roberts, enumera las condiciones que se le ponen al amor: cierto orgasmo, el sexo opuesto y edades parejas

«There are other taboos, involving racial restrictions, or cultural, social, and economic ones. If this were not enough, large segments of the population believe that sex is wrong to begin with — a spiritual debasement, allowed by God only so that the species can continue.» — Seth, según Roberts, completa la lista con los tabúes raciales, culturales y económicos y con la creencia de que el sexo mismo es una degradación permitida solo para continuar la especie

«Since love and sex are equated, obvious conflicts arise. Mother love is the only category that is considered wholesome, and therefore nonsexual under most conditions.» — Seth, según Roberts, señala el conflicto que salta de igualar amor y sexo y la única categoría que queda a salvo

«A father can feel very guilty about his love for his children, for he has been conditioned to believe that love is expressed only through sex, or else it is unmanly, while sex with one's children is taboo.» — Seth, según Roberts, describe la trampa en que queda el padre: si el amor solo se expresa por sexo, quererlos es culpa y no quererlos es poco viril

«Creativity rides the tides of love. When love is denied its natural expression, creativity suffers.» — Seth, según Roberts, ata la creatividad a la marea del amor y declara que sufre cuando a este se le niega expresión

«Your belief lead you to suppose that a natural bisexuality would result in the death of the family, the destruction of morals, rampant sexual crimes, and the loss of sexual identity.» — Seth, según Roberts, enumera los temores que se le adjudican a la bisexualidad natural; el troceo imprime *Your belief lead*

«I would say, however, that my last sentence adequately describes your present situation (with dry humor). T h e acceptance of the species' natural bisexuality would ultimately help solve not only those problems but many others, including the large instances of violence, and acts of murder. In your terms, however, and in your circumstances, there is not apt to be any easy transition.» — Seth, según Roberts, devuelve esa lista de temores como descripción de la situación presente, con la acotación de humor seco puesta por Butts, y acota que la transición no será fácil

«Children would fare far better if the ancient parental qualities were not so forcibly focused upon the mother. This in itself leads to more dependence upon the mother than is healthy, and forms an artificial allegiance between mother and child against the father.» — Seth, según Roberts, señala el efecto de concentrar en la madre las cualidades parentales: dependencia excesiva y una alianza artificial contra el padre

«Now: Heterosexual love is one important expression of bisexuality, and sexually represents the reproductive abilities.» — Seth, según Roberts, subordina la heterosexualidad a la bisexualidad como una de sus expresiones

«In larger terms, it is as natural for a man to love a man, and for a woman to love a woman, as it is to show love for the opposite sex. For that matter, it is more natural to be bisexual. Such is the "natural" nature of the species.» — Seth, según Roberts, iguala en naturalidad el amor entre iguales y el amor entre sexos opuestos, y declara más natural aún la bisexualidad, que llama la naturaleza natural de la especie

«The parent-child reladonship has its own unique emotional» — Seth, según Roberts, abre la defensa de la relación entre padres e hijos; el OCR imprime *reladonship* y el tramo se corta en el límite de chunk, con la continuación *en la línea siguiente*

«structure, which survives even those distortions you have placed upon it, and its ancient integrity would not be weakened, but strengthened, if greater stress were laid upon your bisexual nature.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *esa estructura sobrevive a las distorsiones que se le han puesto y su integridad antigua se fortalecería, no se debilitaría, si se diera más peso a la naturaleza bisexual*

«Heterosexuality, however, rests upon the bisexual basis, and (intently) without man's» — Seth, según Roberts, hace descansar la heterosexualidad sobre la base bisexual; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«bisexual nature, the larger frameworks of the family — the clan, tribe, government, civilization — would be impossible.» — continuación del pasaje anterior, ya en la plana siguiente: *sin esa naturaleza bisexual, los armazones mayores de la familia —clan, tribu, gobierno, civilización— serían imposibles*

«Basically, then, man's inherent bisexuality provides the basis for the cooperation that makes physical survival, and any kind of cultural interaction, possible.» — Seth, según Roberts, hace de la bisexualidad inherente la base de la cooperación que permite la supervivencia física y todo trato cultural

«If the "batde of the sexes" were as prevalent as supposed, and as natural and ferocious, then there literally would be no cooperation between males and females for any purpose. There would be none between men or between women either, for they would be in a constant state of battle against each other.» — Seth, según Roberts, argumenta por el absurdo: si la guerra de los sexos fuera como se dice, no habría cooperación de ninguna clase; el OCR imprime *batde*

«In the natural biological flow of a person's life, there are periods of varying intensities, in which love and its expression fluctuates, and tends toward different courses. There are also individual variations that are of great importance. These natural rhythms are seldom observed, however.» — Seth, según Roberts, describe ritmos naturales de fluctuación del amor a lo largo de la vida y señala que casi no se observan

«Tendencies toward lesbianism or homosexuality in children are quite natural. They are so feared, however, that often just-as-natural leanings toward heterosexuality are blocked. Instead, the young person is stereotyped.» — Seth, según Roberts, declara naturales esas tendencias en los niños y señala el efecto del miedo a ellas: se bloquean también las inclinaciones heterosexuales

«Individual inclinations toward creativity often emerge in a strong fashion in adolescence. If those drives in either sex do not conform in expression to those expected of the male or female, then such young persons become confused. The creative expression seems to be in direct contradiction to the sexual standards expected.» — Seth, según Roberts, describe el choque de la adolescencia entre la expresión creativa y la norma sexual esperada

«I am not saying that lesbianism and homosexuality are merely stages leading to heterosexuality. I am saying that lesbianism, homosexuality, and heterosexuality are valid expressions of man's bisexual nature.» — Seth, según Roberts, acota su propia tesis contra una lectura evolutiva: las tres son expresiones válidas de la naturaleza bisexual y ninguna es etapa hacia otra

«I am also stressing the fact that love and sexuality are not necessarily the same thing. Sex is love's expression, but it is only one of love's expressions.» — Seth, según Roberts, separa amor y sexualidad y hace del sexo una expresión del amor entre otras

«Sometimes it is quite "natural" to express love in another way. Because of the connotations of the word "sex," however, it may seem to some of you that I am advocating a promiscuous sexual relationship with "no holes barred" (smile). You may delete that.» — Seth, según Roberts, se anticipa a la lectura promiscua de lo que dice, con una broma que él mismo ofrece borrar; la acotación de la sonrisa es de Butts

«Instead, I am saying that deeper bonds of biological and spiritual love lie at the basis of all personal and cultural relationships, a love that transcends your ideas of sexuality.» — Seth, según Roberts, enmienda la lectura: lo que sostiene es que un amor que trasciende las ideas de sexualidad está en la base de toda relación personal y cultural

«If only stereotyped ideas of female-male relationships operated, however, there would be no bond or stimulus great enough to forge one family to another. The antagonism between males would be too great. Competition between females would be too severe. Wars would wipe out struggling tribes before any traditions were formed.» — Seth, según Roberts, argumenta que con solo los estereotipos no habría vínculo bastante para enlazar una familia con otra, y la guerra borraría a las tribus antes de que hubiera tradición

«In the social world as in the microscopic one, cooperation again is paramount. Only a basic bisexuality could give the species the leeway necessary, and prevent stereotyped behavior of a kind that would hamper creativity and social commerce.» — Seth, según Roberts, hace de la bisexualidad básica el margen que impide la conducta estereotipada y protege la creatividad y el trato social

«T h a t basic sexual nature allows you the fulfillment of individual abilities, so that the species does not fall into extinction. Man's recognition of his bisexual nature is, therefore, a must in his future.» — Seth, según Roberts, declara el reconocimiento de la naturaleza bisexual una necesidad del futuro de la especie

«There are, again, obvious differences between the sexes. They are insignificant, and appear large only because you concentrate so upon them. The great human qualities of love, strength, compassion, intellect and imagination do not belong to one sex or the other.» — Seth, según Roberts, concede las diferencias entre los sexos y las declara insignificantes, agrandadas solo por la concentración en ellas

«Only an understanding of this inherent bisexual nature will release those qualities in each individual, regardless of sex.» — Seth, según Roberts, condiciona la liberación de esas cualidades al entendimiento de la naturaleza bisexual

«Those same abilities are natural characteristics of people in each race, of course, yet you have consistently made the same kind of distinctions in racial terms as you have in sexual ones, so that certain races appear as feminine or masculine to you.» — Seth, según Roberts, traslada la misma distinción al terreno racial y señala que se ve a ciertas razas como femeninas o masculinas

«You project your sexual beliefs outward upon the nations, then, and often the terminology of the nations and of wars is the same as that used to describe sex.» — Seth, según Roberts, señala la lengua compartida de la guerra y del sexo como prueba de esa proyección

«You speak, for example, of domination and submission, of the master and the slave, of the rape of a nation — terms used in war and sex alike.» — Seth, según Roberts, enumera los términos que las dos esferas comparten

«Male and female are each members of the h u m a n race — or species if you prefer — so these divisions were made in the species itself, by itself. They are the result of distinctions arising, again, as the species experimented with its line of consciousness, and brought into being the appearance of separation between itself and the rest of the natural world.» — Seth, según Roberts, atribuye la división de los sexos a la propia especie, hecha mientras experimentaba con su línea de conciencia y hacía aparecer la separación respecto del mundo natural

«Until she told me following the session, I didn't realize that Jane was slightly discomfited by Seth's remark about holes. I certainly wasn't. I thought that her reaction itself was humorous; apparently Seth did too. In any case, we obviously didn't delete the passage.» — Butts consigna la incomodidad de Roberts con la broma, su propia falta de incomodidad y la decisión final de no borrar el pasaje: el volumen deja ver la negociación del texto

«Both of us were very glad to have Seth deliver this material on sex, as we've received many letters from men and women who were confused about their sexual identities, and often overwhelmed by feelings of guilt because of an orientation toward lesbianism or homosexuality.» — Butts declara por qué la casa quería este material: las cartas de quienes escribían confundidos y con culpa por su orientación

«SESSION 770, APRIL 5,1976 9:41 P.M. MONDAY» — el encabezado de la sesión 770

«Your identity is simply not dependent upon your psychological or biological sexuality.» — Seth, según Roberts, abre la sesión 770 desligando la identidad de la sexualidad psicológica y biológica; el saludo con que abre es un juego de palabras que Butts anota

«Your sexual characteristics represent a portion of your personhood. They provide vital areas of expression, and focal points about which to group experience. Your sexual qualities are a part of your nature, but they do not define it.» — Seth, según Roberts, concede a lo sexual un lugar vital en la expresión y le niega el papel de definir la naturaleza propia

«Your beliefs so structure your experience individually and en masse, however, that evidential material contrary to those ideas shows itself but seldom, or in distorted or exaggerated form.» — Seth, según Roberts, explica la escasez de evidencia contraria por la estructura que las creencias le imponen a la experiencia

«It is quite natural, biologically and psychologically, to operate in certain fashions that are not acceptable in your society, and that seem to run counter to your picture of mankind's history. In terms of your definitions, then, it is quite natural for some people to behave as males sexually and as females psychologically. It is quite "natural" for others to operate in a reverse fashion.» — Seth, según Roberts, declara natural obrar como varón en lo sexual y como mujer en lo psicológico, y al revés

«Again, this may seem difficult to understand, because you assign psychological characteristics to sexual affiliation, whichever it is.» — Seth, según Roberts, atribuye la dificultad de entenderlo a la asignación de caracteres psicológicos según la filiación sexual

«There will always be people who naturally seek the experience of parenthood. All of them will not necessarily be heterosexual at any given time.» — Seth, según Roberts, separa el deseo de ser padre o madre de la orientación sexual del momento

«Heterosexual love, as it is understood at least, gives you a family of parents and children — an» — Seth, según Roberts, concede a la heterosexualidad su producto social; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«important unit, about which other groups form.» — continuación del pasaje anterior, ya en la plana siguiente: *la familia es una unidad importante, en torno a la cual se forman otros grupos*

«Before my comments for Ruburt: I thought my risque remark about "no holes barred" was quite in» — Seth, según Roberts, defiende su propia broma; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*; la acotación del humor seco es de Butts

«keeping with the content of such material. It is difficult to be prissy when discussing such a topic — but if you feel that others might be offended, do as you wish.» — continuación del pasaje anterior, ya en la plana siguiente: *la broma va con la materia, es difícil ser remilgado en este asunto, y si creen que puede ofender, que hagan lo que quieran*

«The larger pattern of human personhood demands a bisexual affiliation that allows leeway in sexual encounters, a leeway that provides a framework in which individuals can express feelings, abilities, and characteristics that follow the natural inclines of the personal psyche rather than sexual stereotypes.» — Seth, según Roberts, formula la exigencia del patrón mayor de la persona: un margen de encuentro sexual que permita seguir la inclinación propia y no el estereotipo

«I am not speaking here of anything so simple as merely allowing women more freedom, or relieving men from the conventional breadwinner's role. I am certainly not talking about "open marriage" as it is currently understood, but of far greater issues.» — Seth, según Roberts, acota su propia propuesta para que no se la confunda con la libertad de la mujer, el alivio del proveedor ni el matrimonio abierto

«There are biological possibilities, seldom activated in your present circumstances, that have some bearing u p o n the subject at hand.» — Seth, según Roberts, anuncia posibilidades biológicas raramente activadas en las circunstancias presentes

«Puberty comes at a certain time, triggered by d e e p mechanisms that are related to the state of the natural world, the condition of the species, and those cultural beliefs that in a certain sense you transpose upon the natural world. In other respects, your cultural environment is of course natural.» — Seth, según Roberts, hace depender el momento de la pubertad del estado del mundo natural, de la especie y de las creencias culturales, que declara también naturales

«The time that puberty comes varies, then, and afterwards it is possible to parent a child. A time then comes when the period is over.» — Seth, según Roberts, acota el periodo fértil por sus dos extremos

«During what is called the sexually active time; the larger dimensions of personhood b e c o m e stricdy narrowed into sexually stereotyped roles — and all aspects of identity that do not fit are ignored or denied.» — Seth, según Roberts, describe el estrechamiento de la persona en papeles sexuales estereotipados durante ese periodo; el OCR imprime *stricdy*

«The fact is that few people fit those roles. They are largely the result of the interpretations of religion as conventionally understood. And the scientists, for all their seeming independence, often simply found new intellectually acceptable reasons for unconsciously held emotional beliefs.» — Seth, según Roberts, atribuye esos papeles a la interpretación convencional de la religión y acusa a la ciencia de haberles buscado después razones intelectualmente aceptables

«Biologically there is a period very rarely experienced, as jokingly suggested in the "sick jokes" about senility and second childhood. This particular latent biological ability shows itself only upon the rarest instances — because, for one thing, it represents a feat now scarcely desirable.» — Seth, según Roberts, introduce una capacidad latente que solo se muestra rarísima vez, y la enlaza con los chistes sobre la segunda infancia

«Physically, however, the body is quite able to completely regenerate itself as it approaches old age. Indeed, a quite legitimate second puberty is possible, in which the male's seed is youthfully strong and vital, and the woman's womb is pliable and able to bear.» — Seth, según Roberts, declara posible una segunda pubertad con regeneración completa del cuerpo al acercarse la vejez

«There are, I believe, Biblical tales of such births resulting.» — Seth, según Roberts, remite a los relatos bíblicos de nacimientos así con la fórmula dubitativa *I believe*, que no los afirma

«In times of overpopulation, this mechanism is hardly desirable, but it is a part of the species held in abeyance now, representing» — Seth, según Roberts, declara ese mecanismo en suspenso por la sobrepoblación; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«nature's capabilities. In some areas of your world, isolated peoples live on past a hundred years, vital and strong, because they are untouched by your beliefs, and because they live in sympathy and accord with the world as they know and understand it.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, atribuye la longevidad de ciertos pueblos aislados a que viven sin las creencias del lector y en acuerdo con el mundo que conocen

«Occasionally such second puberties happen then, with resulting childbirth, as a small group attempts to maintain its own biological stance.» — Seth, según Roberts, explica esas segundas pubertades por el intento del grupo pequeño de mantener su postura biológica

«Usually the second puberty follows the same sexual orientation as the first, but not always — for it is quite possible for the new affiliation to be the opposite of the first. This is even rarer — but so does the species protect itself.» — Seth, según Roberts, admite que la segunda pubertad puede invertir la orientación de la primera y lo declara aún más raro

«Through medical techniques some of your old people are kept alive long enough so that this process begins, appearing in distorted form, sometimes psychologically apparent but biologically frustrated. The second puberty is dead-ended, then. It has nowhere to go.» — Seth, según Roberts, describe el proceso frustrado: la técnica médica alarga la vida hasta que el mecanismo arranca sin poder cumplirse

«Left alone, some of these people would die with a feeling of satisfaction. Kept alive through medical techniques, the physical mechanism continues its struggles to revitalize the body and bring about this second puberty — that naturally would only come about under different conditions, with the mind far more alert and the will unimpaired.» — Seth, según Roberts, contrapone la muerte satisfecha del que se deja en paz al cuerpo que pelea por revitalizarse fuera de sus condiciones

«Now, to some extent (underlined) there is a connection between this innate, rarely observed second puberty and the development of cancer, in which growth is specifically apparent in an exaggerated manner.» — Seth, según Roberts, enuncia con la acotación de énfasis de Butts una conexión entre esa segunda pubertad no observada y el desarrollo del cáncer, donde el crecimiento se vuelve exagerado

«In almost all such cases involving cancer, spiritual and psychic growth is being denied, or the individual feels that he or she can no longer grow properly in personal, psychic, terms.» — Seth, según Roberts, sitúa en la negación del crecimiento espiritual y psíquico el fondo de esos casos

«This attempt to grow then activates body mechanisms that result in the overgrowth of certain cells. The individual insists upon growing or upon death, and forces an artificial situation in which growth itself becomes physically disastrous.» — Seth, según Roberts, describe el mecanismo que propone: el empeño de crecer activa el sobrecrecimiento celular y fuerza una situación en que crecer es desastroso

«This is because a blockage occurs. The individual wants to grow in terms of personhood, but is afraid of doing so.» — Seth, según Roberts, nombra el bloqueo: querer crecer como persona y temerlo a la vez

«but often such a person feels a martyr to his or her sex, imprisoned by it and unable to escape. This can obviously apply to cancers affecting sexual areas, but is often in the background of any such condition.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: Seth, según Roberts, da el sentimiento típico —sentirse mártir del propio sexo y preso en él, sin escape— y lo pone al fondo de cualquier condición de esa clase, no solo de los cánceres de los órganos sexuales

«Energy is being blocked because of problems that began» — Seth, según Roberts, cierra el pasaje del cáncer nombrando el bloqueo de energía; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«terms — with sexual questions in puberty. Energy is experienced as sexual.» — continuación del pasaje anterior, ya en la plana siguiente: *los problemas empezaron con las cuestiones sexuales de la pubertad, y la energía se experimenta como sexual*

«Now, old people who are considered senile or unmanageable are somedmes experiencing new bursts of sexual activity for which no outlet is given. Beside this, they have lost their conventional sexual roles, in which they earlier expressed their energy.» — Seth, según Roberts, relee la conducta de los viejos tenidos por seniles como energía sexual sin salida y como pérdida del papel en que antes se expresaba; el OCR imprime *somedmes*

«There are often hormonal changes occurring that go unnoticed. Many express a nervous, erratic type of behavior as they are aroused — some not only sexually but intellectually. The new adolescence never comes. The new puberty dies a slow death, for your society has no framework in which to understand it. And indeed it shows itself in a distorted fashion that can appear most grotesque.» — Seth, según Roberts, describe la nueva adolescencia que no llega porque la sociedad no tiene marco para ella, y que por eso se muestra de forma grotesca

«Now: Love is a biological necessity, a force operating to one degree or another in all biological life. Without love there is n o physical commitment to life — no psychic hold.» — Seth, según Roberts, declara el amor necesidad biológica y condición del compromiso con la vida física

«Love exists whether or not it is sexually expressed, though it is natural for love to seek expression. Love implies loyalty. It implies commitment.» — Seth, según Roberts, separa el amor de su expresión sexual y lo ata en cambio a la lealtad y al compromiso

«This applies to lesbian and homosexual relationships as well as to heterosexual ones. In your society, however, identity is so related to sexual stereotypes that few people know themselves well enough to understand the nature of love, and to make any such commitments.» — Seth, según Roberts, extiende esa exigencia a todas las relaciones y señala el obstáculo: los estereotipos impiden conocerse lo bastante para comprometerse

«A transitory period is currently taking place, in which women seem to seek the promiscuous sexual freedom m o r e generally granted to men. It is believed that males are naturally promiscuous, aroused by sexual stimuli almost completely divorced from any complementary "deeper" response. The male, then, is thought to want sex whether or not he has any love response to the woman in question — or sometimes to desire her precisely because he does not love her. In such cases, sex becomes not an expression of love, but an expression of derision or scorn.» — Seth, según Roberts, describe la creencia sobre la promiscuidad masculina y su consecuencia: un sexo que no expresa amor sino burla o desprecio

«So women, accepting these ideas often, seek for a situation in which they too can feel free to express their sexual desires openly, whether or not any love is involved. Yet loyalty is love's partner, and the primates display such evidence in varying degrees.» — Seth, según Roberts, señala que las mujeres adoptan esa misma creencia y objeta con la lealtad, que declara compañera del amor y visible también en los primates

«The expression of sexuality is considered male, while the expression of love is not considered manly. To some extent or another, then, the male feels forced to divide the expression of his love from the expression of his sexuality. It would be disastrous for women to follow the same course.» — Seth, según Roberts, nombra la regla que fuerza esa división y advierte que sería desastroso que las mujeres la siguieran

«This great division has led to your major wars. This does not mean that men were alone responsible for wars. It does mean that the male so divorced himself from the common fountain of love and sex that the repressed energy came forth in those aggressive acts of cultural rape and death, instead of birth.» — Seth, según Roberts, liga la división de amor y sexo con las grandes guerras y acota que no responsabiliza solo a los hombres

«When you look at the animal kingdom, you suppose that the male chooses blindly, led by "dumb" instinct, so that in overall terms one female will do as well as any other. When you discover that a certain chemical or scent will attract a certain male insect, for example, you take it for granted that that element is alone responsible for drawing the male to the female. You take it for granted, in other words, that individual differences do not apply in such cases so remote from your own reality.» — Seth, según Roberts, objeta a la lectura del reino animal por el instinto ciego y a la suposición de que las diferencias individuales no cuenten allí

«You simply are not able to understand the nature of such consciousnesses, and so you interpret their behavior according to your beliefs. This would be sad enough if you did not often use such distorted data to further define the nature of male and female behavior.» — Seth, según Roberts, señala el paso que agrava el error: usar esos datos torcidos para definir la conducta humana de cada sexo

«In so distorting your ideas of sex, you further limit the great capacities of human loyalty, which is always connected with love and love's expression. Lesbian and homosexual relationships then are at best tenuous, overwrought with confused emotions, very seldom able to maintain a stability that allows for individual growth.» — Seth, según Roberts, describe el costo en las relaciones entre iguales: tenues, cargadas de emociones confusas y sin estabilidad para el crecimiento individual

«Heterosexual relationships also break down, for the identity of each partner becomes based upon sexual roles that may or may not apply to the individuals involved.» — Seth, según Roberts, extiende el diagnóstico a las relaciones heterosexuales, con la identidad fundada en papeles que pueden no corresponder

«Since you feel that sex is the only proper method of love's expression, and yet also believe that sex and love are divided, you are in a quandary.» — Seth, según Roberts, nombra la contradicción en que deja al lector creer las dos cosas a la vez

«So, for example, does Russia. India takes a feminine stance — in terms of your beliefs, now.» — Seth, según Roberts, reparte posturas masculinas y femeninas entre naciones y acota en la misma frase que es en términos de las creencias del lector

«"I'm still half in trance, "Jane said, "but I think book dictation's over. . . •" I got her a beer.» — Butts consigna la salida a medias del trance y el cuidado doméstico que acompaña a la sesión

«One small note: A male with growths of any kind — kidney stones or ulcers, for example — has tendencies he considers feminine, and therefore "dependent," of which he is ashamed. In a mock biological ceremony, he gives birth to the extent that he produces within his body material that was not there before. In ulcers the stomach becomes the womb — bloodied, giving birth to sores — his interpretation of a male's "grotesque" attempt to express feminine characteristics.» — Seth, según Roberts, lee las úlceras y los cálculos como un parto de burlas: el varón avergonzado de lo que tiene por femenino produce dentro de sí materia que no estaba

«"I'm not up to it tonight, "Jane said, "but there's lots of material he could give on the ulcer thing right now. It's all there. Maybe I should take a short break and see if he'll come back, instead of ending the session.» — Roberts, citada por Butts, declara que el material seguía disponible y que era ella quien no daba más esa noche

«She was tired, yet exhilarated too — I could tell. We decided to end the session, though.» — Butts consigna su propia lectura del estado de Roberts y la decisión conjunta de cerrar

«Your ideas about sexuality and your beliefs about the natu, the psyche often paint a picture of very contradictory elements. \ psyche and its relationship to sexuality affects your ideas of heal\ and illness, creativity, and all of the ordinary areas of individual life» — Seth, según Roberts, abre el capítulo cinco señalando la contradicción entre las ideas sobre la sexualidad y las creencias sobre la psique; la plana 85 viene con la capa de texto parcialmente CORROMPIDA y el troceo imprime *natu,* y *heal\* con barra, que se conservan tal cual

«C h a p t e r heading: 'The Psyche, Love, Sexual Expression (touder and humorously), and Creativity.» — Seth, según Roberts, dicta el título del capítulo cinco; la acotación del tono es de Butts y el troceo imprime *touder* por *louder*

«In your terms, again, the psyche contains what you would consider male and female characteristics, while not being male or female itself.» — Seth, según Roberts, repite la fórmula del capítulo cuatro: la psique contiene caracteres tenidos por masculinos y femeninos sin ser ella ninguno de los dos

«In those terms and in that regard, the psyche is a bank from which sexual affiliations are drawn. Basically, however, there are no clear, set, human, psychological characteristics that belong to one sex or the other.» — Seth, según Roberts, da la formulación del banco de afiliaciones sexuales que Roberts cita en su introducción, y niega que haya caracteres psicológicos fijos propios de un sexo

«Again, this would lead to a pattern too rigid for the development of the species, and give you too-specialized behavior» — Seth, según Roberts, da la razón de esa negativa: un patrón rígido y una conducta demasiado especializada; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«patterns that would not allow you to cope as a species — particularly with the many varieties of social groupings possible.» — continuación del pasaje anterior, ya en la plana siguiente: *esa especialización no permitiría a la especie arreglárselas con las muchas variedades de agrupamiento social posibles*

«Yet loyalty is love's partner, and the primates display such evidence in varying degrees. The male in» — Seth, según Roberts, objeta con la lealtad, que declara compañera del amor y visible en los primates; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«particular has been taught to separate love and sex, so that a schizophrenic condition results that tears apart his psyche — in operational terms — as he lives his life.» — continuación del pasaje anterior, ya en la plana siguiente: *al varón sobre todo se le ha enseñado a separar amor y sexo, con una condición resultante que le parte la psique en términos operativos*

«These sexual beliefs are also far more important in national relationships than you realize, for you attempt to take» — Seth, según Roberts, traslada esas creencias al plano de las naciones; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«what you think of as a masculine stance as a nation.» — continuación del pasaje anterior, ya en la plana siguiente: *la nación intenta tomar lo que se tiene por una postura masculina*

«Ttve \s not or fema\e. \ n your system of beliefs, how» — uno de los dos tramos legibles de la plana 64, que es la apertura del capítulo cuatro y viene con la capa de texto CORROMPIDA en casi toda su extensión: el troceo devuelve las letras deformadas y con barras invertidas. Lo que se alcanza a leer es que la psique no es masculina ni femenina, y que en el sistema de creencias del lector sí lo es; se consigna tal cual lo imprime el troceo, sin restituir

«Your psychological tests show you only the current picture of males and females, brought up from infancy with particular sexual beliefs. These beliefs program the child from infancy, of course, so that it behaves in certain fashions in adulthood. The male seems to perform better at mathematical tasks, and so-called logical mental activity, while the female performs better in a social context, in value development and personal relationships. The male shows u p better in the sciences, while the female is considered intuitional.» — Seth, según Roberts, acota el alcance de las pruebas psicológicas: muestran el cuadro presente de personas criadas desde la infancia en ciertas creencias sexuales

«It should be obvious to many of my readers that this is learned behavior. You cannot teach a boy to be "the strong silent male type," and then expect him to excel either verbally or in social relationships. You cannot expect a girl to show "strong, logical thought development" when she is taught that a woman is intuitional — that the intuitions are opposed to logic, and that she must be feminine, or nonlogical, at all costs. This is fairly obvious.» — Seth, según Roberts, declara aprendida esa conducta y lo argumenta por la incoherencia de exigir lo que se enseñó a no hacer

«The child is not born a sponge, however, empty but ready to soak up knowledge. It is already soaked in knowledge.» — Seth, según Roberts, niega la imagen del niño como esponja vacía y sostiene que llega ya empapado de saber

«I am saying here that to some extent the child in the womb is aware of the mother's beliefs and information, and that to some extent (underlined) it is "programmed" to behave in a certain fashion, or to grow in a certain fashion as a result.» — Seth, según Roberts, atribuye al niño en el vientre alguna conciencia de las creencias de la madre, con la acotación de énfasis de Butts sobre *to some extent*

«Basically the species is relatively so freewheeling, with so many potentials, that it is necessary that the mother's beliefs provide a kind of framework in the beginning, allowing the child to focus its abilities in desired directions.» — Seth, según Roberts, explica la función de ese marco: dar al niño de una especie tan poco fijada un foco para sus capacidades

«It knows ahead of time then the biological, spiritual, and social environment into which it is born. It is somewhat prepared to grow in a certain direction — a direction that is applicable and suited to its conditions.» — Seth, según Roberts, declara al niño preparado de antemano para crecer en una dirección que le sirve en su medio

«Beliefs about the infant's sexual nature are of course a part of its advance programming. We are not speaking here of forced growth patterns, or of psychic or biological directions, impressed upon it so that any later divergence from them causes inevitable stress or pain.» — Seth, según Roberts, mete las creencias sexuales en esa programación previa y acota que no habla de patrones forzados que hagan doloroso desviarse después

«The fact remains that the child receives patterns of behavior, gently nudging it to grow in certain directions. In normal learning, of course, both parents urge the child to behave in certain fashions.» — Seth, según Roberts, describe la transmisión como empujón suave y consigna que los dos padres urgen al niño

«Beside this, however, certain general, learned patterns are biologically transmitted to the child through the genes. Certain kinds of knowledge are transmitted through the genes besides that generally known, having to do with cellular formations and so forth.» — Seth, según Roberts, sostiene que ciertos patrones aprendidos se transmiten por los genes, más allá de lo que se conoce de la formación celular

«Survival of the human species, as it has developed, is a matter of belief far more than is understood — for certain beliefs are now built in. They become biologically pertinent and transmitted. I mean something else here besides, for example, a telepathic transmission: the translation of beliefs into physical codes that then become biological cues.» — Seth, según Roberts, declara la supervivencia de la especie asunto de creencia, y describe el mecanismo que propone: creencias traducidas a códigos físicos que hacen de señales biológicas

«it then becomes easier for a boy to act in a given manner biologically than in another.» — Seth, según Roberts, da la consecuencia concreta del mecanismo; los corchetes de *As a result* son del aparato del volumen

«If women have felt that their biological survival depended upon the cultivation of certain attributes over others, for instance, then this information becomes chromosome data, as vital to the development of the new organism as any other physical data involving cellular structure.» — Seth, según Roberts, hace de la creencia de las mujeres sobre su propia supervivencia un dato cromosómico para el nuevo organismo

«The mother also provides the same kind of information to a male offspring. The father contributes his share in each case. Over the generations, then, certain characteristics appear to be quite naturally male or female, and these will vary to some extent according to the civilizations and world conditions.» — Seth, según Roberts, reparte la aportación entre los dos padres y hace variar los caracteres tenidos por naturales según la civilización

«Each individual is highly unique, however, so these models for behavior will vary. They can indeed be changed in a generation, for the experience of each person alters the original information. This provides leeway that is important.» — Seth, según Roberts, acota la transmisión con la unicidad de cada quien: la experiencia de cada persona altera la información original, y eso puede cambiar en una generación

«The child, also, uses such information as a guide only; as a premise upon which it bases early behavior. As the mind develops, the child immediately begins to question the early assumptions.» — Seth, según Roberts, hace del cuestionamiento de las premisas tempranas la operación propia de la mente que se desarrolla

«This questioning of basic premises is one of the greatest divisions between» — Seth, según Roberts, hace de ese cuestionamiento una de las mayores divisiones respecto del mundo animal; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«you and the animal world.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *la división es entre el lector y el mundo animal*

«The psyche then contains, again in your terms, female and male characteristics. These are put together, so to speak, in the human personality with great leeway and in many proportions.» — Seth, según Roberts, describe la composición de la personalidad humana como combinación de esos caracteres con gran margen y en muchas proporciones

«New paragraph: As simply put as possible, love is the force out of which being comes, and we will consider this statement much more thoroughly later in this book.» — Seth, según Roberts, da la definición más escueta del amor en todo el volumen —la fuerza de la que sale el ser— y anuncia que volverá sobre ella

«Love seeks expression and creativity. Sexual expression is one way that love seeks creativity. It is hardlv the» — Seth, según Roberts, hace de la expresión sexual una de las vías por las que el amor busca creatividad; el troceo imprime *hardlv* y el tramo se corta en el cambio de plana

«only way, however. Love finds expression through the arts, religion, play, and helpful actions toward others. Period. It cannot be confined to sexual expression only, nor can rules be given as to how often normal adults should sexually express themselves.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, enumera las otras vías —artes, religión, juego, ayuda a otros— y niega que puedan darse reglas de frecuencia sexual

«Many men, labeled homosexual by themselves and others, want to be fathers. Their beliefs and those of your society lead them to imagine that they must always be heterosexual or homosexual.» — Seth, según Roberts, señala el efecto de la etiqueta: hombres que quieren ser padres y se creen obligados a ser una cosa o la otra

«Your male or female orientation limits you in ways that you do not understand. For example, in many cases the gentle "homosexual" father has a better innate idea of manliness than a heterosexual male who believes that men must be cruel, insensitive, and competitive. These are both stereotyped images, however.» — Seth, según Roberts, contrapone al padre homosexual gentil con el varón heterosexual que cree que hay que ser cruel, y declara estereotipadas las dos imágenes

«Love can be expressed quite legitimately through the arts. This does not mean that such a person is repressing sexuality in any given case, and stealing its energy for creative production — though, of course, this may be the case. Many natural artists in any field normally express love through such creative endeavors, rather than through sexual actions.» — Seth, según Roberts, declara legítima la expresión del amor por el arte y concede a la vez que en algún caso pueda haber represión y robo de energía

«This does not mean that such persons never have sexual encounters that are enjoyable, and even of an enduring nature. It means that the thrust of their love is, overall, expressed through the production of art, through which it seeks a statement that speaks in other than corporal terms.» — Seth, según Roberts, acota la afirmación anterior: esas personas sí tienen encuentros sexuales gozosos y duraderos, y el empuje de su amor va sobre todo al arte

«A great artist in any field or in any time instinctively feels a private personhood that is greater than the particular sexual identity. As long as you equate identity with your sexuality, you will limit the potentials of the individual and of the species.» — Seth, según Roberts, atribuye al gran artista el sentimiento de una condición de persona mayor que su identidad sexual

«Each person will generally find it easier to operate as male or female, lesbian or homosexual, but each person is primarily bisexual.» — Seth, según Roberts, concede la facilidad de operar dentro de una etiqueta y sostiene la bisexualidad como lo primario

«Bisexuality implies parenthood as much as it implies lesbian or homosexual relationships. Again, here, sexual encounters are a natural part of love's expression, but they are not the limit of love's expression.» — Seth, según Roberts, acota la bisexualidad para que no se lea como sinónimo de un solo tipo de relación, e incluye en ella la paternidad

«Many quite fine nonsexual relationships are denied, because of the connotations placed upon lesbianism or homosexuality. Many heterosexual relationships are also denied to persons labeled as not being heterosexual, by themselves or society.» — Seth, según Roberts, señala lo que la etiqueta le quita a cada quien en las dos direcciones

«People so labeled often feel propelled out of sheer confusion to express their love only» — Seth, según Roberts, describe el empujón que la confusión da hacia el acto sexual como única vía; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«through sexual acts. They feel forced to imitate what they think the natural male or female is like, and on occasion end up with ludicrous caricatures. These caricatures infuriate those so imitated — because they carry such hints of truth, and point out so cleverly the exaggerations of maleness or femaleness that many heterosexuals have clamped upon in their own natures.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, describe las caricaturas que salen de esa imitación y explica por qué enfurecen a los imitados: porque llevan indicios de verdad y señalan las exageraciones que los propios heterosexuales se han impuesto

«Now: In some historical periods it was desirable in practical terms that a man have many wives, so that if he died in batde his seed might be planted in many wombs — particularly in times when diseases struck men and women down often in young adulthood. When physical conditions are adverse, such social traditions have often emerged.» — Seth, según Roberts, explica la poligamia de ciertos periodos por razones prácticas de mortalidad; el OCR imprime *batde*

«In times of overpopulation, so-called homosexual and lesbian tendencies come to the surface — but also there is the tendency to express love in other than physical ways, and the emergence of large social issues and challenges into which men and women can throw their energies.» — Seth, según Roberts, describe lo que asoma en tiempos de sobrepoblación: relaciones entre iguales, amor expresado de otras maneras y grandes causas sociales

«There are "lost" portions of the Bible having to do with sexuality, and with Christ's beliefs concerning it, that were considered blasphemous and did not come down to you through history.» — Seth, según Roberts, afirma la existencia de porciones perdidas de la Biblia sobre la sexualidad y sobre lo que Cristo creía de ella, tenidas por blasfemas

«Again, it is natural to express love through sexual acts — natural and good. It is not natural to express love only through sexual acts, however.» — Seth, según Roberts, repite la fórmula que sostiene todo el capítulo, con su acotación pegada

«Many of Freud's sexual ideas did not reflect man's natural condition. The complexes and neuroses outlined and defined are products of your traditions and beliefs. You will naturally find some evidence for them in observed behavior.» — Seth, según Roberts, objeta a las ideas sexuales de Freud que los complejos descritos son productos de tradiciones y creencias, y concede que en la conducta observada se hallará evidencia de ellos

«Many of the traditions do come from the Greeks, from the great Greek play-writers, who quite beautifully and tragically presented the quality of the psyche as it showed itself in the light of Grecian traditions.» — Seth, según Roberts, remonta esas tradiciones a los trágicos griegos y les reconoce belleza en la presentación de la psique bajo las tradiciones de su tiempo

«The boy does not seek, naturally, to "dethrone" the father. He seeks to emulate him; he seeks to be himself as fully as it seems to him that his father was himself. He hopes to go beyond himself and his own capabilities for himself and for his father.» — Seth, según Roberts, niega el destronamiento del padre y pone en su lugar la emulación y el ir más allá de sí por el padre

«As a child he once thought that his father was immortal, in human terms — that he could do no wrong. The son tries to vindicate the father by doing no wrong himself, and perhaps by succeeding where it seems the father might have failed.» — Seth, según Roberts, describe el motivo que atribuye al hijo: vindicar al padre no errando y acertando donde el padre pudo fallar

«The child is simply the male child. He is not jealous of the father with the mother, in the way that is often supposed.» — Seth, según Roberts, niega los celos del hijo respecto del padre por la madre en el modo que se supone

«I am not saying that children do not have a sexual nature from birth. They simply do not focus upon their maleness or femaleness in the way that is supposed.» — Seth, según Roberts, acota su propia negativa: los niños sí tienen naturaleza sexual desde el nacimiento y lo que niega es el foco que se les atribuye

«To the male child, the penis is something that belongs to him personally in the same way that an arm or leg does, or that his mouth or anus does. He does not consider it a weapon» — Seth, según Roberts, describe el órgano como parte del cuerpo igual que un brazo y niega que el niño lo tome por arma; la acotación del humor es de Butts

«H e is not jealous of his father's love for the mother, for he understands quite well that her love for him is just as strong. H e does not wish to possess his mother sexually in the way that adults currently suppose. H e does not understand those terms.» — Seth, según Roberts, niega que el niño quiera poseer sexualmente a la madre y da la razón: no entiende esos términos

«He may at times be jealous of her attention, but this is not a sexual jealousy in conventionally understood terms. Your beliefs blind you to the sexual nature of children. They do enjoy their bodies. They are sexually aroused. T h e psychological connotations, however, are not those assigned to them by adults.» — Seth, según Roberts, distingue los celos de atención de los celos sexuales y consigna a la vez que los niños gozan del cuerpo y se excitan

«The beliefs involving the son's inherent rivalry with the father, and his need to overthrow him, follow instead patterns of culture and tradition, economic and social, rather than biological or psychological. Those ideas serve as handy explanations for behavior that is not inherent or biologically pertinent.» — Seth, según Roberts, adscribe la rivalidad con el padre a patrones de cultura, economía y tradición, y la declara explicación cómoda de conducta que no es inherente

«SESSION 772, APRJL 19, 1976 9:18 P.M. M O N D A Y» — el encabezado de la sesión 772; el OCR imprime *APRJL* por *APRIL*

«In a manner of speaking, humanity deals with different predominant themes at different times. There may be minor interweaving ones, but the nature of personality, religion, politics, the family, and the arts — all of these are considered in the light of the predominating theme.» — Seth, según Roberts, introduce la idea de temas predominantes en la historia, a cuya luz se consideran la persona, la religión, la política, la familia y las artes

«In usual historic terms, humanity has been experimenting with its own unique kind of consciousness, and as I have mentioned many times, this necessitated an arbitrary division between the subject and the perceiver — nature and man — and brought about a situation in which the species came to consider itself apart from the rest of existence.» — Seth, según Roberts, repite la tesis de la división arbitraria entre sujeto y percibiente, entre naturaleza y hombre, como experimento de la conciencia de la especie

«What you think of as (underlined) male ego-oriented characteristics are simply those human attributes that the species encouraged, brought into the foreground, and stressed. Using those actually as guidelines, you have so far viewed your world and formed your cultures.» — Seth, según Roberts, declara que los caracteres tenidos por masculinos son simplemente los que la especie alentó y puso en primer plano; la acotación del énfasis es de Butts

«There are some exceptions of note, but here I am speaking historically of the Western world with its Roman and Greek heritage.» — Seth, según Roberts, acota el alcance geográfico de lo que dice al mundo occidental de herencia romana y griega

«Your gods became masculine then; competitive. You saw the species pitted against nature, and man pitted against man.» — Seth, según Roberts, encadena los dioses masculinos con la especie enfrentada a la naturaleza y el hombre al hombre

«You consider the Greek tragedies great because they echo so firmly your own beliefs. Man is seen in opposition in the most immediate fashion with his own father. Family relationships become a mirror of those beliefs, which are then of course taken as statements of fact concerning the human condition.» — Seth, según Roberts, lee la grandeza atribuida a la tragedia griega como eco de las creencias propias, tomadas después por hechos de la condición humana

«Those characteristics that you consider female are, then, those that did not predominate because they represented the source of nature from which the species sought release.» — Seth, según Roberts, explica el segundo plano de lo femenino: representaba la fuente natural de la que la especie buscaba soltarse

«To some extent this was a true, creative, sexual drama — again, of high pretense, for in its own way the consciousness of the species was playing for high stakes, and the drama had to be believable.» — Seth, según Roberts, llama a ese proceso un drama de alto fingimiento y declara que tenía que ser creíble porque la apuesta era alta

«It was seeking for a multiplication of consciousness, forming new offshoots from its own source. It had to pretend to dislike and disown that source in the same way that an adolescent may momentarily turn aside from its parents in order to encourage independence.» — Seth, según Roberts, compara el desdén por la fuente con el adolescente que se aparta de sus padres para alentar su independencia

«Before the so-called flowering of Greek and Roman cultures, consciousness had not as yet made that specialization. There were gods and goddesses galore, and deities in whose natures the feminine and masculine characteristics merged. There were deities part human and part animal.» — Seth, según Roberts, describe el estado anterior: dioses y diosas a montones, deidades donde lo femenino y lo masculino se funden, deidades mitad humanas y mitad animales

«These changes first occurred in man's stories of the deities. As the species divorced itself from nature, so the animal gods began to» — Seth, según Roberts, sitúa el cambio primero en los relatos sobre las deidades; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«vanish. Man first changed his myths, and then altered the reality that reflected them.» — continuación, ya en la plana siguiente, con la fórmula más apretada de esa tesis: *primero el hombre cambió sus mitos y después alteró la realidad que los reflejaba*

«Before then there were various kinds of divisions of labor, but great leeway in sexual expression. Children were a necessary part of the family, for a family was a band of people who belonged together, cooperating in the search for food and shelter.» — Seth, según Roberts, describe la familia anterior como banda de gente que se pertenecía, con división de tareas y gran margen sexual

«Homosexual or lesbian relationships, as you term them, existed quite freely, and simultaneously. These were considered pertinent with or without sexual expression, and served as strong bonds of sisterhood and brotherhood.» — Seth, según Roberts, declara esas relaciones libres y simultáneas entonces, pertinentes con o sin expresión sexual, como lazos de hermandad

«It is much more natural for the» — Seth, según Roberts, abre la comparación entre vindicar al padre y destruirlo; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«male to try to vindicate the father than it is to destroy him, or envy him in negative terms.» — continuación del pasaje anterior, ya en la plana siguiente: *es mucho más natural que el varón intente vindicar al padre que destruirlo o envidiarlo en términos negativos*

«When you view the animal kingdom, you also do so through your specialized sexual beliefs, studying the behavior of the male and female, looking for patterns of aggressiveness, territorial jealousy, passivity, mothering instincts, or whatever. These specialities of interest make you blind to many larger dimensions of animal behavior.» — Seth, según Roberts, objeta al estudio del reino animal hecho desde las creencias sexuales propias, que ciega para dimensiones mayores de su conducta

«To some degree, the so-called mothering instinct belongs to male and female alike in any species that can be so designated. Animals have close friendships, with or without sexual expression, with members of the same sex. Love and devotion are not the prerogatives of one sex or one species.» — Seth, según Roberts, reparte el instinto maternal entre los dos sexos, atribuye amistades estrechas a los animales del mismo sexo y niega que el amor y la devoción sean privilegio de un sexo o de una especie

«As a result, you see in nature only what you want to see, and you provide yourselves with a pattern or model of nature that conforms with your beliefs.» — Seth, según Roberts, cierra el argumento: se ve en la naturaleza lo que se quiere ver y se obtiene un modelo que casa con las creencias

«Love and devotion are largely seen as female characteristics. Societies and organizations of church and state are seen as male. It is not so much that the male and the female be considered equal as it is that the male and female elements in each person should be released and expressed.» — Seth, según Roberts, desplaza la cuestión: no se trata de igualar lo masculino y lo femenino sino de soltar en cada persona los dos elementos

«Immediately, many of you may be annoyed or alarmed, thinking that of course I mean sexual expression. That is a portion of such expression. But I am speaking of releasing within each individual the great human characteristics and abilities that are often denied expression because they are assigned to the opposite sex.» — Seth, según Roberts, se adelanta a la lectura sexual de lo anterior y aclara que habla de soltar capacidades humanas negadas por estar asignadas al otro sexo

«In your present framework, because of the male-female specialization — the male orientation, the implication that the ego is male while the psyche is female — you force upon yourselves great divisions» — Seth, según Roberts, nombra el armazón que impone esas divisiones: la orientación masculina y la implicación de que el ego es masculino y la psique femenina. El tramo arranca tras el corte de chunk dentro de la misma plana

«in which operationally the intellect seems separate from the intuitions, and you set up a situation in which opposites seem to apply where there are none.» — continuación en la plana siguiente: Seth, según Roberts, señala que la división impuesta hace parecer opuestos al intelecto y a las intuiciones donde no hay oposición

«When you think of a scientist, the majority of you will think of a male, an intellectual, an "objective" thinker who takes great pains not to be emotional, or to identify with the subject being examined or studied.» — Seth, según Roberts, describe la figura del científico que las creencias producen: varón, intelectual, objetivo y cuidadoso de no identificarse con lo que estudia

«There seems to be a division between science and religion, for even organized religion has an intuitive basis.» — Seth, según Roberts, señala la base intuitiva que la religión organizada también tiene, contra la división aparente

«The male scientist is often ashamed of using his intuitions, for not only do they appear to be unscientific, but female as well. It is what others will think about his masculinity that such a man is concerned with.» — Seth, según Roberts, sitúa la vergüenza del científico ante su propia intuición en lo que otros pensarán de su virilidad

«To be "illogical" is a scientific "crime" — not so much because it is an unscientific attribute, but because it is considered a feminine one.» — Seth, según Roberts, explica el delito de ser ilógico no por su falta de ciencia sino por su marca femenina

«Science has followed the male orientation and become its epitome. Up until the present, science has consistently tried to do without the so-called feminine qualities. It has divorced knowledge from emotion, understanding from identification, and stressed sexuality over personhood.» — Seth, según Roberts, hace de la ciencia el epítome de la orientación masculina y enumera lo que separó: el saber de la emoción, el entender de la identificación

«To an extent, some people in the sciences manage to blend the so-called female and male characteristics. When they do so, seeming oppositions and contradictions disappear.» — Seth, según Roberts, describe lo que ocurre en quien mezcla los dos conjuntos de caracteres: desaparecen las oposiciones aparentes

«To whatever degree, more than their contemporaries, they do not allow sexual roles to blind them psychologically. Therefore they are more apt to combine reason and emotion, intuitions and intellect, and in so doing invent theories that reconcile previous contradictions. They unify, expand, and create, rather than diversify.» — Seth, según Roberts, atribuye a esas personas la combinación de razón y emoción y las teorías que reconcilian contradicciones previas

«Einstein was such a person in the sciences. While he was tainted to some extent by conventional sexual beliefs, he still felt his own personhood in such a way that he gladly took advantage of characteristics considered feminine.» — Seth, según Roberts, nombra a Einstein como caso y acota en la misma frase que también él estaba teñido por las creencias sexuales convencionales

«As a youngster particularly, he rebelled against male-oriented learning and orientation. This rebellion was psychological — that is, he maintained an acceptable male orientation in terms of sexual activity, but he would not restrain his mind and soul with such nonsense. The world felt the result of his great intuitive abilities, and of his devotion.» — Seth, según Roberts, precisa el alcance de esa rebeldía: psicológica, no sexual, y con resultados que el mundo sintió

«Because of the world situation, and the overall male orientation of science, the results of his work were largely put to the uses of manipulation and control.» — Seth, según Roberts, señala el destino que se le dio a esa obra: usos de manipulación y control

«Generally, reason and intellect are then considered male qualities, and the frameworks for civilization, science, and an organized world. The intuidons and the impulses are considered erratic, untrustworthy, feminine, and to be controlled.» — Seth, según Roberts, reparte razón e intelecto del lado masculino y las intuiciones e impulsos del lado a controlar; el OCR imprime *intuidons*

«T h e world exists because of spontaneous order. Civilization began because of the impulse of people to be together. It grew spontaneously and came into order.» — Seth, según Roberts, opone a ese reparto el orden espontáneo: la civilización empezó por el impulso de estar juntos y ordenó sola

«You only see the outside of many processes because your objectified viewpoint does not allow you the identification that would show you more. It seems to you then that all systems sometime break down — become less orderly or fall into chaos.» — Seth, según Roberts, atribuye al punto de vista objetivado la impresión de que todos los sistemas acaban desordenándose

«You apply this belief to physical systems and psychological ones. In terms of sex, you insist upon a picture that shows you a growth into a sexual identity, a clear focus, and then in old age a falling away of clear sexual identification into "sexual disorder."» — Seth, según Roberts, aplica esa creencia al cuadro de la vida sexual: crecimiento hacia una identidad clara y caída de la identificación en la vejez

«It does not occur to you that the original premise or focus, the identification of identity with sexual nature, is "unnatural." It is you, then, who form the entire framework from which your j u d g m e n t is made.» — Seth, según Roberts, invierte el juicio: lo antinatural sería la premisa que identifica identidad y naturaleza sexual, no su pérdida

«In many cases the person is truer to his or her own identity in childhood or old age, when greater individual freedom is allowed, and sexual roles are more flexible.» — Seth, según Roberts, sitúa la mayor fidelidad a la identidad propia en la infancia y en la vejez, donde los papeles son más flexibles

«Any deep exploration of the self will lead you into areas that will confound conventional beliefs about sexuality. You will discover an identity, a psychological and psychic identity, that is in your terms male and female, one in which those abilities of each sex are magnified, released, and expressed.» — Seth, según Roberts, anticipa lo que la exploración honda del yo encuentra: una identidad psicológica y psíquica que en estos términos es masculina y femenina

«They may not be so released in normal life, but you will meet the greater dimensions of your own reality, and at least in the dream state catch a glimpse of the self that transcends a one-sex orientation.» — Seth, según Roberts, acota dónde se alcanza ese vistazo: al menos en el estado de sueño

«Such an encounter with the psyche is often met by great artists or writers, or by mystics. This kind of realization is necessary if you are to ever transcend the framework of seeming opposites in which your world is involved.» — Seth, según Roberts, atribuye ese encuentro a los grandes artistas, a los escritores y a los místicos, y lo declara necesario para trascender el marco de los opuestos

«The overly specific sexual orientation, then, reflects a basic division in consciousness. It not only separates a man from his own intuidons and emotions to some extent, or a woman from her own intellect, but it effectively provides a civilization in which mind and heart, fact and revelation, appear completely divorced.» — Seth, según Roberts, hace de la orientación sexual demasiado específica el reflejo de una división en la conciencia, con la mente y el corazón divorciados en la civilización entera

«To one degree or another in ordinary life, you end up with sexual caricatures in practical existence.» — Seth, según Roberts, reabre el dictado con el resultado práctico: caricaturas sexuales

«You do not understand what true womanhood or true manhood is. You are forced instead to concentrate upon a shallow kind of diversity. As a result, the reflection of sexual schism taints all of your activities, but most of all it limits your psychological reality.» — Seth, según Roberts, señala lo que el esquema impide entender y lo que más limita: la realidad psicológica

«Since you value sexual performance in the most limited of terms, and use that largely as a focus of identity, then both your old and young suffer consequences that are not so much the result of age as of sexual prejudice.» — Seth, según Roberts, atribuye lo que padecen viejos y jóvenes al prejuicio sexual antes que a la edad

«It is interesting to note that both the old and the young also find themselves outside of your organizational frameworks. The young are more freewheeling in their thoughts before they accept sexual roles, and the old are more freewheeling in theirs because they have discarded their sexual roles.» — Seth, según Roberts, señala lo que viejos y jóvenes tienen en común: quedar fuera de los armazones organizativos y moverse con más soltura

«I did not say that old or young had no sexual expression — but that both groups did not identify their identities with their sexual roles. There are of course exceptions.» — Seth, según Roberts, acota su propia afirmación: no dice que viejos ni jóvenes carezcan de expresión sexual sino que no identifican en ella su identidad

«If the man or the woman is taught that identity is a matter of sexual performance, however, and that that performance must cease at a certain age, then the sense of identity can also begin to disintegrate.» — Seth, según Roberts, deriva de esa identificación la desintegración del sentido de identidad cuando el desempeño cesa

«If children feel that identity is dependent upon such performance, then they will begin to perform as quickly as possible. They will squeeze their identity into sexual clothes, and the society will suffer because the great creative thrusts of growing intellect and intuitions will be divided at puberty, precisely when they are needed.» — Seth, según Roberts, deriva la consecuencia del otro extremo: los niños se apuran a desempeñarse y la sociedad pierde el empuje creativo justo en la pubertad

«Ideally, the adult male or female would rejoice in sexual expression and find an overall orientation, but would also bask in a greater psychological and psychic identity that experienced and expressed all of the great human capabilities of mind and heart, which splash over any artificial divisions.» — Seth, según Roberts, cierra el capítulo con lo que declara ideal: gozar la expresión sexual y a la vez una identidad mayor que desborda las divisiones artificiales

«degree each person is at war with the psyche, for all of an individual's human characteristics must be denied unless they fit in with those considered normal to the sexual identity.» — Seth, según Roberts, describe el costo individual de esa división: una guerra con la propia psique, donde se niega todo carácter humano que no case con la identidad sexual. El tramo arranca aquí porque el cambio de plana parte la frase tras *To some*

«SESSION 773, APRIL 26, 1976 9.28 P.M. M O N D A Y» — el encabezado de la sesión 773

«You have put sexual labels, then, on the intellect and the emotions, so that they seem like opposites to you.» — Seth, según Roberts, abre la sesión 773 con la tesis del capítulo: las etiquetas sexuales puestas sobre intelecto y emociones los hacen parecer opuestos

«You have tried to divide mental and emotional characteristics between the two sexes, forcing a stereotyped behavior. Again, the male who was intuitive or artistically gifted in certain ways often therefore considered himself homosexual, whether or not he was, because his emotional and mental characteristics seem to fit the female rather than the male sex.» — Seth, según Roberts, describe el efecto sobre el varón intuitivo o dotado para el arte: se tiene por homosexual lo sea o no

«The woman who had interests beyond those acceptable as feminine was often in the same position. Because the intellect and the emotions were considered so separately, however, attempts to express intuitive abilities often resulted in, and often d o result in, "unreasonable" behavior.» — Seth, según Roberts, da el caso simétrico de la mujer y señala que la expresión de lo intuitivo acaba tomándose por conducta irrazonable

«In certain circles now it is fashionable to deny the intellectual capacities in favor of feeling, sentiment, or intuitive actions. Intellectual concerns then become suspect, and recourse to reason is considered a failing. Instead, of course, intellectual and intuitive behavior should be beautifully blended.» — Seth, según Roberts, objeta también a la moda contraria, la que desprecia lo intelectual en favor del sentimiento, y pide la mezcla de los dos

«In the same way you have attempted to force the expression of love into a purely — or exclusively — sexual orientation. An affectionate caress or kiss between members of the same sex is generally not considered proper.» — Seth, según Roberts, traslada la misma división a la expresión del amor y nombra el gesto prohibido: la caricia o el beso entre personas del mismo sexo

«The taboos include most aspects of the sense of touch in connection with the human body. Touching is considered so basically sexual that the most innocuous touching of any portion of the body by a n o t h e r person is considered potentially dangerous.» — Seth, según Roberts, extiende el tabú al sentido del tacto, hasta volver peligroso el contacto más inocuo

«O n the o n e h a n d you are too specific in your use of the term "sexuality"; yet in a n o t h e r way, and in that context, you feel that any kind of affection must naturally lead to sexual expression, if given its way. Your beliefs make this sexual eventually appear as a fact of experience.» — Seth, según Roberts, señala la contradicción: un uso demasiado estrecho del término y a la vez la creencia de que todo afecto lleva al sexo, creencia que se cumple

«This also forces you to guard your emotional life very closely. As a result, any show of love is to some extent inhibited unless it can legitimately find expression sexually. In many instances love itself seems wrong because it must imply sexual expression at times when such expression is not possible, or even desired.» — Seth, según Roberts, describe el efecto sobre la vida emocional: el amor mismo parece mal porque implicaría sexo donde no lo hay ni se quiere

«In fact, Western society has attempted to force all expression of love and devotion into sexual activity, or otherwise ban it entirely. Sexual performance is considered the one safe way of using the great potential of human emotions. When it seems to you that society is becoming licentious, in many ways it is most restrained and inhibited.» — Seth, según Roberts, invierte el diagnóstico corriente: lo que parece licencia es en muchos sentidos lo más restringido

«It means that all options except sexual freedom have been denied. The great force of love and devotion is withdrawn from personal areas of individual creativity through purposeful work. It is being withdrawn from expression through government or law. It is being denied expression through meaningful personal relationships, and forced into a narrow expression through a sexuality that then will indeed become meaningless.» — Seth, según Roberts, enumera de dónde se retira la fuerza del amor —el trabajo con propósito, el gobierno, la ley, las relaciones personales— hasta forzarla en una sexualidad que así se vuelve vacía

«It has been said by some women working toward "equal rights" that the species has only used half of its potential by suppressing the abilities of women. In larger terms, however, each individual suffers whenever identity is defined primarily as a matter of sexual orientation.» — Seth, según Roberts, recoge el argumento de quienes trabajan por la igualdad de derechos y lo amplía: el daño alcanza a cada individuo cuya identidad se define por su orientación sexual

«Generally speaking, there will be a specific overall sexual orientation of a biological nature, but the mental and emotional human characteristics are simply not meted out according to sex. Such identification cuts the individual in half, so that each person uses but half of his or her potential. This causes a schism in all of your cultural activities.» — Seth, según Roberts, concede una orientación biológica general y niega que los caracteres mentales y emocionales se repartan por sexo

«The sexual schism begins when the male child is taught to identify exclusively with the father image, and the female child with the mother image — for here you have a guilt insidiously incorporated into the growth process.» — Seth, según Roberts, sitúa el origen del cisma en la identificación exclusiva del niño con un solo padre, con la culpa incorporada al crecimiento

«Children of either sex identify quite naturally with both parents, and any enforced method of exclusively directing the child to such a single identification is limiting. U n d e r such conditions, feelings of guilt immediately begin to arise whenever such a child feels natural affiliations toward the other parent.» — Seth, según Roberts, declara natural la identificación con los dos padres y señala la culpa que nace al dirigirla a uno solo

«The stronger those natural inclinations are, the m o r e the child is directed to ignore them in your society, since certain characteristics, again, are considered exclusively male or female. T h e child is also coerced into ignoring or denying those portions of the personality that correspond with the sex it is being taught it c a n n o t identify with. This squeezing of personality into a sexual m o l d begins early, then.» — Seth, según Roberts, describe el apretón: cuanto más fuerte la inclinación natural, más se manda ignorarla, y la personalidad se aprieta en un molde sexual

«Continuing guilt is generated because the child knows unerringly that its own reality transcends such simple orientation.» — Seth, según Roberts, atribuye la culpa continua al saber infalible del niño de que su realidad excede esa orientación

«The more able the child is to force such an artificial identification, the greater its feelings of inner rebellion. T h e lack of a "suitable" father or mother image has "saved" m o r e children than it has hurt. The psyche, with its great gifts, always feels thwarted and attempts to take countering measures.» — Seth, según Roberts, invierte el juicio sobre la falta de una figura paterna o materna adecuada: declara que ha salvado a más niños de los que ha dañado

«Your schools f u r t h e r continue the process, however, so that the areas of curiosity a n d learning become separated for males and females. T h e "she" within the male does indeed represent portions of his personality that are being unexpressed — not because of any natural p r e d o m i n a n c e of mental or emotional characteristics over others, but because of artificial specializations. The same applies to the "male" within the female.» — Seth, según Roberts, extiende el proceso a la escuela y explica la *ella* dentro del varón por especialización artificial y no por predominio natural

«great capacity for love, devotion, and loyalty, which would naturally seek expression in many diverse ways — through strong enduring friendships, devotion to causes in which they believe, through vocations in which they help others. They may not be particularly sexually oriented. This need not mean that they are inhibiting their sexuality. It is pathetic and ludicrous for them to believe that they must have intercourse frequendy in their youth, or to set up standards of normality against which they must measure their sexual experience.» — Seth, según Roberts, describe a quien tiene gran capacidad de amor, devoción y lealtad y la expresa por amistades, causas y vocaciones sin estar orientado a lo sexual, y niega que eso sea inhibición; el OCR imprime *frequendy*. Tramo largo, releído entero en el crudo y extraído con la guarda anticosido apagada

«On the one hand many of you have been taught that sexual expression is wrong, evil, or debasing. You have also been told that if you do not express your sexuality, you are» — Seth, según Roberts, abre la doble atadura en que queda el lector; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«displaying unnatural repression, and furthermore you are led to think that you must above all force yourself to enjoy this ambiguous» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *no expresar la sexualidad se lee como represión antinatural, y encima se induce a forzarse a gozar de esa naturaleza sexual ambigua*

«sexual nature. The old idea that good women do not enjoy sex has» — Seth, según Roberts, consigna la vieja idea de que las mujeres buenas no gozan del sexo; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«hardly disappeared. Yet women are taught that natural expressions of love, playful caresses, are inappropriate unless an immediate follow-through to a sexual climax is given. Men are taught to count their worth according to the strength of the sexual drive and its conquests. They are taught to inhibit the expression of love as a weakness, and yet to perform sexually as often as possible. In such a sexual climate there is little wonder that you b e c o m e confused.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, cierra el cuadro con las dos exigencias contrarias que se enseñan a mujeres y a hombres y con la confusión que resulta

«Those ideas are changing, and as they do the species must accept its true personhood. As this happens, your understanding will allow you to glimpse the nature of the reality of the gods you have recognized through the ages. You will no longer need to clothe them in limited sexual guises.» — Seth, según Roberts, anuncia lo que traerá el cambio de esas ideas: ver la realidad de los dioses reconocidos por las épocas sin vestirlos de un sexo

«Your religious concepts will change considerably, and the images associated with them. Religion and government have had an uneasy alliance. Males ruled both (they still do), and yet those leading religious organizations at least recognized their intuitive base. They constantly tried to manipulate religion's substructure in the same acceptable male ways that government leaders always use to inhibit and use the emotions.» — Seth, según Roberts, describe la alianza incómoda de religión y gobierno y el manejo de la base intuitiva de la religión por vías tenidas por masculinas

«Heresy was considered female and subversive because it could threaten to destroy the frameworks set about the acceptable expression of religious fervor.» — Seth, según Roberts, consigna la herejía como tenida por femenina y subversiva por amenazar los armazones del fervor religioso

«The female elements in the Church were always considered suspect, and in the early times of Christianity there was some concern lest the Virgin become a goddess. There were offshoots of Christianity that did not survive, in which this was the case.» — Seth, según Roberts, consigna el temor de la Iglesia primitiva a que la Virgen se volviera diosa, y las ramas del cristianismo donde eso ocurrió y no sobrevivieron

«Parallel developments in religion and government always echo the state of consciousness and its purposes. "Pagan" practices, giving far more leeway to sexual identification and expression, continued well into the 16th century, and the so-called occult underground heretical teachings tried to encourage the development of personal intuition.» — Seth, según Roberts, data la continuidad de las prácticas paganas hasta bien entrado el siglo XVI y atribuye a las enseñanzas heréticas del llamado bajomundo oculto el aliento de la intuición personal

«Any true psychic development of personality, however, is bound to lead to an understanding of the nature of the psyche that is far too large for any such confusion of basic identity with sexuality.» — Seth, según Roberts, declara que el desarrollo psíquico verdadero lleva a una psique demasiado grande para confundir identidad y sexualidad

«The concept of reincarnation itself clearly shows the change of sexual orientation, and the existence of a self that is apart from its sexual orientation, even while it is also expressed through a given sexual stance.» — Seth, según Roberts, usa la reencarnación como argumento: muestra el cambio de orientación sexual y un yo aparte de ella

«To a good extent, sexual beliefs are responsible for the blocking-out of reincarnational awareness. Such "memory" would necessarily acquaint you with experiences most difficult to correlate with your current sexual roles. Those other-sex existences are present to the psyche unconsciously. They are a portion of your personality. In so specifically identifying with your sex, therefore, you also inhibit memories that might limit or destroy that identification.» — Seth, según Roberts, explica el bloqueo del recuerdo reencarnatorio por las creencias sexuales: esas memorias no casarían con el papel sexual presente

«The Church did not restrain the sexuality of its priests or the expression of sexuality in previous centuries as m u c h as it tried to divorce the expression of love and devotion f r o m sexuality.» — Seth, según Roberts, acota lo que la Iglesia sí restringió: no la sexualidad de sus sacerdotes sino la unión de amor y devoción con ella

«A high percentage of priests of the Middle Ages, for example, had illegitimate children. These were considered products of the weak and lustful flesh — bad enough, but considering man's fallen state, understandable lapses. Such situations were overlooked, if not condoned, as long as a priest's love and devotion still belonged to the Church and were not "squandered" u p o n the m o t h e r of such offspring.» — Seth, según Roberts, consigna los hijos ilegítimos de los sacerdotes como lapsos tolerados mientras el amor siguiera siendo de la Iglesia

«The nuns were kept in subservient positions. Yet the nunneries also served as refuges for many women, who m a n a g e d to educate themselves even under those conditions.» — Seth, según Roberts, consigna a la vez la sujeción de las monjas y el uso del convento como refugio donde muchas se educaron

«A good number of nuns were of course carrying the seed of those priests, and bearing children who acted as servants in monasteries, sometimes, as well as in convents. T h e r e were numerous rebellions on the part of nuns in various convents, however, for these women found themselves operating rather efficiently though in segregated surroundings. They began to question the entire framework of the Church and their position within it. S o m e left in groups, particularly in France and Spain, forming their own communities.» — Seth, según Roberts, consigna las rebeliones de monjas y las comunidades propias que salieron de ellas, sobre todo en Francia y España

«The Church, however, never really f o u n d a suitable method of dealing with its women, or with the intuitive elements of its own beliefs. Its fear of a goddess emerging was renewed each time a n o t h e r apparition of the Virgin appeared in one corner or a n o t h e r of the world.» — Seth, según Roberts, sostiene que la Iglesia nunca resolvió el trato con sus mujeres ni con lo intuitivo de sus propias creencias, y renovaba su temor a la diosa con cada aparición mariana

«There were also some women who passed as monks, living lives of a solitary nature and carrying on for years. No works bear their feminine names, for they used male ones.» — Seth, según Roberts, afirma la existencia de mujeres que pasaban por monjes y firmaban con nombre de varón, de modo que ninguna obra lleva su nombre femenino

«It goes without saying that lesbian and homosexual relationships flourished in such surroundings. The Church closed iLs eyes as long as the relationships were sexual in nature. Only when love and devotion were diverted from the Church was there real concern.» — Seth, según Roberts, consigna la tolerancia de la Iglesia mientras la relación fuera solo sexual, y su alarma cuando el amor y la devoción se desviaban de ella

«Intellect and emotions became further divided then. This resulted of course in an overemphasis upon dogma — rules and the ritualization that had to be colorful and rich because it would be the one outlet allowed in which creativity could be handled.» — Seth, según Roberts, deriva de esa división el énfasis en el dogma y la ritualización rica, única salida que se le dejaba a la creatividad

«SESSION 774, MAY 3,1976 9:24 P.M. MONDAY» — el encabezado de la sesión 774

«Since Seth began these sessions on human sexuality, it seems that we've received even more inquiries about the subject through the mail than we did earlier. We only regret that it's taking us so long to get this information to the public.» — Butts consigna el aumento de correspondencia sobre el asunto y la demora en publicar el material

«The warmer weather now allows us to eat lunch at the picnic table we've installed in one half of our double garage, fane unites there often — with the garage doors open — so that she can enjoy the view of the hills at the back of the house.» — Butts registra la escena doméstica de esos días, con Roberts escribiendo en la cochera abierta; el OCR imprime *unites* por *writes*

«Dictation: You are obsessed with sexual behavior when you proclaim it evil or distasteful or debasing, hide it, and pretend that it is primarily "animalistic." You are also obsessed with sexual behavior when you proclaim its merits in an exaggerated fashion from the marketplace. You are obsessed with sexual behavior when you put tight, unrealistic bans upon its expression, and also when you set up just as unrealistic standards of active performance to which the normal person is expected to comply.» — Seth, según Roberts, reparte la obsesión sexual entre los dos extremos: el que la declara animal y el que le fija normas de desempeño

«Sexual freedom, then, does not involve an enforced promiscuity in which young people, for example, are made to feel unnatural if their encounters with the other sex do not lead to bed.» — Seth, según Roberts, acota lo que entiende por libertad sexual, contra la promiscuidad forzosa

«You begin to program sexual activity when you divorce it from love and devotion. It is very easy then for church or state to claim and attract your uncentered loyalty and love, leaving you with the expression of a sexuality stripped of its deepest meanings.» — Seth, según Roberts, señala a quién sirve esa separación: la iglesia o el estado reclaman la lealtad que queda sin centro

«These inclinations will color sexual expression, then. To that degree, it is "unnatural" to have sexual desire for s o m e o n e w h o m you dislike or look down upon. The sexual ideas of domination and submission have no part in the natural life of your species, or that of the animals.» — Seth, según Roberts, declara antinatural el deseo hacia quien se desprecia y saca la dominación y la sumisión de la vida natural de la especie y de los animales

«Dominance and submission have often been used in religious literature in periods when love and devotion were separated from sexuality. They became unified only through religious visions or experiences, for only God's love was seen as "good e n o u g h " to justify a sexuality otherwise felt to be animalistic.» — Seth, según Roberts, sitúa esos términos en la literatura religiosa de los periodos en que amor y sexualidad iban separados

«Instead, the words "domination" and "submission" have to d o with areas of consciousness and its development. Because of interpretations m e n t i o n e d earlier in this book, you adopted a prominent line of consciousness that to a certain extent was bent upon dominating nature. You considered this male in essence. The female principle then b e c a m e connected with the earth and all those elements of its life over which you as a species hoped to gain power.» — Seth, según Roberts, devuelve esos términos a la historia de la conciencia: una línea empeñada en dominar la naturaleza, tenida por masculina, y un principio femenino ligado a la tierra

«God, therefore, became male. T h e love a n d devotion that might otherwise be connected with the facets of n a t u r e and the female principle had to be "snatched away f r o m " any natural attraction to sexuality. In such a way, religion, e c h o i n g your state of consciousness, was able to harness the powers of love a n d use them for purposes of domination.» — Seth, según Roberts, deriva de ahí el dios masculino y el arrebato del amor y la devoción a lo natural para ponerlos al servicio de la dominación

«Some people are naturally solitary. They want to live lone lives, and are content. Most, however, have a need for e n d u r i n g , close relationships. These provide both a psychic and social framework for personal growth, understanding, and development.» — Seth, según Roberts, concede la vida solitaria a quien la quiere y declara la necesidad de relaciones duraderas para el crecimiento personal

«The Church believed that sexual experience belonged» — Seth, según Roberts, atribuye a la Iglesia la clasificación del sexo y del amor humano entre los instintos animales; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«to the so-called lower or animal instincts, and so did usual human love. On the other hand, spiritual love and devotion could not be muddied by sexual expression, and so any normal strong relationship became a threat to the expression of piety.» — continuación, ya en la plana siguiente: *si el amor espiritual no podía enturbiarse con expresión sexual, toda relación fuerte normal se volvía amenaza para la piedad*

«I am not saying here that any given sexual performance is "wrong," or meaningless, or debased, if it is not accompanied by the» — Seth, según Roberts, acota su propia tesis para que no se lea como condena del sexo sin amor; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«sentiments of love and devotion. Over a period of time, however, the expression of sex will follow the inclinations of the heart.» — continuación, ya en la plana siguiente: *con el tiempo la expresión sexual sigue las inclinaciones del corazón*

«They became state-oriented. A man's love» — Seth, según Roberts, hace del fervor un bien de estado; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«and devotion was a political gain. Fervor was as i m p o r t a n t as a government's treasury, for a state could count u p o n the devotion of its lieutenants in the same way that many fanatics will work without money for a cause.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *el amor y la devoción de un hombre eran ganancia política, y el fervor valía tanto como el tesoro de un gobierno, porque un estado podía contar con la entrega de sus lugartenientes como el fanático trabaja sin paga por una causa*

«It is an easy enough matter to shout to the skies: "I love my fellow men," when on the other hand you form no strong, e n d u r i n g relationship with others. It is easy to claim an equal love for all m e m b e r s of the species, but love itself requires an understanding that at your level of activity» — Seth, según Roberts, objeta al amor declarado por la humanidad entera sin una sola relación fuerte; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«is based upon intimate experience. You cannot love someone you do not know — not unless you water down the definition of love so much that it becomes meaningless.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, ata el amor al conocimiento íntimo: no se puede amar a quien no se conoce, salvo aguando la definición hasta dejarla sin sentido

«To love someone, you must appreciate how that person differs from yourself and from others. You must hold that person in mind so that to some extent love is a kind of meditation — a loving focus upon another individual. Once you experience that kind of love you can translate it into other terms. The love itself spreads out, expands, so that you can then see others in love's light.» — Seth, según Roberts, describe el amor como una meditación, un foco amoroso sobre un individuo, y declara que desde ahí se expande

«Love is naturally creative and explorative — that is, you want to creatively explore the aspects of the beloved one. Even characteristics that would otherwise appear as faults attain a certain loving significance. They are accepted — seen, and yet they make no difference. Because these are still attributes of the beloved one, even the seeming faults are redeemed.» — Seth, según Roberts, describe lo que el amor hace con los defectos: los ve, los acepta, y por ser del amado quedan redimidos

«The span of a god's love can perhaps equally hold within its vision the existences of all individuals at one time in an infinite loving glance that beholds each person, seeing each with all his or her peculiar characteristics and tendencies. Such a god's glance would delight in each person's difference from each other person.» — Seth, según Roberts, imagina la mirada de un dios que sostiene a la vez la existencia de todos, deleitándose en la diferencia de cada uno; la fórmula dubitativa *perhaps* es suya

«This would not be a blanket love, a soupy porridge of a glance in which individuality melted, but a love based on a full understanding of each individual.» — Seth, según Roberts, acota esa mirada contra el amor indiferenciado en que la individualidad se derrite

«The emotion of love brings you closest to an understanding of the nature of All That Is. Love incites dedication, commitment. It specifies.» — Seth, según Roberts, pone la emoción del amor como lo que más acerca a entender All That Is, y la declara específica y comprometida

«You cannot, therefore, honestly insist that you love humanity and all people equally if you do not love one other person. If you do not love yourself, it is quite difficult to love another.» — Seth, según Roberts, cierra el argumento en las dos direcciones: sin amar a otro no se ama a la humanidad, y sin amarse a sí es difícil amar a otro

«Again, all love is not sexually oriented. Yet love naturally seeks expression, and one such expression is through sexual activities.» — Seth, según Roberts, repite la distinción y a la vez reconoce en lo sexual una de las expresiones naturales del amor

«When love and sexuality are artificially divided, however, or considered as antagonistic to each other, then all kinds of problems arise. Permanent relationships become most difficult to achieve under such conditions, and often love finds litde expression, while one of its most natural channels is closed off.» — Seth, según Roberts, describe lo que sale de dividirlas: relaciones permanentes difíciles y un amor con poca expresión

«Their feelings toward parents b e c o m e ambiguous as a result of the identification procedures thrust u p o n them. Love, sexuality, and play, curiosity and explorative characteristics, merge in the child in a natural manner.» — Seth, según Roberts, atribuye la ambigüedad del niño hacia sus padres a los procedimientos de identificación que se le imponen

«Yet it soon learns that areas of exploration are limited even as far as its own body is c o n c e r n e d . T h e child is not free to contemplate its own parts. T h e body is early forbidden territory, so that the child feels it is wrong to love itself in any fashion.» — Seth, según Roberts, sitúa en el propio cuerpo el primer territorio prohibido y deriva de ahí la idea de que amarse es malo

«Ideas of love, then, become highly distorted, a n d its expression also. You do not fight wars for the sake of the b r o t h e r h o o d of man, for example. People who are acquainted with undistorted versions of love in their relationships would find such a c o n c e p t impossible.» — Seth, según Roberts, deriva de esa distorsión la imposibilidad de la guerra por la hermandad de los hombres para quien conoce el amor sin distorsionar

«Men brought up to be ashamed of the "feminine" sides of their nature cannot be expected to love women. They will see in w o m e n instead the despised, feared, and yet charged aspects of their own reality, and behave accordingly in their relationships.» — Seth, según Roberts, describe lo que el varón avergonzado de su lado femenino ve en las mujeres: los aspectos despreciados y temidos de su propia realidad

«Women taught to be frightened of the "masculine" sides of their nature cannot be expected to love m e n , either, a n d the same kind of behavior results.» — Seth, según Roberts, da el caso simétrico de las mujeres y declara el mismo resultado

«The so-called war of the sexes originates in the artificial divisions that you have placed about the nature of the self. T h e psyche's reality is beyond such misunderstandings. Its native language usually escapes you. It is closely connected with what can be loosely called the language of love.» — Seth, según Roberts, cierra el capítulo cinco: la guerra de los sexos nace de las divisiones puestas sobre el yo, y la lengua nativa de la psique se acerca a lo que llama la lengua del amor

«Next chapter heading: '"The Language of Love.' Images and the Birth of Words.» — Seth, según Roberts, dicta el título del capítulo seis; el troceo conserva las comillas desiguales del OCR

«It is almost commonplace to say that those who are in love can converse without words. Dramas and stories of all kinds have been written about the inner kind of communication that seems to take place between mother and children, sister and brother, or lover and beloved.» — Seth, según Roberts, abre el capítulo por lo que ya se da por sabido: la comunicación sin palabras entre quienes se quieren

«Love itself seems to quicken the physical senses, so that even the most minute gestures attain additional significance and meaning.» — Seth, según Roberts, atribuye al amor un aguzamiento de los sentidos físicos que carga de sentido los gestos mínimos

«Myths and tales are formed in which those who love communicate, though one is dead while the other lives. The experience of love also deepens the joy of the moment, even while it seems to emphasize the briefness of mortality.» — Seth, según Roberts, consigna los relatos en que el amor comunica al vivo con el muerto y el doble efecto del amor sobre el tiempo

«Though love's expression brilliantly illuminates its instant, at the same time that momentary brilliance contains within it an intensity that defies time, and is somehow eternal.» — Seth, según Roberts, sostiene que el brillo momentáneo del amor guarda una intensidad que desafía al tiempo

«In your world you identify as yourself only, and yet love can expand that identification to such an extent that the intimate awareness of another individual is often a significant portion of your own consciousness. You look outward at the world not only through your eyes, but also, to some extent at least, through the eyes of another.» — Seth, según Roberts, describe la expansión de la identificación por el amor: se mira el mundo también por los ojos de otro

«It is true to say, then, that a portion of you figuratively walks with this other person as he or she goes about separate from you in space.» — Seth, según Roberts, saca de ahí que una porción de uno camina con el otro cuando se aparta en el espacio

«All of this also applies to the animals to varying degrees. Even in animal groups, individuals are not only c o n c e r n e d with personal survival, but with the survival of "family" members. Each individual in an animal group is aware of the others' situations.» — Seth, según Roberts, extiende lo anterior a los animales y les atribuye conciencia de la situación de los otros del grupo

«T h e expression of love is not confined to your own species, therefore, n o r is tenderness, loyalty, or concern. Love indeed does have its own language — a basic nonverbal one with deep biological connotations. It is the initial basic language from which all others spring, for all languages' purposes rise from those qualities natural to love's expression — the desire to communicate, create, explore, a n d to j o i n with the beloved.» — Seth, según Roberts, declara el amor una lengua básica no verbal con hondas connotaciones biológicas, de la que salen todas las demás

«Speaking historically in your terms, man first identified with nature, a n d loved it, for he saw it as an extension of himself even while h e felt himself a part of its expression. In exploring it he explored himself also.» — Seth, según Roberts, sitúa la identificación con la naturaleza en el origen: explorarla era explorarse

«H e did not identify as himself alone, but because of his love, h e identified also with all those portions of nature with which h e c a m e into contact. This love was biologically ingrained in him, a n d is even now biologically pertinent.» — Seth, según Roberts, declara esa identificación ingrained biológicamente y todavía pertinente

«Physically and psychically the species is c o n n e c t e d with all of nature. Man did not live in fear, as is now supposed, n o r in some idealized natural heaven. H e lived at an intense p e a k of psychic a n d biological experience, and enjoyed a sense of creative excitement that in those terms only existed when the species was new.» — Seth, según Roberts, niega a la vez el miedo primitivo y el paraíso natural idealizado, y pone en su lugar un pico de experiencia psíquica y biológica

«This is difficult to explain, for these concepts themselves exist beyond verbalization. Some seeming ( u n d e r l i n e d ) contradictions are bound to occur. In comparison with those times, however, children are now born ancient, for even biologically they carry within themselves the memories of their ancestors.» — Seth, según Roberts, advierte la contradicción aparente de lo que dice y ofrece la fórmula de que los niños nacen ya antiguos, cargados de memorias de sus antepasados; la acotación del énfasis es de Butts

«In those pristine eras, however, the species itself arose, in those terms, newly from the womb of timelessness into time.» — Seth, según Roberts, describe el nacimiento de la especie como salida del vientre de lo intemporal al tiempo

«New paragraph: In d e e p e r terms their existence still continues, with offshoots in all directions. T h e world that you know is one development in time, the o n e that you recognize. T h e species actually took many other routes unknown to you, u n r e c o r d e d in your history.» — Seth, según Roberts, declara que la especie tomó muchas otras rutas no registradas, y que aquella existencia continúa

«Fresh creativity still emerges at that "point." (Longpause, one of many.) In the reckoning that you accept, the species in its infancy obviously experienced selfhood in different terms f r o m your own.» — Seth, según Roberts, sostiene que la creatividad fresca sigue emergiendo en aquel punto y que la especie infante experimentaba la identidad de otro modo

«Generally you experience the self as isolated from nature, and primarily enclosed within your skin.» — Seth, según Roberts, describe el yo del lector como aislado de la naturaleza y encerrado en la piel

«Early man did not feel like an empty shell, and yet selfhood existed for him as much outside of the body as within it. There was a constant interaction.» — Seth, según Roberts, sitúa el yo del hombre temprano tanto fuera como dentro del cuerpo, en interacción constante

«It is easy to say to you that such people could identify, say, with the trees, but an entirely different thing to try to explain what it would be like for a mother to become so a part of the tree underneath which her children played that she could keep track of them from the tree's viewpoint, though she was herself far away.» — Seth, según Roberts, da el caso extremo de la madre que seguía a sus hijos desde el punto de vista del árbol bajo el que jugaban

«Consciousness is far more mobile than you realize. Operationally, you have focused yours primarily with the body. You cannot experience subjective behavior "from outside," so this natural mobility of consciousness, which for example the animals have retained, is psychologically invisible to you.» — Seth, según Roberts, declara la conciencia mucho más móvil de lo que se cree y explica por qué esa movilidad, que los animales conservan, resulta invisible

«You like to think in terms of units and definitions, so even when you consider your own consciousness you think of it as "a thing," or a unit — an invisible something that might be held in invisible hands perhaps. Instead consciousness is a particular quality of being.» — Seth, según Roberts, objeta a pensar la conciencia como unidad o cosa y la define como una cualidad particular del ser

«Each portion of "it" contains the whole, so theoretically as far as you are concerned, you can leave your body and be in it simultaneously. You are rarely aware of such experiences because you do not believe them possible, and it seems that even consciousness, particularly when individualized, must be in one place or another.» — Seth, según Roberts, deriva de que cada porción contenga el todo la posibilidad de estar fuera del cuerpo y dentro a la vez

«I am certainly putting this in the most simple of terms, but a bird may have a nest, though it leaves it frequendy and never confuses itself with its nesting place. In a manner of speaking that is what you have done, though the body is more animate than the nest.» — Seth, según Roberts, da la analogía del nido y acota su propio símil: el cuerpo es más animado que un nido; el OCR imprime *frequendy*

«In those early times, then, consciousness was more mobile. Identity was more democratic. In a strange fashion this does not mean that individuality was weaker. Instead it was strong enough to accept within its confines many divergent kinds of experience.» — Seth, según Roberts, acota que una identidad más democrática no significa individualidad más débil sino bastante fuerte para admitir experiencias divergentes

«A person, then, looking out into the world of trees, waters and rock, wildlife and vegetation, literally felt that he or she was looking at the larger, materialized, subjective areas of personal selfhood.» — Seth, según Roberts, describe lo que aquel hombre veía al mirar el mundo: las áreas materializadas y mayores de su propio yo

«To explore that exterior world was to explore the inner one. Such a person, however, walking through the forest, also felt that he or she was also a portion of the inner life of each rock or tree, materialized. Yet there was no contradiction of identities.» — Seth, según Roberts, sostiene la doble pertenencia sin contradicción: se era también porción de la vida interior de cada roca y de cada árbol

«A man might merge his own consciousness with a running stream, traveling in such a way for miles to explore the layout of the land. To do this he became part water in a kind of identification you can barely understand — but so did the water then become part of the man.» — Seth, según Roberts, describe la fusión con el arroyo como recíproca: el hombre se hace agua y el agua se hace hombre

«You can imagine atoms and molecules f o r m i n g objects with little difficulty. In the same way, however, portions of identified consciousness can also mix and merge, f o r m i n g alliances.» — Seth, según Roberts, compara la mezcla de conciencias identificadas con la de átomos y moléculas que forman objetos

«SESSION 776, MAY 17,1976 9:14 P.M. MONDAY» — el encabezado de la sesión 776

«Our last session, the 775th, was not book dictation. Instead, Seth devoted it to "strings of consciousness" — explaining why Jane "picked up" the "William James" material, which is discussed in her book, Psychic Politics. Every once in a while she feels as if more material "from James" is available, though none has been forthcoming.» — Butts consigna el asunto de la sesión que quedó fuera —las cadenas de conciencia y el material de William James— y que de ese material no ha llegado más

«their greatest expression of love to toys, dolls, or imaginary playmates, because so many stereotyped patterns have already limited other expressions.» — continuación del pasaje de la plana anterior, que corta la frase tras *Many children give*: Seth, según Roberts, sostiene que muchos niños vuelcan su mayor expresión de amor en juguetes, muñecas o compañeros imaginarios porque los patrones estereotipados ya limitaron las demás vías

«Dictation. There are channels of interrelatedness, connecting all physical matter — channels through which consciousness flows.» — Seth, según Roberts, abre la sesión 776 con los canales de interrelación que conectan toda materia física y por los que la conciencia fluye

«In those terms of which I am speaking, m a n ' s identification with nature allowed him to utilize those inner channels. H e could send his own consciousness swimming, so to speak, t h r o u g h many currents, in which other kinds of consciousness merged.» — Seth, según Roberts, describe el uso de esos canales: mandar la conciencia a nadar por corrientes donde otras conciencias se funden

«I said that the language of love was the one basic language, and I m e a n that quite literally. Man loved nature, identified with its many parts, and a d d e d to his own sense of being by joining into its power and identifying with its force.» — Seth, según Roberts, insiste en que lo de la lengua del amor lo dice al pie de la letra, y describe el modo en que el hombre sumaba a su ser uniéndose a la fuerza de la naturaleza

«It is not so much that he personified the elements of nature as that he threw his personality into its elements a n d rode them, so to» — Seth, según Roberts, enmienda la fórmula de la personificación: el hombre echaba su personalidad dentro de los elementos y los montaba; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«speak. As mentioned, love incites the desire to know, explore, and communicate with the beloved; so language began as man tried to express his love for the natural world.» — continuación, ya en la plana siguiente, donde Seth, según Roberts, hace nacer la lengua del intento de expresar el amor por el mundo natural

«Initially language had nothing to do with words, and indeed verbal language emerged only when man had lost a portion of his love, forgotten some of his identification with nature, so that he no longer understood its voice to be his also.» — Seth, según Roberts, sitúa la lengua verbal como efecto de una pérdida: el hombre dejó de oír la voz de la naturaleza como propia

«In those early days man possessed a gargantuan arena for the expression of his emotions. He did not symbolically rage with the storms, for example, but quite consciously identified with them to such a degree that he and his tribesmen merged with the wind and lightning, and became a part of the storms' forces. They felt, and knew as well, that the storms would refresh the land, whatever their fury.» — Seth, según Roberts, niega que el hombre temprano se enfureciera simbólicamente con la tormenta y sostiene que se fundía con ella y sabía que refrescaría la tierra

«Because of such identification with nature, the death experience, as you understand it, was in no way considered an end. The mobility of consciousness was a fact of experience. The self was not considered to be stuck within the skin. The body was considered more or less like a friendly home or cave, kindly giving the self refuge but not confining it.» — Seth, según Roberts, deriva de esa identificación que la muerte no se tuviera por final, con el cuerpo como cueva amable que da refugio sin encerrar

«The language of love did not initially (underlined) involve images, either. Images in the mind, as they are understood, emerged in their present form only when man had, again, lost a portion of his love and identification, and forgotten how to identify with an image from its insides, and so began to view it from outside.» — Seth, según Roberts, sostiene que tampoco las imágenes mentales estaban al principio: aparecen cuando se olvidó identificarse con una imagen desde dentro; la acotación del énfasis es de Butts

«I would like to emphasize the difficulty of explaining such a language verbally. In a way the language of love followed molecular roots — a sort of biological alphabet, though "alphabet" is far too limiting a term.» — Seth, según Roberts, declara la dificultad de explicar esa lengua por vía verbal y ofrece la figura de raíces moleculares, con la reserva puesta al término *alphabet*

«Each natural element had its own key system that interlocked with others, forming channels through which consciousness could flow from one kind of life to another.» — Seth, según Roberts, describe los sistemas de claves que trababan unos elementos con otros y formaban los canales de paso de la conciencia

«Man understood himself to be a separate entity, but one that was connected to all of nature. The emotional reaches of his subjective life, then, leapt f ar beyond what you think of as private experience. Each person participating fully in a storm, for example, still participated in his or her own individual way. Yet the grandeur of the emotions was allowed full sway, and the seasons of the earth and the world were jointly felt.» — Seth, según Roberts, mantiene la entidad separada y a la vez conectada, con una vida emocional que desbordaba lo privado y estaciones sentidas en común

«T h e language or the m e t h o d of c o m m u n i c a t i o n can best be» — Seth, según Roberts, nombra la comunicación de aquella lengua; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«described perhaps as direct cognition. Direct cognition is dependent upon a lover's kind of identification, where what is known is known.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: Seth, según Roberts, llama a esa comunicación cognición directa y la hace depender de una identificación de amante, donde lo sabido se sabe

«At that stage no words or even images were n e e d e d . T h e wind outside and the breath were felt to be o n e a n d the same, so that the wind was the earth breathing out the breath that rose from the mouths of the living, spreading out t h r o u g h the earth's body. Part of a man went out with breath — therefore, m a n ' s consciousness could go wherever the wind traveled. A man's consciousness, traveling with the wind, became part of all places.» — Seth, según Roberts, identifica el viento con el aliento de la tierra y hace viajar la conciencia del hombre con el viento

«A person's identity was private, in that m a n always knew who he was. He was so sure of his identity that h e did not feel the need to protect it, so that he could e x p a n d his awareness in away now quite foreign to you.» — Seth, según Roberts, explica la expansión de aquella conciencia por la seguridad de la identidad, que no necesitaba protegerse

«Take the English sentence: "I observe the tree." If that original language had words, the equivalent would be: "As a tree, I observe myself.» — Seth, según Roberts, traduce una frase corriente a la lengua que describe, invirtiendo el sujeto y el objeto

«Or: 'Taking on my tree n a t u r e , I rest in my shade." Or even: "From my m a n nature, I rest in the s h a d e of my tree nature.» — Seth, según Roberts, da dos versiones más de la misma traducción; el troceo abre las comillas con una simple

«A man did not so m u c h stand at t h e s h o r e looking down at the water, as he immersed his consciousness within it. Man's inidal curiosity did not involve seeing, feeling, or t o u c h i n g the object's nature as much as it involved a joyful psychic exploration in which he plunged his consciousness, rather than, say, his foot into the stream — though he did both.» — Seth, según Roberts, describe la curiosidad primera como zambullida de la conciencia y no como mirar, tocar o palpar; el OCR imprime *inidal*

«If that language I speak of had been verbal, m a n never would have said: 'The water flows through the valley." Instead, the sentence would have read something like this: "Running over the rocks, my water self flows together with others in slippery union." T h a t translation is not the best, either.» — Seth, según Roberts, da otra traducción, la del agua, y acota él mismo que tampoco esa versión es la mejor

«Man did not designate his own as the only kind of consciousness by any means. H e graciously t h a n k e d the tree that gave him shade, for example, and he u n d e r s t o o d that the tree retained its own identity even when it allowed his awareness to join with it.» — Seth, según Roberts, niega el privilegio de la conciencia humana: el hombre daba las gracias al árbol y entendía que el árbol conservaba su identidad al dejarse acompañar

«In your terms, the use of language began as m a n lost this kind of identification. I must stress again that the identification was not symbolic, but practical, daily expression. Nature spoke for m a n , and man for nature.» — Seth, según Roberts, insiste en que aquella identificación no era simbólica sino expresión práctica y diaria, con la naturaleza hablando por el hombre y el hombre por ella

«In a manner of speaking, the noun and the verb were one. T h e noun did not disappear, but expressed itself as the verb.» — Seth, según Roberts, describe la gramática de aquella lengua: el nombre no desaparecía, se expresaba como verbo

«In a kind of emotional magnification unknown to you, each person's private emotions were given an expression and release through nature's changes — a release that was understood, and taken for granted. In the most profound of terms, weather conditions and the emotions are still highly related. The inner conditions cause the exterior climatic changes, though of course it now seems to you that it is the other way around.» — Seth, según Roberts, sostiene que las condiciones interiores causan los cambios del clima y no al revés, y declara que emoción y tiempo siguen muy relacionados

«You are robbed, then, or you rob yourselves, of one of the most basic kinds of expression, since you can no longer identify yourselves with the forces of nature.» — Seth, según Roberts, nombra la pérdida y reparte la responsabilidad entre el despojo y el despojarse

«Man wanted to pursue a certain kind of consciousness, however. In your terms, over a period of time he pulled his awareness in, so to speak; he no longer identified as he did before, and began to view objects through the object of his own body. H e no longer merged his awareness, so that he learned to look at a tree as one object, where before he would have joined with it, and perhaps viewed his own standing body from the tree's vantage point. It was then that mental images became important in usual terms — for he had understood these before, but in a different way, from the inside out.» — Seth, según Roberts, describe el repliegue de la conciencia y el cambio de trato con el árbol: antes se unía a él y veía su propio cuerpo desde el árbol

«Now he began to draw and sketch, and to learn how to build images in the mind that were connected to real exterior objects in the presendy accepted manner. Now he walked, not simply for pleasure, but to gain the information he wanted, to cross distances that before his consciousness had freely traveled.» — Seth, según Roberts, sitúa el dibujo y la imagen mental ligada al objeto exterior en ese momento de repliegue; el OCR imprime *presendy*

«So he needed primitive maps and signs. Instead of using whole images he used partial ones, fragments of circles or lines, to represent natural objects.» — Seth, según Roberts, hace nacer el mapa y el signo de la necesidad de recorrer a pie lo que antes la conciencia recorría

«He had always made sounds that communicated emotions, intent, and sheer exuberance. When he became involved with sketched or drawn images, he began to imitate their form with the shape of his lips. The "O" was perfect, and represents one of his initial, deliberate sounds of verbalized language.» — Seth, según Roberts, hace nacer el primer sonido deliberado del habla de la imitación de la forma dibujada con los labios, y nombra la O como el caso perfecto

«I said before that early man felt a certain emotional magnification, that he felt, for example, the wind's voice as his own. In a manner of speaking your languages, while expressing your individual intents and communications, also represent a kind of amplification arising from your molecular configurations.» — Seth, según Roberts, declara que las lenguas amplifican las configuraciones moleculares como antes las emociones se amplificaban en los elementos

«T h e wind makes certain sounds that are dependent upon the characteristics of the earth. T h e breath makes certain sounds that are d e p e n d e n t u p o n the characteristics of the body. There is a connection between alphabets a n d the molecular structure that composes your tissue. A l p h a b e t s then are natural keys also. Such natural keys have a m o l e c u l a r history. You form these keys into certain sound patterns that have particular meanings.» — Seth, según Roberts, empareja el viento y la tierra con el aliento y el cuerpo y declara los alfabetos claves naturales con historia molecular

«This provides you with a certain kind of communication, but it also allows a molecular expression that is natural at that level, and then used by you for your own purposes. I a m not saying that molecules speak. I am saying that they are expressed through your speech, however — and that your s p e e c h represents an amplification of their existence.» — Seth, según Roberts, acota expresamente su propia afirmación: no dice que las moléculas hablen, sino que se expresan a través del habla

«Certain sounds are verbal replicas of m o l e c u l a r constructions, put together by you to form sentences in the s a m e way, for example, that molecules are put together to f o r m cells a n d tissue.» — Seth, según Roberts, compara la formación de oraciones con la de células y tejidos

«T h e r e are "inner s o u n d s " that act like layers between tissues, that "coat" molecules, a n d these serve as a basis for exterior sound principles. T h e s e are also connected to rhythms in the body itself.» — Seth, según Roberts, sitúa unos sonidos interiores que recubren las moléculas y sirven de base a los principios del sonido exterior

«To some extent punctuation is s o u n d that you d o not hear, a pause that implies the presence of withheld s o u n d . To s o m e extent, then, language is as d e p e n d e n t u p o n the u n s p o k e n as the spoken, and the rhythm of silence as well as of s o u n d .» — Seth, según Roberts, define la puntuación como sonido retenido y hace depender la lengua tanto de lo no dicho como de lo dicho

«In that context, however, silence involves merely a pause of s o u n d in which sound is implied but withheld. Inner sound deals primarily with that kind of relationship. Language is meaningful only because of the rhythm of the silence upon which it rides.» — Seth, según Roberts, acota su propio uso de la palabra silencio y cierra con la fórmula de que la lengua cabalga sobre el ritmo del silencio

«Its meaning comes from the pauses between the sounds as much as it does from the sounds themselves. The flow of breath is obviously important, regulating the rhythm and the spacing of the words. The breath's integrity arises directly from the proper give-and-take between cells, the functioning of the tissues; and all that is the expression of molecular competence.» — Seth, según Roberts, remonta el ritmo del habla al aliento y el aliento al trato entre células, y de ahí a la competencia molecular

«That competence is obviously responsible for language, but beyond that it is intimately connected with the patterns of languages themselves, the construction of syntax, and even with the figures of speech used.» — Seth, según Roberts, ata esa competencia molecular a los patrones de las lenguas, a la sintaxis y hasta a las figuras del habla

«Again, you speak for yourselves; yet in doing so you speak a language that is not yours alone, but the result of inner communications too swift for you to follow, involving corporal and subjective realities alike.» — Seth, según Roberts, declara que la lengua propia no es solo propia sino resultado de comunicaciones interiores demasiado rápidas para seguirlas

«For this reason your languages have meaning on several levels. T h e sounds you make have physical effects on your own and other bodies. There is a sound value, then, as apart from a meaning value.» — Seth, según Roberts, distingue un valor de sonido de un valor de significado y atribuye al sonido efectos físicos sobre los cuerpos

«The words you speak to someone else are in certain terms broken down by the listener to basic components, and understood at different levels. T h e r e are psychological interpretations made, and molecular ones. T h e sounds and their pauses will express emotional states, and reactions to these will alter the body's condition to whatever degree.» — Seth, según Roberts, describe la escucha como descomposición del habla en componentes básicos, con lecturas psicológicas y moleculares y con efecto sobre el cuerpo

«The listener then breaks down the language. He builds up his own response. You have so connected words and images that language seems to consist of a sound that suggests an image. Yet some languages have had sounds for feelings and subjective states, and they had no subjects or predicates, nor even a sentence structure that you would recognize.» — Seth, según Roberts, señala el nudo entre palabra e imagen en el lector y opone lenguas con sonidos para estados subjetivos y sin sujeto ni predicado

«Your language must follow your perception, though the sound structure beneath need not. You say: "I am today, I was yesterday, and I will be tomorrow," yet some languages would find such utterances incomprehensible, and the words, "I am" would be used in all instances.» — Seth, según Roberts, opone a la conjugación del tiempo del inglés unas lenguas donde solo cabría el *I am*

«Jane realized she felt tired, so she decided not to continue the session.» — Butts consigna que la sesión se cortó por cansancio de Roberts

«Now: Regardless of the language you speak, the sounds that you can make are dependent upon your physical structure, so that» — Seth, según Roberts, ata el repertorio de sonidos de cualquier lengua a la estructura física; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«h u m a n language is composed of a certain limited n u m b e r of sounds. Your physical construction is the result of i n n e r molecular configurations, and the sounds you make are related to these.» — continuación, ya en la plana siguiente: *la lengua humana se compone de un número limitado de sonidos, la construcción física resulta de configuraciones moleculares interiores y los sonidos se relacionan con ellas*

«S E S S I O N 777, M A Y 2 4 , 1 9 7 6 9 : 4 5 P.M. M O N D A Y» — el encabezado de la sesión 777; el troceo separa las letras y las cifras

«Dictation. Initially, however, before the birth of images and words — as you understand t h e m ( u n d e r l i n e d ) — the world existed in different terms from those you know. Images as you consider them had not taken the form that you recognize.» — Seth, según Roberts, abre la sesión 777 situando un mundo anterior a las imágenes y a las palabras tal como se entienden; la acotación del énfasis es de Butts

«It seems to you that visually, for example, the natural world m u s t be p u t together or perceived in a certain fashion. Whatever your language, you perceive trees, mountains, people, oceans. You never see a m a n m e r g e with a tree, for example. This would be considered an hallucinatory image.» — Seth, según Roberts, señala lo que la percepción visual da por forzoso y lo que descartaría como alucinación: un hombre fundiéndose con un árbol

«Your visual data are learned and interpreted so that they a p p e a r as the only possible» — Seth, según Roberts, declara aprendidos e interpretados los datos visuales; el tramo se corta en el límite de chunk y *sigue en la línea siguiente*

«results of those data. Inner vision can c o n f o u n d you, because in your mind you often see images quite clearly that you would dismiss if your eyes were open.» — continuación del pasaje anterior, en la misma plana tras el corte de chunk: *la visión interior confunde porque en la mente se ven con claridad imágenes que se desecharían con los ojos abiertos*

«In the terms of which we are speaking, however, the young species utilized what I have called the "inner senses" to a far greater degree than you do. Visually, early m a n did not perceive the physical world in the way that seems natural to you.» — Seth, según Roberts, atribuye a la especie joven un uso mucho mayor de lo que él llama los sentidos interiores

«When a man's consciousness, for example, b l e n d e d with that of a tree, those data became "visual" for others to perceive. W h e n a m a n ' s consciousness merged with an animal's, that b l e n d i n g b e c a m e visual data also.» — Seth, según Roberts, sostiene que aquellas fusiones eran datos visuales para los demás

«In a manner of speaking, the brain p u t visual information together so that the visual contents of the world were n o t as stationary as they are now.» — Seth, según Roberts, declara menos estacionarios los contenidos visuales del mundo de entonces

«You have learned to be highly specific in your physical sight and interpretations. Your m e n t a l vision holds hints as to data that could be, but are n o t visually, physically perceived. You have trained yourselves to react to certain visual cues which trigger your mental interpretations, and to ignore o t h e r variations.» — Seth, según Roberts, describe el adiestramiento visual como reacción a ciertas claves y desatención de otras

«These latter can be described as too subtle. Yet actually they are no more subtle than those cues you acknowledge.» — Seth, según Roberts, niega que las claves desatendidas sean más sutiles que las reconocidas

«Data, you say, are stored in the chromosomes, strung together in a certain fashion. Now biologically that is direct cognition. T h e inner senses perceive directly in the same fashion.» — Seth, según Roberts, llama cognición directa al almacenamiento cromosómico y atribuye a los sentidos interiores el mismo modo

«To you, language means words. Words are always symbols for emotions or feelings, intents or desires. Direct cognition did not» — Seth, según Roberts, define las palabras como símbolos de emociones, intenciones o deseos; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«need the symbols. T h e first language, the initial language, did not involve images or words, but dealt with a free flow of direcdy cognitive material.» — continuación, ya en la plana siguiente: *la cognición directa no necesitaba símbolos y la primera lengua no llevaba imágenes ni palabras sino un flujo libre de material cognitivo directo*

«A man, wondering what a tree was like, became one, and let his own consciousness flow into the tree. Man's consciousness mixed and merged with other kinds of consciousness with the great curiosity of love.» — Seth, según Roberts, describe la fusión con el árbol y la nombra curiosidad del amor

«A child did not simply look at an animal, but let its consciousness merge with the animal's, and so to some extent the animal looked out through the child's eyes.» — Seth, según Roberts, hace recíproca la fusión también en el niño y el animal

«In ways most difficult to explain, man "absorbed" an animal's spirit before he killed it, so that the spirit of the animal merged with his own. In using the animal's flesh, then, the hunter believed that he was giving the animal a new focus of existence. He could draw on the animal's strength, and the animal could join in human consciousness. Nature and spirit therefore were one.» — Seth, según Roberts, describe la caza como absorción del espíritu del animal antes de matarlo, con la creencia de que se le daba un nuevo foco de existencia

«The last paragraph of material may give clues to human behavior today: Man kills animals — and eats them —for reasons he s consciously forgotten. His killing today would be based on at least intuitive understanding . . . One wonders whether the same reasoning might apply when man kills man.» — Butts, en nota de sesión, extiende por su cuenta lo dictado hacia la conducta actual y deja la pregunta abierta sobre el hombre que mata al hombre: la especulación es suya y él la marca como tal

«Your own kind of focus emerged from such a background, so that within yourselves you contain myriad consciousnesses of which you are unaware. T h r o u g h your own particular focus, the consciousnesses of the natural world merged to form a synthesis in which, for example, symphonies can emerge. You act not only for yourselves, but also for other kinds of consciousness that you have purposefully forgotten.» — Seth, según Roberts, declara que dentro de cada quien hay miríadas de conciencias de las que no se sabe, y que se obra también por ellas

«In thinking your own private thoughts, you also add to a larger psychic and mental reality of which you are part. Your languages program your perceptions, and limit your communications in certain terms (underlined) as much as they facilitate it.» — Seth, según Roberts, declara que las lenguas programan la percepción y limitan tanto como facilitan; la acotación del énfasis es de Butts

«A musician writing a symphony, however, does not use all of the notes that are available to him. He chooses and discriminates. His discrimination is based upon his knowledge of the information available, however. In the same way, your languages are based upon an inner knowledge of larger available communications.» — Seth, según Roberts, compara la lengua con el músico que escoge notas sobre un saber de lo disponible

«As a species "you" sought certain kinds of experience. Individually, and as tribes or nations, you follow certain "progressions" — and yet in so doing you act also on the part of the whole of nature. You take into your bodies in transmuted form the consciousnesses of all the things you consume.» — Seth, según Roberts, sostiene que se toman en el cuerpo, transmutadas, las conciencias de todo lo que se consume

«Those consciousnesses then merge to perceive the world in a fashion you call your own. Through your eyes the beasts, vegetables, birds, and dust perceive the dawn and sunlight as you do — as you, and yet on the other hand your experience is your own.» — Seth, según Roberts, hace que bestias, vegetales, aves y polvo perciban el amanecer por los ojos del lector, y acota a la vez que la experiencia es suya

«To some extent it is true to say that languages emerged as you began to lose direct communication with your own experience, and with that of others. Language is therefore a substitute for direct communication. The symbols of the words stand for your own or someone else's experience, while protecting you or them from it at the same time.» — Seth, según Roberts, define la lengua como sustituto de la comunicación directa y como protección frente a la experiencia que simboliza

«Visual data as you perceive them amount to visual language; the images perceived are like visual words. An object is presented to your visual perception so that you can safely perceive it from the outside. Objects as you see them are also symbols.» — Seth, según Roberts, extiende la tesis a la vista: las imágenes percibidas son palabras visuales y los objetos vistos desde fuera son también símbolos

«Jane had "strange feelings" connected with tonight's session. She felt somewhat disoriented, yet couldn't explain very well in just what way. She'd taken many long pauses in delivering the material — a few of which I've indicated — but hadn't been at all concerned about them while in trance. She said that at such times she was "waiting for the material to assemble and translate itself:" Originally it wasn't verbal at all.» — Butts consigna la desorientación de Roberts y su explicación de las pausas largas: esperaba a que el material se ensamblara y se tradujera

«Now: Ruburt's sense of strangeness is indeed connected with this evening's material. He was, however briefly, involved in a process that enabled him to reach beneath verbal or imagery language.» — Seth, según Roberts, declara desde el dictado la relación entre lo que ella sentía y el material de la noche

«In a manner of speaking he approached other thresholds of perception, and with my help translated those data into the material given.» — Seth, según Roberts, describe el procedimiento de la sesión como traducción hecha entre los dos

«The "secrets" of languages are not to be found, then, in the available» — Seth, según Roberts, niega que los secretos de las lenguas estén en los sonidos disponibles; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«sounds, accents, root words or syllables, but in the rhythms between the words; the pauses and hesitations; the flow with which the words are put together, and the unsaid inferences that connect verbal and visual data.» — continuación, ya en la plana siguiente: *los secretos están en los ritmos entre las palabras, las pausas y las vacilaciones, el flujo con que se arman y las inferencias no dichas que conectan los datos verbales con los visuales*

«He will become more proficient, but for that reason I will now end the session.» — Seth, según Roberts, corta él mismo la sesión por el estado de ella

«He feels as if his consciousness were stretched out of shape in a certain way, as muscles might be if you used them in a new manner. Let him rest, he has become aware of distances in his own consciousness, in a fashion difficult to describe.» — Seth, según Roberts, describe el efecto sobre ella con la analogía del músculo estirado de otro modo

«Neurologically he became familiar to some extent with the stuff beneath language, the inner rhythms unexpressed, and felt the odd connections that exist between words and your sense of time. This confused him, for this was material directly felt but verbally inexpressible.» — Seth, según Roberts, nombra lo que ella tocó: la materia que está debajo de la lengua, los ritmos interiores no expresados y la conexión entre las palabras y el sentido del tiempo

«"I just feel funny, "Jane said, "as if I've been where it was too smooth for my consciousness to get a grip on anything.» — Roberts, citada por Butts, describe el estado en que quedó tras la sesión

«Yet I feel as though I've been doing things there — perceiving in a different way while Seth was giving the session.» — Roberts, citada por Butts, declara haber estado percibiendo de otro modo mientras Seth dictaba

«Jane's strange feelings were over by the time we went to bed. The next morning, though, she reported dream experiences that had been brilliantly clear at the time; in them she'd been "perceiving images or objects as language.» — Butts consigna la secuela en sueños de esa noche, donde Roberts percibía imágenes u objetos como lengua

«There are gaps in your awareness that are actually filled with data, and Ruburt was letting these pool up, so to speak.» — Seth, según Roberts, declara que hay huecos en la conciencia llenos de datos y que ella los dejaba juntarse

«SESSION 779, JUNE 14,1976 9:17 P.M. MONDAY» — el encabezado de la sesión 779, con la que abre el capítulo siete

«o dictation for Psyche was given in the 778th session. Instead, Seth discussed the use of X rays in relation to health matters. We'd like to publish his information eventually.» — Butts consigna el asunto de la sesión que quedó fuera; la capitular se pierde en el troceo y el chunk abre descabezado, *o dictation* por *No dictation*

«As mentioned in other Seth books, Jane has her own physical hassles. During this spring she began to enjoy long periods of general relaxation and physical improvements, and no sessions were held last week as she "went along with" another series of such beneficial events.» — Butts consigna las dolencias de Roberts y el periodo de mejoría de esa primavera, con las sesiones suspendidas

«She also had a profound healing session last night while in bed — she "swooned" in a state of near-ecstasy, she said, for over two hours while she felt healing effects surge through her.» — Butts registra lo que Roberts describió como un desvanecimiento de casi éxtasis de más de dos horas, con efectos de curación

«I reminded her this morning to write an account of the experience, but the after effects, plus new healing sensations, were so strong that she couldn't concentrate enough to do the job; she mote but a paragraph or two.» — Butts consigna que el relato de esa experiencia no llegó a escribirse; el OCR imprime *mote* por *wrote*

«In fact, Jane was fairly well "out of it" before tonight's session, but decided to give it a try.» — Butts consigna el estado de Roberts antes de la sesión y su decisión de intentarla igual

«Dictation, while Ruburt continues his recovery. We will begin the next chapter, entitled: 'The Psyche, Languages, and gods" — with a small "g."» — Seth, según Roberts, dicta el título del capítulo siete y precisa la minúscula de *gods*: la distinción tipográfica es del propio dictado

«Almost any question that you can ask about God, with a capital, can be legitimately asked of the psyche as well.» — Seth, según Roberts, iguala las preguntas que caben sobre Dios y sobre la psique

«It seems to you that you know yourself, but that you take the existence of your psyche on faith. At best, it often seems that you are all that you know of your psyche, and you will complain that you do not know yourself to begin with. When you say: "I want to find myself," you usually take it for granted that there is a completed, done, finished version of yourself that you have mislaid somewhere. When you think of finding God, you often think in the same terms.» — Seth, según Roberts, señala el supuesto que hay detrás de *quiero encontrarme*: una versión acabada de uno mismo que se habría extraviado, y el mismo supuesto aplicado a Dios

«Now you are "around yourself' all of the time. You are ever becoming yourself. In a manner of speaking you are "composed" of those patterns of yourself that are everywhere coming together. You cannot help but be yourself. Biologically, mentally, and spiritually you are marked as apart from all others, and no cloak of conventionality can ever hide that unutterable uniqueness. You cannot help but be yourself, then.» — Seth, según Roberts, opone a esa búsqueda que uno está siempre alrededor de sí y siempre volviéndose sí mismo, marcado como aparte de todos los demás

«In a way, physically you are a molecular language that communicates to others, but a language with its own peculiarities, as if speaking an accepted tongue you spoke with a biological accent that carried its own flavor and meaning.» — Seth, según Roberts, describe el cuerpo como lengua molecular hablada con acento biológico propio

«You will question, most likely, "Becoming what?" for to you it usually seems that all motion tends toward a state of completion of one kind or another. You think, therefore, in terms of becoming perfect, or becoming free. The word "becoming" by itself seems to leave you up in the air, so to speak, suspended without definitions.» — Seth, según Roberts, anticipa la pregunta del lector por el término de ese devenir y su costumbre de pensarlo como perfección o libertad

«If I say: "You are becoming what you already are," then my remark sounds meaningless, for if you already are, how can you become what is already accomplished? In larger terms, however, what you are is always vaster than your knowledge of yourself, for in physical life you cannot keep up with your own psychological and psychic activity.» — Seth, según Roberts, se hace la objeción de que su propia fórmula suena vacía y la responde: lo que uno es siempre excede el saber que tiene de sí

«Again, in a way your bodies speak a biological language, but in those terms you are bilingual, to say the least. You deal with certain kinds of organizations. They can be equated with biological verbs,» — Seth, según Roberts, llama bilingüe al lector y compara sus organizaciones con verbos, adjetivos y nombres biológicos; el tramo se corta en el cambio de plana

«adjectives, and nouns. These result in certain time sequences that can be compared to sentences, written and read from one side, say, to the other.» — continuación, ya en la plana siguiente: *esas organizaciones dan secuencias de tiempo comparables a oraciones, escritas y leídas de un lado al otro*

«Pretend that your life's experience is a page of a book that you write, read, and experience from top to bottom, left to right, sentence by sentence, paragraph by paragraph. That is the you that you know — the world view that you understand.» — Seth, según Roberts, monta la analogía de la vida como página leída de arriba abajo y de izquierda a derecha

«But other quite as legitimate "yous" may write, read, and experience the same page backwards, or read each letter downward and back up again, as you would a column of figures. Or others might mix and match the letters in entirely different fashions altogether, forming entirely different sentences.» — Seth, según Roberts, multiplica los modos de leer esa misma página y con ello los yos legítimos

«Still another, vaster you might be aware of all the different methods of experiencing that particular page, which is your life as you understand it.» — Seth, según Roberts, pone un yo mayor consciente de todos los modos de leer la página

«You think that your own consciousness is the only logical culmination of your body's reality. You read yourself in a certain accepted fashion. In the "entire book of life," however, just physically speaking, there are interrelationships on adjacent levels that you do not perceive, as other portions of your own biological consciousness or biological language relate to the entire living fabric of the world.» — Seth, según Roberts, niega que la conciencia propia sea la única culminación lógica del cuerpo y señala relaciones en niveles adyacentes que no se perciben

«In physical terms you are alive because of substructures — psychic, spiritual, and biological — of which you have hardly any comprehension at all.» — Seth, según Roberts, hace descansar la vida física en subestructuras psíquicas, espirituales y biológicas casi no comprendidas

«These are implied, however, in the nature of your own consciousness, which could not exist otherwise as you know it. As language gains and attains its meaning not only by what is included in it, but also by what is excluded, so your consciousness attains its stability also by exclusions.» — Seth, según Roberts, compara la estabilidad de la conciencia con el significado de la lengua: los dos se alcanzan también por exclusión

«What you are is implied in the nature of what you are not.» — Seth, según Roberts, da la fórmula más apretada de esa idea, en sus dos direcciones

«You read yourselves from the top of the page to the bottom, or from what you think of as the beginning to the end. Your greater reality, however, is read in terms of intensities, so that the psyche puts you together in a different way. The psyche does not mark time. To it the intense experiences of your life exist simultaneously.» — Seth, según Roberts, opone la lectura lineal de la propia vida a la de la psique, que va por intensidades y no marca tiempo

«The inner events of the psyche compose the greater experience from which physical events arrive. They cast an aura that almost magically makes your life your own. Even if two people encountered precisely the same events in their lives at precisely the same time, their experiences of reality would still hardly be approximately connected.» — Seth, según Roberts, sostiene que los sucesos interiores dan el aura que hace propia una vida, y que dos personas con los mismos sucesos tendrían experiencias apenas comparables

«Within your biological experience, however, plant, mineral, animal, and human consciousness intersect. They encounter each other. In the language of the self that you speak, these encounters are like the implied pauses in your verbal language. These other kinds of consciousness then form inner rhythms upon which you superimpose your own.» — Seth, según Roberts, sitúa el cruce de las conciencias vegetal, mineral, animal y humana como las pausas implícitas de la lengua del yo

«These encounters of consciousness go on constandy. They form their own kind of adjacent identities. You would call them subspecies of consciousness, perhaps, but they are really identities that operate in a trans-species fashion.» — Seth, según Roberts, llama a esos cruces identidades adyacentes que operan atravesando las especies; el OCR imprime *constandy*

«If you "read yourselves" sideways in such a manner, you would discover portions of your own consciousness stretching out across the entire fabric of the earth as you understand it — becoming a part of the earth's material, even as those materials become part of the self that you recognize. Your consciousness would be far less hemmed in. Time would expand adjacendy. You think of yourselves physically as "top dogs," however, separate from the other species and kinds of life, so that in effect you limit your own experience of your psyche.» — Seth, según Roberts, describe lo que se ganaría leyéndose de lado y señala el costo de creerse aparte de las demás especies; el OCR imprime *adjacendy*

«He felt as if he had been on a long journey — and he was,» — Seth, según Roberts, describe lo que ella hizo como un viaje largo; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«though it was not a conscious one in the terms you recognize.» — continuación, ya en la plana siguiente: *no fue un viaje consciente en los términos que el lector reconoce*

«WTien you ask: "What is my psyche, or my soul, or who am I?" you are seeking of course for your own meaning as apart from what you already know about yourself. In that context, God is as known and as unknown as you are to yourself. Both God and the psyche are constantly expanding — unutterable, and always becoming.» — Seth, según Roberts, empareja a Dios y a la psique como igual de conocidos y desconocidos, y a los dos en expansión constante; el troceo imprime *WTien* por *When*

«The psyche deals with probable events, however, so some events — perhaps some» — Seth, según Roberts, declara que la psique trata con sucesos probables; el tramo se corta en el cambio de plana y *sigue en la línea siguiente*

«that you dreamed of but did not materialize — are quite real to the psyche. They are far more real to it than most innocuous but definite physical events, as for example yesterday morning's breakfast.» — continuación, ya en la plana siguiente: *lo soñado y no materializado es muy real para la psique, más que los sucesos físicos inocuos pero definidos, como el desayuno de ayer por la mañana*

«If you thought or felt in such a fashion, then you would appreciate the fact that biologically your body is yours by virtue of the mineral, plant and animal life from which it gains its sustenance. You would not feel imprisoned as you often do within one corporal form, for you would understand that the body itself maintains its relative stability because of its constant give-and-take with the materials of the earth that are themselves possessed of consciousness.» — Seth, según Roberts, deriva de esa lectura de lado el fin del encierro en una forma corporal: el cuerpo se sostiene por el toma y daca con materiales de la tierra que tienen conciencia

«You could to some extent feel your body coming together and dispersing constantly, and understand how you hover within it without fearing your own annihilation upon its dismantlement.» — Seth, según Roberts, describe la consecuencia práctica: sentir el cuerpo juntarse y dispersarse sin temer la aniquilación propia cuando se desarme

«When you ask: "WTio am I?" you are trying to read yourself as if you were a simple sentence already written. Instead, you write yourself as you go along.» — Seth, según Roberts, enmienda la pregunta por la identidad: no se lee una oración ya escrita, se escribe sobre la marcha; el troceo imprime *WTio* por *Who*

«The sentence that you recognize is only one of many probable variations. You and no other choose which experiences you want to actualize. You do this as spontaneously as you speak words.» — Seth, según Roberts, hace de la vida reconocida una entre muchas variaciones probables, elegida con la espontaneidad del habla

«You take it for granted that a sentence begun will be finished. You are in the midst of speaking yourself. The speaking, which is your life, seems to happen by itself, since you are not aware of keeping yourself alive. Your heart beats whether or not you understand anatomy.» — Seth, según Roberts, señala que el hablar que es la vida parece ocurrir solo, porque no se es consciente de mantenerse vivo

«You read yourself in too-narrow terms. Much of the pain connected with serious illness and death results because you have no faith in your own continuing reality.» — Seth, según Roberts, atribuye a la falta de fe en la propia realidad continuada mucho del dolor de la enfermedad grave y de la muerte

«You fight pain because you have not learned to transcend it, or rather to use it. You do not trust the natural consciousness of the body, so that when its end nears — and such an end is inevitable — you do not trust the signals that the body gives, that are meant to free you.» — Seth, según Roberts, sostiene que al acercarse el fin no se confía en las señales que el cuerpo da, y declara ese fin inevitable

«Certain kinds of pain automatically eject consciousness from the body. Such pain cannot be verbalized, for it is a mixture of pain and pleasure, a tearing free, and it automatically brings about an almost exhilarating release of consciousness. Such pain is also very brief.» — Seth, según Roberts, describe un dolor que expulsa la conciencia del cuerpo, mezcla de dolor y placer y muy breve

«Under your present system, however, drugs are usually administered, in which case pain is somewhat minimized, but prolonged — not triggering the natural release mechanisms.» — Seth, según Roberts, objeta al uso de los fármacos al final: aminoran el dolor y lo prolongan, sin disparar los mecanismos naturales de liberación

«If you read your selves adjacendy, you would build up confidence in the body, and in those cooperative consciousnesses that form it. You would have an intimate awareness of the body's healing processes also. You would not fear death as annihilation, and would feel your own consciousness gently disentangle itself from those others that so graciously couched it.» — Seth, según Roberts, describe lo que da esa lectura de lado: confianza en el cuerpo, conciencia de sus procesos de curación y una muerte sin miedo a la aniquilación; el OCR imprime *adjacendy*

«Seth called for a break here because the telephone started ringing, we'd forgotten to turn it off before the session.» — Butts consigna la interrupción del teléfono, que no habían apagado: el aparato del volumen registra también los accidentes de la casa

«SESSION 780, JUNE 22,1976 9:19 P.M. TUESDAY» — el encabezado de la sesión 780

«As we sat for the session, Jane reminded me that she thought Seth would do an introduction tonight for her own book on Paul Cezanne. This feeling had first come to her earlier today.» — Butts consigna la previsión de Roberts sobre lo que Seth haría esa noche, formada horas antes

«"Wouldn't that be a riot?" she laughed. "But I've done introductions for Seth's books, so why shouldn't he do one for mine?" And yes, the Cezanne material mentioned earlier — see fane's introduction for Psyche — had developed into a full-fledged book of its own.» — Roberts, citada por Butts, bromea con la reciprocidad de las introducciones entre ella y Seth; el aparato remite a su propia introducción de este volumen

«Dictation. (Long pause.) You are a part of the world, and yet you are yourself. This does not confuse you, and you follow your own sense of identity without difficulty, even though you are everywhere surrounded by other individuals.» — Seth, según Roberts, abre la sesión 780 con la analogía que va a usar: ser parte del mundo y a la vez uno mismo no confunde a nadie

«Using this as an analogy, you are a part of your psyche or your soul, dwelling within it, easily following your own sense of identity even though that psyche also contains other identities beside the one that you think of as your own.» — Seth, según Roberts, traslada la analogía a la psique, que contiene otras identidades además de la que se tiene por propia

«You draw sustenance from the world, and grow through its medium. You contribute your abilities and experience, helping to form the world's civilization and culture. To some strong degree you bear the same kind of relationship to your own psyche.» — Seth, según Roberts, completa la analogía por el lado de la contribución: se aporta al mundo como se aporta a la propia psique

«Through ordinary methods of communication you are able to tell what is going on in other countries beside your own, even without traveling to them. News telecasts acquaint you with conditions around the world.» — Seth, según Roberts, monta la analogía de las noticias para lo que viene: las transmisiones interiores