The "Unknown" Reality: A Seth Book (Vols. 1 and 2)
"Unknown" Reality · The Unknown Reality · La realidad «desconocida»
Dos tomos de un mismo libro que Jane Roberts dictó hablando por una personalidad que el volumen llama Seth, y que su marido Robert F. Butts anotó sesión por sesión. La página de derechos declara la responsabilidad en tres papeles distintos: «The “unknown” reality / [channeled by] Jane Roberts ; notes and cover art by Robert F. Butts.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 4». El catálogo de la Library of Congress encabeza la entrada, en cambio, en la voz dictante: «Seth (Spirit)» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 4», y clasifica el libro como «1. Spirit writings. 2. Reality — Miscellanea. 3. Parapsychology.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 4». Las dos cosas quedan consignadas y ninguna se arbitra.
Butts fecha la producción entera y nombra al dictante: «Seth began dictating The “Unknown” Reality: A Seth Book, in the 679th session for February 4, 1974, and finished it with the 744th session for April 23, 1975.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 11». En el tomo 2 repite el dato y describe el arreglo entre los tres: «The two volumes making up The “Unknown” Reality: A Seth Book, were dictated by my wife, Jane Roberts, in cooperation with Seth, the nonphysical “energy personality essence” for whom she speaks when she’s in trance.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 213», y mide el tiempo de trance: «She produced the two books in an accumulated trance time of about 90 hours — an accomplishment that I think quite remarkable.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 213».
El libro no tiene capítulos, y la razón la da Seth dentro del propio material, citado por Butts: «This book had no chapters [in order] to further disrupt your accepted notions of what a book should be. There are different kinds of organizations present, however, and in any given section of the book, several levels of consciousness are appealed to at once.”» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 11». La división en dos tomos no fue decisión suya, según Butts: «Seth himself said nothing about publishing “Unknown” Reality in one volume, two volumes, or even more, while he was producing it.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 11».
El prefacio lo firma Seth y enuncia de entrada el objeto del título: «Now: Preface: There is an “unknown” reality, in quotes as given. I am part of it, and so are you.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 22». Ahí mismo declara su posición respecto de lo que describe —«Because of my position, however, I am obviously more a part of it than most.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 22»— y formula la tesis que gobierna los dos tomos: «There is one God, but within that God are many. There is one self, but within that self are many. There is one body, in one time, but the self has other bodies in other times.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 22».
El punto de partida del libro es privado y el prefacio lo dice: «So the book had a private beginning. Jane Roberts’s husband, Robert Butts, wondered about the death of his mother (on November 19, 1973). In a session (the 679th for February 4, 1974) he brought out some old photographs.» «Roberts — The "Unknown" Reality (1977 y 1979) · p. 23». De ahí arranca la Sección 1, y de ahí sale el asunto que vertebra el tomo 1: las vidas probables, las unidades de consciencia y lo que el volumen llama *counterparts*.
1063 afirmaciones · 2 fuentes · 1 atribución
Atribución
se consigna, jamás se afirma«Roberts — The "Unknown" Reality (1977 y 1979) · p. 4»
Cadena de la obra
el testimonio procesado, en esmeraldaAfirmaciones
1063 entradas — la voz de la obra, con su pasaje«Today is tomorrow, and present, past, Nothing exists and everything will last There is no beginning, there was no end, No depth to fall, no height to ascend.» — Jane Roberts, en el verso de Summer Is Winter que el volumen pone de epígrafe, niega el comienzo y el fin y hace coincidir hoy, mañana, presente y pasado.
«There is only this moment, this flicker of light, That illuminates nothing, but oh! so bright! For we are the spark that flutters in space, Consuming an eternity of a moment's grace, For today is tomorrow, and present, past , Nothing exists, and everything will last» — Jane Roberts cierra el epígrafe con el instante como única realidad y la chispa que arde en el espacio; el último par de versos repite los dos primeros con la variante *For today*, que el volumen imprime con una coma suelta.
«Although they bear my name, before I was finished with them I’d had plenty of help from my wife, Jane Roberts, and from Seth, the nonphysical entity who speaks through her while she’s in trance.» — Robert F. Butts declara que sus notas llevan su nombre pero se hicieron con ayuda de Roberts y de Seth, a quien nombra entidad no física que habla por ella en trance.
«Yet Jane isn’t particularly turned on by dates, session numbers, information about footnotes, and some of the other material I’ll be discussing here.» — Butts consigna el desinterés de Roberts por fechas, números de sesión y notas al pie, que son justo el asunto de sus notas.
«Three sections in one book are enough of a bite for the reader.» — Jane Roberts, citada por Butts, argumenta la división en tres secciones por tomo con una razón de lectura.
«I’m sure that that “energy personality essence,” as Seth calls himself, regarded with some amusement our gropings about how best to publish his work» — Butts usa para Seth la fórmula con que Seth se nombra a sí mismo, esencia de personalidad energética, y le atribuye diversión ante las dudas editoriales.
«I think that basically he was unconcerned with ideas of length or time; that Jane’s and my own willingness to continue delivering and recording the body of the material were the true arbiters of its length.» — Butts sostiene que la extensión del libro no la puso Seth sino la disposición de Roberts y suya a seguir dictando y registrando.
«‘The notes will take care of themselves. Do not worry.”» — Seth, según Roberts, en una sesión privada de junio de 1974, responde a la inquietud de Butts por el peso de las notas.
«We think now that “Unknown”Reality could continue for the rest of our lives, really. In other, larger respects, it could go on for centuries. For all we know in ordinary conscious-mind terms at this “time,” there could be a third volume to the set (as Jane herself speculated in the 730th session, in Section 6), and a fourth and fifth....» — Butts declara el libro interminable en principio y recoge la especulación de Roberts, en la sesión 730, sobre un tercer tomo; el troceo imprime el título sin espacio tras la comilla de cierre.
«After Jane began delivering this work it soon became apparent that my notes for it were going to be longer than they are in Seth Speaks and Personal Reality. The very way Seth was presenting his material required this.» — Butts atribuye la extensión inusual de sus notas a la manera misma en que Seth presentaba el material.
«In fact, Jane and Seth are the ones who so beautifully bring these notes to their conclusion; and in that order —Jane with some excellent material about her relationship with» — Butts anuncia que sus notas las cierran Roberts y Seth, en ese orden; el tramo se corta en el límite de plana y la frase sigue con la carta de Seth a los corresponsales.
«‘The Seth material is endless. I organize it for your benefit. If you want to divide it into two volumes, that is fine. You will find several points where this can be done» — Seth, según Roberts, en la sesión 744 y a pregunta de Butts, declara su material sin fin y la división en tomos como conveniencia del lector; el volumen lo reimprime en las notas del tomo 2 y aquí se ancla en la primera aparición.
«The two volumes of “Unknown” Reality contain 65 sessions. Jane delivered these for Seth over a period of a little more than 1414 months.» — Butts cifra la obra en sesenta y cinco sesiones; el troceo imprime el lapso como *1414 months*, corrupción de la capa de texto por catorce meses y medio.
«I’m somewhat puzzled to note, however, that her very short working times for the Seth books seem to be either ignored or taken for granted by practically everyone — or, perhaps, those factors just aren’t understood in terms of ordinary linear time.» — Butts consigna que casi nadie repara en lo breve del tiempo de trabajo de Roberts, y apunta como explicación posible que no se entienda en tiempo lineal.
«Maybe I’m alone in my interest here, for even Jane doesn’t express any great curiosity about the time she has invested in the Seth material; she just delivers it.» — Butts declara el desinterés de la propia Roberts por el tiempo invertido en el material.
«But given her abilities, I think her speed of production is a close physical approach to, or translation of, Seth’s idea that basically all exists at once — that really there is no time, and that the Seth books, for example, are “there” to be had in final form for just the tuning in.» — Butts propone la velocidad de producción como traducción física de la tesis de Seth de que todo existe a la vez y los libros están ya ahí, listos para sintonizarlos.
«Do I think that Jane, in trance, could actually deliver a complete, book-length manuscript in just 45 hours? The question must be hypothetical, but I’m sure she could as far as having Seth’s material available is concerned; she’d need only the necessary physical strength.» — Butts responde a su propia pregunta hipotética: el material estaría disponible y el límite sería la fuerza física de Roberts.
«Even now, while speaking for Seth she can easily outtalk my writing capacity by many hours.» — Butts mide el desfase entre la palabra de Roberts en trance y su propia capacidad de escritura.
«The work produced would be different from the “same” work delivered over a longer time. Seth wouldn’t have our current daily activities to draw upon for some of his analogies, for instance, but in such cases I think he’d either call upon similar episodes from our pasts, or cast his material in different ways — which would yield the same results.» — Butts sostiene que el mismo material dictado en menos tiempo saldría distinto, porque Seth toma sus analogías de la vida diaria de los dos.
«The durability is achieved through constant expansion in terms of value fulfillment.» — Butts resume la noción de durabilidad de Seth: expansión constante en términos de cumplimiento de valor.
«I think Seth’s concept of simultaneous time will always elude us to some extent as long as we’re physical creatures» — Butts declara el límite de su propia comprensión del tiempo simultáneo mientras se sea criatura física.
«Jane’s books are records of her use of certain abilities that we think are very creative; the questions she raises present us with larger fields to investigate.» — Butts define los libros de Roberts como registros del uso de ciertas facultades y las preguntas que abren como campo de investigación.
«(I was 44 years old and Jane was 34 when she initiated the Seth material late in 1963)» — Butts fecha el inicio del material de Seth a finales de 1963 y da las edades de los dos.
«Jane’s early poetry, as I show in certain notes, clearly reflected her intuitive understanding of some of the concepts Seth came to elaborate upon much later.» — Butts sostiene que la poesía temprana de Roberts refleja conceptos que Seth elaboraría después.
«I averaged 40 of the sessions, just the parts devoted to dictation, for two things: the time Jane» — Butts explica cómo midió el tiempo de producción: promedió cuarenta sesiones en su parte de dictado; el tramo se corta en el límite de plana y sigue en la 15.
«spent in trance only, and her trance time plus relevant break times. I obtained figures of 1:39 and 2:02 hours respectively.» — continuación del tramo anterior: Butts separa el tiempo de trance del tiempo de trance más pausas y da una hora treinta y nueve y dos horas dos.
«For she completed the two volumes of “Unknown”Reality in a total trance time of 90:35 hours» — Butts cifra el trance total de los dos tomos en noventa horas y treinta y cinco minutos.
«or a total trance-plus-break time of 131:30 hours (sums which translate roughly into times of 45 hours and 65 hours per book).» — Butts da el total con pausas, ciento treinta y una horas y media, y su reparto aproximado por tomo.
«‘While I am not affected by time on your plane, I am affected by something resembling time on my plane» — Seth, según Roberts, en la sesión 14, acota su propia simultaneidad: no le afecta el tiempo del plano del oyente pero sí algo parecido al tiempo en el suyo; el volumen reimprime el pasaje más adelante y aquí se ancla en la primera aparición.
«To me time can be manipulated, used at leisure and examined. To me your time is a vehicle, one of several by which I can enter your awareness. It is therefore still a reality of some kind to me [my emphasis]. Otherwise I could not utilize it in any way whatsoever.» — Seth, según Roberts, en la sesión 14, describe el tiempo del oyente como vehículo manipulable por el que entra en su consciencia, y admite que por eso sigue siendo para él una realidad de alguna clase; pasaje reimpreso más adelante, anclado en la primera aparición.
«No book entitled The “Unknown” Reality can hope to make that reality entirely known. It remains nebulous because it is consciously unrealized.» — Seth, según Roberts, en la sesión 743, niega que el libro pueda hacer del todo conocida la realidad que nombra y da la razón: no está realizada conscientemente; el pasaje vuelve a imprimirse en la sesión misma y aquí se ancla en la primera aparición.
«The best I can do is to point out areas that have been relatively invisible, to help you explore, actually, different facets of your own consciousness» — Seth, según Roberts, en la sesión 743, reduce su alcance a señalar zonas invisibles y a ayudar a explorar facetas de la consciencia del lector; reimpreso en la sesión, anclado en la primera aparición.
«I am well aware that the book raises many more questions than it presents answers for, and this has been my intent....» — Seth, según Roberts, en la sesión 743, declara deliberado que el libro plantee más preguntas que respuestas; reimpreso en la sesión, anclado en la primera aparición.
«‘... for you have no idea of the» — Seth, según Roberts, en la sesión 14 del 8 de enero de 1964 y citado por Butts, arranca la frase sobre la dificultad de explicar el tiempo; el tramo se corta en el límite de plana y sigue en la 16, y el volumen lo reimprime más adelante.
«difficulties involved in explaining time to someone who must take time to understand the explanation.’» — continuación del tramo anterior: la dificultad está en que el oyente necesita tiempo para entender la explicación del tiempo; pasaje reimpreso más adelante, anclado en la primera aparición.
«Here’s Seth from the 750th session, held on June 25, 1975, two months after he finished Volume» — Butts sitúa la cita siguiente en la sesión 750, dos meses posterior al cierre del tomo 2.
«‘The ‘Unknown ’ Reality was written to give... individuals glimpses into alternate patterns of reality. It was meant to serve as a map that would lead, not into another objectified universe per se, but into inner roads of consciousness.» — Seth, según Roberts, en la sesión 750, declara el propósito del libro: mapa hacia caminos interiores de la consciencia y no hacia otro universo objetivado; el troceo imprime la comilla del título con espacio suelto.
«These inner roads or strands of consciousness bring elements into play so that it becomes possible to realize that the content of a given objectified universe may actually be perceived quite differently.» — Seth, según Roberts, en la sesión 750, sostiene que esos caminos interiores permiten advertir que el contenido de un universo objetivado puede percibirse de otro modo.
«You are part of what you perceive. When you alter the focus of your perception you automatically change the objectified world. It is not simply that you perceive it differently while it remains the same, regardless of your experience. The act of perception itself helps form the perceived event and is a part of it.» — Seth, según Roberts, en la sesión 750, enuncia la tesis perceptiva del libro: el que percibe es parte de lo percibido, el acto de percibir forma el acontecimiento y cambiar el foco cambia el mundo objetivado.
«In the Seth books we’ve deliberately refrained from commenting upon the similarities that exist between Seth’s ideas and those of various religious, philosophical, and mystical doctrines from the Near, Middle, or Far East.» — Butts declara deliberada la abstención del libro de comentar las semejanzas entre las ideas de Seth y las doctrinas religiosas, filosóficas y místicas de Oriente.
«Jane and I know that such correlations exist — indeed, we’d only be surprised if they didn’t. Others have often mentioned them to us, and we’ve done a little reading on Buddhism, Hinduism, Zen, and Taoism, for example, not to mention subjects like shamanism, voodooism, and obeah.» — Butts admite las correlaciones y enumera lo que los dos han leído, del budismo al obeah, sin hacer de ello materia del libro.
«It’s obvious, we think, that a book could be written comparing the Seth material with other systems of thought, whether religious or not, but Jane and I, being individualists, have chosen not to concentrate upon those areas.» — Butts deja escrito que el libro comparativo es posible y que los dos, por individualistas, decidieron no hacerlo.
«Nor is what I’m writing here meant to be taken as an attempt to put down other approaches to “basic” reality.» — Butts acota su propia abstención: no la propone como descalificación de otros accesos a la realidad básica.
«Although there are similarities, then, in our view there are vital differences, too, between Seth’s philosophy and that of many other organized systems.» — Butts sostiene que además de semejanzas hay diferencias de fondo entre la filosofía de Seth y la de los sistemas organizados.
«Jane and I prefer to think about the unities we find in our world as including religions, not being defined by them, and we think Seth stresses this.» — Butts formula la relación que prefiere con las religiones: incluidas en las unidades del mundo y no definidoras de ellas, y se lo atribuye también a Seth.
«We go along in our own stubborn ways, knowing that our outlooks are rooted in the Western traditions of the world, but also knowing that there exist all about us these numerous other philosophies or systems, some of them many centuries old, that the human race has created to help it explain reality.» — Butts declara su mirada enraizada en las tradiciones occidentales y reconoce alrededor otras filosofías seculares con la misma función explicativa.
«Yet we feel no compulsion to intimately know the details of, say, Sufism or Brahmanism.» — Butts nombra el sufismo y el brahmanismo entre lo que no siente obligación de conocer en detalle.
«(A simile I often think of here compares Eastern and Western life and thought with the right and left hemispheres of the brain; they’re separate, yet united; each half performs functions that complement and to some extent overlap those of the other, and together they operate as a whole.)» — Butts propone la analogía de los dos hemisferios cerebrales para la relación entre vida y pensamiento orientales y occidentales: separados, unidos y complementarios.
«And we object to the notion that “nature,” in those terms of linear time, has so arranged things that the individual has to pay a karmic debt in one life as the result of actions in a previous one.» — Butts objeta a la deuda kármica pagada en una vida por actos de otra; el tramo se corta en el límite de plana.
«Why should nature punish anyone if it doesn’t punish anything? The realities of nirvana and karma are not ones that Jane and I want to create.» — Butts pregunta por qué la naturaleza habría de castigar si no castiga nada, y declara que él y Roberts no quieren crear las realidades del nirvana y del karma.
«We prefer instead Seth’s — as well as our own — concepts of the inviolate nature of the individual consciousness, before, during, and after physical existence, in ordinary terms, and whether or not any theory of reincarnation is involved.» — Butts enuncia la alternativa: consciencia individual inviolable antes, durante y después de la existencia física, con independencia de la reencarnación.
«It may be natural enough for us in the West not to enjoy the idea of surrendering our individual natures upon physical death, even if intellectually we can understand, for instance, the Buddhist teaching that “perfect” joy can be found in the eventual, blissful surrender of the self to a supreme spirit» — Butts consigna la enseñanza budista de la dicha en la entrega del yo a un espíritu supremo y la distancia occidental ante ella.
«although I note with some humor that personally I’ve yet to determine how the self who surrenders knows it’s done so if it’s been so thoroughly absorbed.» — Butts plantea su objeción como pregunta: cómo sabría el yo entregado que se entregó si quedó absorbido del todo.
«You are not fated to dissolve into All That Is. The aspects of your personality as you presently understand them will be retained. All That Is is the creator of individuality, not the means of its destruction.» — Seth, según Roberts, en la sesión 590 recogida en Seth Speaks y citada aquí por Butts, niega la disolución en Todo Lo Que Es y declara a este creador de la individualidad.
«I have used the term ‘expansion of consciousness’ here rather than the more frequently used ‘cosmic consciousness’ because the latter implies an experience of proportions not available to mankind at this time.» — Seth, según Roberts, en la sesión 596 del apéndice de Seth Speaks, prefiere expansión de consciencia a consciencia cósmica porque el segundo término supone una experiencia que no está al alcance del hombre en este momento.
«Intense expansions of consciousness by contrast to your normal state may appear to be cosmic in nature, but they barely hint at those possibilities of consciousness that are available to you now, much less begin to approach a true cosmic awareness.» — Seth, según Roberts, en la sesión 596, acota lo anterior: las expansiones intensas parecen cósmicas y apenas insinúan las posibilidades ya disponibles.
«But we dislike the idea of nirvana in Buddhism and Hinduism, which calls for the extinction or blowing out of individual consciousness, and its absorption into» — Butts declara su rechazo del nirvana tal como lo entiende, extinción de la consciencia individual; el tramo se corta en el límite de plana y la frase sigue en la 17 con la absorción en un espíritu supremo.
«a supreme spirit, usually after a series of lives.» — continuación del tramo anterior: la absorción en un espíritu supremo, por lo común tras una serie de vidas.
«It’s plain that many arguments can be brought against all I’ve written in the last four paragraphs, I suppose, yet the material in them briefly approximates the ways Jane and I look at the Seth material these days in relation to other philosophies.» — Butts admite que cabe objetar a lo que acaba de escribir y lo presenta solo como aproximación a la mirada de los dos.
«Especially do I like the fact that Jane’s work, her contribution to our thought, comes out of her psyche unaided by laboratories, statistics, or tests.» — Butts valora que el aporte de Roberts salga de su psique sin laboratorios, estadísticas ni pruebas.
«That is, our idea of real testing consists in watching to see how the Seth material can assist in practical, everyday living.» — Butts define la prueba que reconoce: ver si el material sirve en la vida diaria.
«Other kinds of tests, more “formal” ones that we carried out in 1965-66, are detailed in Chapter 8 of The Seth Material; it’s easy for us to forget now that those early tests were quite successful, and could be resumed at any time.» — Butts remite a las pruebas formales de 1965-66 recogidas en The Seth Material y las da por logradas y reanudables.
«When they were held I wondered (as I still do) why the human animal, of all the creatures on earth, felt it necessary to construct laboratories in which to “prove” what it really is, what its abilities — telepathic, metabolic, or whatever — really are.» — Butts plantea como pregunta abierta por qué el animal humano necesita laboratorios para probar lo que es.
«In his laboratories, man thus has great opportunities to obtain preprogrammed answers, based on what he thinks he already knows; his exteriorized equipment can hardly produce anything else.» — Butts sostiene que el laboratorio devuelve respuestas preprogramadas por lo que ya se cree saber.
«(A scientist doesn’t call an atom of oxygen, or one of any other element, alive, let alone conscious. Yet a collection of certain atoms assembled, into a human form calls itself alive — and vehemently denies the same status to identical atoms that have the misfortune to exist outside of that human framework.)» — Butts señala la asimetría: no se llama vivo ni consciente al átomo suelto y sí al conjunto que se llama a sí mismo vivo.
«I feel extremely cheered by the idea that Jane, simply by using her chosen physical apparatus and nonphysical mind, is consistently demonstrating abilities human beings are not supposed to possess.» — Butts declara que Roberts demuestra de continuo facultades que se tiene por imposibles.
«We aren’t satisfied with the answers to our questions that our social orders, whether Eastern or Western, give us.» — Butts declara insatisfactorias las respuestas de los órdenes sociales, orientales u occidentales.
«And what of Jane’s feelings about her relationship with Seth? The mechanics of her mediumship?» — Butts abre con dos preguntas el paso a la voz de Roberts: su relación con Seth y la mecánica de su mediumnidad.
«Our idea at first was that she’d write her own introduction to accompany these notes, but finally she decided that wasn’t necessary; nor did she want to repeat much of the material she’s already covered in her own books.» — Butts explica por qué el tomo no lleva introducción de Roberts y anuncia en su lugar un ensayo de marzo de 1976.
«“The ‘Unknown’ Reality itself is a product of the unknown reality of the mind, of course, since I produced it entirely in a trance state, as Seth.» — Jane Roberts, en el ensayo de marzo de 1976 que Butts incorpora a sus notas, declara el libro producto de la realidad desconocida de la mente y producido entero en trance.
«In a way the two volumes are the products of an inner psychic ‘combustion’ — the spark that is lit in our world, as Seth’s reality strikes mine — or vice versa.» — Jane Roberts describe los dos tomos como producto de una combustión psíquica, la chispa que se enciende donde la realidad de Seth toca la suya.
«For me, this is an accelerated state. I would compare it to a higher state of wakefulness rather than to the sleep usually associated with trance — but a different kind of wakefulness, in which the usual world seems to be the one that is sleeping.» — Jane Roberts enmienda la imagen corriente del trance: no sueño sino un estado de vigilia más alto en que el mundo de siempre parece el dormido.
«My attention is not blunted. It is elsewhere.» — Jane Roberts niega que su atención se embote en el trance y la sitúa en otra parte.
«“As Jane, I’m not discarded when I’m in such a trance. Yet I step out of my Jane-self in some indescribable way, and step right back into it when the session is over.» — Jane Roberts sostiene que no queda descartada en el trance: sale de su yo Jane y vuelve a entrar al terminar la sesión.
«So there must be another ‘I’ who leaves Jane patiently waiting at the shore while I dive headlong into those other dimensions of experience and identity.» — Jane Roberts postula otro yo que deja a Jane esperando en la orilla mientras se zambulle en otras dimensiones de experiencia e identidad.
«Once the almost instant transformation is over, ‘I’ become Seth or Seth becomes what I am. And in that state, the conditions of perception are those native to other lands of consciousness than ours.» — Jane Roberts describe la transformación como casi instantánea y deja sin decidir la dirección: ella se vuelve Seth o Seth se vuelve lo que ella es.
«“Such sessions never wear me out. Instead, I’m often more refreshed than I was earlier.» — Jane Roberts niega que las sesiones la agoten y declara salir de ellas más descansada.
«Usually I have little idea of time. As Seth I may speak for an hour, but when I ‘snap back’ I’ll look at the clock in surprise, thinking that perhaps 15 minutes have passed at most.» — Jane Roberts mide la distorsión del tiempo en trance: una hora de habla que a ella le parecen quince minutos.
«The trance is not static, though. It has gradations and characteristics. These are almost impossible to explain, but the state isn’t always the same — it has peaks and valleys, psychological colorations and intensities that mark its nature.» — Jane Roberts niega que el trance sea uniforme y le atribuye gradaciones, picos, valles y coloraciones psicológicas.
«‘The trance state is characterized by a feeling of inexhaustible energy, emotional wholeness, and subjective freedom.» — Jane Roberts caracteriza el estado de trance por energía inagotable, integridad emocional y libertad subjetiva.
«At times Seth’s voice is very loud and powerful. Even in trance I’m aware of this, and I’m swept along in its energy.» — Jane Roberts consigna que percibe la voz de Seth como fuerte aun estando en trance y que la energía la arrastra.
«In the first years of my mediumship Seth’s voice and accent seemed very odd to me, whether I heard myself speaking for him during sessions or listened to tapes.» — Jane Roberts recuerda que en sus primeros años de mediumnidad la voz y el acento de Seth le resultaban extraños.
«But in the trance, what is known is known. Returning to my usual condition, the words that I’ve just spoken as Seth vanish in dreamlike fashion.» — Jane Roberts describe la asimetría del saber: en el trance lo sabido se sabe, y al volver las palabras se desvanecen como un sueño.
«Although I’ve read “Unknown”Reality since it was finished, and had looked portions of it over during the time of its production, it seems alien to me in the strangest fashion.» — Jane Roberts declara que el libro ya terminado le resulta ajeno pese a haberlo leído.
«“I appear to be more than ordinarily opaque, as if a part of me refuses any conscious consideration with my trance manuscripts; perhaps so as not to confuse myself.» — Jane Roberts se describe opaca ante sus propios manuscritos de trance y propone como razón no confundirse.
«For one thing, I like to keep the boundaries of my subjective states separate; it seems like an economical and practical way to handle exotic conditions as naturally and easily as possible.» — Jane Roberts declara su procedimiento: mantener separadas las fronteras de sus estados subjetivos por economía práctica.
«The Seth state remains inviolate in its fashion. So does the Jane state.» — Jane Roberts declara inviolables por igual el estado Seth y el estado Jane.
«“When I’m Seth, I’m just a small part of his reality, maybe only the portion I can grasp, but I bask in that personified energy.» — Jane Roberts acota su propio alcance dentro del trance: solo la parte de la realidad de Seth que ella puede abarcar.
«When Seth turns his attention to people, addressing them or answering questions, then I sense an almost multidimensional appreciation of their worth and individuality. He understands the validity of each person, or salutes it, approaching people in an entirely different light than we do.» — Jane Roberts describe el trato de Seth con las personas como un reconocimiento casi multidimensional de su valía.
«That experience of his reaction to others leads me to suspect the existence of an emotional experience far more vivid than the one we know.» — Jane Roberts deriva de lo anterior la sospecha de una experiencia emocional más viva que la conocida.
«“Yet I’m sure that Seth stands for something else, a different kind of personhood, and that Seth ‘happens’ when that kind of being intersects with my subjective world.» — Jane Roberts enuncia su propia fórmula sobre lo que Seth es: una forma distinta de ser persona, y un acontecimiento que ocurre donde esa forma cruza su mundo subjetivo.
«“In many ways, we’re a lonely species. We seem to be forever prowling around the confines of our own nature.» — Jane Roberts llama solitaria a la especie y la describe rondando los límites de su propia naturaleza.
«Maybe our idea of identity is like a magic circle we’ve drawn around our minds, so that everything outside seems dark and alien, unselflike.» — Jane Roberts propone la idea de identidad como círculo mágico trazado alrededor de la mente, que deja fuera todo lo demás como oscuro y ajeno.
«There may be other psychic fires lighting up that inner landscape with a far greater light than ours; other aspects of consciousness to which we’re connected as surely as we’re connected also to the animals in a chain of being we barely comprehend.» — Jane Roberts postula otros fuegos psíquicos y otros aspectos de la consciencia enlazados con el hombre en una cadena del ser apenas comprendida.
«“We love to look ‘backward’ at our animal origins. We take it for granted that evolution in those terms is over, and here we are — aha, kings of the mountain.» — Jane Roberts objeta a la lectura que da por terminada la evolución y pone al hombre en la cima.
«But maybe we’re just in the middle, sensing imperfectly the existence of other remote versions of ourselves that will appear in a ‘future’ too far ahead of us to know.» — Jane Roberts propone al hombre a mitad de camino, con versiones remotas de sí mismo aún por aparecer.
«Maybe I’m some distant ancestor of Seth’s in those terms, alive in my life but only a memory in his.» — Jane Roberts ensaya una relación temporal con Seth: ella antepasada remota, viva en su propia vida y recuerdo en la de él.
«But he insists there’s fresh action in the past; so if that’s the case, I’m still searching out my own paths.» — Jane Roberts recoge la objeción de Seth de que hay acción nueva en el pasado y con ella deja abierta su propia búsqueda.
«“When I get this far in my own thinking, a peculiar acceleration seizes me. My body grows very relaxed, but my mind has a strange feeling of motion as if something I’m trying to comprehend is going past me too fast to follow; yet I keep trying to twirl faster myself to catch up.» — Jane Roberts describe la aceleración que la toma al pensar así: cuerpo relajado y mente con sensación de movimiento tras algo que pasa demasiado rápido.
«If one of my cells tried to comprehend my own subjective reality, it might feel the same way.» — Jane Roberts propone la analogía de la célula que intentara comprender la realidad subjetiva del cuerpo que habita.
«I think that I’m alive in Seth’s subjective ‘body’ in the same way that one of my cells is alive in my physical body.» — Jane Roberts extiende la analogía: ella viva en el cuerpo subjetivo de Seth como una célula suya lo está en el suyo físico.
«Only I keep groping ... and sensing events that my own reality can’t really understand.» — Jane Roberts acota la analogía con su propio límite: tantea y percibe acontecimientos que su realidad no alcanza a entender.
«‘This may just be the conscious mind’s reaction as it tries to glimpse its own source.» — Jane Roberts ofrece una lectura alternativa de lo anterior: reacción de la mente consciente al asomarse a su propia fuente.
«traveling through some gigantic psyche that spawns selves the way space spawns stars.”» — Jane Roberts cierra su ensayo con la imagen de una psique gigantesca que engendra yoes como el espacio engendra estrellas; el tramo abre la plana 20 y continúa la frase de la 19.
«Dear Correspondent: Ruburt has read your letter. So has Joseph. I am aware of its contents.» — Seth, según Roberts, abre la carta a los corresponsales que Butts fecha en abril de 1975.
«We have no organization yet of an exterior kind, so there are no secretaries to take dictation, no middlemen — or women — to write flowery, prepackaged replies.» — Seth, según Roberts, niega que haya organización exterior, secretarias ni intermediarios detrás de las respuestas.
«Ruburt and Joseph, or Jane and Rob if you prefer, are private people. They also have a kind of one-to-one relationship with the universe. This particular quality means that they resist forming any kind of organization, even though such an organization might help in answering the mail.» — Seth, según Roberts, explica la negativa a formar organización por la relación uno a uno de los dos con el universo; Ruburt y Joseph son los nombres de entidad de Roberts y de Butts.
«While it will be sent to many of you, it is written to each of you, and I only regret that I cannot go into your aspirations, challenges, and problems on a more individual basis.» — Seth, según Roberts, declara la carta escrita para cada uno pese a enviarse a muchos, y lamenta no poder entrar en cada caso.
«Some of you have written in joy, some in sorrow. Some of you have written to tell of answers you have found, and some of you have written requesting answers. In any case, energy is being sent out to you with this letter.» — Seth, según Roberts, declara que con la carta va energía, cualquiera que haya sido el motivo de escribirle.
«That energy will arouse in you your own abilities. It will lead you to insights and solutions that can be yours alone. It will put you in touch with the ground of your being — from which, eventually, all exultation and answers spring.» — Seth, según Roberts, sostiene que esa energía despierta facultades propias y pone al corresponsal en contacto con el fondo de su ser.
«My purpose is not to solve your problems for you, but to put you in touch with your own power.» — Seth, según Roberts, acota su propio oficio: no resolver problemas sino poner al otro en contacto con su poder.
«My purpose is not to come between you and your own freedom by giving you “answers,” even to the most tragic of problems.» — Seth, según Roberts, niega dar respuestas para no interponerse entre el corresponsal y su libertad, ni siquiera ante el problema más trágico.
«My purpose is to reinforce your own strength, for ultimately the magic of your being is well equipped to help you find fulfillment, understanding, exuberance, and peace.» — Seth, según Roberts, enuncia lo que sí hace: reforzar la fuerza propia, porque la magia del ser ajeno basta para hallar cumplimiento y paz.
«Your problems are caused by your own doubts. These doubts arise because you have been out of touch with the validity of your own existence.» — Seth, según Roberts, atribuye los problemas a la duda propia y esta a la desconexión con la validez de la propia existencia.
«If I presume to solve problems for you, then I deny you your own power, and further reinforce any feelings of powerlessness that you have.» — Seth, según Roberts, declara que resolver problemas ajenos negaría el poder del otro y reforzaría su sensación de impotencia.
«I know that you can grow tired, however, and that sometimes a gift of energy can be quite a boost; so, again, with this letter I send my joyful recognition of your existence — and energy that you can use to reinforce your own vitality and strength.» — Seth, según Roberts, concede el cansancio y presenta el envío de energía como impulso, no como respuesta.
«All mail does not come from the postman, so each of you should have your own kind of inner response from me whatever letter you have sent by mail.» — Seth, según Roberts, anuncia una respuesta interior aparte del correo.
«I serve in many ways as a speaker for your own psyche, however, so the inner message will be from your own greater being to yourself; and at that multidimensional level of reality, I salute you.» — Seth, según Roberts, se declara portavoz de la psique del propio corresponsal, de modo que el mensaje interior venga del ser mayor de este a sí mismo.
«Instead I began to express myself by speaking through Jane Roberts. Period. In all of this there has been a purpose, and part of that purpose lies in this present book.» — Seth, según Roberts, declara el modo de su expresión, hablar por ella, y le atribuye un propósito que este libro cumple en parte.
«New paragraph. Each individual is a part of the unknown reality. Because of my position, however, I am obviously more a part of it than most.» — Seth, según Roberts, hace a cada individuo parte de la realidad desconocida y reclama para sí una participación mayor por su posición; la instrucción de párrafo va dentro del dictado.
«My psychological awareness bridges worlds of which you are consciously aware, and others that seem, at least, to escape your notice.» — Seth, según Roberts, describe su consciencia como puente entre mundos que el lector advierte y otros que se le escapan.
«The woman through whom I speak found herself in an unusual situation, comma, for no theories — metaphysical, psychological, or otherwise — could adequately explain her experience.» — Seth, según Roberts, sostiene que ninguna teoría metafísica ni psicológica explicaba la experiencia de ella, y que por eso hubo de hacerse una propia.
«The unknown reality, however, is unknown enough to usual reaches of the most flexible consciousness, in your terms, that it can only be approached by a personality as couched in it as I am.» — Seth, según Roberts, acota el acceso a la realidad desconocida: solo desde una personalidad tan asentada en ella como la suya.
«Once expressed, however, it can be comprehended. One of my purposes then has been to make this unknown reality consciously known.» — Seth, según Roberts, declara comprensible lo expresado y enuncia su propósito de volver consciente esa realidad.
«Man thought once, historically speaking, that there was but one world. Now he knows differently, but he still clings to the idea of one god, one self, and one body through which to express it.» — Seth, según Roberts, traza el paralelo histórico: el hombre dejó de creer en un solo mundo pero sigue con un solo dios, un solo yo y un solo cuerpo.
«All “times” exist at once. (Long pause.) Historically speaking, mankind chose a certain line of development.» — Seth, según Roberts, declara simultáneos todos los tiempos y presenta el desarrollo histórico como línea elegida.
«In it his consciousness specialized, focusing upon sharp particulars of experience. But inherent always, psychologically and biologically, there has been the possibility of a change in that pattern, an alteration that would effectively lift the race into another kind of weather.» — Seth, según Roberts, describe la especialización de la consciencia en particulares agudos y deja abierta la posibilidad biológica y psicológica de cambiar el patrón.
«Such a development would, however, necessitate first of all a broadening of concepts about the self, and a greater understanding of human potential.» — Seth, según Roberts, condiciona ese cambio a ensanchar los conceptos del yo y entender mejor el potencial humano.
«Human consciousness is now at a stage where such a development is not only feasible, but necessary if the race is to achieve its» — Seth, según Roberts, declara el cambio no solo posible sino necesario; el tramo se corta en el límite de plana y sigue en la 23 con el mayor cumplimiento.
«While you have highly limited concepts about the nature of the self, you cannot begin to conceive of a multidimensional godhood, or a universal reality in which all consciousness is unique, inviolate — and yet given to the formation of infinite gestalts of organization and meaning.» — Seth, según Roberts, condiciona la idea de una divinidad multidimensional a ensanchar el concepto del yo, y describe una realidad universal donde toda consciencia es única e inviolable.
«In my other books I used many accepted ideas as a springboard to lead readers into other levels of understanding. Here, I wish to make it clear that this book4 will initiate a journey in which it may seem that the familiar is left far behind.» — Seth, según Roberts, declara el método de sus libros anteriores y anuncia para este un viaje donde lo familiar parece quedar atrás.
«These ideas in this book are meant to expand the private reality of each reader. They may appear esoteric or complicated, yet they are not beyond the reach of any person who is determined to understand the nature of the unknown elements of the self, and its greater world.» — Seth, según Roberts, declara el propósito de las ideas del libro y niega que sean inaccesibles a quien se empeñe.
«Now: Life after death has usually been described quite in keeping with the old accepted ideas about one self, and limited concepts of personhood. I took that opportunity, however, to begin this book.» — Seth, según Roberts, objeta a la descripción corriente de la vida después de la muerte por apoyarse en la idea de un solo yo.
«The self is multidimensional when it is physically alive. It is a triumph of spiritual and psychological identity, ever choosing from a myriad of probable realities its own clear unassailable focus» — Seth, según Roberts, declara multidimensional al yo mientras vive, y triunfo de identidad espiritual y psicológica que elige su foco entre realidades probables.
«The fact is that in life you poise delicately and yet perfectly between realities, and after death you do the same.» — Seth, según Roberts, equipara el equilibrio entre realidades antes y después de la muerte.
«I used the opportunity, then, to explain the great freedom available to Robert Butts’s mother after death — but also to explain those elements of her reality present during life» — Seth, según Roberts, declara el doble propósito del arranque: la libertad de la madre de Butts después de morir y lo que de su realidad en vida le quedó cerrado a él.
«The “unknown” reality — you are its known equivalent (again, louder). Then know yourself.» — Seth, según Roberts, cierra el prefacio identificando al lector con el equivalente conocido de la realidad desconocida.
«I speak, myself, for those portions of your being that already understand. My voice rises from stratas of the psyche in which you also have your experience. Listen, therefore, to your own knowing.» — Seth, según Roberts, declara hablar por las partes del ser del lector que ya entienden, desde estratos de la psique que este también habita.
«I suddenly appeared within your space and time. Since then I have spoken to many people.» — Seth, según Roberts, en el prefacio, describe su aparición en el espacio y el tiempo del lector; el ancla arranca tras la llamada de nota que el troceo imprime pegada al adverbio.
«There would be nothing strange to anyone in any of this if I had been born into your world in a body of my own, in usual terms.» — Seth, según Roberts, señala que nada de esto extrañaría si hubiera nacido con cuerpo propio; declara este su tercer libro en la frase anterior, que el troceo cose a la llamada de nota.
«She was led to develop her own, therefore, and this book is an extension of certain ideas already mentioned in Adventures in Consciousness.» — Seth, según Roberts, declara este libro extensión de ideas ya enunciadas en Adventures in Consciousness; el ancla corta antes de la llamada de nota.
«To write that book, Jane Roberts drew on deep resources of energy.» — Seth, según Roberts, atribuye a ella recursos hondos de energía para escribir el libro anterior.
«Jane Roberts’s experience to some extent hints at the multidimensional nature of the human psyche and gives clues as to the abilities that lie within each individual.» — Seth, según Roberts, presenta la experiencia de ella como indicio de la naturaleza multidimensional de la psique y de facultades que están en cada uno; Butts reimprime el prefacio en sus notas del tomo 2 y aquí se ancla en la primera aparición.
«These are part of your racial heritage. They give notice of psychic bridges connecting the known and “unknown” realities in which you dwell.» — Seth, según Roberts, declara esas facultades herencia de la especie y puentes psíquicos entre las dos realidades; pasaje reimpreso en el tomo 2, anclado en la primera aparición.
«Yet when I am finished, I hope you will discover that the known reality is even more precious, more “real,” because you will find it illuminated both within and without by the rich fabric of an “unknown” reality now seen emerging from the most intimate portions of daily life.» — Seth, según Roberts, enuncia el resultado que espera: que la realidad conocida resulte más preciosa por quedar iluminada desde lo cotidiano; pasaje reimpreso en el tomo 2, anclado en la primera aparición.
«Your concepts of personhood are now limiting you personally and en masse, and yet your religions, metaphysics, histories, and even your sciences are hinged upon your ideas of who and what you are.» — Seth, según Roberts, hace depender religiones, metafísicas, historias y ciencias de la idea que se tenga de quién y qué se es; pasaje reimpreso en el tomo 2, anclado en la primera aparición.
«Your psychologies do not explain your own reality to you. They cannot contain your experience.» — Seth, según Roberts, niega que las psicologías expliquen o contengan la experiencia del lector; pasaje reimpreso en el tomo 2, anclado en la primera aparición.
«Your religions do not explain your greater reality, and your sciences leave you [just] as ignorant about the nature of the universe in which you dwell.» — Seth, según Roberts, niega a religiones y ciencias la explicación de la realidad mayor; el troceo imprime aquí una comilla recta de apertura suelta, y el pasaje se reimprime en el tomo 2.
«These institutions and disciplines are composed of individuals, each restrained by limiting ideas about their own private reality; and so it is with private reality that we will begin and always return, period.» — Seth, según Roberts, hace de las instituciones un agregado de individuos limitados y fija el punto de partida del libro en la realidad privada; pasaje reimpreso en el tomo 2, anclado en la primera aparición.
«When you don’t realize this, then you project upon life after death all of the old misconceptions. You expect the dead to be little different from the living — if you believe in afterlife at all — but perhaps more at peace, more understanding, and, hopefully, wiser.» — Seth, según Roberts, atribuye a esa falta de advertencia la proyección de las viejas ideas sobre la vida después de la muerte, que dejaría a los muertos poco distintos de los vivos.
«(Before the session I showed Jane a childhood photograph of herself, and one of me. The two pictures are roughly the same size, about 3-1/4" by 5". They also look remarkably alike in their brittle and discolored condition — almost as though they’d been snapped at the same time — yet mine is older than Jane's by 20 years.» — Butts abre la sesión 679 describiendo las dos fotografías de infancia, semejantes en tamaño y en deterioro y separadas por veinte años.
«(The photograph of me, taken and dated by my father [Robert Sr. ], has been kept in one of the Butts family albums for 53 years. In it the time is June 1, 1921.» — Butts fecha su propia fotografía el 1 de junio de 1921 y la sitúa en el álbum familiar desde hace cincuenta y tres años.
«Perhaps a dozen chicks cluster in the grass at my feet while I stare down at them, quite entranced. In blurred focus behind me an unknown teen-age girl sits on a swing that's suspended from a tree limb, and an empty wicker stroller-type carriage [mine?] stands beside her. Parked in a driveway in back of her is a four-door touring car with a fabric top.» — Butts detalla lo que la fotografía muestra alrededor suyo, hasta el automóvil de capota de tela al fondo.
«(The photograph of Jane is 33 years old. It was taken by an older lady friend who was treating her to an outing at a spa just outside of the New York State resort of Saratoga Springs, where Jane lived with her bedridden mother, Marie, and a housekeeper. In a childish hand Jane had scrawled her friend's name on the back of the picture, along with the date.» — Butts data la fotografía de Roberts y nombra a la amiga que la llevó al balneario cerca de Saratoga Springs.
«Many years later she was to tell me, “My mother hated that woman.”» — Butts recoge en boca de Roberts la frase con que años después zanjó el asunto de esa amistad.
«In the snapshot it's a sunlit day in August, 1941, Jane is 12 years old. She sits on the grass before some evergreen shrubs; she leans slightly back on her right hand, her bare legs rather primly folded.» — Butts fecha la fotografía de Roberts en agosto de 1941, cuando ella tenía doce años.
«She wears a print dress that had been given to her in the Roman Catholic orphanage in Troy, some 35 miles from Saratoga Springs; she'd spent the previous 18 months there in the institution while her mother had been hospitalized in another city for treatment of rheumatoid arthritis.» — Butts consigna los dieciocho meses de Roberts en un orfanato católico de Troy mientras su madre estaba hospitalizada por artritis reumatoide.
«Rather, from her position on the grass she just stares directly out of the photograph at the viewer, displaying a sober, almost controlled regard that seems out of place for one of that age» — Butts describe la mirada de la niña de la fotografía como una gravedad casi controlada que no le parece de esa edad.
«Many times while looking at the snapshots since then I'd found myself speculating about the probable realities surrounding their two young subjects.» — Butts declara el origen de su pregunta: la especulación repetida ante las dos fotografías.
«But what of all the other paths our probable selves had embarked upon since those pictures had been taken ?» — Butts formula la pregunta que abre el libro, por los caminos de los yoes probables; el troceo imprime el signo de interrogación separado.
«I wasn't clear on what I wanted to know, and had trouble expressing myself to Jane. Maybe I just wanted Seth to comment on probabilities in a more personal way.» — Butts admite no tener clara la pregunta y reducirla a pedir a Seth un comentario más personal sobre las probabilidades.
«[And added later: At the time, I had no idea that my questioning would trigger a new Seth book.» — Butts añade después que no sabía que su pregunta iniciaría un libro nuevo; los corchetes son suyos.
«(The outward signs of Jane's trance performances as Seth are very interesting in themselves, and I don't intend to minimize them» — Butts declara que no minimiza los signos exteriores del trance, aunque su interés esté en otra cosa.
«My real fascination, however, lies with what I call the greatly enhanced consciousness, or energy, that she displays in the sessions — and always I sense an even more powerful flow of that quality just beneath the surface of her delivery.» — Butts sitúa su interés en la consciencia o energía acrecentada que percibe en las sesiones y en el flujo aún mayor que intuye bajo ella.
«As she took them off her eyes were much darker and more luminous than they usually are: She was dissociated — in trance. Seth was there, staring at me.)» — Butts describe el paso al trance: los ojos más oscuros y luminosos y la disociación; el troceo imprime la escena como acotación entre paréntesis.
«Each of you, again, chose your parents and environment. You spoke in your notes (two days ago) of precognition in connection with art — an excellent point. Precognition in those terms also applies at your birth, when ahead of time you are quite aware on unconscious levels of those conditions that you will meet. You have chosen them and projected them ahead of you, out into the medium of time.» — Seth, según Roberts, en la sesión 679, sostiene que cada uno eligió padres y entorno, y extiende la precognición al nacimiento.
«The conditions, however, while “set” in one fashion, are highly plastic in another, so that a multitudinous variety of probable events can flow from them.» — Seth, según Roberts, acota lo anterior: las condiciones están fijadas en un sentido y son plásticas en otro, de modo que de ellas fluyen sucesos probables muy diversos.
«Precognitively you are unconsciously quite aware — again in your terms — of the results of any given action or cause.» — Seth, según Roberts, atribuye al nivel inconsciente el conocimiento precognitivo de los resultados de cualquier acción.
«When this (photograph) of Ruburt3 was taken, he had already become aware of the overall interests and concerns that would dominate his future life, although the particular course of it had not been chosen.» — Seth, según Roberts, sostiene que en la fecha de la fotografía ya estaban elegidos los intereses dominantes de esa vida y no el curso particular; el troceo cose la llamada de nota al nombre y el tramo se releyó en el crudo.
«material late in 1963, and soon afterwards Seth started developing his ideas on probabilities.» — Butts data a finales de 1963 el inicio del material y sitúa poco después el desarrollo de la idea de las probabilidades; el tramo abre la plana 26 y continúa la frase cortada en la 25.
«Some of this throws light on current experience. The religious background was there. At his preference and demand, he changed from a public to a Catholic school after the third grade.» — Seth, según Roberts, en la sesión 679, atribuye a la propia Roberts el cambio a la escuela católica después del tercer grado.
«This was against his mother’s judgment. She felt that public schools were better and more socially beneficial.» — Seth, según Roberts, consigna la objeción de la madre, que prefería la escuela pública.
«Ruburt, at that age — when he changed at the third grade — had quite a will then, in that he forced his mother to acquiesce to the change of schools. He put up such a fuss, Ruburt, and held such temper tantrums, that permission was given. He was stubborn even then.» — Seth, según Roberts, describe la voluntad de la niña que forzó el cambio de escuela con rabietas; Seth habla de Roberts en masculino y con su nombre de entidad.
«He was always highly imaginative, as was his mother. His mother was socially defiant, flaunting her beauty with the “disreputable” elements of society.» — Seth, según Roberts, atribuye imaginación a las dos y describe a la madre desafiando socialmente con su belleza.
«Much later, Ruburt would date the “disreputable” men in his environment, yet neither mother or daughter saw that parallel.» — Seth, según Roberts, traza el paralelo entre las compañías de la madre y las de la hija, y señala que ninguna de las dos lo vio.
«Ruburt’s mother by then wanted a respectable, hopefully rich husband for Ruburt, and could not understand why he chose men who did not conform.» — Seth, según Roberts, consigna la incomprensión de la madre ante la elección de hombres no conformes.
«Ruburt chose a background in which he was poor, as did the mother. The mother was also bright, but chose to bank upon beauty for escape (from her environment). Ruburt tried his brains instead.» — Seth, según Roberts, presenta la pobreza como elegida por las dos y contrasta las vías de escape: la belleza en una, la inteligencia en la otra.
«Ruburt’s nonconformance took the larger framework of unconventional ideas.» — Seth, según Roberts, sitúa la no conformidad de ella en el marco de las ideas no convencionales.
«In the background, as a child under the organization of the Welfare Department, self-indulgence, small luxuries or too-unconventional behavior, were all dangerous in the framework chosen — the neighbors could report any transgressions to Welfare.» — Seth, según Roberts, describe la vigilancia vecinal bajo el Departamento de Bienestar como el marco en que el lujo pequeño y la conducta no convencional resultaban peligrosos.
«Ruburt’s mother knew that the child could be taken away were it proven that she was an unfit mother in any way, or unable to give the child proper care.» — Seth, según Roberts, da el temor concreto de la madre: que le quitaran a la niña por madre inepta.
«The inflexibility of dogma conscientiously applied to daily action was experienced, and within it Ruburt tried to apply himself and to focus his deeply mystical nature.» — Seth, según Roberts, describe la inflexibilidad del dogma aplicada a la acción diaria y a la vez el uso que ella hizo de ese marco para enfocar lo que él llama su naturaleza hondamente mística.
«He threw himself headlong into the Catholic reality, pursued it with great stubborn diligence, used it as a framework of conventionality in which he could allow his mystic nature to grow.» — Seth, según Roberts, presenta la entrega al catolicismo como marco de convencionalidad dentro del cual crecer la naturaleza mística.
«When that nature grew out of the framework, he left it. All the beliefs that had once seemed so legitimate were then seen as hampering, and all their defects became plain.» — Seth, según Roberts, describe la salida del marco y el cambio de signo de sus creencias una vez fuera.
«While he followed the framework, nothing could swerve him from it, and here (touching the photo) in this child’s picture, you already have the unswerving nature, the great spontaneity, looking for a structure that will allow it growth, and yet give the illusion of safety.» — Seth, según Roberts, lee en la fotografía de la niña la naturaleza inquebrantable y la espontaneidad que busca estructura que la deje crecer con ilusión de seguridad.
«The placid-looking child (in the photo) was as dogmatic and unyielding in some respects as Ruburt has ever been.» — Seth, según Roberts, iguala la rigidez de la niña plácida de la fotografía con la de la adulta.
«Yet leaving the church framework, Ruburt fastened upon the mind as opposed to the intuitions.» — Seth, según Roberts, señala el cambio de apoyo al salir de la iglesia: la mente en lugar de las intuiciones.
«The child here was convinced that statues of Christ moved. Without a framework to contain that kind of experience, the growing girl began to squash it.» — Seth, según Roberts, consigna la convicción infantil de que las estatuas de Cristo se movían y su aplastamiento al faltar marco que la contuviera.
«The new framework threw aside such superstitious nonsense. The mind would be harnessed, and art became the acceptable translator of mystical experience, and a cushion between that experience and the self.» — Seth, según Roberts, describe el marco nuevo: la mente sujeta y el arte como traductor y amortiguador de la experiencia mística.
«He threw some of the baby out with the bathwater.» — Seth, según Roberts, cifra la pérdida de ese cambio en el refrán del niño y el agua de la bañera.
«For a while the child could interpret mystical experience within the church — but even then, there was always conflict with church authorities.» — Seth, según Roberts, acota el amparo de la iglesia con el conflicto permanente con sus autoridades.
«Without this experience of following such a belief in the church so fervently, however, he would not understand the need of people for such beliefs» — Seth, según Roberts, atribuye a esa experiencia la comprensión que ella tiene de la necesidad ajena de creencias.
«Well over a year before this picture was taken, in fact, Ruburt was sent to a Catholic home.» — Seth, según Roberts, fecha el internamiento en un hogar católico más de un año antes de la fotografía; el ancla corta antes de la llamada de nota que el troceo imprime pegada.
«There, unconventional thought was not tolerated. The inflexibility of dogma conscientiously applied to daily action was experienced, and within it Ruburt tried to apply himself and to focus his deeply mystical nature.» — Seth, según Roberts, describe el hogar católico como sitio donde no se toleraba el pensamiento no convencional y donde ella enfocó lo que él llama su naturaleza hondamente mística.
«Mystical experience became acceptable only through poetry or art, where it was accepted as creative, but» — Seth, según Roberts, describe la vía por la que la experiencia mística quedó admitida, poesía y arte; el tramo se corta en el límite de plana y la frase sigue en la 28.
«not real enough to get him into trouble, or to upset the “new” framework.» — continuación del tramo anterior: admitida como creativa y no como real, para no meterse en problemas ni alterar el marco nuevo.
«The mystical went underground, reappearing as science fiction.» — Seth, según Roberts, sitúa la reaparición de lo místico en la ciencia ficción; el ancla corta antes de la llamada de nota.
«Again, in the social and religious background of the child, unconventional mental or physical actions could bring penalties.» — Seth, según Roberts, explica ese soterramiento por las penas que en ese entorno acarreaba lo no convencional.
«He was afraid that psychic experience, when he encountered it much later, might lead to a new dogma, and was determined not to use it in such a way.» — Seth, según Roberts, en la sesión 679, atribuye a Ruburt —el nombre con que llama a Jane Roberts— el temor de que la experiencia psíquica derivara en un dogma nuevo.
«His “conservatism,” meaning his strong recognition of conservative ideas, is used as a springboard. He leaps from where he knows other people are into new areas. He combats the dogma of spiritualism as much as he did the dogma of the church.» — Seth, según Roberts, opone a Ruburt tanto al dogma del espiritualismo como al de la iglesia: el volumen usa el vocabulario del espiritualismo para marcar distancia, no para adscribirse.
«That child (in the photo) joined a nunnery, where she learned to regulate mystical experience according to acceptable precepts — but to express it nevertheless with some regularity, continuously, in a way of life that at least recognized its existence.» — Seth, según Roberts, describe la versión probable de Roberts que entró al convento y ahí reguló la experiencia mística según preceptos admitidos.
«In the other probability, Ruburt’s desire at that time won. He managed to water down the extent and dimensions of his mysticism enough so that it was acceptable. In that other probability, there will be no long period of time in which the mystical experience would lie latent, and no necessity at all to put it into new terms.» — Seth, según Roberts, traza la línea probable en que el deseo de entrar al convento ganó y la experiencia mística no quedó latente.
«Linden uses words now as a framework to contain creativity and communication, rather than to express them.» — Seth, según Roberts, contrasta a los dos hermanos: Linden usa la palabra como marco de contención y no como expresión.
«Almost always Seth refers to Jane by her male entity name, “Ruburt” — and so “he,” “his,” and “him.”» — nota de Robert F. Butts a la sesión 679: explica que Seth llama a Jane Roberts por el nombre de entidad masculino Ruburt y la trata en masculino.
«Sex, regardless of all your fleshy tales, is a psychic phenomenon, merely certain qualities which you call male and female. The qualities are real, however, and permeate other planes as well as your own. They are opposites which are nevertheless complementary, and which merge into one. When I say as I have that the overall entity, or whole self, is neither male or female, and yet refer [to some] entities by definitely male names such as ‘Ruburt’ and ‘Joseph’ [as Seth calls me] I merely mean that in the overall essence, the [given] entity identifies itself more with the so-called male characteristics than with the female.”» — Seth, según Roberts, en la sesión 12 del 2 de enero de 1964, citado por Butts, enuncia el sexo como fenómeno psíquico y cualidades complementarias, y explica por eso los nombres de entidad masculinos Ruburt y Joseph.
«While writing poetry on the evening of September 9, 1963, Jane had her first consciously recognized psychic experience. It was a massive one, lasting at least two hours, astonishing her with the “barrage” of new ideas she discovered while immersed in it. During part of that time her consciousness left her body; and during it she produced through automatic writing a manuscript called The Physical Universe As Idea Construction.» — Butts fecha el 9 de septiembre de 1963 la primera experiencia psíquica reconocida de Roberts y el manuscrito que ella escribió por escritura automática.
«Each person chooses his or her parents, accepting in terms of environment and heredity a bank of characteristics, attitudes, and abilities from which to draw in physical life. There is always a reason, and so each parent will represent to each child an unspeakable symbol, and often the two parents will represent» — Seth, según Roberts, citado por Butts en una sesión anterior al libro, sostiene que cada quien escoge a sus padres y toma de ellos un banco de rasgos; el tramo se corta en el cambio de plana.
«Consciousness is composed of energy, with everything that implies. The psyche, then, can be thought of as a conglomeration of highly charged “particles” of energy, following rules and properties, many simply unknown to you. On other levels, laws of dynamics apply to the energy sources of the self. Think of a given “self” as a nucleus of an energy gestalt of consciousness.» — Seth, según Roberts, en la sesión 680, define la consciencia como energía y la psique como conglomerado de partículas cargadas con un yo por núcleo.
«In many instances one main personality is formed, and the incipient selves are drawn into it so that their abilities and interests become subsidiary, or remain largely latent. They are trace selves.» — Seth, según Roberts, nombra yoes de traza a los incipientes que quedan latentes dentro de la personalidad principal.
«Therefore, when such situations arise, one or two of the other energized selves will literally spring apart from the timespace structure that you know. From your viewpoint these offshoots of energy become unreal. They exist as surely as you do, however. In terms of energy, this multiplication of selves is a natural principle.» — Seth, según Roberts, describe el desprendimiento de un yo cargado fuera de la estructura de espacio y tiempo y lo llama principio natural.
«In terms of energy, intent is stabilizing. There is a center to the self, again, that acts as a nucleus. The nucleus may change, but it will always be the center from which physical existence will radiate. Physically, intent or purpose forms that center, regardless of its reality in terms of energy.» — Seth, según Roberts, hace de la intención el estabilizador del centro del yo y del propósito el formador físico de ese centro.
«In another system of reality your father was — in fact, still is — a well-known inventor, who never married but used his mechanically creative abilities to the fullest while avoiding emotional commitment.» — Seth, según Roberts, cuenta al padre de Butts como inventor célebre y sin casar en otro sistema de realidad, que evitó el compromiso emocional.
«At that point of intersection, equal desires and intents within him became like twin nuclei. Whole regroupings of energy occurred, psychological and psychic implosions, so that two equally valid personalities were aware in a world in which only one could live at a time.» — Seth, según Roberts, sitúa en ese cruce dos núcleos gemelos de deseo y el reagrupamiento de energía que dejó conscientes a dos personalidades igualmente válidas.
«Now: There are basically no limitations to the self, and all portions of the self are connected — so the probable selves are aware, unconsciously, of their relationships.» — Seth, según Roberts, niega límites al yo y hace que los yoes probables se sepan unos a otros de manera inconsciente.
«There were three offshoots: one, the nun, with mysticism conventionally expressed, but under guarded circumstances; one, the writer who veiled mystical experience through art; and one, the Ruburt you know, who experienced mystical experience directly, teaches others to do the same, and forms through writing a wedding of the two aspects.» — Seth, según Roberts, enumera tres desprendimientos de Ruburt: la monja, la escritora que velaba lo místico en el arte y la Ruburt que lo vive de frente y lo enseña.
«Seth has insisted from the very beginning of these sessions (late in 1963) that there are no closed systems — and in so doing has given us clues about his own ability to travel through at least some of them.» — nota de Butts: consigna que Seth niega los sistemas cerrados desde las primeras sesiones de finales de 1963 y lee ahí la explicación de su propio tránsito entre ellos.
«for in a crowded, smoky hotel barroom Jane and I unknowingly created physical “personality fragments” of ourselves — then came face to face with them. In the 9th session for December 18, 1963, Seth explained what we had been up to, and called our creations “fragments of our selves, thrown-off materializations of your own negative and aggressive feelings.”» — nota de Butts sobre el episodio del baile en York Beach, agosto de 1963: dice que los dos crearon sin saberlo fragmentos de personalidad y cita la explicación que Seth dio en la sesión 9.
«In her glossary for Adventures Jane defines the living area as ‘The ‘paths’ our lives follow from birth to death.”» — nota de Butts: recoge la definición que Roberts da de living area en el glosario de Adventures in Consciousness.
«All probable worlds exist now. All probable variations on the most minute aspect in any reality exist now. You weave in and out of probabilities constantly, picking and choosing as you go along.» — Seth, según Roberts, en la sesión 681, enuncia la simultaneidad de todos los mundos probables y hace del vivir un ir escogiendo entre ellos.
«In the same way that you latch upon one personal biological history, you latch upon but one mass earth history. Others go on about you all the time, and other probable selves of your own experience their “histories” parallel to yours. In practical terms of sense data, those worlds do not meet. In deeper terms they coincide.» — Seth, según Roberts, pone la historia de la tierra en el mismo plano que la biografía: se prende una y se dejan invisibles las demás, que en el fondo coinciden.
«Science likes to think that it deals with predictable action. It perceives such a small amount of data, however, and in such a limited area, that the great inner unpredictability of any molecule, atom, or wave is not apparent. Scientists perceive only what appears within your system, and that often appears predictable.» — Seth, según Roberts, objeta a la ciencia que su predictibilidad venga del poco dato que percibe y no de la materia.
«True order and organization, even of biological structure, can be achieved only by granting a basic unpredictability. I am aware that this sounds startling. Basically, however, the motion of any wave or particle or entity is unpredictable — freewheeling and undetermined. Your life structure is a result of that unpredictability. Your psychological structure is also. However, because you are presented with a fairly cohesive picture, in which certain laws seem to apply, you think that the laws come first and physical reality follows. Instead, the cohesive picture is the result of the unpredictable nature that is and must be basic to all energy.» — Seth, según Roberts, invierte el orden corriente: la impredecibilidad es la base y la imagen ordenada el resultado, no al revés.
«Statistics provide an artificial, predetermined framework in which your reality is then examined. Mathematics is a theoretical organized structure that of itself imposes your ideas of order and predictability. Statistically, the position of an atom can be theorized, but no one knows where any given atom is at any given time.» — Seth, según Roberts, llama artificial al marco de la estadística y niega que se sepa dónde está un átomo dado en un momento dado.
«In a very small measure you can see how this works when you think of your mother in, say, her last years, and compare your idea of her with those of [your brothers] Linden and Richard. She was a different person to each of you. She was herself; but in the interweavings of probabilities, while certain agreed-upon historic events were accepted, she admitted into her reality whatever portions of your probable reality she chose. Each of you had a different mother.» — Seth, según Roberts, a Butts: cada hermano admitió en su realidad una porción distinta de la madre, de modo que cada uno tuvo una madre distinta.
«Now: Only out of unpredictability can an infinite number of orders, or ordered systems, arise. Anything less than complete unpredictability will ultimately result in stagnation, or orders of existence that in the long run are self-defeating. Only from unpredictability can any system emerge that can be predictable within itself. Only within complete freedom of motion is any “ordered” motion truly possible.» — Seth, según Roberts, hace de la impredecibilidad completa la única fuente de sistemas ordenados y de la libertad total la condición del movimiento ordenado.
«From the “chaotic” bed of your dreams springs your ordered daily organized action. In your reality, the behavior of your consciousness and of your molecules are highly connected. Your type of consciousness presupposes a molecular consciousness, and your kind of consciousness is inherent in molecular consciousness» — Seth, según Roberts, saca la acción diaria ordenada del lecho caótico de los sueños y encadena la consciencia humana con la molecular.
«Your cells are quite able to handle different orders of events; therefore in the dream state they are able, in their individual ways, to perceive your experience, and from it to choose those actualities you want made real in your terms.» — Seth, según Roberts, pone en las células la facultad de percibir en el sueño y de escoger cuáles sucesos probables se vuelven reales.
«I had the feeling of my hair being long and parted in the middle, as though I’ve got some kind of humanoid features; you know, with the hair hanging down on each side of my face, which is something like an animal’s — but with very intelligent eyes, very warm and soft.”» — Jane Roberts, en primera persona y fuera del trance, cuenta la imagen de sí misma con rasgos humanoides que le vino durante la sesión 681; Butts registra la frase entre sus notas de descanso.
«I thought that in his last sentence especially Seth was flirting with the principle of uncertainty, or indeterminacy, as postulated in 1927 by the German physicist Werner Heisenberg. In quantum mechanics this axiom maintains that it’s not possible to simultaneously ascertain the momentum and position of a subatomic wave-particle like an electron, say — electrons being one of the qualities that make up atoms. The day after this session was held, I asked Jane if she’d heard of Heisenberg. She hadn’t; nor did she understand his work, as best I could explain it to her.» — nota de Butts: acerca la frase de Seth sobre el átomo al principio de incertidumbre de Werner Heisenberg y consigna que Roberts no lo había oído nombrar.
«woven that each particle [of consciousness] is dependent upon every other. The strength of one adds to the strength of all. The weakness of one weakens the whole. The energy of one recreates the whole. The striving of one increases the potentiality of everything that is, and this places great responsibility upon every consciousness.» — Seth, según Roberts, en la sesión 29 del 26 de febrero de 1964, citado por Butts, hace depender cada partícula de consciencia de todas las demás y de ahí saca la responsabilidad de cada una; el tramo arranca en la plana siguiente al corte de la frase.
«There is a basic unit of consciousness that, expressed, will not be broken down, as once it was thought that an atom was the smallest unit and could not be broken down. The basic unit of consciousness obviously is not physical. It contains within itself innately infinite properties of expansion, development, and organization; yet within itself always maintains the kernel of its own individuality. Despite whatever organizations it becomes part of, or how it mixes with other such basic units, its own identity is not annihilated.» — Seth, según Roberts, en la sesión 682, postula una unidad básica de consciencia no física, indivisible y de identidad indestructible por mucho que se combine.
«It is aware energy, identified within itself as itself, not “personified” but awareized. It is therefore the source of all other kinds of consciousness, and the varieties of its activity are infinite.» — Seth, según Roberts, llama a esa unidad energía consciente de sí, no personificada sino vuelta consciencia, y fuente de todas las demás.
«The word “soul” unfortunately has been so used in regard to your species that it becomes highly difficult to unravel the conceptual difficulties. Using usual definitions, you would call a soul the result of a certain organization of such units, which you would then recognize as a “soul.”» — Seth, según Roberts, declara la palabra alma inservible por el uso que le ha dado la especie y la reduce a cierta organización de esas unidades.
«Of course they move faster than light. There are millions of them in one atom — many millions. Each of these units is aware of the reality of all others, and influences all others.» — Seth, según Roberts, pone esas unidades por encima de la velocidad de la luz, por millones dentro de un átomo, y cada una al tanto de todas.
«There are systems in which a moment,5 from your standpoint, is made to endure for the life of a universe. I do not mean that a moment is simply stretched, or that time is slowed down alone, but that all the experiences possible within a moment become realities within that framework.» — Seth, según Roberts, describe sistemas donde un solo momento dura lo que un universo porque en él se actualiza todo lo que ese momento admite.
«Propensity is a selection of significance, an inclination toward the formation of selected experience. This applies on all levels — atomic and psychological — and to biological stimulus and mental intent.» — Seth, según Roberts, define la propensión como selección de significancia y la extiende del átomo a lo psicológico.
«Only in a context of probabilities can immortality make any sense. Heredity springs from the great inherent unpredictability that is then broken down to specifications inside the chromosomes,9 no two of which are alike.» — Seth, según Roberts, condiciona la inmortalidad al marco de las probabilidades y hace nacer la herencia de la impredecibilidad que se especifica en los cromosomas.
«Now: Because your greater identity is aware of its probable existences, you are in matter and out of it at the same time — in time and out of it.» — Seth, según Roberts, pone al sujeto dentro y fuera de la materia y del tiempo a la vez, por obra de la identidad mayor.
«When you exercise your right arm, your left arm benefits. When you develop abilities in one system, to some extent they are easier to develop in another.» — Seth, según Roberts, traslada al trato entre realidades probables la analogía del brazo que se ejercita y el otro que se beneficia.
«My concern, when I’m aware of it, is for the readers,” she told me after the session. “I don’t want any of them to feel swept away.”» — Jane Roberts, en primera persona y citada por Butts, dice que su inquietud ante el material de las probabilidades no es por ella sino por los lectores.
«Life after death has great meaning in your reality, because death is a part of it. Your greater reality obviously transcends both your births and your deaths. The idea of one universe alone is basically nonsensical.» — Seth, según Roberts, llama absurda de raíz la idea de un universo único y hace de la muerte una parte de la realidad, no su término.
«consciousness ... the invisible breath of consciousness .. . The emanations are actually emotional tones ... The units are just beneath the range of physical matter.”» — Butts cita las analogías con que Seth describió en 1971 sus unidades de energía electromagnética: emanaciones de la consciencia, su aliento invisible, tonos emocionales bajo el alcance de la materia; el tramo arranca en la plana siguiente al corte de la frase.
«Through these units consciousness makes its mark, and not one scribble is ever annihilated. The experience of any given unit, constantly changing, affects all other units» — Seth, según Roberts, en la sesión 683, declara que ningún garabato de la consciencia se aniquila y que la experiencia de cada unidad afecta a todas.
«Consciousness fulfills itself by knowing itself. The knowledge changes it, in your terms, into a greater gestalt that then tries to fulfill and know itself, and so forth.» — Seth, según Roberts, hace del conocerse a sí misma el modo en que la consciencia se cumple y se convierte en una gestalt mayor.
«Any concepts of gods or other beings that are based upon limited ideas of personhood will ultimately be futile. You view the fantastic variety of physical life — its animals, insects, birds, fish, man and all his works — with hardly a qualm; yet you must understand that the nature of consciousness itself is far more varied, and you must learn to think of an inner reality that is as infinite as the exterior one.» — Seth, según Roberts, niega servicio a todo concepto de dios construido sobre una idea estrecha de persona, y manda pensar el interior tan infinito como el exterior.
«You are multipersons (intently). You exist in many times and places at once. You exist as one person, simultaneously. This does not deny the independence of the persons, but your inner reality straddles their reality, while it also serves as a psychic world in which they can grow.» — Seth, según Roberts, enuncia la multipersonalidad: se existe en muchos tiempos y lugares a la vez y como una sola persona a la vez.
«There are red, yellow, and violet flowers. One is not more progressed than the others, but each is different. These units combine into various kinds of gestalts of consciousness. Basically, it is not correct to say that one is more progressed than another. The petal of a flower, for example, is not more developed than the root. An ant on the ground may see that the petal is way above the root and stem, but ants are too wise to think that the petal must be better than the root.» — Seth, según Roberts, rechaza la escala de progreso entre gestalts de consciencia con la analogía de las flores y la de la raíz y el pétalo.
«It is quite possible, for example, for several selves to occupy a body, and were this the norm it would be easily accepted. That implies another kind of multipersonhood, however, one actually allowing for the fulfillment of many abilities of various natures usually left unexpressed. It also implies a freedom and organization of consciousness that is unusual in your system of reality, and was not chosen there.» — Seth, según Roberts, admite que varios yoes ocupen un cuerpo y lo llama otra multipersonalidad, posible pero no escogida en este sistema; el tomo 2 reimprime el pasaje en su apéndice y aquí se ancla en la primera aparición.
«Reincarnation simply represents probabilities in a time context (underlined) — portions of the self that are materialized in historical contexts.» — Seth, según Roberts, reduce la reencarnación a probabilidades puestas en contexto temporal, porciones del yo materializadas en la historia; Butts marca el subrayado dictado, y el volumen reimprime la frase tres veces más en el tomo 2, de modo que aquí se ancla en la primera.
«It is two things: A book of mine, and a source book for you. Do you follow me? (“Yes . . . You mean I can use your book in connection with my own writing.”) I do indeed. Now: We will call the basic units of consciousness “CU” — the letter “C,” the letter “U” — consciousness units. From them EE units are formed, and the first roots sent out into the world of physical matter.» — Seth, según Roberts, bautiza el libro dentro de la sesión 683, lo declara suyo y a la vez libro fuente para Butts, y abrevia CU las unidades de consciencia de las que salen las EE.
«You have the assurance that your mother continues to exist. As far as a relationship is concerned, however, you are looking at her from a distance. She is still wondering — that is, she is able to identify with other portions of you than she was during life. She does not want to frighten you, now, with an emotional display, so distance is being used on both of your parts.» — Seth, según Roberts, responde al sueño de Butts con su madre muerta: la da por existente y explica la distancia como cuidado de las dos partes.
«In her view, the quality called multipersonhood encompasses all of the inner personifications, or Aspects, of the source self, which she defines in the Glossary of Adventures as “the ‘unknown’ self, soul, or psyche; the fountainhead of our physical being.” In her own case, then, Seth would be a personification of an Aspect of her source self; but he would also have an existence of his own at other levels of reality.» — nota de Butts: resume la multipersonalidad tal como Roberts la define en Adventures in Consciousness y consigna que, en esa lectura de ella, Seth sería una personificación de un Aspecto de su yo fuente y además existiría por su cuenta en otros niveles.
«In its ordinary dictionary sense, the term has appeared a few times in the sessions, but Seth’s use of it in the passage quoted above has a special implication, I think; one that Jane and I missed at the time of its reception. For in Volume 2 of “Unknown” Reality, Seth’s concept of counterparts certainly takes on its own unique meaning within his study of personhood.» — nota de Butts: fecha en la sesión 657 el primer uso cargado de la palabra counterparts y anuncia que en el tomo 2 ese concepto toma su sentido propio.
«It sure doesn’t start out like a book to me, "Jane said. “It doesn’t seem to be simple, like the others. Maybe this time he's going to go ahead and do it his own way» — Jane Roberts, en primera persona al salir del trance, duda que lo dictado sea un libro y admite que esta vez Seth quizá lo haga a su modo.
«For those of you who do accompany me, I promise you an adventure, a creative alteration of consciousness, and experiences beyond those that you have known in your terms. You look at the world around you and are amazed at its richness and variety. Do you think that the inner world is not as rich, even more rich, more valid? Do you think there is but one kind of consciousness?» — Seth, según Roberts, en la clase de ESP de ella y según la transcripción de la cinta que Butts reproduce, promete al lector aventura y alteración creativa de la consciencia, y pregunta si el mundo interior no será tan rico como el exterior.
«Your body’s condition at any time is not so much the result of its own comprehension of its “past history” as it is the result of its own comprehension of future probabilities. The cells precognate.» — Seth, según Roberts, hace depender el estado del cuerpo de lo que este comprende del futuro probable y no de su historia, y atribuye precognición a las células.
«For example: It is truer to say that heredity operates from the future backward into the past, than it is to say that it operates from the past into the present. Neither statement would be precisely correct in any case, because your present is a poised balance affected as much by the probable future as the probable past.» — Seth, según Roberts, invierte el sentido de la herencia y luego se corrige: el presente es un equilibrio que el futuro probable afecta tanto como el pasado.
«In a manner of speaking, your bodies blink off and on like lights. Their reality fluctuates, from your standpoint. For that matter, so does the physical universe.» — Seth, según Roberts, hace parpadear el cuerpo y el universo físico entero, con la selectividad tapando los huecos.
«You cannot separate your beliefs about reality from the reality that you experience. That is, your beliefs about reality form it. Your ideas about what is possible and what is not possible are reflected in all areas.» — Seth, según Roberts, no deja separar la creencia sobre la realidad de la realidad que se vive.
«It goes without saying that the units of consciousness are “mental,” or if you prefer, disembodied, though from their inner organization all physical forms emerge. Certain intensities are built up of unit organization even before the smallest physical particle, or even invisible “physical” particle, exists. These units form what you think of as the mind, around which the structure of the brain is formulated.» — Seth, según Roberts, llama mentales o descarnadas a las unidades de consciencia y pone en ellas la mente, alrededor de la cual se formula la estructura del cerebro; el ancla corta después de la llamada de nota que el troceo imprime pegada a la palabra units.
«The body’s innate knowledge, then, will try to translate itself often into psychological activity that may result in hunches, premonitions, and so forth. The senses may be utilized to clarify the message. You might hear a voice mentally, for example, or see a flashing image. According to your beliefs, you may interpret such data in any of many ways, but because such experiences are not an accepted part of recognized, official activity, they can appear frightening. Period. You may assign them to “spirits” or disembodied personalities, but in such a way that these are thrown together in a confusing mass of dogma or superstition.» — Seth, según Roberts, explica corazonadas y premoniciones por el saber del cuerpo y advierte que asignarlas a espíritus o a personalidades descarnadas las revuelve en dogma y superstición: el volumen usa el vocabulario del espiritismo para marcar distancia de él.
«If you understood to begin with that you are a spirit, and therefore free of space and time yourself, then you could at least consider the possibility that some such messages were coming to you from other portions of your own reality.» — Seth, según Roberts, propone leer esos mensajes como venidos de otras porciones de la propia realidad, a partir de reconocerse uno mismo espíritu libre de espacio y tiempo.
«These cells remember Their past deaths and all past deaths, And hear, within their atoms' yellow whisper The chill, the first frost and the final frost. . . Miraculous beyond all knowing, The fire within is blowing. If I must die, why then Once these atoms upright walked And knew themselves and spoke my name, And singing are eternal.» — Butts cita los versos de Pathetique, poema que Roberts escribió en 1959, para mostrar que ella ya buscaba en la célula una memoria anterior a su propia muerte.
«Now: Give us a moment... Body is also pattern. Period. While the material that composes it changes constantly, the pattern maintains its own integrity. The form is etched in space and time, and yet the pattern itself exists outside of that framework also — the body is a projection, therefore, into the three-dimensional field.» — Seth, según Roberts, en la sesión 685, define el cuerpo como patrón que se conserva aunque su materia cambie, y como proyección al campo tridimensional.
«The body is a sending and receiving organism; your home station, so to speak, and the focus for your activity. You can, however, quite consciously leap from it — and you do often, when for a while, particularly in the dream state, you view the world from another perspective.» — Seth, según Roberts, llama al cuerpo organismo de envío y recepción y estación de casa, del que se puede saltar conscientemente.
«I’ve got the feeling you ’re going to get answers to your questions about psychology — but they ’ll be presented as the Preface to this book. “We hadn’t given the idea of a preface a thought Making a joke, I asked Jane what was coming up next in the session. I meant generally, but she replied, “The Preface.”» — Jane Roberts, en primera persona y citada por Butts, anticipa en el descanso que las preguntas de él sobre psicología se responderán como prefacio del libro, y esa misma noche Seth lo dicta.
«Now: Basically, the cell’s comprehension straddles time as you think of it. Period. Mankind’s consciousness, however, experimented along time-specific lines. As he developed along those lines, various biological and mental methods of selectivity and discrimination were utilized. When in historic terms mankind became aware of memory, and recalled his past as a past in your terms, it was possible for him to confuse past and present.» — Seth, según Roberts, en la sesión 686, pone la comprensión celular a caballo del tiempo y fecha en la aparición de la memoria el riesgo de confundir pasado y presente.
«Hunters had to respond at once to the present situation. In time terms, the “present” animal had to be killed for food — not the “past” animal. That animal — the past one — existed as surely as the one presently perceived, yet in man’s context, physical action had to be directed to a highly specific area, for physical survival depended upon it.» — Seth, según Roberts, explica la especialización de la consciencia por la cacería: había que matar al animal presente y no al pasado, igual de existente.
«Other quite-as-valid messages were ignored. They became, while present, biologically invisible. The cells still reacted to these otherwise neglected pulses, as they needed data from both the past and future to maintain the body’s balance in “the present.”» — Seth, según Roberts, llama biológicamente invisibles a los mensajes neurológicos desatendidos, que las células siguen usando para el equilibrio del cuerpo.
«These ghost images provided stimuli for mental, spiritual, and physical experience. That answers your question, I believe. ("Yes.”) The race was deeding with the creation of a new world of physical experience. To do this particular kind of experiment, it was necessary that physical manipulation be concentrated upon. Ghost images from the future were one thing, inspiring mankind. Had such data instantly appeared before him, however, man would have been deprived of the physical joys, endeavors, and challenges that were so basic to the experiment itself.» — Seth, según Roberts, hace de las imágenes fantasma del futuro el estímulo de la exploración, y del no verlo de golpe la condición de los gozos y retos físicos.
«I am speaking so far in historic terms, as you understand them. History, however, is but your official line of accepted stimuli. Later in the book that will be made clear.» — Seth, según Roberts, reduce la historia a la línea oficial de estímulos admitidos y aplaza la explicación para más adelante en el libro.
«You often seem to hate those with different beliefs than your own, for example, and you have perpetrated cruelties upon others in the name of religion and in the name of science, because your limited ideas about the nature of the self led you to fear your emotions. Often you are afraid that love will overwhelm you, for instance. (A one-minute pause at 11:20.) While you were so concerned with protecting what you thought of as the boundaries and integrity of one selfhood, as a race you actually arrived at a point where you were beginning to deny your own greater reality.» — Seth, según Roberts, señala las crueldades cometidas en nombre de la religión y en nombre de la ciencia y las atribuye al miedo a las propias emociones que trae la idea estrecha del yo.
«The trances have changed since he started this book, though,” she said. “Once I get on the right track, Seth just keeps going, and I don’t want to change it or get off.» — Jane Roberts, en primera persona, describe el cambio de sus trances desde que empezó este libro: una vez en la vía, Seth sigue y ella no quiere salirse.
«In a waking state, Ruburt found himself in Saratoga Springs, N.Y, where he grew up, in what seemed to be a kind of mental projection. (See Jane’s notes at the beginning of the last session.) Everything was gray. The immediate nature of full-blast sense data was missing. Vision was clear but spotty, highly selective. Motion was, however, the strongest sense element. Ruburt was bodiless on the one hand, and on the other he perceived some of the experience through the eyes of an infant in a carriage.» — Seth, según Roberts, abre el primer Elemento de práctica describiendo la proyección de ella a su Saratoga Springs natal, sin cuerpo y a la vez por los ojos de una criatura en su carriola.
«In Adventures Ruburt uses the term “prejudiced perception” — an excellent one — that is applicable here. For you have prejudiced yourself spiritually, mentally, and physically in those terms.» — Seth, según Roberts, toma de ella el término percepción prejuiciada, acuñado en Adventures in Consciousness, y lo aplica a la censura de lo que se percibe.
«He went from place to place, floating bodiless — a tour of consciousness. That same environment exists now, alternately with Ruburt’s present, and as vividly as his present does.» — Seth, según Roberts, llama gira de la consciencia a esa proyección y declara que aquel entorno existe ahora, alterno al presente de ella y tan vívido como él.
«I have my own existence, that is quite different from Ruburt’s, and yet I also have a reality that is connected to his psyche.» — Seth, según Roberts, dice de sí mismo que existe aparte de ella y a la vez conectado con su psique: así se presenta la naturaleza de Seth dentro del libro, sin que la ficha la arbitre; el ancla corta antes de la llamada de nota pegada.
«Each of you also have the same kind of connection with other “more knowledgeable” portions of yourself, or your greater identity, that are independently themselves and yet also alive in your psyches. They are portions of the “unknown” reality.» — Seth, según Roberts, extiende esa conexión a cualquiera: porciones más sabidoras de la propia identidad, independientes y a la vez vivas en la psique de uno, y las llama partes de la realidad desconocida.
«We’re still acquiring information about the psychic connections between Jane and Seth, of course. Even now, more than 10 years after Jane began speaking for Seth, one might say that each session we hold represents another step in this learning process; we fully expect it to continue as long as the sessions do.» — nota de Butts añadida después: consigna que a más de diez años de la primera sesión siguen sin saber cómo es la conexión psíquica entre Roberts y Seth, y cuenta cada sesión como un paso de ese aprendizaje; el tomo 2 reimprime la nota en un apéndice y aquí se ancla en la primera aparición.
«Take any remembered scene from your own past. Experience it as clearly as possible imaginatively, but with the idea of its probable extensions. Sometime, immediately or after a few tries, a particular portion of the scene will become gray or shadowy. It is not a part of the past that you know, but an intersection point where that past served as an offshoot into a series of probabilities that you did not follow.» — Seth, según Roberts, en la sesión 687, dicta el ejercicio del primer Elemento de práctica: revivir una escena del pasado hasta que una parte se vuelva gris, y leer ahí el cruce con probabilidades no seguidas.
«The dream state, however, does operate as a rich web of communication between probable selves and probable existences. All probabilities spring from inner reality, from the psyche’s own inner activity and structure.» — Seth, según Roberts, hace del sueño la red de comunicación entre yoes probables y saca todas las probabilidades de la actividad interna de la psique.
«You are beginning to understand the reality of your planet. You cannot plunder it, for example — something you are only beginning to learn. Opening up your consciousness to previously denied messages would bring you in direct contact with other life-forms on your planet in a way that you have formerly denied yourselves, ’four cellular knowledge of past and future probabilities alone would teach you a spiritual and corporal courtesy.» — Seth, según Roberts, niega que el planeta se pueda saquear y llama cortesía espiritual y corporal a lo que enseñaría el saber celular de las probabilidades.
«Ego consciousness must now be familiarized with its roots, or it will turn into something else. You are in a position where your private experience of yourself does not correlate with what you are told by your societies, churches, sciences, archaeologies, or other disciplines.» — Seth, según Roberts, exige al ego conocer sus raíces y consigna el desajuste entre la experiencia privada y lo que dicen sociedades, iglesias, ciencias y arqueologías.
«The ego, emerging, needed to feel its dominance and control, and so it imagined a dominant god apart from nature.» — Seth, según Roberts, hace nacer el dios dominante y aparte de la naturaleza de la necesidad de dominio del ego; el tramo se corta en el cambio de plana.
«If a hunter literally knows his relationship with an animal, he cannot kill it. On deeper levels both animal and man understand the connections. Biologically the man knows he has come from the earth. Some of his cells have been the cells of animals» — Seth, según Roberts, funda en el saber compartido entre cazador y animal la imposibilidad de matarlo, y hace venir de la tierra las células del hombre; el ancla corta antes de la llamada de nota.
«The earth venture is cooperative. The slain beast is tomorrow’s hunter. In terms of ego consciousness, however, there were stages of growth; and the god concepts that spoke of oneness with nature were not those that served the ego’s purposes» — Seth, según Roberts, llama cooperativa la empresa terrestre y explica por qué los conceptos de dios que hablaban de unidad con la naturaleza no le sirvieron al ego en su línea de desarrollo.
«Cult after cult will emerge, each unrestrained by the use of reason, because reason will have denied the existence of rampant unconscious knowledge, disorganized and feeling only its own ancient force.» — Seth, según Roberts, anuncia culto tras culto sin freno de la razón si las instituciones niegan el saber inconsciente que emerge.
«Your religions in a large measure have taught you to hate yourselves and physical existence. They have told you to love God, but rarely taught you to experience the gods in yourselves.» — Seth, según Roberts, reprocha a las religiones haber enseñado a odiarse y a odiar la existencia física, y a amar a Dios sin enseñar a experimentar los dioses en uno mismo.
«There is nothing wrong with the concept of an egotistically based individual being, colon: I am not suggesting, therefore, that your individuality is something to be lost, thrown aside, or superseded. Nor am I saying that it should be buried, submerged, or dissolved in a superself. I am not suggesting that its edges be blurred by a powerful unconscious.» — Seth, según Roberts, deslinda su propuesta: no pide disolver la individualidad en un superyó ni desdibujarla en un inconsciente poderoso.
«let me say that there was no single-line development from animal to man, but parallel lines, in which for centuries animal-man and man-animal coexisted cooperatively.» — Seth, según Roberts, niega la línea única del animal al hombre y pone siglos de coexistencia cooperativa entre hombre-animal y animal-hombre.
«Yet such experiments represent a strong line of probability only in its “infancy,” in which man could sustain himself without draining the earth, live without killing animals, and literally form a new kind of physical structure connected to the earth, while not depleting its substance.» — Seth, según Roberts, lee los experimentos con químicos y drogas artificiales como una línea de probabilidad en pañales, hacia un hombre que se sostenga sin matar animales ni agotar la tierra.
«The archaeology of the soul and the blood is not buried, but alive in your experience. A photograph is no more a relic than a fossil is. Each is filled with the energy of being. Neither is buried in a past beyond your knowing. A photograph lives in the present of your psyche, and a fossil in the living vitality of your cells (spelled).» — Seth, según Roberts, al cerrar la Sección 1, niega que la arqueología del alma y de la sangre esté enterrada: la fotografía vive en la psique y el fósil en las células.
«As there are insides to apples, so think of the ordinary moment as an apple. In usual experience, you hold that apple in your hand, or eat it. Using this analogy, however, the apple itself (as the moment) would contain infinite variations of itself within itself. These CU’s therefore can operate even within time, as you understand it, in ways that are most difficult to explain. Time not only goes backward and forward, but inward and outward.» — Seth, según Roberts, en la sesión 688, compara el momento con una manzana que contiene infinitas variaciones de sí y agrega al tiempo un adentro y un afuera.
«In their own way, and using an analogy, now, in certain respects at least the CU’s operate as minute but extremely potent black holes and White holes, as they are presently understood by your physicists.» — Seth, según Roberts, compara sus unidades de consciencia con agujeros negros y blancos diminutos y potentes; el troceo imprime White con mayúscula por error de la capa de texto.
«There was never any straight line of development as, say, from reptiles to mammal, ape, and man. Instead there were great, still-continuing, infinitely rich parallel explosions of life forms and patterns in as many directions as possible. There were animal-men and man-animals, using your terms, that shared both time and space for many centuries.» — Seth, según Roberts, niega la línea recta de reptil a mamífero, mono y hombre y pone en su lugar explosiones paralelas de formas de vida.
«The cell is individual, and struggles for rightful survival. Yet its time is limited, and the body’s survival is dependent upon the cell’s innate wisdom: The cell must die finally for the body to survive, and only by dying can the cell further its own development, and therefore insure its own greater survival. So the cell knows that to die is to live.» — Seth, según Roberts, hace de la muerte de la célula la condición de su propia continuación y de la del cuerpo, y cierra con la fórmula de que morir es vivir.
«In those misty eras7 — from your standpoint — these activities were carried on with the deepest, most sacred comprehension.» — Seth, según Roberts, atribuye a las eras remotas una comprensión sagrada del cazar y el ser cazado entre hombres y animales.
«The dolphins possess a strong sense of personal loyalty, and an intimate family pattern, along with a highly developed individual and group recognition and behavior. They cooperate with each other, in other words. They go out of their way to help other species, and yet they do not take pets (softly, staring at me).» — Seth, según Roberts, atribuye a los delfines lealtad, familia y ayuda a otras especies, y remata diciendo que no toman mascotas; Butts anota el tono con que se lo dijo.
«At one time on your earth, in the way you look at time, there were many such species: water dwellers, with brain capacities as good as and better than your own. Your legends of mermaids, for example, though highly romanticized, do indeed hint of one such species’ development.» — Seth, según Roberts, pone en el pasado de la tierra muchas especies acuáticas de gran cerebro y lee en las leyendas de sirenas el rastro romantizado de una de ellas.
«In other probabilities, water-dwelling mammals predominate. They farm the land as you farm the water, and are only now learning how to operate upon the land for any amount of time, as you are only now learning how to manipulate below the water.» — Seth, según Roberts, describe probabilidades donde los mamíferos acuáticos dominan y cultivan la tierra como aquí se cultiva el agua.
«Nightmares on the part of children often operate as biological and psychic releases, during which buried out-of-time perceptions emerge explosively — events perceived that cannot be reacted to effectively in the face of parental conditioning.» — Seth, según Roberts, explica la pesadilla infantil como descarga de percepciones fuera del tiempo que el condicionamiento de los padres no deja atender.
«A note added later: Unfortunately, we never did receive the kind of information we wanted here, especially that on human origins, before Seth finished “Unknown”Reality. The main reason? I became so occupied with the succeeding sessions of this manuscript that I forgot to make the request.» — nota de Butts añadida después: declara el muro del libro sobre los orígenes humanos y se lo achaca a sí mismo, por haber olvidado pedirle a Seth ese material.
«she wrote an outline and five chapters for a novel about the development of communications between mankind and cetaceans, and called it To Hear A Dolphin.» — nota de Butts: fecha en 1963 la novela inconclusa de Roberts sobre la comunicación entre el hombre y los cetáceos, anterior a las sesiones.
«To some extent the development of consciousness as you understand it follows the development of the gods through the ages; and in those stories appear the guises that man might have taken, as well as those that he did.» — Seth, según Roberts, en la sesión 689, hace correr el desarrollo de la consciencia parejo al de los dioses, y lee en esas historias también las formas que el hombre no tomó.
«All animal gods hint of various experiments and species in which consciousness took different forms, in which the birth of egotistical awareness as you know it tried several areas of exploration. There were, for example, different versions of man-animal comprehension and activity.» — Seth, según Roberts, lee los dioses con forma animal como rastro de experimentos de la consciencia en especies distintas.
«The gods served, then, as stimulators of development. Seemingly outside of the self, they were meant to lead the self into its greatest area of fulfillment. The god images would change as consciousness did. The various god concepts that have fallen by the wayside, so to speak, represent areas of development that were not chosen, in your terms, but they are still latent.» — Seth, según Roberts, hace de los dioses estimuladores del desarrollo y de los conceptos de dios desechados líneas latentes que no se tomaron.
«In one way or another all mythology contains descriptions of other species existing on the earth in various forms. This includes stories of fairies and giants, for example. Mythology tells you about the archaeology of your race psychically as well as physically.» — Seth, según Roberts, convierte la mitología entera, con sus hadas y sus gigantes, en arqueología psíquica y física de la especie.
«greater communication between man and the animals — when, in fact, men went to the animals to learn, and from them first acquired knowledge of herbs and corrective medicinal behavior.» — Seth, según Roberts, lee el tótem como resto de una era en que los hombres iban a los animales a aprender, y de ellos sacaron las hierbas y la conducta medicinal; el tramo arranca en la plana siguiente al corte de la frase.
«A people’s recognized god represents such a psychic plan, projected out as an ideal. It will be followed by physical organizations, structures meant on a different level to help achieve such a “spiritual” evolution. Because you dwell in time, however, the god image will also reflect the state of your consciousness as it “is,” as well as point toward the future state desired. The god concept will operate as a psychic and spiritual blueprint just like the architect’s plan, only at a different level.» — Seth, según Roberts, en la sesión 690, hace del dios reconocido por un pueblo un plano psíquico proyectado como ideal, comparable al plano del arquitecto.
«The male-female tendencies at that time became psychically alienated from each other.* The differences were exaggerated. The ancient mother-goddess concept became “unconscious”; the male, purposely forgetting the great natural aggressive thrust of birth, took physical aggression and force as his prerogative — for this came to represent the quality of ego consciousness in its need to physically manipulate its environment.» — Seth, según Roberts, fecha ahí la alienación psíquica entre lo masculino y lo femenino, con la maternidad vuelta inconsciente y la fuerza física tomada como prerrogativa del varón.
«The seemingly local Jewish god (Yahweh/Jehovah) ended up in one way or another by destroying the Roman Empire, and in so doing brought about a complete reorganization of planetary culture.» — Seth, según Roberts, atribuye al dios judío, en apariencia local, la destrucción del Imperio romano y la reorganización entera de la cultura del planeta.
«The church ignored Christ’s physical birth, for example, and made his mother an immaculate virgin, which meant that the consciousness * See Appendix 9 of the species would for a longer time ignore its relationship with nature and its feminine aspects. I am speaking now of mainline Western civilization. God the Father would be recognized and the Earth Goddess forgotten. There would be feudal lords, therefore, not seeresses. Period. Man would believe he did indeed have dominion over the earth as a separate species, for God the Father had given it to him.» — Seth, según Roberts, lee la virginidad de la madre como manera de que la especie siguiera ignorando su parentesco con la naturaleza, y de ahí saca el señorío del hombre sobre la tierra.
«American democracy arises directly from the birth of Protestantism, for example, and a new kind of venture. Luther4 is as much responsible for the United States of America as George Washington is.» — Seth, según Roberts, hace a Lutero tan responsable de los Estados Unidos como a George Washington; el ancla corta antes de la llamada de nota pegada al nombre.
«Many of the species that share your world bear within themselves latent abilities that are even now developing. Men and animals will again meet upon the earth, with the old understanding in yet a new situation.» — Seth, según Roberts, anuncia el reencuentro de hombres y animales sobre la tierra, con el entendimiento antiguo puesto en situación nueva.
«I am telling you that so-called evolution and religion are closely connected. Further developments in your concepts will lead to greater activation in portions of the brain now not» — Seth, según Roberts, amarra la llamada evolución con la religión y anuncia que los conceptos nuevos activarán porciones del cerebro hoy sin usar; el tramo se corta en el cambio de plana.
«Your particular society has set up such an artificial division between intuitional and intellectual knowledge that only the intellectually apparent is given credence. With all of their dire faults and distortions, religions have at least kept alive the idea of unseen, valid worlds, and given some affirmation to concepts that are literally known by the cells.» — Seth, según Roberts, en la sesión 691, llama artificial la división entre saber intuitivo e intelectual y reconoce a las religiones haber mantenido vivos mundos invisibles que las células conocen.
«To that degree, then, there are indeed “tree gods,” gods of the forest, and “gods of being” connected with each person. Angels have been represented in just this fashion.» — Seth, según Roberts, admite dioses de los árboles, del bosque y del ser como centros de energía, y ahí encaja la representación de los ángeles.
«Man identified with their easy flight up the cliffsides, and followed the sounds of their songs to safe clearings. These memories turned into the angel images.» — Seth, según Roberts, hace nacer la imagen del ángel del recuerdo de aquellas aves que guiaban y salvaban al hombre de las cuevas.
«There are, then, “spirits” of all natural things — but unfortunately, even when you consider such possibilities you project your own religious ideas of good and evil upon them. You may simply dismiss such concepts as silly, for they seem intellectually scandalous to many. If you do entertain such ideas yourself, you must often personify such spirits, projecting upon them your own ideas of personhood. Instead, you should think of them as different kinds or orders of species that are connected with all natural living things.» — Seth, según Roberts, admite espíritus de todo lo natural pero prohíbe personificarlos o cargarles el bien y el mal propios: los llama órdenes o especies ligadas a lo vivo.
«They certainly have a reality in energy, and they aid in the conversion of energy into physical terms. They are active rather than passive, then. You see about you physical forces and think nothing of them. For example: You feel the wind and its effects, but you cannot see it. The wind itself is invisible. So these other forces are also invisible. In basic terms they are no more good or evil than the wind is.» — Seth, según Roberts, hace de esas fuerzas convertidoras de energía algo tan ajeno al bien y al mal como el viento.
«They were not humanoid; not, for example, people with wings. They were large birds, with the capacity for dealing with concepts. They were social, could swim well (pause), and for some time could live on the water. They had songs of great beauty, and a most extensive vocabulary.» — Seth, según Roberts, describe aquellas aves como grandes y capaces de conceptos, no humanoides ni gente con alas; el ancla arranca después de la llamada de nota pegada.
«Because you are people, you personify what you perceive — “peopleize” it. You imagine such “spirits” to be small people, endowed with your own kind of characteristics. Instead there are simply species of consciousness, entirely different from your own, not usually perceived physically under most conditions. They are indeed connected with flora and fauna, but also with the animals and yourselves, and they are the “earth gods” that Ruburt imagined as a young person.» — Seth, según Roberts, explica la personificación de esos espíritus por el hábito humano de volver gente lo percibido, y los identifica con los dioses de la tierra que ella imaginaba de joven.
«You each have your own earth god. The term may not be the best, but it is meant to express that portion of you that is as yet unexpressed in your terms — the idealized earth version of yourself, which you are becoming. The idealized earth version is not meant to mean a perfect self in flesh at all; instead, it represents a psychic reality in which your own abilities fulfill themselves in relationship with your earthly environment to the fullest extent possible, within the time and place you have already chosen.» — Seth, según Roberts, da a cada quien su dios de la tierra y lo define como la versión terrestre idealizada de uno, que no significa un yo perfecto en carne.
«Now, to begin with your dream: The entity is aware of the experiences of all of its personalities. Give us a moment... To the entity, your own consciousness could be likened to one stream of consciousness, in your terms. The greater part of your own identity, then, is completely aware of all of your conscious and unconscious living material. It is also aware of the same kind of data from all of (its and your) parts.» — Seth, según Roberts, en la sesión 692, hace a la entidad consciente de cuanto viven todas sus personalidades y de todo el material consciente e inconsciente de cada una.
«Without understanding or training, you would have to “lose” your own consciousness in order to perceive the “other-consciousness.”» — Seth, según Roberts, pone como precio de percibir la otra consciencia el perder la propia, salvo que medie comprensión o entrenamiento.
«You were aware of the simultaneous dreams, each being experienced in alternate realities. You could not at this point remember both dreams, because the physical brain apparatus could not handle the simultaneous data.» — Seth, según Roberts, explica el sueño doble de Butts: dos sueños simultáneos en realidades alternas, de los que el aparato cerebral no pudo retener los dos.
«Inherently the physical brain is capable of dealing with more than one main line of consciousness. This does not mean the development of dual personality, by the way. It means the further expansion of the concept of identity» — Seth, según Roberts, atribuye al cerebro físico la capacidad de más de una línea principal de consciencia y aclara que no habla de personalidad doble sino de ensanchar la identidad.
«Even now in some “tribal societies,” for example, the self is experienced far differently; so that, while so-called individuality as you understand it is maintained, each self is also experienced as a part of others in the tribe, and the natural environment. To some, this seems to mean that individuality is stillborn or undeveloped. You protect your ideas of selfhood at all costs — even against the evidence of nature, which shows you that all are related.» — Seth, según Roberts, consigna sociedades tribales donde el yo se vive a la vez como propio y como parte de los demás y del entorno, y acusa de sobreproteger la idea del yo contra la evidencia de la naturaleza.
«I am simply saying that on your earth now there are species of consciousness, though that is probably not the best term. You have been so obsessed with exterior differences, especially of color and nationality, that you have completely ignored» — Seth, según Roberts, postula especies de consciencia conviviendo hoy en la tierra y reprocha que la obsesión con el color y la nacionalidad tape esa variación; el tramo se corta en el cambio de plana.
«As a dream self I’m sitting in my living room with a friend, Stephen, when suddenly self-knowledge, connections among events, symbols, and the inner logic and fabric of my life and experience became crystal clear. They begin piling up in a strange way, like cell on cell, or lines of freight cars crashing into each other just outside my awareness. It’s as though my dream self can handle only so much at once, and the stuff heaps up, and I get up and walk to the kitchen. ‘What’s going on?’ Stephen asks me, but all I can say is that I’m on the edge of a bursting.» — Sue Watkins, asistente a las clases de ESP de Roberts, describe en primera persona el arranque de su sueño múltiple; Butts reproduce el texto que ella escribió a petición suya.
«I literally become the experience of being myself contained in all of these selves, while being these selves contained by me.» — Sue Watkins cierra su relato diciéndose contenida en todos esos yoes y conteniéndolos a la vez.
«As for double dreams, yes, I do dream two at once sometimes. If you’ll go to page 144 of Strange Experience, you’ll find my account of two simultaneous dreams. In one of them I’m on a troop train [in World War II] traveling to Karachi, India, and in the other I’m asleep in a cold barrack.» — Lee R. Gandee, autor de Strange Experience, dice por escrito a Tam Mossman que sueña dos veces a la vez, y pone de ejemplo el tren de tropa y el barracón frío.
«In many ways history is your built-in past, the obvious events that are significant. All of the different variations that can be played upon human consciousness, all of the racial probabilities, are in one way occurring in ages past — but they are also happening in what you think of as your present. As mentioned earlier (in sessions 680-82), your consciousness seizes upon certain events over others and brings these into significance, and therefore into the official reality that you know.» — Seth, según Roberts, en la sesión 693, llama a la historia el pasado incorporado de la especie y la hace resultado de lo que la consciencia elige volver significativo.
«Your cellular structure is innately able to follow such sequences. Believing such clues to be meaningless, the conscious mind does not perceive them, or calls them coincidences.» — Seth, según Roberts, atribuye a la estructura celular el seguimiento de secuencias que la mente consciente descarta como coincidencias.
«Instead you have a rich interweaving of probabilities; for in one probability the two were indeed married, and that Stella [Butts] saw the house go to the eldest son (myself). In this probability, this Joseph instead comes upon. The house of a relative stranger, finds it for sale, and can or cannot purchase it according to the new set of probabilities then emerging. There is a cross-blending of “effects.”» — Seth, según Roberts, lee el episodio de la casa de Sayre como entretejido de probabilidades: en una de ellas la madre de Butts sí se casó con aquel hombre y la casa pasó al hijo mayor.
«Joseph’s mother is dead, in your terms, and aware to some extent of the nature of her own reality beyond the physical. She is able, again to some extent, to follow through with her own probable existences: That is, she is conscious of her own being outside of the official framework.» — Seth, según Roberts, declara a la madre muerta de Butts consciente de su realidad fuera del marco oficial y capaz de seguir sus propias existencias probables.
«The intent [that] Joseph’s mother had lives beyond the grave, in those terms. She still wants Joseph to have a house, and one that will be more fashionable and wealthy than her own.» — Seth, según Roberts, hace sobrevivir a la tumba la intención de la madre de Butts, que sigue queriendo para él una casa más lujosa que la suya.
«If you pay more attention to what you think of as coincidences, you will discover another kind of order that underlies the recognized order you follow. This has till kinds of implications biologically as far as the species is concerned; you can perhaps understand, then, that there are also probable histories beneath your lives, individually and en masse.» — Seth, según Roberts, manda atender las coincidencias como puerta a otro orden, y de ahí saca historias probables por debajo de la vida de cada quien y de todos.
«Neither of us believes in chance or coincidence in usual terms, for instance — nor have we since Seth began discussing the elements behind such qualities some years ago. We always assign reasons, even if they’re hidden at times, for any action.» — Butts consigna que ni Roberts ni él creen ya en el azar ni en la coincidencia desde que Seth trató el asunto, y que siempre asignan razones a lo que pasa.
«In certain terms it is the connection, the symbol, between the two probability systems, for Mr. Markle’s house also has a shared drive. Ruburt and Joseph live in double apartments, in a large old mansion redone into such quarters. The driveway is shared with a very wealthy family next door, in which the same size house is a home to one family. Joseph’s mother wanted Joseph to be very wealthy. The drive symbolically connects the two realities, and is a point where the two merge.» — Seth, según Roberts, hace de la entrada compartida del departamento de ellos el símbolo que conecta los dos sistemas de probabilidad y el punto donde se funden.
«I can sense the information outside of me, say, but I can’t get it in my regular state of consciousness. When Seth comes through he’s at the same level the material’s at, and he — or I — can then pull it in .. . It’s as though there’s a store of information there, but I have to go through a door of consciousness to reach it.» — Jane Roberts, en primera persona antes de entrar en trance, describe el material como un almacén afuera de ella al que solo llega cruzando una puerta de consciencia, y a Seth como quien está al nivel de ese material.
«Underneath this recognized order of events, however, there is actually a vast field of ever-occurring action. These fields of probabilities are action sources for your reality; but your world-action is also a source for these other probabilities.» — Seth, según Roberts, en la sesión 694, pone bajo el orden reconocido un campo de acción siempre ocurriendo, y hace la corriente de ida y vuelta entre ese campo y el mundo; los dos compuestos quedaron partidos en fin de renglón en el troceo y aquí se restituyen con guion, cotejados contra el crudo.
«Your bodies are probable-constructs (hyphenate that if you want to), in that they exist only because of the atoms’ appearance at certain points of probability. At other levels the atoms do not exist at those same points, and your bodies there (Jane leaned forward for emphasis) are not the same physical constructs. They do not, then, exist there.» — Seth, según Roberts, llama al cuerpo un constructo probable que existe solo donde los átomos aparecen en ciertos puntos de probabilidad; Butts anota la instrucción de puntuación dictada.
«In one reality, for example, Joseph’s mother married Mr. Markle. Joseph inherited the home. In that reality Mr. Markle died before Joseph’s mother did, so there was no need for a Joseph, here, to even look for a house; he had one. In that reality Joseph did not marry Ruburt. And in this reality [the one you and Ruburt know] Ruburt instinctively felt apart from that house.» — Seth, según Roberts, despliega la realidad alterna donde la madre de Butts se casó con aquel hombre, él heredó la casa y no se casó con Roberts.
«from intuitional creativity, when suddenly a new kind of significance is seen that was not “earlier” predictable. You accept all data that fit your theories, and ignore clues to the contrary. Yet underneath it all you are significance-making creatures, pattern-formers, immersed in time but basically apart from it, and so new insights come into your awareness and literally change the quality of any given reality» — Seth, según Roberts, atribuye los grandes descubrimientos a la creatividad intuitiva que ve de golpe una significancia no predecible, y llama a los humanos criaturas hacedoras de significancia metidas en el tiempo pero aparte de él; el tramo arranca en la plana siguiente al corte de la frase.
«What we know of the species can be compared to what we know about ourselves as individuals. In one way both concepts are on the same level, and deal with realities in consecutive time sequences. The individual, like the species, exists in multidimensional terms; and hovers around focuses of probabilities, weaving in and out of alternate realities constantly.» — Jane Roberts dicta esto por su cuenta, sin que Seth esté presente según Butts, y equipara a la especie con el individuo por su existir multidimensional.
«A photograph of a given person represents one experienced probable identity, focused in a recognized time sequence. Its validity is dependent upon the other invisible snapshots not taken, even as the given notes that make up a symphony are important because of the implied notes» — Jane Roberts, en ese mismo dictado propio, hace valer la fotografía por las instantáneas no tomadas, como la sinfonía por las notas implícitas; el tramo se corta en el cambio de plana.
«First of all, take any incident that happens to you the day you read this page. See the particular chosen event as one that came into your experience from the vast bank of other probable events that could have occurred. Examine the event as you know it. Then try to trace its emergence from the thread of your own past life as you understand it, and project outward in your mind what other events might emerge from that one to become action in your probable future.» — Seth, según Roberts, dicta el segundo Elemento de práctica: ver un suceso del día como uno entre los probables y rastrearle el antes y el después.
«For the second exercise, take a photograph of yourself and place it before you. The picture can be from the past or the present, but try to see it as a snapshot of a self poised in perfect focus, emerging from an underneath dimension in which other probable pictures could have been taken. That self, you see, emerges triumphantly, unique and unassailable in its own experience; yet in the features you see before you — in this stance, posture, expression — there are also glimmerings, tintings or shadings, that are echoes belonging to other probabilities.» — Seth, según Roberts, dicta el tercer Elemento de práctica: mirar la propia foto como un yo emergido de una dimensión donde cabían otras fotos, y buscarle los ecos de esas probabilidades.
«Simply to stretch your imagination: When you look at your photograph, imagine that you are a representative of a species, caught there in just that particular pose, and that the frame of the photograph represents, now, “a cage of time.” You, from the outside looking down at the photograph, are now outside of that cage of time in which your specimen was placed. That specimen, that individual, that you, represents not only yourself but one aspect of your species. If you hold that feeling, then the element of time becomes as real as any of the other objects within the photograph. Though unseen, time is the frame.» — Seth, según Roberts, cierra el quinto Elemento de práctica pidiendo verse como espécimen de la especie en una jaula de tiempo, con el tiempo por marco invisible de la foto.
«Joseph’s mother is not only alive in another level of reality, but still learning. She is quite aware, therefore, of his decision not to buy the [Markle] house.» — Seth, según Roberts, declara a la madre muerta de Butts viva en otro nivel de realidad y todavía aprendiendo, y enterada de la decisión de él; el ancla corta antes de la llamada de nota pegada.
«The person within the photograph is beyond your reach. The you that you tire can make any changes you want to in your experience: You can change probabilities for your own purposes, but you cannot change the courses of other probable selves that have gone their own ways. All probable selves are connected. They each influence one another. There is a natural interaction, but no coercion. Each probable self has its own free will and uniqueness.» — Seth, según Roberts, declara intocable al yo de la fotografía: los yoes probables se influyen entre sí sin coerción y cada uno tiene albedrío propio.
«Under examination, however, that history of the species shows many gaps and discrepancies, and it leaves many questions to be answered.» — Seth, según Roberts, cierra la Sección 2 señalando huecos y discrepancias en la historia aceptada de la especie.
«Now: Think of your ancestors, yourself, and your children as members of one tribe, each journeying into different countries instead of times.» — Seth, según Roberts, dicta el sexto Elemento de práctica: ver a los antepasados, a uno mismo y a los hijos como una tribu que viaja a países distintos en vez de a tiempos distintos.
«Mama and Papa know that times are like places or countries, but their children begin to forget this, too, and so they grow to believe that they are far more separate from each other than they actually are. They have “gone native” in a different way. Mama and Papa understand. The children forgot that they can move through time as easily as through space.» — Seth, según Roberts, cierra la analogía: los hijos olvidan la lengua de casa y creen estar más separados de lo que están, porque olvidan que por el tiempo se anda como por el espacio.
«The family tree exists at once — but that tree is only one tree that appears in the land of time. It has branches that you do not climb and do not recognize, and so they are not real to you. There are probable family trees, then.» — Seth, según Roberts, pone el árbol genealógico entero como simultáneo y le atribuye ramas no trepadas: árboles genealógicos probables.
«When Jane was young Marie had in all seriousness often warned her “When I die, I'll come back and haunt you.» — Butts recoge la amenaza que la madre de Roberts le repetía de niña, y que ella todavía carga con fuerza emocional frente a la idea estereotipada de los muertos que vuelven.
«Now: Dictation... Each probability system has its own set of “blueprints,” clearly defining its freedoms and boundaries, and setting forth the most favorable structures capable of fulfillment.» — Seth, según Roberts, en la sesión 696, da a cada sistema de probabilidad sus planos, que fijan libertades, límites y las estructuras más favorables.
«Man, being a part of that inner world by reason of the nature of his own psyche, automatically has a hand in the creation of those blueprints which at another level he uses as guides.» — Seth, según Roberts, enmienda esa herencia: el hombre no copia los planos interiores, también los crea.
«Man is himself made as much of God-stuff as earth-stuff, so in those terms now the god in himself yearned toward the man in the god, and earth experience. Not understanding yourselves,6 you have tried to put the idea of God outside of yourselves and your living framework.» — Seth, según Roberts, hace al hombre de materia de dios tanto como de materia de tierra y reprocha haber puesto a Dios fuera del marco vivo.
«Seth is using the English language (my native one) to discuss issues that often involve concepts most difficult to describe in the language itself— or, indeed, in any language. “Obviously, Seth’s purpose is to explain what he can within the framework of that language, rather than to change the language itself» — Jane Roberts, por escrito y a propósito de las lectoras que le preguntan por el género masculino en los libros, explica que el propósito de Seth es explicar dentro del inglés y no reformarlo.
«As you think of it, however, perfection always suggests something done and finished, or beyond surpassing, and this of course denies the inherent characteristics of creativity, which do indeed always seek to surpass themselves. The Platonic, idealized inner world would ultimately result in a dead one» — Seth, según Roberts, objeta el mundo interior perfecto que atribuye al pensamiento platónico: lo acabado niega la creatividad y daría un mundo muerto; el ancla arranca después de la llamada de nota pegada a la palabra perfect.
«Thoughts have their own kind of structure, as cells do, and they seek their own fulfillment. They move toward like thoughts, and you have as a species an inner mass body of thought. Privately your thoughts are expressions of your idealizations; and while expressing those inner patterns they also modify and creatively change them. Each cell in your body is to some extent altered with each thought that you think.» — Seth, según Roberts, da estructura propia al pensamiento, lo hace juntarse con sus semejantes en un cuerpo de pensamiento de la especie y altera con él cada célula.
«Often at your particular stage of development as a race, these appear first in your world as fiction, art, or so-called pure theory.» — Seth, según Roberts, hace aparecer primero las idealizaciones de la raza como ficción, arte o teoría pura.
«You are far more aware than you realize of the probable future in areas with which you are concerned. This is true on all levels. If your purposes do not involve illness, for instance, and yet if you believe in contagion, you will automatically avoid circumstances that can lead to epidemics.» — Seth, según Roberts, atribuye a cualquiera un saber no reconocido del futuro probable, hasta el punto de esquivar la epidemia si la enfermedad no entra en sus propósitos.
«Those problems set by one level of consciousness will automatically cause breakthroughs into other areas of conscious activity, where solutions can be found.» — Seth, según Roberts, hace de los problemas irresolubles en un nivel de consciencia la palanca que abre paso a otro.
«In simple terms, you will not try to achieve something that you believe impossible within your concepts of reality. The conscious mind, with its normally considered intellect, is meant to assess the practicality of action within your world.» — Seth, según Roberts, en la sesión 697, condiciona lo alcanzable a lo que se cree posible y encarga a la mente consciente juzgar qué es practicable; el ancla corta antes de la llamada de nota.
«The race suffers when any of its members die of starvation or disease, even as a whole plant suffers if a group of its leaves are “unhappy.”» — Seth, según Roberts, hace sufrir a la especie entera por cada muerte de hambre o enfermedad, como la planta por unas hojas infelices.
«If you can, find a photograph of yourself as a member of a class — a graduation picture, perhaps, or a photograph of club members. Examine what you see there. Then contemplate what is not seen. Imagine the emotional reality of each person present, in the time that the photograph was taken. Then try to feel the emotional interactions that existed between the various individuals.» — Seth, según Roberts, dicta el séptimo Elemento de práctica: mirar una foto de grupo y reponerle lo que no se ve, la realidad emocional de cada quien y el trato entre ellos.
«The members of some ancient civilizations, including the Egyptians, knew how to be the conscious directors of dream activity, how to delve into various levels of dream reality to the founts of creativity, and they were able to use that source material in their physical world.» — Seth, según Roberts, en la sesión 698, atribuye a civilizaciones antiguas, los egipcios entre ellas, la dirección consciente del sueño y el uso de ese material en el mundo físico.
«A biological brotherhood exists, an inner empathy on cellular levels, connecting all individuals of the species with one another. This is the result of a biological idealization. It exists in all species, and connects all species.» — Seth, según Roberts, postula una hermandad biológica, empatía celular que liga a todos los individuos de una especie y a las especies entre sí.
«Cellular life is affected by your dreams. Healings can take place in the dream state, where events at another order of existence alter the cells themselves.» — Seth, según Roberts, pone la curación en el estado de sueño, donde sucesos de otro orden alteran las células.
«You dream, each of you, but there are few great dream artists. Many of the true purposes of dreams1 have been forgotten, even though those purposes are still being fulfilled. The conscious art of creating, understanding, and using dreams has been largely lost; and the intimate relationship between daily life, world events, and dreams almost completely ignored.» — Seth, según Roberts, declara perdido el arte consciente de crear y usar los sueños y lamenta que se ignore su trato con la vida diaria y los sucesos del mundo.
«It often seems that sleep is almost a small death, and psychologists have compared dreaming with controlled insanity.» — Seth, según Roberts, consigna la comparación de los psicólogos entre soñar y locura controlada, y el sueño visto como pequeña muerte.
«A remembered dream is a product of several things, but often it is your conscious interpretation of events that initially may have been quite different from your memory of them. To that extent the dream that you remember is a snapshot of a larger event, taken by your conscious mind.» — Seth, según Roberts, en la sesión 699, llama al sueño recordado instantánea que la mente consciente toma de un suceso mayor.
«A photograph will show certain events natural to the time in which it was taken. It will not show, for example, a picture of a Turk at the time of the Crusades. A dream scene might portray just such a motif, however.» — Seth, según Roberts, opone la foto, atada a su época, al sueño, que puede traer un turco de tiempos de las Cruzadas.
«From the other side — within what is loosely called the dream state — there is an existence quite as valid as your own, and from that view-point you can be considered as the dreamer. “You” are the part of you concentrating in this reality. You form it through information and through energy» — Seth, según Roberts, invierte la mirada: desde el lado del sueño hay una existencia tan válida como esta y quien sueña es uno.
«In a manner of speaking, then, your cells dream. There are minute variations of electrical discharge, not now perceivable, that could pinpoint this kind of fluctuation on the part of cells, and also on the part of atoms and molecules.» — Seth, según Roberts, extiende el soñar a las células, los átomos y las moléculas, con variaciones eléctricas todavía no perceptibles.
«In dreams you take many subjective “photographs,” and decide which ones among them you want to materialize in time. To a certain extent, therefore, the dreams are blueprints for your later snapshots.» — Seth, según Roberts, hace de los sueños los planos de las instantáneas que después se materializan en el tiempo.
«And added after Volume 2 of “Unknown” Reality was completed in April, 1975: Interesting as it is, I never pursued this question, and Seth volunteered no information on it.» — nota de Butts añadida al cerrar el tomo 2: declara que nunca persiguió la pregunta sobre la Jane probable de la foto de 1932 y que Seth no dio nada por su cuenta.
«My dreaming self Looked in the window And saw me on the bed. Moonlight filled My sleeping skull. I lay nude and still.» — Butts reproduce My Dreaming Self, poema que Roberts escribió en 1965; el yo que sueña mira por la ventana al yo que duerme.
«My dreaming self Walked through The framework of my soul. He switched lights on as he passed. Outside the night Was black and cold. My dreaming self Lay on the bed. I stood aside with awe. “Why, both of us are one,” I said. He said, “I thought you knew.”» — final del mismo poema de Roberts: el yo que sueña recorre el armazón del alma encendiendo luces, y los dos se reconocen uno solo; el tramo arranca en la plana siguiente al corte del poema.
«The blueprints for reality will not be found in the exterior universe. Some other civilizations experimented with a different kind of science than the one with which you are familiar. They met with varying degrees of success in their attempts to understand the nature of reality, and it is true that their overall goals were different than yours. Such people were focusing their consciousnesses in a completely different direction.» — Seth, según Roberts, en la sesión 700, saca los planos de la realidad del universo exterior y consigna otras civilizaciones que hicieron ciencia en otra dirección.
«Art is as much a science, in the truest sense of the word, as biology is. Science as you think of it separates itself from the subject at hand. Art identifies with the subject.» — Seth, según Roberts, hace del arte una ciencia y lo distingue de la que se separa del objeto: el arte se identifica con él.
«A practitioner of this ancient art learns first of all how to become conscious in normal terms, while in the sleep state. Then he2 becomes sensitive to the different subjective alterations that occur when dreams begin, happen, and end. He familiarizes himself with the symbolism of his own dreams, and sees how these do or do not correlate with the exterior symbols that appear in the waking life» — Seth, según Roberts, describe el aprendizaje del científico del sueño: volverse consciente dentro del dormir y cotejar el símbolo propio con el compartido en vigilia.
«Your present universe is a mass-shared dream, quite valid — a dream that presents reality in a certain light; a dream that is above all meaningful, creative, based not upon chaos (with a knowing look), but upon spontaneous order.» — Seth, según Roberts, llama sueño compartido en masa al universo presente y lo funda en orden espontáneo y no en caos; Butts anota la mirada con que lo dijo, dirigida a la lectura que ellos traían de un biólogo.
«A note added later: Unfortunately, Seth didn’t keep his promise to elaborate upon dream/symbol meeting places.» — nota de Butts añadida después: consigna que Seth dejó sin cumplir la promesa de desarrollar los lugares de encuentro de símbolos en el sueño.
«Such an art, pursued, trains the mind in a new kind of consciousness — one that is equally at home in either existence, well-grounded and secure in each.» — Seth, según Roberts, atribuye al arte del soñar —que llama ciencia olvidada por el mundo— formar una consciencia igual de firme en las dos existencias; el ancla arranca después de la llamada de nota pegada.
«You are presently little aware of the dimensions of consciousness — your own or those seemingly “beneath” your own. The true physicist is one who would dare turn around inside his own consciousness.» — Seth, según Roberts, define al físico verdadero como el que se atreve a darse la vuelta dentro de su propia consciencia.
«In many cases your scientists seem to have the strange idea that you can understand a reality by destroying it; that you can perceive the life mechanism of an animal by killing it; or that you can examine a phenomenon best by separating yourself from it.» — Seth, según Roberts, objeta a los científicos la idea de entender una realidad destruyéndola y de examinar un fenómeno apartándose de él.
«It is absurd to believe that you can learn something about consciousness by destroying it. It is absurd to believe that you can learn one iota about the inner reality of life when your search leads you to destroy it. Destruction, you see, in your terms (underlined twice), presupposes a misunderstanding of life to begin with.» — Seth, según Roberts, llama absurdo aprender de la consciencia destruyéndola y hace de la destrucción una incomprensión previa de la vida.
«I admit that I am being sneaky here; but if you did not feel the need to kill animals to gain knowledge, then you would not have wars, either. You would understand the balances of nature far better.» — Seth, según Roberts, amarra la vivisección con la guerra: quien no necesitara matar animales para saber tampoco tendría guerras.
«Einstein traveled within and trusted his own intuitions, and used his inner senses. He would have discovered much more had he been able to trust his intuitions even more, and able to leave more of the so-called scientific proof of his theories to lesser men, to give himself more inner freedom.» — Seth, según Roberts, en la sesión 45 del 20 de abril de 1964, citado por Butts, dice de Einstein que viajó hacia dentro y que habría descubierto más si hubiera dejado la prueba científica a hombres menores.
«came closest perhaps in this regard, for he was able to quite naturally identify himself with various “functions” of the universe. He was able to listen to the inner voice of matter. He was intuitively and emotionally led to his discoveries. He leaned against time, and felt it give and wobble.» — Seth, según Roberts, en la sesión 701, pone a Einstein como el más cercano a identificarse con las funciones del universo, llevado por la intuición, recargado en el tiempo hasta sentirlo ceder; el ancla arranca después de la llamada de nota pegada al nombre.
«Ultimately your use of instruments, and your preoccupation with them as tools to study the greater nature of reality, will teach you one important lesson: The instruments are useful only in measuring the level of reality in which they themselves exist.» — Seth, según Roberts, en la sesión 702, limita los instrumentos a medir el nivel de realidad donde ellos mismos existen.
«The true scientist is not afraid of identifying with the reality he chooses to study. He knows that only then can he dare to begin to understand its nature. There are many unofficial scientists, true ones in that regard, unknown in this age. Many are quite ordinary people in exterior terms, with other professions. Yet it is no accident that greater discoveries are often made by “amateurs” — those who are relatively free from official dogmas, released from the pressure to get ahead in a given field — those whose creativity flows freely and naturally in those areas of their natural interest.» — Seth, según Roberts, pide al científico identificarse con lo que estudia y consigna que los hallazgos suelen venir de aficionados sueltos del dogma.
«There have indeed been civilizations upon your planet3 that understood as well as you, and without your kind of technology, the workings of the planets, the positioning of stars — people who even foresaw “later” global changes.» — Seth, según Roberts, afirma civilizaciones anteriores que entendían los planetas y las estrellas sin la técnica de hoy y preveían cambios globales.
«They used a mental physics. There were men before you who journeyed to the moon, and who brought back data quite as “scientific” and pertinent. There were those who understood the “origin” of your solar system far better than you. Some of these civilizations did not need spaceships.» — Seth, según Roberts, llama física mental a ese saber y afirma hombres anteriores que llegaron a la luna sin naves.
«Instead, highly trained men combining the abilities of dream-art scientists and mental physicists cooperated in journeys not only through time but through space. There are ancient maps drawn from a 200-mile-or-more vantage point — these meticulously completed on return from such journeys.» — Seth, según Roberts, atribuye a científicos del sueño y físicos mentales viajes por el tiempo y el espacio, y mapas antiguos trazados desde trescientos kilómetros de altura.
«In as simple a language as possible, and to some extent in your terms, the electron’s spin determines time “sequences” from your viewpoint. In those terms, then, a reversed spin is a reversed time motion.» — Seth, según Roberts, hace del giro del electrón el determinante de las secuencias de tiempo y del giro invertido un tiempo invertido.
«Atlantis is a land that you want to inhabit, appearing in your literature, your dreams, and your fantasies, serving as an impetus for development... It carries also, however, the imprint of your fears, for the tales say that Atlantis was destroyed. You place it in your past while it exists in your future. Not the destruction alone, but the entire pattern seen through the framework of your beliefs. Beside this, however, many civilizations have come and gone in somewhat the same manner, and the “myth” [of Atlantis] is based somewhat then on physical fact in your terms.» — Seth, según Roberts, en la sesión 742 del tomo 2, citado aquí por Butts, pone la Atlántida en el futuro y no en el pasado, y la hace impulso y a la vez marca del miedo a la destrucción.
«you are severely hampered as far as space travel is concerned, by the time elements involved ... In your terms it will simply take you too long to get where you want to go. Scientists will begin to look for easier methods. They are even now being forced to consider the possibilities of telepathy as a means of communication, and they will be forced further and further along these lines. “It is very possible that you might end up in what you intend as a space venture only to discover that you have ‘traveled’ to another plane [probability] . But at first you will not know the difference.» — Seth, según Roberts, en la sesión 40 del 1 de abril de 1964, citado por Butts, prevé que el viaje espacial obligue a buscar la telepatía y que una empresa espacial termine en otro plano sin que se note al principio.
«The multidimensional aspects of the electron cannot be perceived within your three-dimensional system, using instruments that are already predisposed or prefocused to measure only certain kinds of effects.» — Seth, según Roberts, en la sesión 703, niega que los instrumentos predispuestos alcancen lo multidimensional del electrón.
«Suppose a scientist found a first orange, and used every instrument available to examine it, but refused to feel it, taste it, smell it, or otherwise to become personally involved with it for fear of losing scientific objectivity. In sense terms he would learn little about an orange, though he might be able to isolate its elements, predict where others might be found, theorize about its environment — but the greater “within-ness” of the orange is not found any place inside of its skin either. The seeds are the physical carriers of future oranges, but the blueprints for that reality are what formed the seeds.» — Seth, según Roberts, pone la parábola de la naranja examinada sin tocarla ni probarla, y saca de ahí que los planos de la realidad no están dentro de la cáscara sino que formaron las semillas.
«When you dissect an animal, for instance, you are still dealing only with the “inside” of exterior reality, or with another level of outsideness. (Pause.) In a manner of speaking, when you probe the heavens with your instruments you are doing the same thing.» — Seth, según Roberts, iguala la disección del animal y el sondeo del cielo: los dos se quedan en otro nivel de lo exterior.
«Thoughts are not given the same validity as rocks or trees or beer cans (two of which sat on the coffee table between us at the moment) or automobiles. In your terms an automobile gets you somewhere. You do not understand the great mobility of thought, nor grasp its practical nature. You make your world, and in an important manner your thoughts are indeed the immediate personal blueprints for it. When you manipulate objects you feel efficient. The manipulation of thoughts is far more practical.» — Seth, según Roberts, reclama para el pensamiento la validez que se le da a la piedra y al árbol, y lo declara más práctico que manipular objetos; Butts anota que había dos latas de cerveza en la mesa.
«People will die when they are ready to, following inner dictates and dynamics. A person ready to die will, despite any medication. (.Emphatically:) A person who wants to live will seize upon the tiniest hope, and respond.» — Seth, según Roberts, hace depender la muerte de los dictados internos y no de la medicación.
«The dynamics of health have nothing to do with inoculations. They reside in the consciousness of each being. In your terms they are regulated by emotions, desires, and thoughts.» — Seth, según Roberts, saca la salud de las inoculaciones y la pone en la consciencia de cada ser, regulada por emociones, deseos y pensamientos.
«A true doctor cannot be scientifically objective. He cannot divorce himself from the reality of his patient. Instead, usually, the doctor’s words and very methods literally separate the patient from himself or herself. The malady is seen almost as a thing apart from the patient’s person — but thrust upon it — over which the patient has little control.» — Seth, según Roberts, niega objetividad científica al médico verdadero y describe cómo el método separa al enfermo de su propio mal y de su propia sangre.
«But a true medical profession would be, literally, a health profession. It would seek out people who were healthy and learn from them how to promote health, and not how to diagram disease.» — Seth, según Roberts, pide una profesión de la salud que aprenda de los sanos en vez de diagramar la enfermedad.
«The complete physician would be a person who learned to understand the dynamics of being, the soul-body relationship — one who was healthy in his or her own body. Unhappy people cannot teach you to be happy. Sick ones cannot teach you to be well. Psychiatrists have a high suicide rate. Why do you think they can help you live happily, or add to your vitality? Physicians are not the healthiest of men by far.» — Seth, según Roberts, añade el médico completo a sus figuras y objeta que enseñe salud quien no la tiene; el ancla corta antes de la llamada de nota pegada.
«The private oracle is the voice of the inner multidimensional self — the part of each person not fully contained in his or her personhood, the part of the unknown self-structure out of which personhood, with its physical alliance, springs. Basically that portion of the psyche is outside of space and time, while enabling you to operate in it.» — Seth, según Roberts, llama oráculo privado a la voz del yo interior multidimensional, fuera del espacio y del tiempo y a la vez lo que permite operar en ellos.
«Blood pressure rises in whole populations — stress signals in terms of hormones are activated, but you are not taught to recognize these natural signals. There is a give-and-take between all portions of nature. You are as natural as an animal, and as “tuned in” to the deep rhythms of the earth — those that you consciously perceive and those that are perceived by your body consciousness, but are screened out by the “official mind.”» — Seth, según Roberts, pone en el cuerpo las señales que anuncian el desastre y las da por tapadas por la mente oficial.
«I am simply suggesting that you become more natural. Because science has made an effective barrier to that method of approach, the power seems to reside in the gadgets rather than in man. Man no longer identifies with a storm, for example, and has lost his sense of relationship with it, and therefore his natural power over it.» — Seth, según Roberts, atribuye a la ciencia que el poder parezca residir en los aparatos y no en el hombre, que perdió su parentesco con la tormenta.
«A man or woman who is ready to die, if saved from one disease will promptly get another, or find a way of fulfilling that desire. Your problem there rests with the will to live, and with the mechanics of the psyche.» — Seth, según Roberts, sostiene que quien está listo para morir hallará el modo, y remite el asunto a la voluntad de vivir y a la mecánica de la psique.
«Each individual is a universe in a small package. (A one-minute pause.) As the physical planets move in order while being individual, so there can be a social order that is based upon the integrity of the individual. But that order would recognize the inner validity that is within the self; and the inner order, unseen, that forms the integrity of the physical body, likewise would form the integrity of the social body. The self, the individual, being its fulfilled self, would automatically function for the good of itself and for the good of society. The individual’s good, therefore, is the society’s good, and represents spiritual and physical fulfillment.» — Seth, según Roberts, funda el orden social en la integridad del individuo y hace coincidir su bien con el de la sociedad.
«Unpredictability does not mean chaos. All order rises out of the creative elements of unpredictability.» — Seth, según Roberts, en la sesión 704, deslinda impredecibilidad de caos y hace salir de ella todo orden; el ancla corta antes de la llamada de nota.
«In very simplified terms, then, Jane regards Seth as a personagram, “a multidimensional personification of another Aspect of the entity or source self, as expressed through the medium.”» — Butts consigna la manera en que Roberts entiende a Seth en su propio sistema: un personagrama, personificación multidimensional de otro Aspecto del yo fuente expresada por la médium.
«He is himself. He cannot turn himself or his abilities off... His activities would be strong in whatever level of activity he focused his energy, exaggerated in terms of others by comparison. He is a great mystic.» — Seth, según Roberts, en una sesión privada anterior citada por Butts, la llama gran receptora de energía y gran mística de nacimiento.
«I'm not a mystic, I don't think of myself as one at all — not like those church people," She smiled, “I don't have a vision every time I want to do something important» — Jane Roberts, en primera persona, rechaza que se le llame mística y se deslinda de la gente de iglesia; Butts consigna que le dio pena que Seth la nombrara así.
«I hope to go further into consciousness than anyone else ever has. ”1 (I reminded Jane that since she belonged to no religion now [having left the Roman Catholic Church when she was 19 years old], her mystical nature would choose other avenues of expression than religious ones» — Jane Roberts declara querer ir más lejos en la consciencia que nadie; Butts le contesta que, fuera ya de la iglesia, su naturaleza mística buscará vías no religiosas.
«In his solitary nature he came close to being a mystic, but he was unable to relate his personality as Joseph Burdo with the social world at large, or even to other members of the family. There was a block, regrettably. He felt strongly his connection with the universe as a whole and with nature as he understood it. But to him, nature did not include his fellow human beings.» — Seth, según Roberts, en la sesión 14 del 8 de enero de 1964, describe al abuelo de ella, Joseph Burdo, como casi místico, unido a la naturaleza pero sin incluir en ella a los demás hombres.
«It wasn’t that I mistrusted the Seth personality, but I felt it was a personification of something else — and that ‘something else’ wasn’t a person in our terms ... Yet in an odd way I felt that he was more than that, or represented more; and that his» — Jane Roberts, en primera persona y citada por Butts desde Adventures in Consciousness, dice que no desconfiaba de la personalidad de Seth pero la sentía personificación de algo que no es una persona en los términos de aquí; el tramo se corta en el cambio de plana.
«Rob asked me about mysticism, though, and it’s very hard to think of the word in connection with me because I confuse the various definitions or implications placed upon the word. To me it’s a sort of... yes, sturdy connection of one person to the universe ... a one-to-one relationship; a yearning to participate in the meaning of existence; a drive to appreciate nature and salute it while adding to it; but the knowledge that nature is also a touchstone to a deeper unknowable essence from which we and the world spring.» — Jane Roberts define por escrito lo que para ella sería el misticismo: conexión firme de una persona con el universo y saludo a la naturaleza como piedra de toque de una esencia incognoscible.
«But as I think the word is interpreted, I’m not a mystic. In usual terms the state implies a far greater compassion and goodness than I possess; an inner graciousness that I sense but rarely achieve; and a patience with people that I lack. A piousness that I dislike, too. These are the Christian versions; but a certain fanaticism often goes with them that I would find most distasteful. Some forms of Zen extoll-the virtues of good rambunctious humor, which I favor, but then ideas of renunciation clutter up both Eastern and Western mystic philosophies, as far as I know» — Jane Roberts se niega el título de mística en el sentido corriente por falta de compasión, de paciencia y de la piedad que le desagrada, y objeta la renuncia que ve en las filosofías místicas de Oriente y de Occidente.
«My birth brought a certain element into the world that wasn’t there before. And with me, I brought time. This happens when anyone is born, but most people don’t feel it — or don’t seem to ... Together all of us on earth form time and contribute to its design and to history. This happens whenever one of us is born or dies.» — Jane Roberts sostiene que con cada nacimiento entra al mundo un elemento nuevo y con ella entró el tiempo, y que entre todos se forma el tiempo y su diseño.
«Natural ‘mystical’ experience, unclothed in dogma, is the original religious therapy that is so often distorted in ecclesiastical organizations, but it represents man’s innate recognition of his oneness with the source of his own being, and of his experience.» — Seth, según Roberts, en la sesión 640 del 14 de febrero de 1973, citada por Butts, llama terapia religiosa original a la experiencia mística sin dogma y la ve distorsionada en las organizaciones eclesiásticas.
«No one has really tried to map the natural contours of the psyche. Few even wonder if it can be done ... The visions that don’t agree with the various religious and mystical dogmas, that aren’t couched in terms of Christ, Jehovah, or Buddha, might well represent holes in the official picture through which a glimmer of inner reality seeps.» — Jane Roberts, por escrito en Psychic Politics, lee las visiones que no caben en los dogmas de Cristo, Jehová o Buda como agujeros por donde se cuela la realidad interior.
«I am rather surprised that Ruburt hit upon this one at this time, as it is usually a rather difficult ability to attain.... Ruburt experienced this on a physical level, trying to translate inner data into sensation that could be recognized by the outer senses. This seventh inner sense represents an extension of the self, a widening of its conscious comprehension ... or a pulling together into» — Seth, según Roberts, en la sesión 39, identifica lo que ella sintió como el séptimo sentido interno, expansión o contracción de la cápsula de tejido.
«The tissue capsule is actually an energy field boundary ... At the same time it protects the whole self from certain radiations which do not here concern you. No living consciousness exists on any plane without this tissue capsule enclosing it» — Seth, según Roberts, en la sesión 40, define la cápsula de tejido como frontera de campo energético que envuelve a toda consciencia viva.
«These capsules can be seen by you under certain circumstances and have been called astral bodies ... a term which does not meet with my pleasure» — Seth, según Roberts, admite que a esas cápsulas se les haya llamado cuerpos astrales y declara que el término no le agrada: el volumen toma el vocabulario ocultista para marcar distancia de él.
«Now, look, Seth, if you want to take me to some of these probabilities, great; with you leading the way; but my consciousness is having a hell of a time handling whatever it is we’re doing.» — Jane Roberts, en primera persona y por escrito al día siguiente, le habla a Seth de tú a tú y le reclama que su consciencia no da abasto con el material de las probabilidades.
«We inherently possess separate pockets or pools of experience (biologically valid among the cells’ characteristics), sidepools where information collects for processing before flowing into the ‘official pool of consciousness.’» — Jane Roberts, en estado alterado y por su cuenta, describe albercas laterales donde la información se junta antes de entrar a la alberca oficial de la consciencia.
«Toward the end of the material (in the second statement) I briefly thought the Seth level might be involved, but the wording didn’t come through as automatically and smoothly as it does with Seth, and I didn’t feel his ... personality.» — Jane Roberts, en primera persona, deslinda ese dictado del de Seth: la redacción no salía tan lisa ni sintió su personalidad, aunque el material la llamara Ruburt.
«Now I’m getting ideas from so many places at once, so fast, that I can’t express them all. I need you to coach me, to ask, ‘What’s happening now?’ to keep me focused on one channel.. . . Because our mental habits automatically block out such material, we only recognize one series of neurological happenings — it takes time for the message to leap the nerve endings [the synapses]. We just recognize one speed: Other messages leap too fast or too slow for us to focus upon them.» — Jane Roberts, dictando por su cuenta antes de la sesión 686, atribuye el bloqueo de otros mensajes a la velocidad con que saltan las terminaciones nerviosas.
«Now everything I just said came in a flash while I was waiting for you to write down what you just wrote; but what I got originally was like a ball of string, so that as I explained it the string unraveled into the words» — Jane Roberts describe el modo en que le llega el material: una bola de estambre que se desenreda en palabras conforme la explica.
«No scientific language would be used — not that I know any — but that would structure what I’m trying to do; and unwittingly, perhaps, it might lead me into a scientific dogma without recognizing it. Besides, that would put an unnecessary burden on the reader, who might feel he or she needed a particular vocabulary. The use of a normal vocabulary would put the ideas within the reach of the ordinary person as much as possible. Although most people might need to work at it to understand the material, there’d be no automatic difficulties with words.» — Jane Roberts explica por qué el libro no usa lenguaje científico: la metería en un dogma sin darse cuenta y le cargaría al lector un vocabulario.
«I feel as though I’m learning to jump in between the recognized pulses and pick up usually inaccessible ones. Trying to make all this verbal is very difficult.» — Jane Roberts dice estar aprendiendo a saltar entre los pulsos reconocidos para levantar los inaccesibles, y declara difícil ponerlo en palabras.
«For a long time these varieties of ancient men shared our earth and history, in varying terms. Right now, though, in our time, all of the different kinds of consciousness that we might expand into are here with us ... some of them appearing as pathological to us» — Jane Roberts, dictando por su cuenta la noche anterior a la sesión 687, pone hoy mismo entre nosotros todas las formas de consciencia a las que podríamos ensancharnos, algunas leídas como patológicas.
«Well,” she commented, “I gave the material while I was in an altered state of consciousness, but I don't know where it came from. It seems Seth-like, but also really strange.» — Jane Roberts declara no saber de dónde salió ese material: le suena a Seth y a la vez le resulta extraño; Butts consigna que no le pidió a Seth que viniera.
«While I was in the altered state, I sensed not only the physical bulk of the book, but the actual contents within it. Those contents were immediately available. I can’t tell you how frustrated — how blocked — this made me feel at the time.» — Jane Roberts describe la frustración de sentir el bulto y el contenido del libro disponibles de golpe y poder anotar apenas una parte.
«Some of the experiments with man-animals didn’t work out along our historic lines, but the ghost memories of those probabilities still linger in our biological structure, and in our» — Jane Roberts, en ese mismo dictado, deja memorias fantasma de los experimentos fallidos con hombres-animales en la estructura biológica; el tramo se corta en el cambio de plana.
«Again, for many centuries, there were innumerable species of man-in-the-making, in your terms; various postures, and even types of manipulation, as well as alterations in brain size and activity.» — Jane Roberts, en ese dictado, multiplica las especies de hombre en formación, con posturas, manipulaciones y tamaños de cerebro distintos.
«Went to my study, got chapter headings and outline, more or less, but I don’t know yet how to get the rest of it; I feel almost that it’s a Seth book, that I need him to bring it in.» — Jane Roberts cuenta cómo le llegaron de golpe los títulos de capítulo de The Way Toward Health y dice necesitar a Seth para traer el resto.
«The value climate of psychological reality can be likened to an ocean in which all consciousness has its being. There are multitudinous levels that can be plunged into, with various life forms, diverse and alien, but nevertheless interconnected and dependent one upon the other.» — Seth, según Roberts, en la sesión 45 citada por Butts, compara el clima de valor de la realidad psicológica con un océano donde toda consciencia tiene su ser.
«All time is simultaneous (Seth told the members of class), and so you are male and female at once. In all religions, those that you did not officially adopt in your society, what you would think of as the female religions predominated. Those people did not progress in industrial terms because they were too well aware of their part in nature.» — Seth, según Roberts, en la clase de ESP del 16 de abril, hace a cada quien hombre y mujer a la vez y atribuye a las religiones femeninas el no haber avanzado en términos industriales por saberse parte de la naturaleza.
«Your sexuality is a point of focus, and that is all. For those of you who need it said, I say it: A woman is as intellectual as a man. A man is as intuitive as a woman.» — Seth, según Roberts, reduce la sexualidad a un punto de enfoque y empareja el intelecto y la intuición entre los sexos.
«You have associated the word “female” with the unconscious, while you have been working toward what you now think of as an egotistically based consciousness.» — Seth, según Roberts, amarra el asociar lo femenino con lo inconsciente al rumbo de una consciencia fundada en el ego.
«What is required is more than a shedding of clothes, however. To plunge into this ocean you also leave the physical body at the shore. It will be there when you get back.» — Seth, según Roberts, pide dejar el cuerpo en la orilla para zambullirse en el océano del clima de valor, y promete que ahí estará al volver.
«He fears for the gullibility of people, and is rightly appalled at their superstitions — as you are, Joseph (as Seth calls me). Indeed, as Ruburt became aware of the little that is known, he wondered at his own daring. There was no one he could turn to for instruction.» — Seth, según Roberts, en material personal citado por Butts, le atribuye a ella espanto ante la credulidad y la superstición de la gente, y la deja sin nadie a quien pedir instrucción.
«He also began to see two poles in society one highly conventional and closed, in which he would appear as a charlatan; and another, yearning but gullible, willing to believe anything if only it offered hope, in which his activities would be misinterpreted» — Seth, según Roberts, describe los dos polos entre los que ella se mueve: el convencional que la tomaría por charlatana y el crédulo que creería cualquier cosa con tal de tener esperanza.
«Seth straddles many of these points and appears in the dream levels of others at their personal symbol level. I haven’t gotten to the deeper level of dream experience yet, where I could meet him directly.» — Jane Roberts, por escrito en The Wonderworks, dice que Seth aparece en los sueños ajenos al nivel de símbolo de cada quien y que ella todavía no llega al nivel donde podría encontrarlo de frente.
«It is obvious that when you move from one place to another you make an alteration in space — but you alter time as well, and you set into motion a certain psychological impetus that reaches out to affect everyone you know... Such messages are often encountered in the dream state. Empty houses are psychic vacancies that yearn to be filled. When you move, you move into other portions of your selfhood.» — Seth, según Roberts, en la sesión 742 del 16 de abril de 1975, citado por Butts en el epílogo, hace de la mudanza una alteración del tiempo y un movimiento hacia otras porciones del yo.
«Seth wasn’t known at the location I reached there. He could be scattered into several ‘spirit guides’; that’s how his reality would be interpreted, or come through» — Jane Roberts cuenta que en el nivel al que llegó buscando a Seth no lo conocían y que su realidad podría interpretarse dispersa en varios guías espirituales; el ancla arranca después de la llamada de nota pegada.
«Nature, without nature’s source, would not last a moment.” Seth September 19, 1977» — epígrafe del tomo 2: Seth, según Roberts, fechado el 19 de septiembre de 1977, hace depender a la naturaleza de su fuente.
«With winged brains We swoop and swirl Inside the blue bell Of the outer world. Birds of curved dimensions Have their neighborhood Limited by ceiling’s Weight of bone and blood. But time and space are one to us. The infinite skull Opens skies all curled within, Miniature world on world.» — With Winged, poema que Roberts escribió en abril de 1961 y que abre el tomo 2: el cráneo infinito abre cielos enrollados adentro, mundo en miniatura sobre mundo.
«Jane was 32 years old when she wrote this poem in April 1961. It clearly foreshadows certain ideas in the Seth material, which she was to begin delivering 19 months later.» — nota de Butts al epígrafe del tomo 2: fecha el poema diecinueve meses antes de la primera sesión y ve en él anticipadas ideas del material de Seth.
«Now: You need not worry about ‘Unknown ’ Reality. You have already done the books in another probable reality, and completed them very well.» — Seth, según Roberts, en la sesión 751 del 30 de junio de 1975, citado por Butts, consuela a este diciéndole que los libros ya están hechos y bien hechos en otra realidad probable.
«In ‘Unknown’ Reality I went further, showing how the experiences of the psyche splash outward into the daylight, so to speak. I hope that [in those two books] through my dictation and through Ruburt’s and Joseph’s experiences, the reader can see the greater dimensions that touch ordinary living, and sense the psyche’s greater magic.» — Seth, según Roberts, en la sesión 762 del 15 de diciembre de 1975, citado por Butts, sitúa este libro respecto de los dos anteriores: aquí mostró cómo lo de la psique salpica hacia la luz del día.
«Scan any paragraph of your notes, then turn your mind gently a half notch aside. As you do so you will be able to sense your own completed version, and any word that does not fit will be instantly sensed» — Seth, según Roberts, le dicta a Butts un método de trabajo: mirar de lado media muesca para sentir la versión ya terminada de sus propias notas y cachar la palabra que no encaja.
«By choice, she has no buffers between herself and the exterior world — no assured status, for example. She doesn’t enjoy the protection a scientist does, who probes into a particular subject in depth, then makes a learned report on it from an “objective” position that’s safely outside the field of study. At the same time, I know that Jane feels a responsibility to “publish her results,” and make them available to others. She’s tough in ways that science, for instance, doesn’t understand at all.» — Butts describe la posición de Roberts: sin el resguardo del estatus ni la distancia objetiva del científico, y con la responsabilidad de publicar sus resultados.
«In important ways, Jane’s work is outside of society’s accepted frameworks — scientific, “occult,” philosophical, or whatever. Not that we dwell upon that comparative isolation much, but we are aware of it.» — Butts declara el trabajo de Roberts fuera de los marcos admitidos por la sociedad, y nombra entre ellos el científico, el ocultista y el filosófico: la obra no se adscribe a ninguno.
«Some [people] do not want my authority questioned. (Humorously:) They think that if they had their own Supersoul, they would have far better sense than Ruburt; and they would use me as if I were a magic genie. They are afraid that Ruburt might question me out of existence....» — Seth, según Roberts, en una sesión privada de 1977 citada por Butts, consigna que hay quien no quiere que se cuestione su autoridad y quisiera usarlo de genio mágico.
«They are more than symbols, however. They are means of recognition that stand for something else, a reality; signs that stand for words, spoken before the birth of words; words imprinted in molecules; words that were imprinted in other ways before the birth of molecules; and yet (to class members) words that echo within your own individual psyches.» — Seth, según Roberts, en una clase de ESP citada por Butts, llama a los libros de ella signos de palabras anteriores a las palabras, impresas en las moléculas y antes que ellas.
«Be reckless in the expression of the ideal, and it will never betray you. Treat it with kid gloves and you are in the middle of a battle.» — Seth, según Roberts, en material privado citado por Butts al cerrar sus notas del tomo 2, pide temeridad en la expresión del ideal y promete que así no traiciona.
«The inner intent always forms any exterior alteration. This applies on any scale you use. Consciousness forms the environment. The environment itself is conscious (forcefully).» — Seth, según Roberts, pone la intención interior como formadora de toda alteración exterior y declara consciente al entorno mismo.
«I would like to make an aside here: In certain terms, you cannot destroy life by a nuclear disaster. You would of course destroy life as you know it, and in your terms bring to an end, if the conditions were right (or wrong), life forms with which you are familiar. In greater terms, however, mutant life would emerge — mutant only by your standards — but life quite natural to itself.» — Seth, según Roberts, niega que un desastre nuclear pueda destruir la vida: acabaría con la vida conocida y saldría vida mutante, natural para sí misma.
«There is no transmigration of souls, in which the entire personality of a person “comes back” as an animal. Yet in the physical framework there is a constant intermixing, so that the cells of a man or a woman may become the cells of a plant or an animal» — Seth, según Roberts, niega la transmigración de las almas en el sentido de que la personalidad entera regrese como animal, y en su lugar pone un entremezclado celular constante; el ancla corta antes de la llamada de nota.
«For instance, if you believe that you can live to a healthy and happy old age, well into your nineties, then even in Western civilization you will do so. Your emotional intent and your belief will direct the functioning of your cells and (emphatically) bring out in them those properties and inherent abilities that will ensure such a condition. There are groups of people in isolated places who hold such beliefs, and in all such cases the body responds.» — Seth, según Roberts, hace depender la vejez sana de la creencia y consigna grupos aislados donde el cuerpo responde a ella.
«Physically speaking, earth itself has its own kind of gestalt consciousness. If you must, then think of that earth consciousness as grading (spelled) upward in great slopes of awareness from relatively “inert” particles of dust and stone through the mineral, vegetable, and animal kingdoms.» — Seth, según Roberts, en la sesión 705, da a la tierra una consciencia de conjunto que sube en pendiente desde la piedra hasta los reinos vegetal y animal.
«Some, but very few, psychic healers do this automatically without realizing what they are doing. The body on its own performs this service often, when it automatically rights certain conditions, even though they were genetically imprinted.» — Seth, según Roberts, atribuye a unos pocos sanadores psíquicos el borrado de información genética indeseada en el pasado, hecho sin saber lo que hacen.
«For an exercise, keep notes for a day or so of all the times you find yourself thinking of probable actions,2 large or small. In your mind, try to follow “what might have happened” had you taken the course you did not take. Then imagine what might happen as a result of your chosen decisions.» — Seth, según Roberts, en la sesión 707, dicta el noveno Elemento de práctica: anotar durante un día las acciones probables que se piensan y seguirles las dos ramas.
«You can literally choose between health and illness; between a concentration upon the mental more than the physical, or upon the physical more than the mental. Such private decisions affect the genetic heritage of the species. Your intent is all-important — for you can alter your own genetic messages» — Seth, según Roberts, pone la elección entre salud y enfermedad del lado de quien la vive y le concede alterar sus propios mensajes genéticos dentro de ciertos límites; el ancla corta antes de la llamada de nota.
«So, ideally speaking, the history of your species can be discovered quite clearly within the psyche; and true archaeological events are found not only by uncovering rocks and relics, but by bringing to light, so to speak, the memories that dwell within the psyche.» — Seth, según Roberts, pone la historia de la especie dentro de la psique y hace arqueología verdadera de sacar a la luz esas memorias, no solo piedras y reliquias.
«In a way you are all your own mutants, creatively altering cellular formations. Period. When your fate seems dependent upon heredity, for example, then the transmission of ideas and beliefs operates; these give signals to the chromosomes.» — Seth, según Roberts, llama a cada quien su propio mutante y hace que las ideas y creencias den la señal a los cromosomas.
«That is, the mind has its own “civilizations,” its own personal culture and geography, its own history and inclinations. But the mind is connected with the physical brain, and so hidden in its [the brain’s] folds there is an archaeological memory.» — Seth, según Roberts, da a la mente tierras propias, con civilizaciones, geografía e historia, y deja en los pliegues del cerebro una memoria arqueológica; el ancla arranca después de la llamada de nota pegada.
«Now, dictation: Consciousness operates with what you may call code (spelled) systems. These are beyond count. Consciousness differentiates itself, therefore, by operating within certain code systems that help direct particular kinds of focus, bringing in certain kinds of significances3 while blocking out other data.» — Seth, según Roberts, en la sesión 708, hace operar a la consciencia por sistemas de código incontables, cada uno con su enfoque y sus bloqueos.
«Any biological or spiritual advancement that you might imagine will of course not come from any outside agency, but from within the heritage of consciousness made flesh.» — Seth, según Roberts, niega que el avance biológico o espiritual venga de agente externo alguno y lo saca de la herencia de la consciencia hecha carne.
«This does not mean that man in the present has fallen from some higher spiritual achievement to his current state.» — Seth, según Roberts, niega expresamente la caída desde un logro espiritual más alto: lo de antes fueron experimentos en otras direcciones, no una cima perdida.
«Doctors sometimes encounter it when a patient with a so-called incurable disease suddenly recovers. “Miraculous” healings are simply instances of nature unhampered.» — Seth, según Roberts, explica la curación milagrosa como naturaleza sin estorbo.
«Many people, without knowing it, have developed cancer and rid themselves of it. Appendixes removed by operations have grown back. These powers of the body are biologically quite achievable in practical terms, but only by a complete change of focus and belief.» — Seth, según Roberts, atribuye al cuerpo poderes de reposición y curación alcanzables solo con un cambio completo de enfoque y de creencia.
«The sleepwalkers, as we will call them, were not asleep to themselves, and would seem so only from your viewpoint There were several such races of human beings. Their [overall] primary experience was outside of the body. The physical corporal existence was a secondary effect.» — Seth, según Roberts, llama sonámbulos a unas razas humanas cuya experiencia primaria estaba fuera del cuerpo y para quienes lo físico era efecto secundario.
«To them the real was the dream life, which contained the highest stimuli, the most focused experience, the most maintained purpose, the most meaningful activity, and the most organized social and cultural behavior.» — Seth, según Roberts, pone en la vida onírica de aquellas razas el estímulo más alto y la conducta social y cultural más organizada.
«In basic terms the body dies often, and as surely as you think it dies but once in the death you recognize. On numerous occasions it physically breaks apart, but your consciousness rides beyond those “deaths.” You do not perceive them. The stuff of your body literally falls into the earth many times, as you think it does only at the “end of your life.”» — Seth, según Roberts, multiplica las muertes del cuerpo: se deshace muchas veces y la consciencia puentea esas muertes que no se reconocen.
«The unknown reality: Much of that reality is unknown simply because your beliefs close you off from your own knowledge. The reaches of your own consciousness are not limited. Because you accept the idea of a straight-line movement of time, you cannot see before or after what you think of as your birth or death,1 yet your greater consciousness is quite aware of such experience. Ideally it is possible not only to remember “past” lives, but to plan future ones now.» — Seth, según Roberts, atribuye lo desconocido de la realidad a las creencias que cierran el paso, y admite planear ahora las vidas futuras tanto como recordar las pasadas.
«Some individuals find themselves with memories of other lives, which are other days to the soul. Such persons then become aware of a greater consciousness reaching over those gaps» — Seth, según Roberts, llama otros días del alma a las otras vidas y hace que quien las recuerda repare en una consciencia mayor que puentea esos huecos.
«You can hold within your conscious attention far more data than you realize. You have hypnotized yourselves into believing that your awareness is highly limited. Think back to yesterday. Try to remember what you did when you got up; what you wore. Attempt to follow the sequence of your activities from the time you awakened until you went to sleep.» — Seth, según Roberts, dicta el décimo Elemento de práctica: reconstruir el día de ayer entero, contra la hipnosis de creerse de atención limitada.
«In larger terms there are other entire lives, which for you are forgotten essentially as yesterday is. These too, however, are a secondary series of activities, riding beneath your present primary concern. They are as unconsciously a part of your present, and as connected with it, as yesterday is.» — Seth, según Roberts, pone las otras vidas al mismo nivel que el ayer olvidado: una serie secundaria que corre por debajo de lo que ahora ocupa a uno.
«Doing the exercise will simply acquaint your normal consciousness with the sense of its own flexibility. You will be exercising the invisible muscles of your consciousness as certainly as you might exercise your body with gymnastics. To other portions of yourself you would seem to be a sleepwalker. Full creative participation in any moment, however, awakens you to your own potentials, and therefore allows you to experience a unity between your own consciousness and the comprehension of your physical cells. Those cells are as spiritual as your soul is.» — Seth, según Roberts, llama músculos invisibles de la consciencia a lo que el ejercicio entrena y declara las células tan espirituales como el alma.
«To one extent or another in your society, you are taught to not trust yourself. There are various schools and religions that try to express the self s validity, but their distortions have smothered the basic authenticity of the teachings.» — Seth, según Roberts, en material personal citado por Butts, reprocha a las escuelas y religiones que intentan afirmar la validez del yo el haber ahogado con sus distorsiones lo auténtico de sus enseñanzas.
«While the moon Shines calmly on. The town is sleeping. Bodies lie Neat and empty, Side by side. But every self Sneaks out alone In darkness with No image on, And travels freely, All alert, Roads unlisted On a map. No man can find Where he has been, Or follow in flesh Where the self tread, Or keep the self in Though doors are closed, For the self moves through Wood and stone. No man can find The post or sign That led the self Through such strange land. The way is gone.» — In Midnight Thickets, segundo poema sobre el soñar que Roberts escribió en 1965 y que Butts guardó para el tomo 2: los cuerpos quedan pulcros y vacíos mientras cada yo sale solo por caminos que no están en ningún mapa; el tramo arranca en la plana siguiente al corte del poema.
«its physical appearance there are “disturbances” in the spot in which the cell will later show itself. Those disturbances are the result of a slowing down of prior effects of faster-than-light activity, and represent the emergence into your space-time system of energy that can then be effectively used and formed into the cellular pattern.» — Seth, según Roberts, en la sesión 709, pone antes de la célula unas perturbaciones que son la desaceleración de actividad más rápida que la luz, y de ahí saca la forma celular; el tramo arranca en la plana siguiente al corte de la frase.
«Time out of the body is “free time” by your standards. You do not age, for example, although this effect varies according to certain principles.» — Seth, según Roberts, llama tiempo libre al que se pasa fuera del cuerpo y dice que ahí no se envejece, con reservas.
«The “unknown” reality is unknown only because you have not looked for its aspects in yourself. You have been taught to pay almost exclusive attention to your exterior behavior. Privately, then, much of your inner life escapes you.» — Seth, según Roberts, atribuye lo desconocido de la realidad a no haber buscado sus aspectos en uno mismo, por la atención puesta en la conducta exterior.
«While you believe, for example, that technology as you understand it (underlined) alone means progress, and that progress necessarily requires overriding physical manipulation of the environment that must forever continue, you will judge past civilizations in that light. This will blind you to certain accomplishments and other orientations to such an extent that you will not be able to see evidence of achievement when it appears before your eyes.» — Seth, según Roberts, advierte que medir el pasado con la idea de progreso técnico ciega ante logros de otras civilizaciones aunque estén a la vista.
«Now, facts may or may not give you wisdom. They can, if they are slavishly followed, even lead you away from true knowledge. Wisdom shows you the insides of facts, so to speak, and the realities from which facts emerge.» — Seth, según Roberts, distingue hecho de sabiduría y advierte que seguir los hechos servilmente aparta del saber verdadero.
«Your consciousness could not leave your body and return to it again unless there were biological mechanisms that allowed for such a performance.» — Seth, según Roberts, en la sesión 709, funda el salir del cuerpo en mecanismos biológicos que lo anticipan.
«I heard Seth's voice, very loud and powerful, as I lay asleep in bed last night [Saturday]. This was the first time I've had such an experience. The voice was coming from the area of the room next door or just beyond, but also from above; like out of the sky or something. It wasn't speaking through anyone — that is, it wasn't coming from inside my head or through me as it always has so far, even in the dream state. I tried to understand what was said. The words didn't seem to be directed at me, particularly, but just to be there.» — Jane Roberts, en su diario de sueños del 6 de octubre de 1974, consigna la primera vez que oyó la voz de Seth desde afuera y no por dentro de ella ni por su boca.
«The sound was like a supervoice; maybe like Nature speaking, or something not the way a person would speak.» — Jane Roberts describe aquella voz como supervoz, como si hablara la naturaleza y no una persona; consigna además que no sintió la presencia de Seth.
«YOU MAY HAVE HEARD PEOPLE SAY OF AN IDEA “ITS TIME HAS NOT YET COME.” THIS SIMPLY MEANS THAT THERE IS NOT ENOUGH ENERGY CONNECTED WITH THE IDEA TO PROPEL IT OUTWARD INTO THE WORLD OF PHYSICAL EXPERIENCE AS AN OBJECTIVE MASS-EXPERIENCED EVENT.» — Seth, según Roberts, explica por qué una idea no llega a su tiempo: le falta energía para salir al mundo como suceso de masa; el troceo imprime el párrafo entero en versalitas, tal como lo compone el volumen.
«Some such disengagement of your main consciousness and the body is therefore obviously necessary, or it would not occur. Sleeping is not a by-product of waking life.» — Seth, según Roberts, declara necesario el desenganche entre la consciencia principal y el cuerpo y niega que dormir sea subproducto de la vigilia.
«Now: In almost all instances, demons in dreams represent the dreamer’s belief in evil, instantly materialized. They are not the inhabitants of some nether world, then, or underground.» — Seth, según Roberts, reduce los demonios del sueño a la creencia del soñante en el mal, hecha materia al instante, y les niega domicilio en ningún inframundo.
«Explorers traveling into inner reality, however, do not have the same kind of landmarks to begin with. Many have been so excited with their discoveries that they wrote guidebooks long before they even began to explore the inner landscape. They did not understand that they found what they wanted to find, or that the seemingly objective phenomena originated in the reflections of the psyche.» — Seth, según Roberts, reprocha a los exploradores de lo interior haber escrito guías antes de recorrer el terreno, hallando lo que querían hallar.
«You may, for example, have read books numbering the “inner realms,” and telling you what you can expect to encounter in each. Many of these speak of lords or gods of the realm, or of demons. In a strange way these books do provide a service, for at certain levels you will find your own ideas materialized; and if you believe in demons then in those terms you will encounter them.» — Seth, según Roberts, consigna los libros que numeran los reinos interiores y hablan de señores, dioses y demonios, y admite que el creyente los encontrará porque los cree.
«There is no reason, for example, to encounter any demons or devils in any trance or out-of-body condition.3 (Pause.) In such cases your own hallucinations blind you to the environment within which they are projected.» — Seth, según Roberts, niega motivo para topar con demonios en trance o fuera del cuerpo y llama alucinaciones propias a lo que ahí tapa el entorno.
«In your terms, it exists only in your waking hours. The innerwork that makes it possible is largely done in the sleep state.» — Seth, según Roberts, limita la realidad física a las horas de vigilia y pone en el dormir el trabajo interior que la hace posible; el ancla arranca después de la llamada de nota pegada a la frase de que la realidad física se enciende y se apaga.
«such is not the case. The demons simply represent a state of your own mind that is seemingly out there, objectified.» — Seth, según Roberts, niega que el demonio tenga realidad fuera de la creencia y lo reduce a un estado de la propia mente puesto ahí afuera; el tramo arranca en la plana siguiente al corte de la frase.
«He is challenging, finally, the old beliefs that say that the selfs spontaneity is not to be trusted. He is challenging those ideas emotionally and philosophically, uniting physical action and inner mobility.» — Seth, según Roberts, en material personal citado por Butts, dice que ella está desafiando por fin, emocional y filosóficamente, la creencia de que la espontaneidad del yo no es de fiar.
«They were not only his private religious beliefs, but those of his contemporaries generally — and (loudly:) the foundations upon which your present civilization was made.» — Seth, según Roberts, amplía el alcance de esas creencias religiosas: no son solo de ella, son el cimiento sobre el que se hizo esta civilización.
«The physical environment is real in different terms to an animal, a fish, a man, or a rock, for example, and different portions of that environment are correspondingly unreal [to each of those forms].» — Seth, según Roberts, en la sesión 711, reparte la realidad del entorno físico según quién lo perciba, y hace irreales para cada forma las porciones que no le tocan.
«If an inhabitant from another reality outside of your own physical system entirely were to visit it, and if “his” intelligence was roughly of the same degree as your own, he would still have to learn to focus his consciousness in the same way that you do, more or less, in order to perceive your world. He would have to alter his native focus and turn it in a direction that was foreign to him. In this way he could “pick up your station.”» — Seth, según Roberts, obliga al visitante de otra realidad a alterar su enfoque nativo para sintonizar esta estación.
«For now think of your own psyche, which is a consciousized identity, as a kind of “supernatural radio.” All of the stations exist at once within the psyche. These do not come through with sound alone, but with all the living paraphernalia of the world.» — Seth, según Roberts, llama radio sobrenatural a la psique, con todas las estaciones sonando a la vez y cada una trayendo un mundo entero.
«This Wilford, while carrying on within his own drama as, say, a sickly grocer in Iowa, with a mistress he cannot support, and a wife that he must support (with amusement) — this poor, besieged man on station KYU is also aware of all the other programs going on at the other stations. All of the other characters in all of the other plays are also aware of our grocer. There is a constant, creative give-and-take between the day’s various programs.» — Seth, según Roberts, monta la parábola del tendero Wilford Jones, personaje de radionovela consciente de todos los demás programas, para figurar el trato entre realidades.
«In other words, there is in the psyche constant interaction between all of the stations, and marvelous, literally unlimited creativity — in which, in your terms, all actions in one station affect all others in the other stations.» — Seth, según Roberts, hace que toda acción en una estación de la psique afecte a las de todas las demás.
«In greater terms you are a part of the same “set,” and at another level someone sees you as a character in a living room turning on a television set. Intrinsically the psyche, the private psyche, contains all such programs and realities.» — Seth, según Roberts, mete al espectador en el mismo aparato: alguien lo ve a uno como personaje que prende la televisión, y la psique privada contiene todos esos programas.
«The unknown reality is composed of those blocked-out portions of your own psyche, and the corresponding frameworks of experience they form.» — Seth, según Roberts, define la realidad desconocida como las porciones bloqueadas de la propia psique y los marcos de experiencia que forman.
«When you project your consciousness away from it, then you will encounter various kinds of atmospheric conditions. Once you understand what these are, and what effects can be expected, such journeys can be undertaken consciously, with the conscious mind that you know acting as the astronaut, for example, and the rest of your consciousness acting as the vehicle. Such journeys lead to quite valid realities, but as an astronaut must know the best landing conditions, so you must learn how to “come in” at the most auspicious time and under the best conditions.» — Seth, según Roberts, compara la proyección de la consciencia con un vuelo espacial: la mente consciente de astronauta y el resto de la consciencia de vehículo, con condiciones de aterrizaje que hay que aprender.
«Ruburt acts as a receiver when I speak, and so I must make certain adjustments so that my message can be channeled under conditions that involve, among other things, his nervous system and physical apparatus.» — Seth, según Roberts, en la sesión 711, la describe como receptora y dice tener que ajustar el mensaje a su sistema nervioso y a su aparato físico.
«In regular sessions, as now, he and I again both make adjustments, and so in sessions I am what I call a bridge personality, composed of a composite self — Ruburt and I meeting and merging to form a personality that is not truly either of us, but a new one that exists between dimensions. Beyond that is my real identity.» — Seth, según Roberts, se llama personalidad puente en las sesiones, un yo compuesto que no es ninguno de los dos y que existe entre dimensiones, con su identidad real más allá: así se enuncia dentro del libro lo que Seth dice ser.
«Christ is one of these: in some respects the most ideal detective — in a different context, however — out to save the good and to protect the world from harm. In certain ways man also projected outward the idea of a devil or devils, and for somewhat the same reasons, so that he could identify with what he thought of as the unsavory portions of the psyche as he understood them at any given time.» — Seth, según Roberts, pone a Cristo entre las personificaciones con que la especie se identifica, y al diablo como proyección de lo que cada época tuvo por impresentable en la psique.
«So, often when some personality from another station wants to help change the programming, he comes on in the form of a personality already known in fact or fiction. However, you must realize that that personality is larger them fact or fiction. “It” is independent at its own level, yet it is also a part of the portion of the private and mass psyche that is so represented. I am Seth in those terms.» — Seth, según Roberts, explica su propia aparición: una personalidad de otra estación se presenta bajo una figura ya conocida, independiente en su nivel y a la vez parte de la psique que la representa, y remata diciendo que en esos términos él es Seth.
«Seth also shows up in writings of the ancient occult religious philosophy, the cabala, which was originated by certain Jewish rabbis who sought to interpret the scriptures through numerical values; the soul of Seth is seen as infusing Moses; he was to reappear as the Messiah....» — nota de Butts: consigna que Seth aparece también en la cábala, que él llama filosofía religiosa ocultista antigua, con el alma de Set infundida en Moisés.
«Perhaps it’s been remiss on our parts, but Jane and I haven’t concerned ourselves with any connections her Seth may have with ancient Seths. We don’t believe such relationships exist on any kind of personalized basis, although someday we’ll ask Seth to comment here. We think the name of Jane’s Seth came about through much more pragmatic needs. In Chapter 1 of The Seth Material, Jane quoted Seth-to-be from the 4th session for December 8, 1963, as that personality came through on the Ouija board (which we’d used to initiate these sessions): “You may call me whatever you choose. I call myself Seth. It fits the me of me....» — Butts deslinda al Seth de Roberts de los Seth antiguos, dice que no cree que haya relación personalizada y cita la respuesta de la sesión 4 del 8 de diciembre de 1963, dada por tabla ouija.
«So I ask you: ‘What is your name, each of you?’ My name is nameless. I have no name. I give you the name of Seth because it is a name and you want names. You give yourselves names ... because you believe they are important.» — Seth, según Roberts, en la clase de ESP del 17 de abril de 1973 citada por Butts, se declara sin nombre y dice llamarse Seth porque se le quiere un nombre.
«They all represent portions of the psyche as they were understood at various times in man’s history. Those portions were originally projected out of the psyche as it began to understand itself, and personified its abilities and characteristics, forming superheroic characters of one kind or another, to which the psyche could then correspond and relate.» — Seth, según Roberts, lee los mitos ligados a su nombre como porciones de la psique proyectadas en personajes superheroicos; el ancla arranca después de la llamada de nota pegada.
«Set, or Seth, was an Egyptian god of evil (with an animal’s head) whose complicated origins could, it’s thought, reach back in» — nota de Butts: identifica a Set, el dios egipcio del mal con cabeza de animal, entre los Seth anteriores, con orígenes que él remonta a milenios; el tramo se corta en el cambio de plana.
«antiquity to at least 7500 B.c. In Judaism, of course, Seth was the third son of Adam and Eve, after Cain and Abel (Genesis 4 and 5). (As one correspondent wrote us: “Seth is also a Hebrew name meaning ‘appointed’ — i.e., the appointed one.”) However, some very early priestly genealogies omit Cain and Abel, and consider Seth as the oldest son of Adam; in the second century A.D., for instance, the Sethites, who were members of a little-known Gnostic sect, thought of Seth, the son of Adam, as the Messiah.» — nota de Butts: sigue el recuento del nombre en el judaísmo, con Set tercer hijo de Adán y Eva, y consigna a los setianos, secta gnóstica del siglo II, que lo tuvieron por Mesías; el tramo arranca en la plana siguiente al corte.
«Now: Dictation: As per Ruburt’s notes, each system of reality is indeed surrounded by its probable realities, though any one of those “probable realities” can be used as the hub, or core reality; in which case all of the others will then be seen as probable.» — Seth, según Roberts, en la sesión 712, rodea cada sistema de realidad con sus probables y declara relativa la elección del centro.
«Your own coordinates3 close you off from recognizing that there are indeed other intelligences alive even within your own solar system. You will never meet them in your exterior reality, however, for you are not focused in the time period of their existence.» — Seth, según Roberts, afirma inteligencias vivas dentro del propio sistema solar, no encontrables porque no se comparte el periodo de tiempo.
«When he did so, Ruburt mentally saw a long “heavy” beam extending straight to the west from a point between his eyes. It reached without impediment. He felt that this extension was composed of energy, and it seemed so strong that a person could walk upon it without difficulty.» — Seth, según Roberts, narra en tercera persona lo que ella vio al mandar energía a una mujer de California: un haz pesado y recto hacia el poniente, firme como para caminar sobre él.
«In class last evening Ruburt “picked up” messages that seemed to be too slow for his neurological structure. He was convinced that it would take many hours of your time in order to translate perhaps a simple clear paragraph of what he was receiving. He experienced some strain, feeling that each vowel and syllable was so drawn out, in your terms of time, that he must either slow down his own neurological workings to try to make some suitable adjustments.» — Seth, según Roberts, describe su episodio de sonido largo en la clase de ESP: mensajes tan lentos para su estructura neurológica que traducir un párrafo habría llevado horas.
«What he was sensing, however, was an entirely different kind of reality. He was beginning to recognize another synapse [neuronal] pattern not “native”; he was familiarizing himself with perceptions at a different set of coordinate points.» — Seth, según Roberts, lee ese episodio como reconocimiento de otro patrón de sinapsis, no nativo, y de percepciones en otras coordenadas.
«Some intelligent beings have visited your planet, finding not the world you know but a probable one.» — Seth, según Roberts, hace que algunos visitantes hayan dado no con este planeta sino con uno probable; el ancla corta antes de la llamada de nota pegada.
«My consciousness does not normally operate at the same speeds as yours, either (see Note 9), so in my terms what I am saying has long ago been said, while in your present it is new, or just reaching you.» — Seth, según Roberts, declara que su consciencia no opera a la velocidad de la de ellos y que lo que dice ya fue dicho hace mucho en sus términos.
«The universe was not created at any particular time, but neither is it expanding into nowhere like an inflated balloon that grows forever larger — at least not along the lines now being considered. The expansion is an illusion, based among other things upon inadequate time measurements, and cause-and-effect theories» — Seth, según Roberts, en la sesión 42 del 8 de abril de 1964 citada por Butts, niega que el universo se haya creado en un momento dado y llama ilusoria la expansión que miden los científicos.
«The universe is expanding in the way that a dream does . . . this in a most basic manner is more like the growth of an idea.» — Seth, según Roberts, en la sesión 43 citada por Butts, compara la expansión del universo con la de un sueño y con el crecimiento de una idea.
«Other kinds of consciousness coexist within the same ‘space’ that your world inhabits. They do not perceive your physical objects, for their reality is composed of a different camouflage structure. This is a general statement, however, for various points of your realities can and do coincide ... points of what you would call double reality, containing great energy potential» — Seth, según Roberts, en la sesión 524 citada por Butts, pone otras consciencias en el mismo espacio que este mundo, con puntos coordenados de realidad doble donde las realidades se juntan.
«This time she lay on her side facing north after we’d retired, for she wanted to send help to a very ill person in a small town in Canada. She felt the transmission go out from her forehead in a straight line toward its destination. She was physically uncomfortable as she lay on her left side, however, so after a few moments she turned over. The movement shut off the beam. After she’d settled down on her right side, she felt it go out again — but from the back of her head now, and still traveling truly north to its Canadian goal.» — Butts consigna un segundo envío de energía de Roberts, hacia una persona enferma en Canadá: el haz se cortó al voltearse ella y volvió a salir, ahora por la nuca, siempre rumbo al norte.
«It was then that we began to glimpse what we could call a “source” of the long material — for Jane told class that from our physical viewpoint “Seth’s true reality had sounded like a mountain” to her. It had been “that slow, that massive, that powerful. I slow down ... like a mountain, and feel trees grow.» — Butts recoge lo que Roberts dijo a la clase de ESP sobre la realidad verdadera de Seth: que sonaba como una montaña, lenta y masiva, y que ella se frenaba hasta sentir crecer los árboles.
«By making a strong effort she’d speeded up her reception of him so that he came through sounding like the familiar Seth. Thus she gained new insights into Seth and his home environment.» — Butts consigna que ella tuvo que acelerar esa recepción para que Seth sonara como el Seth conocido.
«her tongue worked persistently at the “sal” in “universal,” for example, but even so all that issued from her was an elongated hissing sound based upon the “s” alone.» — Butts describe el efecto físico del sonido largo en Roberts: minutos enteros con una sola sílaba y solo un siseo alargado saliendo de su boca.
«Of the two cassette tape recorders that had been operated by class members last night, one malfunctioned throughout the evening, unknown to its owner, and so recorded no class material at all.» — Butts consigna el muro: de las dos grabadoras de aquella clase una falló sin que su dueño lo supiera.
«tape snapped just before Jane finally succeeded in consistently uniting Seth’s slow, or long, reality with the accelerated version we ordinarily hear. For a few minutes, then, she was able to speak for Seth about his home environment — but since the information wasn’t recorded I have nothing to quote here.» — Butts consigna que la cinta de la otra grabadora se rompió justo antes de que ella lograra unir las dos velocidades, y que por eso no puede citar nada de ese tramo.
«The truth is, "Jane said to me the other evening, “I'm alone in this psychic thing. I'm the one who's got to do it.» — Jane Roberts, en primera persona y citada por Butts al abrir la sesión 713, se declara sola en el asunto psíquico y responsable de hacerlo ella.
«In the psyche, however, and in its greater reality, the characters have their own lives — quite as real as those of the actors.» — Seth, según Roberts, en la sesión 713, da a los personajes de la psique vida propia, tan real como la del actor que los representa.
«No energy is ever lost. The energy within your own thoughts, then, does not dissipate even when you yourself have finished with them. Their energy has reality in other worlds.» — Seth, según Roberts, niega que se pierda energía y hace que la de los propios pensamientos siga siendo real en otros mundos.
«True space travel would of course be time-space travel,5 in which you learned how to use points in your own universe as “dimensional clues” that would serve as entry points into other worlds.» — Seth, según Roberts, define el viaje espacial verdadero como viaje de tiempo y espacio, usando los puntos de este universo como entradas a otros mundos.
«Men have also visited other worlds through the ages. Others have visited your world. In dreams, and in altered states through history as you accept it, men have been taken upon such journeys. On their return they almost always interpreted their experiences in terms of their home programs, intertwining what happened into what ended up as great myths and stories — real but not real.» — Seth, según Roberts, atribuye a viajes en sueños y en estados alterados el origen de grandes mitos, reales y no reales a la vez.
«Ruburt found himself in an out-of-body state, looking at a jacket. It had four rectangular pockets. It was giant-sized. As he looked at it the front flap was open. In the dream he flew through this flap literally into another dimension, where the point of the flap was a hill upon which he landed.» — Seth, según Roberts, narra el sueño de ella con la chamarra gigante por cuya solapa voló a otra dimensión, donde la punta era una colina.
«The universe that you know is full of microscopic black holes and white holes,7 for example.» — Seth, según Roberts, llena el universo conocido de agujeros negros y blancos microscópicos.
«A psychic marketplace, for example, where ideas are exchanged, a place of psychic commerce, a pleasant environment with quite definite coordinates, established as an “orbiting satellite” on the outskirts of your world.» — Seth, según Roberts, describe la ciudad que encarga crear a los estudiantes de la clase de ella: mercado psíquico con coordenadas definidas, satélite en órbita a las orillas de este mundo.
«Ruburt directed his will in certain areas. Your will is your intent. All of the power of your being is mobilized by your will, which makes its deductions according to your beliefs about reality.» — Seth, según Roberts, iguala voluntad e intención y la hace movilizar todo el poder del ser según las creencias de cada quien.
«He is not a doctor of anything, for there is no one alive who could give him a degree in his particular line of research, or in yours ... He hides behind no credentials, or social system, or dogma....» — Seth, según Roberts, en una sesión privada del 29 de abril de 1975 citada por Butts, consigna que ella no tiene credenciales ni podría tenerlas, y que no se escuda en sistema ni dogma alguno.
«You do not understand the dimensions into which your own thoughts drop, for they continue their own existences, and others look up to them and view them like stars. I am telling you that your own dreams and thoughts and mental actions appear to the inhabitants of other systems like the stars and planets within your own; and those inhabitants do not perceive what lies within and behind the stars in their own heavens.» — Seth, según Roberts, en la sesión 453 del 4 de diciembre de 1968 citada por Butts, hace que los propios pensamientos aparezcan como estrellas y planetas a los habitantes de otros sistemas.
«What time unmanifest in our lives resides beneath our nights and days? What counterparts break within our smiles, what cracks appear in other skies as we talk and drink coffee in quiet domestic grace? Does the smallest wrinkle spreading on my face peal like thunder to molecular identities who study tissue heavens with a worried air, and dwell in cells, each private, yet connected?» — Dear Love, poema que Roberts escribió para Butts en la Navidad de 1973: pregunta si la menor arruga suena a trueno para las identidades moleculares que habitan las células.
«No one can be healed against his or her will. There is no such coercion.» — Seth, según Roberts, niega que se pueda curar a nadie contra su voluntad y descarta ahí toda coerción; el ancla arranca después de la llamada de nota pegada.
«There are inner conventions, then, as there are outer ones. As the exterior mores try to force you to conform to the generally accepted ideas, so the interior conventions try to force you to make your inner experience conform to preconceived packaging.» — Seth, según Roberts, pone convenciones interiores junto a las exteriores, y las hace igual de obligantes al empaquetar de antemano la experiencia.
«Conventions are the results of stratified and rigid “spontaneity.” At one time, in your terms, each custom had a meaning. Each represented a spontaneous gesture, an individual reaction. When these become a system of order, however, the original spontaneity is lost, and you project an artificial order that serves to stratify behavior rather than to express it. So there are psychic customs as there are physical ones, religious and psychic dogmas, guided tours of consciousness in which you are told to follow a certain line or a certain program. You become afraid of your private interpretation of whatever reality you find yourself experiencing.» — Seth, según Roberts, define la convención como espontaneidad vuelta rígida y consigna dogmas psíquicos y religiosos que quitan el ánimo de interpretar por cuenta propia.
«Ruburt has thus far insisted upon his private vision and his unique expression of the unknown reality as he experiences it, and so he brings back bulletins that do not agree with the conventional psychic line.» — Seth, según Roberts, declara que ella insiste en su visión privada y trae boletines que no concuerdan con la línea psíquica convencional.
«You will believe the psychic tour books and go hunting for demons instead of tigers.» — Seth, según Roberts, remata la burla de las guías psíquicas: se sale a cazar demonios en vez de tigres.
«Yet many had already seen the snapshots sent to your world by others, and so they begem to clothe their own original visions of their journeys in the guise of those other pictures. A group of handy ideas, concepts, and images then formed. The clear vision of such explorers became lost. Those travelers no longer tried to make their own original snapshots of the strange environments and realities through which they passed. It was easier to interpret their experiences through the psychic penny postcards.» — Seth, según Roberts, dice que los viajeros dejaron de hacer sus propias instantáneas y vistieron sus visiones con las postales psíquicas baratas de otros.
«Instead of pointing out to you, as in earthly travel booklets, the locations of art galleries and museums, they will direct you to the Akashic Records.» — Seth, según Roberts, se burla de las guías psíquicas que mandan a los Registros Akáshicos en vez de a los museos; el ancla corta antes de la llamada de nota.
«Instead of leading you to the archaeological sites of your world (intently), and its great ruins of previous civilizations, they will tell you how to find Adantis and Mu7 and other times in your past.» — Seth, según Roberts, sigue la burla: esas guías mandan a la Atlántida y a Mu en vez de a los sitios arqueológicos de este mundo.
«As the seed falls, blown by the wind in any environment, so there’s a seed of personality that rides on the wings of itself and falls into the worlds of many times and places. Falling with a sound that is its own true tone, struck in different chords.» — Jane Roberts, en estado alterado y por su cuenta al terminar la sesión 714, describe la personalidad como semilla que cae en muchos mundos con un tono propio y verdadero.
«When you strike your own true tone, you recognize it and you've got it made. You know your own meaning in the universe, even if you can't verbalize it.» — Jane Roberts, en primera persona al salir de aquel estado, dice que al dar con el propio tono verdadero uno sabe su significado en el universo aunque no pueda decirlo.
«In occult terms, the Akashic Records are supposed to contain the complete cosmic account of every action, thought, and feeling that has transpired since creation “began.” “I don’t believe in them,’’Jane said in answer to my question. “At least not in that fashion — so what am I doing tuning in to a psychic library?» — nota de Butts: define los Registros Akáshicos en términos ocultistas y cita la objeción de Roberts, que dice no creer en ellos de esa manera y se pregunta entonces qué hace sintonizando una biblioteca psíquica.
«These feeling-tones, then, pervade your being They are the form your spirit takes when combined with flesh.» — Seth, según Roberts, en la sesión 613 citada por Butts, llama tonos de sentimiento a las cualidades propias de cada quien y los declara la forma que toma el espíritu al juntarse con la carne.
«Then, between one moment and the next, the world literally changed for me. I’m viewing it from an entirely different perspective. It’s like the old world but infinitely richer, more ‘now,’ built better, and with much greater depth.» — Jane Roberts, en primera persona y por escrito dentro del coche, fecha el instante en que el mundo se le volvió el mismo y más rico, mejor hecho y más hondo.
«I saw these people as True People in the meaning of a whole people. These people were ‘more here,’ fuller somehow, more complete. People seemed to be classics of themselves.» — Jane Roberts describe a la gente del estacionamiento como Gente Verdadera, más llena y completa, clásicos de sí mismos.
«Ruburt has allowed a portion of his this-life consciousness to go off on a tangent, so to speak, on another path into another system of actuality (i.e., into his psychic library). His life there is as valid as his existence in your world.» — Seth, según Roberts, en la sesión 715, declara tan válida la vida de ella en la biblioteca psíquica como su existencia en este mundo.
«He has been working with me for some time, in your terms, yet I do not “control” his subjective reality in any way. I have certainly been a teacher to him.' Yet his progress is always his own challenge and responsibility, and basically what he does with my teaching is up to him.» — Seth, según Roberts, niega controlar la realidad subjetiva de ella y se llama solo su maestro, dejándole a ella el reto y la responsabilidad.
«Actually, the intellect and intuitions go hand in hand. In Ruburt’s experience, 10 the two finally began to work together as they should. What I call the high intellect then took over, a superb blend of intuitional and intellectual abilities working together so that they almost seem to form a new faculty (intently).» — Seth, según Roberts, une intelecto e intuición y llama alto intelecto a la mezcla de los dos, casi una facultad nueva.
«Many of you are fascinated by theories or concepts that hint at the multidimensionality of your beings, and yet you are scandalized by any evidence that supports it. Often you interpret such evidence in terms of the dogmas with which you are already familiar. This makes them more acceptable.» — Seth, según Roberts, señala el escándalo que provoca la evidencia de lo que la teoría insinúa, y la costumbre de leerla con los dogmas ya conocidos.
«Ruburt was often almost indignant when presented with such evidence, but he also refused to cast it in conventionalized guise, and his own curiosity and creative abilities kept him flexible enough so that learning could take place while he maintained normal contact with the world you know.» — Seth, según Roberts, consigna la indignación de ella ante esa evidencia y su negativa a vestirla de convención.
«I saw myself back in the first century A.D.: I was an officer of rather high rank in a Roman legion, and I was aboard a small galley in the Mediterranean Sea. I knew that I was on official military business for a land-based armed force, even though I was on ship. I didn’t much like the blunt, unfeeling T” that I saw. Briefly through those eyes I looked out upon twin rows of galley slaves» — Butts narra en primera persona su visión interna de sí mismo como oficial romano del siglo I sobre una galera, con dos hileras de galeotes ante los ojos.
«For myself, I think of reincarnational selves as having their roots in the physical reality we know (whether in simultaneous or linear terms of time), but of probable selves as having much wider and more complicated ranges of existence: I believe that even though we create them on an individual basis, our probable selves can reach into a multitude of other realities, both physical and nonphysical.» — Butts distingue por su cuenta el yo reencarnacional del yo probable, y le da a este un alcance mucho más ancho, físico y no físico.
«There are civilizations of the psyche, and only by learning about these will you discover the truth about the» — Seth, según Roberts, llama civilizaciones de la psique a lo que hay que estudiar para saber de las civilizaciones perdidas del planeta; el tramo se corta en el cambio de plana.
«At one time or another all of us on my plane give such lessons, but psychic bonds between teacher and pupils are necessary. This means that we must wait until personalities in your reality have progressed sufficiently for lessons to begin» — Seth, según Roberts, en la sesión 12 del 2 de enero de 1964 citada por Butts, dice que en su plano todos dan lecciones de ese tipo y que hacen falta lazos psíquicos entre maestro y alumnos.
«nevertheless what you call emotion or feeling is the connective between us, and it is the connective that most clearly represents the life force on any plane and under any circumstances.» — Seth, según Roberts, en esa misma sesión, hace de la emoción el conectivo entre él y ellos y la fuerza que mejor representa la vida en cualquier plano.
«The unknown reality is a variation of the one that you know, so that many of its features are latent rather than predominant in your own private and mass experience.» — Seth, según Roberts, al abrir la Sección 5, define la realidad desconocida como variación de la conocida, con sus rasgos latentes y no predominantes.
«Try to experience all of your present sense data as fully as you can. This tones your entire physical and psychic organism, bringing all of your perceptions together so that your awareness opens fully.» — Seth, según Roberts, dicta el undécimo Elemento de práctica: vivir a fondo todo el dato sensorial del momento para afinar el organismo entero.
«You will not learn it by trying to escape your own reality, or by attempting to dull your senses. This can only teach you what it means not to focus, and in whatever reality you visit the ability to focus clearly and well is a prerequisite.» — Seth, según Roberts, niega que embotar los sentidos o huir de la propia realidad enseñe a enfocar, y hace del enfoque claro un requisito de todo viaje.
«I do not suggest that you use “higher” or “lower” as directions, because of the interpretations that you may have placed upon them through your beliefs.» — Seth, según Roberts, se niega a usar arriba y abajo como direcciones del viaje interior, por lo que las creencias les han cargado encima.
«You are journeying through your own psyche, in other words, for different realities are different states of the psyche — materialized, projected outward and experienced. That applies to your home station or physical world as well.» — Seth, según Roberts, define las realidades distintas como estados distintos de la psique proyectados afuera, y mete al mundo físico en esa misma cuenta.
«If you tell yourself that sexual feeling is wrong, and organize your daily programming in that fashion, then when you “meditate,” or dispense with that orientation, you may suddenly find yourself presented with material that you consider unsavory.» — Seth, según Roberts, advierte que al alterar la consciencia sale lo que el programa diario dejaba fuera, el sentimiento sexual entre ello.
«You cannot deny the reality of the psyche, or those natural feelings that you experience in the flesh. When you begin to alter your perception, then, and your habitual picture of reality drops away, you may well find yourself encountering in distorted fashion elements of your own reality that you have up to then studiously denied or ignored.» — Seth, según Roberts, prohíbe negar la realidad de la psique y los sentimientos de la carne, que reaparecen distorsionados al caer el hábito perceptivo.
«This is most apparent with those who use the Ouija board or automatic writing as methods to alter consciousness.» — Seth, según Roberts, señala la tabla ouija y la escritura automática como los casos donde más se nota ese retorno de lo negado; el mismo libro dice que por ouija se inició el contacto con él.
«A young man I will call Joe wrote Ruburt a letter. He left his home in San Francisco to travel to India to study with a guru. He has been told that sexual desire mitigates against spiritual illumination. His home program involves him with no sex whatsoever. Joe tries desperately to abstain. At the same time, when he meditates and alters his consciousness, he immediately finds himself with a blinding headache, images of nude women, and fantasies of female goddesses out to tempt him from his celibate state.» — Seth, según Roberts, en la sesión 716, pone el caso de un joven que se fue a la India con un gurú convencido de que el deseo sexual estorba la iluminación, y que al meditar se topa con jaqueca y diosas tentadoras.
«There was a procession, a procession of the gods that went before my very eyes. I wondered and watched silently. Each god or goddess had a poet who went in company, and the poets sang that they gave reason voice. They sang gibberish, yet as I listened the gibberish turned into a philosophical dialogue. The words struck at my soul. A strange mirror-image type of action followed, for when I spoke the poets' words backwards, to my intellect they made perfect sense.» — Jane Roberts, leyendo en trance un libro que solo ella veía, da la visión de una procesión de dioses con poetas que cantaban galimatías vuelto diálogo filosófico; Butts atribuye el pasaje a la vista de mundo de William James.
«Actually, we'd always thought that such performances were somehow suspect. Not that mediums, or others, couldn't communicate with the “dead" — but to us, anyhow, exhibitions involving well-known personages usually seem . . . psychologically tainted.» — Butts declara sospechosas las sesiones donde un médium habla por un muerto célebre, sin negar que se pueda comunicar con los muertos.
«Numbers have an emotional equivalent, in that their symbols originally arose from the libido that always identifies itself with the number 1, and feels all other numbers originating out of itself. The libido knows itself as God, and therefore all fractions fly out of the self-structure of its own reality.» — Jane Roberts, en el mismo trance, dicta un pasaje que Butts atribuye a la vista de mundo de Carl Jung: la libido se sabe Dios y de ahí salen las fracciones.
«Ruburt picked up on the world view of a man known dead. He was not directly in communication with William James.» — Seth, según Roberts, en la sesión 718, deslinda lo ocurrido: ella sintonizó la vista de mundo de un muerto, no habló con William James.
«If he ignores the advice of his psyche, then his journeys into the unknown reality will be highly distorted. Seductive goddesses will follow him wherever he goes.» — Seth, según Roberts, advierte al joven del gurú que desoír a su psique le distorsionará todo viaje y que las diosas seductoras lo seguirán a donde vaya.
«Each person has such a world view, whether living or dead in your terms, and that “living picture” exists despite time or space. It can be perceived by others.» — Seth, según Roberts, da a cada quien, vivo o muerto, una vista de mundo, cuadro vivo que existe al margen del tiempo y del espacio y que otros pueden percibir.
«Each world view exists at its own particular “frequency,” and can only be tuned in to by those who are more or less within the same range. However, the frequencies themselves have to be adjusted properly to be brought into focus, and those adjustments necessitate certain intents and sympathies. It is not possible to move in to such a world view if you are basically at odds with it, for example. You simply will not be able to make the proper adjustments.» — Seth, según Roberts, pone cada vista de mundo en su frecuencia y niega el acceso a quien esté de raíz en contra de ella.
«The unknown reality is unknown only because you believe it must be hidden. Once that belief is annihilated, the other quite-as-legitimate views of reality can appear to your consciousness, and worlds just as valid as your own swim into view.» — Seth, según Roberts, atribuye lo oculto de la realidad desconocida a la creencia de que debe estar oculta.
«To do this, you must have faith in yourself, and in the framework of your known reality. Otherwise you will be too afraid to abandon even briefly the habitual, organized view of the world that is your own.» — Seth, según Roberts, pide fe en uno mismo y en el marco conocido para poder dejarlo un rato.
«Or, traveling in psychic exercises even slightly away from your own home station, you will still try to take your familiar paraphernalia with you, and interpret even entirely new situations of consciousness in the light of your own world view. You will transpose your own set of assumptions, then, into conditions in which they may not really fit at all.» — Seth, según Roberts, advierte contra llevarse la propia parafernalia al viaje y trasponer las suposiciones de casa a condiciones donde no encajan.
«Many people working with the Ouija board or automatic writing receive messages that seem, or purport, to come from historic personages. Often, however, the material is vastly inferior to that which could have been produced by the person in question during his or her existence. Any comparison with the material received to the written books or accounts already existing would immediately show glaring discrepancies.» — Seth, según Roberts, consigna los mensajes de ouija y escritura automática atribuidos a personajes históricos y los halla muy inferiores a lo que esa persona escribió en vida.
«The most legitimate instances of communication between the living and the dead occur in an intimate personal framework, in which a dead parent makes contact with its offspring': or a husband or wife freshly out of physical reality appears to his or her mate. But very seldom do historic personages make contact, except with their own intimate circles.» — Seth, según Roberts, admite la comunicación entre vivos y muertos solo en marco íntimo y niega que los personajes históricos hagan contacto fuera de su círculo.
«You may signify this to yourself symbolically, so that the board or the automatic writing designates its origin as being Socrates10 or Plato. If you are spiritualistically oriented, the information may come from a famous psychic recently dead. Instead, you yourself have momentarily escaped from your accustomed world view, or home program; you are reaching out into other levels of reality, but still interpreting your experience in old terms.» — Seth, según Roberts, explica la firma de Sócrates o Platón en la tabla como símbolo propio, y la del médium célebre recién muerto para quien viene del espiritualismo.
«You are each as valid as Socrates or Plato. Your influences reach through the entire framework of actuality in ways that you do not understand. Socrates and Plato — and William James (note that I smiled) — specialized in certain fashions. You know these individuals as names of people that existed — but in your terms, and in your terms only, those existences represented the flowering aspects of their personalities. (Louder.) They often dwelled nameless upon the face of the earth, as many of you do, in your terms only, now, before reaching what you think of as those summits.» — Seth, según Roberts, iguala a cualquiera con Sócrates y Platón, y dice que esos nombres son el florecimiento de personalidades que también anduvieron sin nombre por la tierra.
«Consciousness is always conscious of itself, and of its validity and integrity, and in those terms there is no unconsciousness.» — Seth, según Roberts, niega que exista lo inconsciente: la consciencia siempre se sabe a sí misma, válida e íntegra.
«The fly is intensely conscious, at every moment engrossed in itself and its environment, precisely tuned to elements of which you are “unconscious.” There are simply different kinds of consciousness, and you cannot basically compare one to the other any more than you can compare, say, a toad to a star to an apple to a thought to a woman to a child to a native to a suburbanite to a spider to a cat. They are varieties of consciousness, each focused upon its own view of reality, each containing experience that others exclude.» — Seth, según Roberts, declara intensamente consciente a la mosca y prohíbe comparar unas variedades de consciencia con otras.
«I mean it kindly — but Jane and I have never believed that a living individual could be in contact with a famous dead person; especially through the Ouija board or automatic writing. Although we haven’t scoffed at such instances when we heard of them, we’ve certainly regarded those encounters through very skeptical eyes. The gist of our attitudes is that we find it most difficult to believe that “Socrates” — wherever he is and whatever he may be doing, in our terms — is willing to drop everything to give very garbled information to a well-intentioned, really innocent person living in, say, a small town in Virginia. There must be other things he wants to do!» — Butts declara, con buen ánimo, que ni él ni Roberts han creído nunca en el contacto con un muerto célebre por tabla ouija o escritura automática.
«A rigid, dogmatic concept of good and evil will force you to perceive physical existence as a battleground of opposing forces, with the poor unwary soul almost as a buffer. Or you will think of the poor soul as a blackboard eraser, slapped between two hands — one good and one evil. Upon the blackboard, in this homey analogy, would be written the soul’s earthly experiences.» — Seth, según Roberts, en la sesión 719, objeta el concepto rígido de bien y mal por volver la existencia un campo de batalla con el alma de borrador entre dos manos.
«Instead of thinking you are in contact with a great philosopher or “ancient soul,” you may believe that you are instead visiting with a demon or a devil, or that you are possessed of an evil spirit.» — Seth, según Roberts, explica por qué el mismo material reprimido se lee unas veces como filósofo antiguo y otras como demonio o posesión.
«None of this is necessary. There is no danger in the exercises I suggest. You are in far greater danger the longer you inhibit your natural feelings, and alterations of consciousness often present you with the framework in which these come to light. If they do not in one way or another come to your attention, then it is very possible that the denied energy behind them will erupt in ruptured relationships or illnesses.» — Seth, según Roberts, niega peligro en sus ejercicios y pone el riesgo del otro lado, en la energía reprimida que revienta en relaciones rotas y enfermedades.
«“Psychic explorations” never cause such difficulties, nor do they ever compound original problems. On the contrary, they are often highly therapeutic, and they present the personality with an alternative — an alternative to continued repression that would be literally unbearable.» — Seth, según Roberts, declara terapéuticas las exploraciones psíquicas y las opone a una represión insostenible.
«There is nothing unconventional about gods and demons, good spirits or bad spirits. These are quite conventional interpretations of experience, with religious overtones. Cults simply represent counter-conventions, and they are as dogmatic in their way as the systems they reject» — Seth, según Roberts, llama convencionales de religión a los dioses y demonios y a los espíritus buenos y malos, y declara los cultos contraconvenciones tan dogmáticas como los sistemas que rechazan; Butts anota que Seth le dictó subrayar la frase.
«Close your eyes. Imagine a photograph of yourself (in parentheses: Yes, we are finally back to photographs).3 In your mind’s eye see the photograph of yourself on a table or desk. If you are working mentally with a particular snapshot, then note the other items in the picture. If the photograph is strictly imaginary, then create an environment about the image of yourself. Look at the image in your mind as it exists in the snapshot, and see it as being aware only of those other objects that surround it. Its world is bounded by the four edges of the picture.» — Seth, según Roberts, dicta el decimotercer Elemento de práctica: meterse en la propia fotografía, con el mundo acotado por los cuatro bordes.
«This is far different from any milk that I ever drank! It is like a chalk with chemicals, far divorced from any cow!» — Seth, según Roberts, en trance y tras probar la leche que Butts le llevó, reniega de ella como gis con químicos y lejos de toda vaca; fuera del trance ella no había hecho ningún gesto al beberla.
«In dream travel it is quite possible to journey to other civilizations — those in your past or future, or even to worlds whose reality exists in other probable systems. There is even a kind of “crossbreeding,” for you affect any system of reality with which you have experience. There are no closed realities, only apparent boundaries that seem to separate them.» — Seth, según Roberts, admite viajar en sueños a otras civilizaciones del pasado, del futuro o de sistemas probables, con contagio entre sistemas y sin fronteras reales.
«If you are in a dark mood, for example, then your picture of inner reality might be dim, poorly outlined, or foreboding. This would not necessarily mean that the dream itself had tragic overtones, simply that it was taken in the “poor light” of the psyche’s mood.» — Seth, según Roberts, atribuye el tono sombrío de una instantánea onírica al clima interno del momento y no al sueño mismo.
«Before you go to sleep, tell yourself that you will mentally take a dream snapshot7 of the most significant dream of the night. Tell yourself that you will even be aware of doing this while asleep, and imagine that you have a camera with you.» — Seth, según Roberts, dicta el decimocuarto Elemento de práctica: pedirse antes de dormir la instantánea del sueño más significativo, con una cámara imaginaria.
«It represented two things: An association with a definite past old-age sensation, and a “precognitive” moment in this life that you have not as yet encountered. Because you were [psychically] open, the position of your body and head acted as the associative bridge between the two events. You were not senile in either.» — Seth, según Roberts, explica la visión de Butts como puente asociativo entre una vejez pasada y un momento precognitivo de esta vida.
«I saw the head of a very old man, in his late 80’s or early 90’s. I had no doubt that this was a definitely probable version of myself in this reality. How strange to peek at the curve of my own skull from that odd viewpoint.» — Butts describe en primera persona la visión de su propia cabeza de anciano, versión probable de sí mismo en esta realidad.
«We must remember that through Darwinism or Neo-Darwinism science tells us that life has no creative design, or any purpose, behind it; and that, moreover, this ineffable quality called “life” originated (more than 3.4 billion years ago) in a single fortuitous chance combination of certain atoms and molecules in a tidal pool, say, somewhere on the face of the planet....» — Butts resume lo que la ciencia le dice del origen de la vida —sin diseño ni propósito, por combinación fortuita en una charca— y consigna a Darwin y al neodarwinismo por su nombre.
«Aside from whatever difficulties I may have about resolving the internal beauties of our physical construction with our external behavior, I hope my deep skepticism about this little “official” scenario on evolution is apparent here.» — Butts declara firmado su escepticismo ante el guion oficial de la evolución, y lo distingue de las bellezas internas del cuerpo que admira en las microfotografías.
«Now, using an analogy only, let me explain that your thoughts and feelings also give off shadows (intently) that we will here call hallucinations.» — Seth, según Roberts, en la sesión 720, llama alucinaciones a las sombras que dan el pensamiento y el sentimiento; el ancla corta antes de la llamada de nota.
«Stormy dream landscapes are on the one hand hallucinations, cast upon the inner world by your thoughts or feelings. On the other hand, they are valid representations of your inner climate at the time of any given dream. Such scenes can be changed in the dream state itself if you recognize their origin. You might choose instead to learn from such hallucinations by allowing them to continue, while realizing that they are indeed shadows cast by your own mind.» — Seth, según Roberts, hace del paisaje onírico tormentoso a la vez alucinación y retrato fiel del clima interior, y admite dejarlo correr para aprender de él.
«You may believe that God exists as a kindly father, or you might personify him as Christ or Buddha. In your dreams you might then encounter such personages. They are quite valid, but they are also hallucinations cast by your own thoughts and feelings. Dreams of Heaven and Hell alike fall into the same category, in those» — Seth, según Roberts, declara válidos y a la vez alucinatorios los encuentros oníricos con Cristo o con Buda, y mete en la misma cuenta los sueños de cielo e infierno; el tramo se corta en el cambio de plana.
«Now: The physical shadow of a tree bears witness to the existence of a tree, even if you see only the shadow; so your hallucinations appearing in dreams also bear witness to their origin, and give testimony to a valid “objective” dream object that is as “solid” (slowly) in that reality as the tree is in your world.» — Seth, según Roberts, hace de la alucinación onírica testimonio de un objeto onírico tan sólido en su realidad como el árbol en esta.
«the individual's history is written in the psyche, and can indeed be uncovered.» — Seth, según Roberts, en material personal citado por Butts, declara escrita en la psique la historia del individuo y susceptible de ser desenterrada.
«It seems to be an easy natural state for me to take; I go into it ‘like a duck takes to water,’ I guess, but it’s difficult to explain. It’s a state in which hardly any resistance is encountered; answers are ‘just there.’ The only problem is in getting the information across to another person in terms of his or her vocabulary. I enjoy this particular ‘alteration of consciousness,’ although I don’t really recognize it as alien to my regular one; it’s just different. It’s an accelerated condition mixed with passivity, poised.» — Jane Roberts describe por escrito el estado en que dio nueve horas de impresiones a un científico visitante: sin resistencia, con las respuestas ahí, acelerado y a la vez pasivo.
«When you look into a mirror you see your reflection, but it does not talk back to you. In the dream state you are looking into the mirror of the psyche, so to speak, and seeing the reflections of your own thoughts, fears, and desires. Here, however, the “reflections” do indeed speak, and take their own form. In a certain sense they are freewheeling, in that they have their own kind of reality. In the dream state your joys and fears talk back to you, perform, and act out the role in which you have cast them.» — Seth, según Roberts, en la sesión 721, hace del sueño el espejo de la psique donde el reflejo sí contesta y actúa el papel que se le dio.
«You will use your own private symbols. These represent your psychic shorthand. They are connected with your personal creativity, so dream books will not help you in deciphering those meanings if they attach a specific significance to any given symbol.» — Seth, según Roberts, llama taquigrafía psíquica a los símbolos propios y descarta los libros de sueños que le fijan un significado a cada uno.
«Symbols themselves change. If you had before you your entire dream history and could read — as in a book — the story of all of your dreams from birth, you would discover that you changed the meaning of your symbols as you went along, or as it suited your purposes.» — Seth, según Roberts, hace cambiar los símbolos a lo largo de la vida de quien sueña, según le convenga.
«At various times in history the same image has been used quite differently. When people are fighting dictatorial monarchs then often the king appears in dreams as a despicable character, to be booted and routed out.» — Seth, según Roberts, hace variar con la historia el sentido de la misma imagen: el rey de los sueños cambia cuando se está peleando contra monarcas.
«In the waking state you travel to places. They do not come to you. In dream reality, however, your intent causes places to spring up about you.» — Seth, según Roberts, invierte el viaje en el sueño: ahí los lugares vienen a uno, convocados por la intención; el tramo se corta en el cambio de plana.
«In a dream, attempt to expand whatever space you find yourself in. If you are in a room, move from it into another one. If you are on a street, follow it as far as you can, or turn a corner. Unless you are working out ideas of limitations for your own reasons, you will find that you can indeed expand inner space. There is no point where an end to it need appear.» — Seth, según Roberts, dicta el decimoquinto Elemento de práctica: ensanchar dentro del sueño el espacio en que uno se halle, sin que aparezca fin.
«Quite literally, you live more than one life at a time. You do not experience your century simply from one separate vantage point, and the individuals alive in any given century have far deeper connections than you realize. (Intently:) You do not experience your space-time world, then, from one but from many viewpoints.» — Seth, según Roberts, en la sesión 721, enuncia la tesis de los counterparts: se vive más de una vida a la vez y el siglo propio se experimenta desde muchos puntos de vista.
«The greater self “divides” itself, materializing in flesh as several individuals, with entirely different backgrounds — yet with each embarked upon the same kind of creative challenge.» — Seth, según Roberts, hace que el yo mayor se divida y se encarne como varios individuos de biografías distintas y un mismo reto creativo.
«The black man is somewhere a white man or woman in your time. The white man or woman is somewhere black. The oppressor is somewhere the oppressed. The conqueror is somewhere the conquered. The primitive is somewhere sophisticated — and, in your terms, somewhere on the face of the same earth in your general time. The murderer is somewhere the victim, and the other way around — and again, in your terms of space and time.» — Seth, según Roberts, reparte los papeles entre counterparts: el negro es blanco en otra parte, el opresor es oprimido, el asesino es la víctima, y todo en el mismo tiempo y espacio.
«So Joseph “was” Nebene, a scholarly man, not adventurous, obsessed with copying ancient truths, and afraid that creativity was error; authoritative and demanding. He feared sexual encounter, and he taught rich Roman children.» — Seth, según Roberts, describe a Nebene, uno de los counterparts que atribuye a Butts: copista obsesionado con las verdades antiguas, que tenía la creatividad por error.
«In greater terms, these experiences all occur at once. The black woman followed nothing but her own instincts (and very vividly, too). I do not want to give too much background here, and hence rob our Joseph of discoveries that he will certainly make on his own — but (louder) the woman bowed only to the authority of her own emotions, and those emotions automatically put her in conflict with the [British colonial] politics of the times.» — Seth, según Roberts, sitúa a la mujer negra de Jamaica entre esos counterparts y la hace obedecer solo a sus emociones, lo que la puso contra la política colonial británica.
«Michelangelo [who lived for 89 years, from 1475 to 1564] decided to span a century himself instead of as three counterparts, say. Since there aren't any laws about all of this, a great man could choose to do it that way in order to affect our world more with his gifts, from his own personal angles. He wouldn't necessarily want or need the counterparts, at least for those purposes. He'd have more than enough to offer on his own.» — Jane Roberts, por su cuenta esa misma noche, propone una variante: un hombre podría abarcar un siglo él solo, en vez de repartirse en counterparts, para dejar más de sí en este mundo.
«You speak of races of men. You do not understand how consciousness is distributed in that regard. You have counterparts» — Seth, según Roberts, acuña el término counterparts para las otras versiones de uno vivas en el mismo tiempo, y lo amarra al reparto de la consciencia entre las razas; el ancla corta antes de la llamada de nota.
«As a Roman, you pretended to be a follower while you were a man of rank in the military. You had no belief in the conventional gods, yet you were supposed to be conquering lands in their names. You traveled even to Africa You had a disdain for leaders as liars, and of the masses as followers, and so you were always in one kind of dispute or another with your fellows, and even with the authorities.» — Seth, según Roberts, en sesión privada posterior citada por Butts, añade que el oficial romano no creía en los dioses convencionales aunque conquistaba en su nombre, y andaba siempre en pleito.
«It is true that you create your own dreams, but it is also true that you only focus upon certain portions of your dream creations. Even in the dream state, any present expands into its own version of past and future; so in those terms the dream possesses its own background, its own kind (underlined) of historic past, the moment you construct it.» — Seth, según Roberts, en la sesión 722, da al sueño un pasado propio desde el instante en que se construye.
«The past and future ripple outward from any event, making it “thicker”4 than it appears to be.» — Seth, según Roberts, hace que el pasado y el futuro se ondulen hacia afuera desde cualquier suceso y lo vuelvan más grueso de lo que parece.
«In greater terms, the past is definitely created from the present. In your system of reality this does not seem to be the case at all, since your senses project a forward kind of motion outward upon events. “Subatomic particles,” however, appear in your present, rippling into your system’s dimensions, creating their own “tracks,” which scientists then try to observe.» — Seth, según Roberts, crea el pasado desde el presente y hace que las partículas subatómicas dejen sus propias huellas al entrar en este sistema.
«Subjectively, you will think of your own thoughts as waves rather than as particles. Yet in the dream level of reality those waves “break” into particles, so to speak. They form pseudo-objects from your viewpoint.» — Seth, según Roberts, hace del pensamiento una onda que en el sueño rompe en partículas y forma seudoobjetos.
«So the self that you know is a physical trace or intrusion into space and time of an “original” self that never appears. In away, then, you are as ghostly as an electron.» — Seth, según Roberts, en la sesión 722, hace del yo conocido una huella en el espacio y el tiempo de un yo original que nunca aparece, y lo declara tan fantasmal como un electrón.
«The unknown self, the “original self,” straddles realities, dipping in and out of them in creative versions of itself, taking on the properties of the system in which it appears, and the characteristics native to that environment.» — Seth, según Roberts, pone al yo original a caballo de las realidades, entrando y saliendo en versiones creativas de sí que toman las propiedades de cada sistema.
«There are psychic pools of identity, therefore; and generally speaking those alive in any given century are as much a part of that inner pool as they are a part of the particular race to which they may belong. Each member of the species is an individual, and each member of a psychic pool of identity is an individual.» — Seth, según Roberts, postula albercas psíquicas de identidad y salva la individualidad de cada miembro, igual que en una raza.
«As certain races possess their own characteristics and shared biological background, and come from the same biological pool, however, so these counterparts come from the same psychic pool, and physically seed the members of the races at any given “time.” In such a way mental abilities and propensities are given a greater range, and distributed about the earth.» — Seth, según Roberts, hace venir a los counterparts de una misma alberca psíquica, que siembra a los miembros de las razas y reparte capacidades por la tierra.
«You imagine personhood to be a kind of mental particle that must have definite boundaries, or it will lose its identity. The identity of even the smallest consciousness is always maintained — but not limited.» — Seth, según Roberts, culpa a la idea corriente de persona de imaginarla partícula con fronteras, y sostiene la identidad de la consciencia más pequeña sin limitarla.
«The many languages that are now known originated in what you can call, from your point of view, nonwaking reality. Words, again, are related to the neurological structure, and languages follow that pattern.» — Seth, según Roberts, en la sesión 723, hace nacer todas las lenguas conocidas en la realidad no despierta y las ata a la estructura neurológica.
«A long time ago I said that language would be impossible were it not for its basis in telepathic communication3 — and that communication is built up of microscopic images and sounds. These are translated into different languages.» — Seth, según Roberts, funda el lenguaje en la comunicación telepática, hecha de imágenes y sonidos microscópicos.
«Waking, you generally become familiar with your thoughts through words that are mental, automatically translating your thoughts into language. Your thoughts therefore fall, or flow, into prefabricated forms. In the dream state, however, thoughts are often experienced directly, colon: ‘You live” them out. You become what they are. They are projected instantly and in such a fashion. They escape the limitations that you often place upon them. That is why it is frequently difficult to remember your dreams in a verbal fashion, or squeeze them back into the expression of usual language. Period. Your language often purposely inhibits meaning.» — Seth, según Roberts, hace caer el pensamiento despierto en formas prefabricadas y acusa al lenguaje de inhibir el sentido a propósito.
«You might know the word for “rock” for instance. Knowing the word might actually prevent you from seeing any specific rock clearly as it is, or recognizing how it is different from all other rocks.» — Seth, según Roberts, hace que saber la palabra piedra estorbe el ver una piedra concreta y lo distinto que es de las demás.
«In the dream state you might find yourself sleeping on a sunwarmed rock, or climbing on icy ones. You might feel yourself encased in a rock, with your consciousness dispersed. You might have any number of different experiences involving rocks, all quite liberating. After such an experience you might look at rocks in an entirely different fashion, and see them in ways that escape your language. Rocks give forth sounds that you do not hear, for example, yet your language automatically limits your perception of what any rock is.» — Seth, según Roberts, opone a esa ceguera la experiencia onírica de la piedra, hasta quedar uno dentro de ella, y señala que las piedras dan sonidos que no se oyen.
«Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words — so, for an exercise, look about your environment. Make up new, different “words” for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before.» — Seth, según Roberts, dicta el decimoséptimo Elemento de práctica: rebautizar los objetos con sonidos espontáneos para romper el patrón de la palabra acostumbrada.
«Ruburt has been involved with what he calls the Sumari language (as referred to in the notes at break). This is an expression of the consciousness at a different focus. It is the native expression of a kind of experience that happens just outside of your official one-line focus of consciousness.» — Seth, según Roberts, llama sumari a la lengua de trance de ella y la declara expresión nativa de una experiencia apenas fuera del enfoque oficial.
«This is a dream or trance language. It is as native to its level of consciousness as English is to your own — or Indian, or Chinese, or whatever. The various focuses of consciousness will have their own “languages.”» — Seth, según Roberts, llama al sumari lengua de sueño o de trance, tan nativa de su nivel como el inglés del suyo.
«Many people find themselves singing “gibberish” when they are alone, and trying to free themselves from language structuring. Children often play by constructing their own languages; and speaking with tongues (glossolalia) is a beautiful example of the attempt to express a reality that escapes the tyranny of overly structured words.» — Seth, según Roberts, pone la glosolalia y los idiomas inventados de los niños como intentos hermosos de escapar a la tiranía de la palabra demasiado estructurada.
«Music is a language. Painting is a language. The senses have a language of their own — one that seeps into structured words but dimly.» — Seth, según Roberts, declara lenguas a la música y a la pintura y da otra a los sentidos, que apenas se filtra en la palabra.
«It is composed, however, of sounds and syllables Ruburt has heard before, made up of jumbled Romance languages.» — Seth, según Roberts, compone el sumari de sonidos ya oídos por ella, lenguas romances revueltas; el ancla corta antes de la llamada de nota.
«In its own way, the world at any given time is a unit of individuals with deep psychic and biological connections. Each of you take a hand at painting a combined world picture. Though each version is slightly different, and some appear strange within the whole context, still a world picture emerges at any given “time.”» — Seth, según Roberts, en la sesión 724, hace del mundo de cada época una unidad de individuos conectados que pintan entre todos un cuadro común.
«That greater personhood gives birth to many “psychic children,” who then become physical by being born into the races of men and women.» — Seth, según Roberts, hace que la personalidad mayor dé a luz hijos psíquicos que se vuelven físicos naciendo en las razas.
«Counterparts can be better related to physical families, for you might well have four or five counterparts alive in one century, as you might have four or five family members spanning the same amount of time. Basically, however, counterparts deal with fulfillments and developments that transcend races or countries.» — Seth, según Roberts, acerca los counterparts a las familias más que a las razas y les da un alcance que pasa por encima de razas y países.
«Time as you understand it is utilized as a method of focus, a divider like a room divider, separating purposes instead of furniture.» — Seth, según Roberts, hace del tiempo un divisor de propósitos, como el que separa una sala.
«Give us a moment... The world then is indeed like a theater at any given time, but the play is not preordained or laid out. It is instead a spontaneous happening in which overall themes are accepted beforehand.» — Seth, según Roberts, compara el mundo con un teatro de tema aceptado de antemano y trama espontánea, no preordenada.
«The soul, or this greater personage, does not simply send out an old self in new clothes time and time again (humorously), but each time a new, freshly-minted self that then develops and goes its own way.» — Seth, según Roberts, niega que el alma mande al mismo yo con ropa nueva cada vez: cada vida es un yo recién acuñado que sigue su propio camino.
«So you, Joseph, were Nebene, and the black woman, and the Roman soldier,3 and yet you were none of those.» — Seth, según Roberts, le dice a Butts que fue esos tres y a la vez ninguno de ellos.
«First of all, in your terms “pure” identity has no form. You speak of one self within one body because you are only familiar with one portion of yourself. You suppose that all personhood in one way or another must have an equivalent of a human form, spiritual or otherwise, to “inhabit.”» — Seth, según Roberts, niega forma a la identidad pura y desarma la suposición de que toda persona necesite un cuerpo, espiritual o no, donde meterse.
«Identity itself is composed of pure energy. It takes up no space. It takes up no time.» — Seth, según Roberts, en la sesión 725, hace la identidad de energía pura, sin espacio ni tiempo; el ancla corta antes de la llamada de nota.
«for you have no idea of the difficulties involved in explaining time to someone who must take time to understand the explanation.» — Seth, según Roberts, en la sesión 14 del 8 de enero de 1964 citada por Butts, se queja con humor de tener que explicar el tiempo a quien necesita tiempo para entender la explicación; el volumen imprime la frase dos veces y aquí se ancla en la primera.
«People who read so-called “occult” literature may consider me “an old soul,” like a mountain. Period. In grand ancient fashion above other more homey villagelike souls, I have my own identity. Yet that identity is composed of other identities, each independent, as the mountain is composed of its rocks and could not exist without them, even while it rises up so grandly above the plain.» — Seth, según Roberts, consigna que la literatura ocultista lo llamaría alma vieja, y se figura a sí mismo como montaña compuesta de las identidades que la forman.
«I do not feel invaded by the selves or identities that compose me, nor do they feel invaded by me — any more than the trees, rocks, and grass would resent the mountain shape (intently) into which they have grown.» — Seth, según Roberts, niega sentirse invadido por las identidades que lo componen, ni ellas por él.
«The top of the mountain can “see further,” colon: Its view takes in the entire countryside. So I can look into your reality, as the top of the mountain can look down to the plain and the village. The mountain peak and the village are equally legitimate.» — Seth, según Roberts, iguala en legitimidad la cima de la montaña y el pueblo del valle, aunque desde arriba se vea más lejos.
«No single blade of grass dies but that it affects the entire mountain. The energy within the grass sinks into the earth, and in your terms is again reborn. Trees, rocks, and grass constantly exchange places as energy changes form (very forcefully, leaning forward, eyes wide and dark).» — Seth, según Roberts, hace que ninguna brizna muera sin afectar la montaña entera, con árboles, rocas y pasto cambiando de lugar al cambiar la energía de forma.
«So identities throw off seeds of themselves in somewhat the same fashion. These may grow up in quite different environments. Their realities in no way threaten the identity of the “parent.” Identities have free choice, so they will pick their environments or birthplaces.» — Seth, según Roberts, hace a las identidades soltar semillas de sí que eligen su entorno y su lugar de nacimiento sin amenazar al que las echó.
«It is fashionable to say: “You are what you eat” semicolon; that, for example, “You must not eat meat because you are killing the animals, and this is wrong.” But in deeper terms, physically and biologically, the animals are born from the body of the earth, which is composed of the corpses of men and women as much as it is of other matter. The animals consume you, then, as often as you consume them, and they are as much a part of your humanity as you are a part of their so called animal nature.» — Seth, según Roberts, objeta el argumento de no comer carne por no matar animales: estos nacen del cuerpo de la tierra, hecho también de cadáveres humanos, y consumen a la gente tanto como ella a ellos.
«Through such strands of consciousness all of your world is related. Your own identity sends out strands of itself constantly, then. These mix psychically with other strands, as physically atoms and molecules are interchanged. So there are different organizations of identity in which you play a part.» — Seth, según Roberts, llama hebras de consciencia a lo que emparienta el mundo entero y mete a cada quien en varias organizaciones de identidad.
«There are no ceilings to the self, and no boundaries set about you. There is no place where identity need stop — yours or anyone else’s. Now, if you want to rest for a while in the familiar privacy of your self-adopted selfhood, then that is all right. But if you discover paths or ‘strands of consciousness’ leading from yourself into other realities, then follow them....» — Seth, según Roberts, en la clase de ESP citada por Butts, niega techos y fronteras al yo y manda seguir las hebras de consciencia que lleven a otras realidades.
«My heart knows no arithmetic, Yet one and one are two, And the heart totals parts That whisper sums their fibers through. My brain is slow on calculus, Yet its rules apply To every cell my thoughts leap through And everything I think or do. I never knew equations, But my atoms’ chemistry With precise calculation Add up to me.» — My Heart Knows No Arithmetic, poema que Roberts escribió en 1959, a los treinta años: la química de sus átomos suma exactamente a ella.
«Ruburt is connected with me in that manner. He is also connected with any ant in the backyard in the same way.» — Seth, según Roberts, se pone a sí mismo y a ella en el mismo trato de hebras con cualquier hormiga del patio; el ancla corta antes de la llamada de nota.
«Imagine that you are a small sandy island with softly graded shores (pause), some palm trees (pause), and a haven for traveling birds.» — Seth, según Roberts, en la sesión 726, abre la parábola de la isla de arena con palmeras y aves de paso, para figurar a los counterparts.
«Your wondering forms a tiny window in the fog, and you look through. Astonished, you discover that a small coral path unites you with the next island that is glimpsed, shimmering now through the ever-growing window in the mist. Who is to say where you end and the other island begins?» — Seth, según Roberts, ofrece la imagen de la ventana abierta en la niebla y del camino de coral que une una isla con la siguiente, y pregunta dónde acaba una y empieza la otra.
«Island Three’s spirit says: ‘You are myself, utterly devoid of feeling — dead and barren.” The spirit of the desert island replies: “I am myself. You must be some counterpart, drunken with sensation, not realizing the purity of my own stripped-down nothingness.» — Seth, según Roberts, enfrenta a la isla poblada con la desierta, cada una viendo en la otra una versión defectuosa de sí misma.
«The two spirits meet. Each island is changed. “We are counterparts, each of the other, yet inviolate.» — Seth, según Roberts, cierra el intercambio entre islas con la fórmula de la parábola: counterparts una de otra y a la vez inviolables.
«The third island, startled, replies: “I am myself, and you must be imperfect versions of my reality.» — Seth, según Roberts, pone en boca de la tercera isla la reacción común: tenerse por el original y a las otras por versiones defectuosas; el tramo se corta en el cambio de plana.
«This is the end of our analogy. The spirit of each of the four islands was itself intact, and the interchanges were chosen. You are not islands unto yourselves, except when you choose to be. Each counterpart views reality from its own viewpoint, and there is never any invasion.» — Seth, según Roberts, cierra la parábola: las islas quedaron intactas, los intercambios fueron escogidos y nunca hubo invasión.
«Your mother and father are alive, as are Ruburt’s parents,4 but their realities are not pinpointed to any given island, and they are forming alliances, but always from the standpoints of their own unique identities. Your own private identities do not need fences. They are themselves. They can combine and unite with others, yet retain their uniqueness and experience. Only your concepts limit your understanding of that prime freedom.» — Seth, según Roberts, declara vivos a los cuatro padres muertos de ellos, formando alianzas desde su propia identidad, y culpa a los conceptos de estorbar el entender esa libertad.
«Consciousness is not limited. Identities can mix and merge while retaining their inviolate nature and memories. This is all for now, but again, later, you will see where it relates, and how you can disperse your own characteristics into another and they can disperse theirs into you, with your consent and theirs, to form new aspects of reality and to cast new light on combined purposes» — Seth, según Roberts, deja mezclarse a las identidades sin perder su carácter inviolable ni sus memorias, con consentimiento de cada parte.
«Now: In somewhat the same manner, the self that you know is the mountain, and the rock layers forming it are past lives.» — Seth, según Roberts, al abrir la Sección 6, hace del yo conocido la montaña y de las vidas pasadas los estratos de roca que la sostienen.
«You are not any of those past selves, even though they are a part of the history of your being. They are themselves in their own space and time. They exist simultaneously with your own life, even as the strata of rock exist simultaneously with the mountain.» — Seth, según Roberts, niega que uno sea sus yoes pasados y los hace existir a la vez que el presente, como los estratos con la montaña.
«In terms of time only, there is an archaeological meaning that is hidden within your own nature. To discover it you look “down” through the levels of your own being, there to find the layers of selfhood that in your world represent the past history of yourself, from which you emerged. You are not those selves psychically, however, any more than you are your mother’s or your father’s in physical terms. You are as different from those reincarnational selves, therefore, as you are from your parents, though you share certain backgrounds and characteristics.» — Seth, según Roberts, manda mirar hacia abajo en el propio ser para hallar los estratos que hacen de historia, y distingue de ellos a quien mira como de sus propios padres.
«You choose your futures, but you also choose your pasts. There is only so much that I can say, since I am using a verbal language that in itself makes a tyrant of time.» — Seth, según Roberts, hace escoger tanto el futuro como el pasado y acusa al lenguaje verbal de volver tirano al tiempo.
«So reincarnational lives are still occurring, but they are a part of your being. They are not you, and you are not your reincarnational past.» — Seth, según Roberts, declara en curso las vidas reencarnacionales y las distingue de quien las mira: son parte de su ser y no son él.
«Why is it that your scientists’ instruments do not allow them to look into the future instead, into worlds not yet born, since they operate so well in discerning the past? And why is it, with all of your ideas about reincarnation, there is precious little said about future lives?» — Seth, según Roberts, pregunta por qué los instrumentos solo miran al pasado y por qué de la reencarnación casi no se hablan vidas futuras.
«the inner senses of the tree have a strong affinity with the properties of the earth itself. They feel their growing, as you listen to your heartbeat... They also experience pain [which] while definite, unpleasant, and sometimes agonizing, is not of an emotional nature in the same way that you might feel pain. It is as if your breath were to be suddenly cut off.» — Seth, según Roberts, en la sesión 18 del 22 de enero de 1964 citada por Butts, da sentidos internos al árbol, que siente crecer y siente dolor, aunque no a la manera emocional humana.
«The trees in the forest Stand secret and silent, Their voices suspended In lungs of leaves, That only can whisper Of dreams held dormant, That breathe only once In a million years. Deep is the sleep Of the moss and the pebble. Long is the trance Of the grass and the meadow. Footfalls come And footfalls pass, But no sound can break That green-eyed trance.» — The Trees in the Forest, poema que Roberts escribió a principios de 1964, por las mismas fechas de la sesión sobre los árboles: los sueños de los árboles respiran una vez cada millón de años.
«The individual is stronger than any system, and the individual always comes first.» — Seth, según Roberts, en la clase de ESP citada por Butts, pone al individuo por encima de todo sistema.
«The one thing about an ancient existence [like mine], if you will forgive the term, is that old hatreds do not last because you learn to have a sense of humor. . . Love, on the other hand, even with a sense of humor, becomes highly precious and large enough so that it can contain old hates very nicely.» — Seth, según Roberts, dice que en una existencia antigua los odios viejos no duran porque se aprende el sentido del humor, y que el amor crece hasta caberlos.
«You are yourself: I am myself: I am not Ruburt, Ruburt is not me, Ruburt is me, I am myself. . . You are death and you are life» — Seth, según Roberts, en la clase de ESP, se deslinda y se confunde con ella en la misma frase: no es Ruburt, ella no es él, ella es él, él es él mismo.
«The ledge of 1940, however, is still as immediate and now and present as it was when you were born. Other personalities, again, tire being born “there,” but their season or reality is different than yours.» — Seth, según Roberts, en la sesión 728, deja el año 1940 tan presente como cuando se nació en él, con otras personalidades naciendo ahí en otra estación.
«compartment of the ego can easily follow their own identity beyond any change of form.» — Seth, según Roberts, en la sesión 453 citada por Butts, hace que las criaturas sin el compartimento del ego sigan su identidad más allá de todo cambio de forma; el volumen imprime la frase dos veces y aquí se ancla en la primera.
«My memory does not include a predetermined past in which Ruburt exists. He can do things that did not happen in my memory of that existence, and did not, in fact, occur,» — Seth, según Roberts, niega que su memoria contenga un pasado predeterminado con ella dentro, y admite que ella hace cosas que en su recuerdo no pasaron; el volumen reimprime la frase en un apéndice y aquí se ancla en la primera aparición.
«I have memories of being Ruburt — but the Ruburt I was is not the Ruburt that Ruburt is in his reality. He surprises me, and his reactions alter my past. In his terms I am a future self, with far greater knowledge, yet he uses that knowledge to alter his present reality; and when I was Ruburt I did not have that knowledge. You can say then that I am altering my own past, but Ruburt’s present experience also changes my present experience — and so there is an unending interchange.» — Seth, según Roberts, se declara un futuro de ella, con memorias de haber sido ella, y admite que la Ruburt de ahora lo sorprende y le altera el pasado.
«When man realizes that he creates his own image now, he will not find it so startling to believe that he creates other images in other times. Only after such a basis will the idea of reincarnation achieve its natural validity, and only when it is understood that the subconscious, certain layers of it, is a link between the present personality and past ones, will the theory of reincarnation be accepted as fact.» — Seth, según Roberts, en la sesión 82 del 27 de agosto de 1964 citada por Butts, condiciona la aceptación de la reencarnación a que se entienda primero que cada quien crea su imagen presente.
«You are so taken with the idea of labels that many follow astrology blindly. You are born at a certain time, at a certain place, under certain conditions — but consciousness always forms the conditions.» — Seth, según Roberts, en la sesión 729, reprocha que se siga la astrología a ciegas por afán de etiquetas, y pone la consciencia formando las condiciones y no al revés.
«So you decide to be born, say, in a certain month when the planets are thus-and-so. Ahead of time, you choose the seasons of your birth. In the most simple of terms, you are deciding upon the environment. A violet springs to life in the backyard, but the violet must stay there. Its whole growth is dependent upon the weather conditions in that particular area, even though those conditions themselves result from overall planetary activity. You walk out of the place and time of your birth, however, as the flower cannot.» — Seth, según Roberts, admite que se escoja el mes y la posición de los planetas al nacer, como se escoge la estación, pero deja libre a la persona de salirse de ahí.
«The very practice of pinpointing the time of physical birth at conception itself errs. There is no point at which you can say in basic terms (underlined twice) that an individual is alive,2 though you do find it more practical to accept certain points of life and death. It is true that you emerge into space and time at a certain point in your perception. Your consciousness has been itself long before, however.» — Seth, según Roberts, declara errónea la práctica de fijar el inicio de la vida en la concepción y da a la consciencia una existencia muy anterior.
«You are like a flower bulb that each time gives birth to a different blossom, while still conforming to certain overall patterns — but each blossom is entirely new.» — Seth, según Roberts, en la sesión 728, hace de cada vida una flor nueva del mismo bulbo.
«Now: Dictation: When you think in conventional terms about astrology, it is as if you are looking at the cover of a book, not realizing that there are many pages within it.» — Seth, según Roberts, en la sesión 729, compara la astrología convencional con mirar la tapa de un libro sin saber que tiene páginas.
«Those charts emphasize one line of probabilities at the expense of all others. Interpretations based upon the charts then will make more sense to those who have chosen the same probable birth circumstances — but they will be of no value to those who were born at the same time, in your terms, but who follow a different order of probabilities.» — Seth, según Roberts, reduce la carta astrológica a una línea de probabilidades entre muchas, útil solo para quien escogió esa misma.
«Each child born alters the entire universe,7 and changes the world of its time and birth by bringing into it action not there earlier, in your terms, and by impressing the universe with the stamp — the indelible stamp — of its reality.» — Seth, según Roberts, hace que cada criatura nacida altere el universo entero y le deje su sello indeleble.
«In the same manner, the self knows ahead of time the best conditions for its own development, in light of the time and the place of its chosen birth.» — Seth, según Roberts, hace que el yo sepa de antemano las mejores condiciones para su desarrollo según el tiempo y el lugar que escogió para nacer; el ancla corta antes de la llamada de nota.
«Consciousness chooses the best overall conditions available for its own purposes of growth. It then preconditions its own organism to respond or not to respond to the time and place of birth, to exaggerate or minimize, to negate or accept.» — Seth, según Roberts, hace que la consciencia precondicione a su organismo para responder o no al tiempo y lugar de nacimiento, exagerando, negando o aceptando.
«fact not recognized by astrologers. Each child born alters the entire universe,7 and changes the world of its time and birth by bringing into it action not there earlier, in your terms, and by impressing the universe with the stamp — the indelible stamp — of its reality.» — Seth, según Roberts, objeta a los astrólogos no reconocer que la entrada de la consciencia altera las condiciones, y hace que cada criatura nacida altere el universo entero; el tramo arranca en la plana siguiente al corte de la frase.
«It is quite as true to say that the planets behave in a certain way because you are what you are, as it is to turn the statement around, as is generally done.» — Seth, según Roberts, invierte la relación corriente: tan cierto es que los planetas se comportan así porque uno es lo que es, como al revés.
«There is a relationship, but it is not causal.» — Seth, según Roberts, admite relación entre las cosas y niega que sea causal.
«When astrology works, it works because the astrologer is using his or her creative and psychic abilities, and then projecting that knowledge into a pattern that is of itself too small to contain it. The chart then simply becomes an aid.» — Seth, según Roberts, explica los aciertos de la astrología por las facultades creativas y psíquicas del astrólogo, proyectadas en un patrón demasiado chico para contenerlas.
«walked the floor in a period that might seem like a year to it. It might try to calculate your next passage ahead of time, so that — prudent ant! — it could run “out of the way” in time to avoid your footsteps.» — Seth, según Roberts, monta la parábola de la hormiga filósofa que calcula de antemano los pasos del inquilino para quitarse a tiempo, y así figura la astrología.
«It seems to you that any naturally aborted fetus has no physical life at all, that such life has been denied to it for some reason. Instead, the fetus experiences another level: physical life at a different scale, that in your terms would apply to the distant past.» — Seth, según Roberts, en la sesión 730, da al feto abortado de manera natural una vida física en otra escala, correspondiente al pasado remoto de la especie.
«Ruburt is correct: Even in conventional terms a true horoscope would have to involve the time of death in your temporal reality, as well [as that of birth].» — Seth, según Roberts, le da la razón a ella: una carta astrológica verdadera tendría que incluir la hora de la muerte además de la del nacimiento.
«But all things have consciousness, and in those terms possess a soul-nature. There are no gradations as to soul. Soul is the life within everything that is.» — Seth, según Roberts, da alma a todo lo que existe y niega gradaciones en ella: el alma es la vida dentro de cuanto hay.
«You grant soulhood only to your own species, as if souls had sizes that fit your own natures only. You preserve these ideas by thinking of animals as beneath you. Then, however, you must wonder when the soul enters the flesh, or when the alien fetus becomes one of your own, and therefore blessed by the gods and granted the right to life.» — Seth, según Roberts, reprocha que solo se conceda alma a la propia especie y de ahí salgan las disputas sobre cuándo el feto la recibe y gana derecho a la vida.
«Now dolphins deal with an entirely different dimension of reality. There is as yet no method of communication that can allow you to perceive their concepts of selfhood, or their [collective] vision of existence. They are sensitive, self-aware individuals. They are altruistic. They understand the nature of relativity,6 and they have different ways of passing on information to their young. They are not higher or lower than your own species. They simply represent a different kind of selfhood.» — Seth, según Roberts, declara a los delfines individuos conscientes de sí, altruistas y conocedores de la relatividad, ni más altos ni más bajos que la especie humana.
«The soul is not a unit that is definable. It is instead an undefinable quality. It cannot be broken down or built up, destroyed or expanded, yet it can change affiliation and organization, and its characteristics, while ever remaining itself.» — Seth, según Roberts, niega que el alma sea unidad definible o que se pueda destruir o ensanchar, y le concede cambiar de afiliación y de carácter.
«The soul within the fetus cannot be destroyed by any kind of abortion, for instance. Its progress cannot be charted, for it will always escape such calculations. Its history is in the future, which always creates the past.» — Seth, según Roberts, declara indestructible por aborto alguno el alma del feto y pone su historia en el futuro, que siempre crea el pasado.
«is the portion of your own existence that you do not ordinarily perceive or accept, though there is within you a longing for it.» — Seth, según Roberts, en la sesión 731, define el yo ausente como la porción de la propia existencia que no se percibe ni se acepta y que sin embargo se añora.
«While being independent individuals their members also identified with their ancestors to some extent, accepting them as portions of their selfhoods. This does not mean that the individual self was less, but was more aware of its own reality. A completely different kind of focus was presented, in which the ancestors were understood to contribute to the “new” experience of the living; one in which the physically focused consciousness clearly saw itself as perceiving the world for itself, but also for all of those who had gone before — (gradually louder far emphasis:) while realizing that in those terms he or she would contribute as well as the generations past.» — Seth, según Roberts, consigna culturas muy viejas donde cada quien se identificaba con sus antepasados sin dejar de ser individuo, y percibía el mundo también por ellos.
«Let those who will, laugh at tales of spirits turning into the trees5 — a simplistic theory, certainly, yet a symbolic statement in such societies: The dead were buried at home in the same close territory, to form in later times the very composition of the ground upon which religions grew.» — Seth, según Roberts, defiende como enunciado simbólico los relatos de espíritus vueltos árboles y hace del suelo donde se enterraba a los muertos el terreno mismo de las religiones.
«I am not saying, for example, that the living consciousness of each individual returned to the earth literally, but that the physical material permeated and stamped with that consciousness did, and does.» — Seth, según Roberts, precisa el alcance: no vuelve a la tierra la consciencia viva de cada quien, sino la materia sellada por ella.
«The information carried by the chromosomes is not general, but highly specific. It is codified data (itself alive) that contains within it the essence of ancestral knowledge — change that to ancestral experience — of specific ancestral experience. Biologically you do indeed carry within you, then, the memories of your particular ancestors.» — Seth, según Roberts, hace de la información cromosómica un dato vivo y específico, memoria de la experiencia de los antepasados propios.
«A third line supporting your selfhood as you think of it is the reincarnational one.' This is somewhat like the ancestral line (long pause), and there are also reflections in the genes and chromosomes undetected by your scientists. The ancestral and reincarnational lines merge to some extent to form what you think of as your genetic patterns ahead of time, so to speak. Before this life you chose what you wished from those two main areas. Reincarnational experience is also transmitted, then, and can be retranslated from a biological code-imprint into emotional awareness. Again, however, as you are not your parents or your ancestors, you are not your “reincarnational selves.”» — Seth, según Roberts, pone la línea reencarnacional junto a la ancestral entre los soportes del yo, y vuelve a negar que uno sea sus yoes reencarnacionales.
«Reincarnational selves are like leaves that have left the plant, choosing a new medium of existence. In this analogy, the dropped leaves of the physical plant have fulfilled their own purposes to themselves as leaves, and to the plant. These selves, however, dropping from one branch of time, root themselves in another time and become new plants from which others will sprout.» — Seth, según Roberts, compara los yoes reencarnacionales con hojas que dejaron la planta y arraigan en otro tiempo para volverse plantas nuevas.
«Yet there is a great correlation between what you think of as creativity, altered states of consciousness, play, and “spiritual” development.» — Seth, según Roberts, en la sesión 732, empareja creatividad, estados alterados de consciencia, juego y desarrollo espiritual.
«I keep returning to natural analogies — but plants do not work at developing their potential. They are not beautiful because they believe it is their responsibility to please your eye. They are beautiful because they love themselves and beauty.» — Seth, según Roberts, niega que las plantas trabajen en desarrollar su potencial o que sean bellas por deber: lo son porque se aman a sí mismas y aman la belleza.
«You keep searching for a new “ascended master,” or guru, to keep you in line and point out THE WAY» — Seth, según Roberts, reprocha la busca de un maestro ascendido o un gurú que marque EL CAMINO; el troceo imprime la frase final en versalitas, como la compone el volumen.
«In certain circles this is the latest vogue. The idea is an old one; it is based upon the reality of counterparts, and presents another version of the theory. But, again, it is treated with an almost pompous seriousness.» — Seth, según Roberts, deriva la moda de las almas gemelas de la realidad de los counterparts y la halla tratada con seriedad pomposa; el ancla arranca después de la llamada de nota.
«we are not one part, or one half, of another soul,4 searching through the annals of time for your partner, undone until you are completed by your soul mate.» — Seth, según Roberts, niega que uno sea mitad de otra alma buscando a su pareja por los anales del tiempo; el troceo imprime la frase con minúscula inicial por corrupción de la capa de texto.
«Some of the people you dislike most heartily may be counterparts.» — Seth, según Roberts, admite que la gente que más se detesta pueda ser counterpart de uno; el ancla corta antes de la llamada de nota.
«Now there are races, physically speaking. There are also psychic counterparts of races — families of consciousness, so to speak — all related, yet having different overall characteristics or specialties.» — Seth, según Roberts, pone familias de consciencia como contraparte psíquica de las razas físicas, emparentadas y con especialidades distintas.
«Most of the people who come to Ruburt’s classes are Sumari,7 for example. There are eight other such psychic families — nine in all.» — Seth, según Roberts, declara sumari a casi todos los asistentes a las clases de ella y cifra en nueve las familias psíquicas.
«The Sumari are rambunctious, in certain terms anti-authority, full of energy. They are usually individualists, against systems of any kind. They are not “born reformers,” however. They do not insist that everyone believe in their ideas, but they are stubborn in that they insist upon the right to believe in their own ideas, and will avoid all coercion.» — Seth, según Roberts, hace a los sumari individualistas contra todo sistema, no reformadores, y firmes en su derecho a creer lo suyo.
«Now these categories do not come first. Your individuality comes first. You have certain characteristics of your own. These place you in a certain position. As you tire not a rock or a mineral, but a person, so your individuality places you in a particular family or species of consciousness. This represents your overall viewpoint of reality.» — Seth, según Roberts, pone la individualidad antes que la familia de consciencia, que solo expresa el punto de vista general sobre la realidad.
«These families can be called Gramada — (‘Wait,” I asked, “do you want to spell those?”Jane, as Seth, nodded. Then rapidly, almost with a lilt, as though singing, she spelled out eight names. I added Sumari to the list. Where necessary I’ve also indicated syllabification and accentuation, following Seth’s own delivery.) 1. Gra-ma'-da 2. Su-ma'-fi 3. Tu-mold 4. Void 5. Mil - (pause) u-met» — Seth, según Roberts, empieza a deletrear los nombres de las nueve familias de consciencia: Gramada, Sumafi, Tumold, Vold, Milumet; el troceo los imprime silabeados y acentuados como Butts los anotó, y corrompe dos de ellos en Su-ma-fi y Void; el tramo se corta en el cambio de plana.
«6. Zu'-li 7. Bor-le'-dim, closest to Sumari. (As Jane spelled out “Borledim,” I thought she might go into song.) 8. Il'-da 9. And Su-mar'-i» — Seth, según Roberts, cierra la lista de las nueve familias con Zuli, Borledim —que llama la más cercana a los sumari—, Ilda y Sumari.
«Suddenly I had the thought that maybe in linear terms Henry is now ‘many’ people — that he has a number of offshoots or counterpart personalities alive at once. So, theoretically, you could get all the Henry people together now, have them alter their consciousnesses to a certain degree, and compile from them an amazing multilevel, multifaceted portrait of Henry VIII — assuming, of course, that one would be willing to accept such subjective experiences as valid. What a wonderful, weird view of ‘history’ — and probably a truer one than we’re used to....» — Sue Watkins propone por escrito que Enrique VIII sea hoy varias personas, y que juntándolas se podría armar un retrato multidimensional de él.
«But you and Peter are and are not counterparts. You do share psychic memories, and hold in common the memories of other selves who did live in the time of your (fourth) Roman-soldier incident.» — Seth, según Roberts, en una sesión privada citada por Butts, atiende la contradicción entre dos sesiones diciendo que él y Peter son y no son counterparts.
«These counterparts are psychic relationships, formations that in the deepest terms flow into historic time and out of it. Some, in your terms, last a lifetime. Others represent psychic encounters that happen between two individuals at several points, say, but are not continuous. They may be no less intense, however.» — Seth, según Roberts, hace de los counterparts relaciones psíquicas que entran y salen del tiempo histórico, algunas de por vida y otras de encuentros sueltos.
«Psychically, your world is composed of the contents of its consciousness. You have maps of continents and oceans, and in the entire view each portion is like a piece of a jigsaw puzzle, all fitting together perfectly, smoothly flowing into the natural structure of the world. So at any given time there is a world consciousness, a perfect jigsaw of awareness in which each identity, however large or small, has its part.» — Seth, según Roberts, en la sesión 733, compone el mundo psíquico con los contenidos de su consciencia, rompecabezas donde cada identidad tiene su pieza.
«There are earthquakes that erupt physically, and tracings are made of them. There are also inner earthquakes of consciousness from which the physical ones emerge — storms of mind or being, eruptions in which one segment of the world consciousness, repressed in one area, explodes in another.» — Seth, según Roberts, pone terremotos internos de consciencia bajo los físicos: lo reprimido en una zona revienta en otra.
«The creator is not the master of his creations. He is simply their creator, and he creates because he does not attempt to control.» — Seth, según Roberts, niega al creador el señorío sobre lo creado y hace de la renuncia al control la condición de crear.
«You are surrounded by miracles. Why, then, does the world so often seem dour and cruel? Why do your fellow beings sometimes seem like unfeeling monsters — (loudly:) Frankensteins not of body but of mind, spiritual idiots, ignorant of any heritage of love or truth or even graceful beasthood?» — Seth, según Roberts, se pregunta en voz alta por qué el mundo parece adusto y cruel y los semejantes monstruos sin sentimiento, en medio de tantos milagros; Butts anota el tono con que lo dijo.
«Those of you who do not believe in war have not experienced it. It may have surrounded you, but you did not experience it. Those of you who do not believe in greed have not suffered its “consequences.” If you still see it, it is because it is a part of your reality. If you are honestly not greedy, yet you see greed, then perhaps you are serving as an example to others — but you form your own reality.» — Seth, según Roberts, lleva su tesis hasta el extremo: quien no cree en la guerra no la ha vivido aunque lo rodee, y quien ve codicia la tiene en su realidad.
«There are more worlds than you suppose, and in your own private experience each of you contributes to the world that you know. You and your counterparts together form it. Your physical body alone is equipped to perceive far more than you presently allow it to. Physically you are a part of every other person upon the earth, and you have a connection with each leaf and frog and nail.» — Seth, según Roberts, hace a cada quien parte física de todos los demás y de cada hoja, rana y uña.
«I dwell, in a way, in a realm that is more direct than yours. That is one image. I allow myself greater acknowledgment of my being. I speak with the wisdom, for example, that your cells would utter if they had speech. I am more aware of my reality than you are of yours, but the terms of being are the same in every place and every time.» — Seth, según Roberts, describe su propio ámbito como más directo y se dice más consciente de su realidad, con los términos del ser iguales en todo lugar y tiempo.
«Magic is my middle name, I was so brave and tall. No one knew who I was then, Myself least of all.» — primera estrofa de un poema que Roberts escribió en mayo de 1963, medio año antes de empezar a hablar por Seth, y que ella recordó al escribir letras de rock.
«that route said, quote: “We will trust that our creativity will find its own way, and if there are nightmares we will waken from them. We will even learn from them. We will dare to push aside the dimensions of being into those realms in which only the gods have gone before — and through our utter vulnerability to experience, discover the divinity that gives our humanity its meaning. And (whispering) through the compassion that we have learned, will we be able to understand the divine errors6 that gave us the gift of our birth.» — Seth, según Roberts, pone en boca de quienes tomaron esa ruta la promesa de despertar de las pesadillas, aprender de ellas y entender por compasión los errores divinos que dieron el don de nacer; el tramo arranca en la plana siguiente al corte.
«There is a connection between counterparts and the families of consciousness. As you and your brothers or sisters might belong to the same physical family, so generally are you and your counterparts part of the same psychic group of consciousness.» — Seth, según Roberts, en la sesión 734, empareja counterparts y familias de consciencia como hermanos de una misma familia física.
«For example, you are not creatively playful because you are Sumari. Instead, you join the Sumari grouping because you are creatively playful. The groups of consciousness, then, are not to be equated with, say, astrological houses.» — Seth, según Roberts, invierte el orden —se es sumari por ser creativamente juguetón y no al revés— y prohíbe igualar esas familias con las casas astrológicas.
«They have been a part of most civilizations, though they appeared in the Middle Ages (A.D.476-C. A.D. 1450) least of all. They often come to full strength before great social changes.» — Seth, según Roberts, reparte a los sumari por casi todas las civilizaciones, con poca presencia en la Edad Media, y los hace fuertes antes de los grandes cambios sociales.
«Many of the Irish, the Jews, the Spanish, and some lesser numbers of the French, for instance, are Sumari — though they appear in all races.» — Seth, según Roberts, nombra a irlandeses, judíos y españoles entre los pueblos con más sumari, y aclara que los hay en todas las razas.
«Sumari is a state of mind, a slant of being. They are not fighters, nor will they generally advocate a violent overthrow of government or mores. They believe in the creativity of change, naturally occurring.» — Seth, según Roberts, llama a lo sumari un estado de la mente y les niega la vocación de derrocar gobiernos: creen en el cambio que ocurre por su cuenta.
«As my name basically makes little difference, so does the name Sumari make little difference. But the names signify an independent, unique kind of consciousness that makes use of certain boundaries.» — Seth, según Roberts, en la sesión 601 del 22 de diciembre de 1971 citada por Butts, resta importancia a su nombre y al de sumari y deja el peso en la clase de consciencia que designan.
«The point is that I am not impersonal any more than you are, in those terms, and in those same terms the Sumari are also individual and to that extent personal. You are a part of the Sumari. You have certain characteristics, in simple terms, as a family might have certain characteristics, or the members of a nation.» — Seth, según Roberts, se declara tan personal como ellos y hace de los sumari individuos con rasgos de familia, no una consciencia indiferenciada.
«Not only that: I must note that even several years later we’ve still acquired no Seth material at all on such possible counterpart and family-of-consciousness roles.» — nota de Butts: consigna el muro de que nunca llegó el material sobre si los counterparts y las familias de consciencia valen para otras especies.
«An apple can be red, round, weigh so much, be good to eat, sit in a basket, but be natural on a tree. It can be tart or sweet. You can find one on the ground, or on a table, or in a pie. None of these things are contradictory to the nature of an apple. You do not ask: “How can an apple have color and be round at the same time?”» — Seth, según Roberts, en la sesión 735, desarma con la manzana la idea de contradicción entre las variaciones de la psique.
«Following this analogy, in the same way each psyche contains within it infinite notes, and each note is capable of its own endless creative variations. You follow one melody of yourself, and for some reason you seem to think that the true, full orchestra of yourself will somehow drown you out (intently).» — Seth, según Roberts, da a cada psique notas infinitas y señala el miedo a que la orquesta entera de uno lo ahogue.
«in the true symphony of your being you are violins, oboes, cymbals, harps — in other words, you are a living instrument through which you play yourself. You are not an instrument upon which you are played. You are the composer and the symphony.» — Seth, según Roberts, hace de cada quien el instrumento vivo por el que se toca a sí mismo, y a la vez el compositor y la sinfonía.
«Now in music the pauses are as important as the sounds. In fact, they serve to highlight the sounds, to frame them. The sounds are significant because of their placement within the pauses or silences. So the portions of your psyche that you recognize as yourself are significant and intimate and real, because of the inner pauses or silences that are not actualized, but are a part of your greater being.» — Seth, según Roberts, hace de las pausas de la música el equivalente de los yoes probables y reencarnacionales, que enmarcan al yo reconocido.
«In some manner, even a tragic composition of merit transcends tragedy itself. The composer was exultant in the midst of the deepest emotions of tragedy, or even of defeat. In such cases the tragedy itself is chosen as an emotional framework upon which the psyche plays. The framework is not thrust upon it, but indeed chosen» — Seth, según Roberts, hace que la composición trágica de mérito trascienda la tragedia, y que el marco sombrío se escoja en vez de imponerse.
«This does not mean that a tragic life is more vital than a happy, simple one. It just means that each individual is involved in an art of living. There are different themes, instruments, melodies — but existence, like great art, cannot be confined to simple definitions.» — Seth, según Roberts, deslinda: la vida trágica no es más vital que la simple y feliz, y la existencia no cabe en definiciones sencillas.
«However, suicides and would-be suicides often have such a great literal lust for life that they constantly put it into jeopardy, so that they can experience what it is in heightened form. The same applies to many who follow dangerous professions. It is fashionable to suppose that these people have a death wish. Instead, many of them have an intensified life wish, so to speak. Certainly it seems destructive to others. To those people, however, the additional excitement is worth the risk. The risk, in fact, gives them an intensified version of life.» — Seth, según Roberts, objeta el deseo de muerte que se atribuye a suicidas y a quienes ejercen oficios peligrosos, y les atribuye en cambio una sed intensificada de vida.
«We are certainly not condoning the murderer — but no slayer kills someone who does not want to die, either. He picks, or she picks, victims as intuitively as the victim seeks out the slayer.» — Seth, según Roberts, sin justificar al asesino, sostiene que nadie mata a quien no quiere morir y que matador y víctima se buscan.
«In terms that I admit are difficult to describe, the creative solutions will change the course of history in the past» — Seth, según Roberts, admite lo difícil de decirlo: las soluciones creativas cambian el curso de la historia en el pasado.
«Give us a moment... Do not buy a house with a dirt cellar. Do not buy a house heated by oil. The fumes are not good. A house facing the east is good in your section of the country. Use your psychic abilities to ascertain the house’s atmosphere, by all means — and no matter how fine it seems, do not buy it if you do not feel comfortable inside.» — Seth, según Roberts, en sesión privada citada por Butts, dicta condiciones para la casa que ellos buscaban, incluida la de usar las facultades psíquicas para tantear su atmósfera.
«It should have a fireplace because of the reminders of the hearth. It should not be sided with aluminum or other metal. In your area it should not face the south. This also has to do with the ways you use energy, so these are not general precepts for others to follow.» — Seth, según Roberts, pide chimenea por el recuerdo del hogar, prohíbe el aluminio y la orientación al sur, y aclara que esos preceptos no valen para otros.
«The pendulum is a very old method. I use it, with excellent results, to obtain ideomotor — ’’subconscious” — responses about knowledge that lies just outside my usual consciousness. I hold a small heavy object suspended by a thread so that it’s free to move. By mentally asking questions, I obtain ‘yes’ or ‘no’ answers according to whether the pendulum swings back and forth, or from side to side.» — Butts explica su uso del péndulo para sacar respuestas ideomotoras de saber que queda al margen de la consciencia usual.
«A note added later: I’m sorry to write that Seth didn’t discuss historical probabilities in the 736th session, or national counterparts either. I forgot to remind Jane of those topics before that session, just as I forgot to ask Seth about them while he was speaking. Several more sessions were held before I discovered the lapse» — nota de Butts añadida después: consigna otro muro, el material sobre probabilidades históricas y counterparts nacionales que nunca llegó por olvido suyo.
«The first family that I mentioned (Gramada2), for example, specializes in organization. Sometimes its members follow immediately after a revolutionary social change. Their organizational tendencies are expressed in any area of life, however. They are behind art schools, for instance, though they may not be artists themselves. They may set up colleges, although they may or may not be scholars.» — Seth, según Roberts, en la sesión 736, asigna a la familia Gramada la organización: están detrás de escuelas de arte y universidades sin ser ellos artistas ni eruditos.
«The next group (Sumafi) deals primarily with teaching. Again, the relationship with others is good, generally speaking. They may be gifted in any field, but their primary interest will be in passing on their knowledge or that of others. They are usually traditionalists, therefore, although they may be brilliant. In away they are equally related to the family just mentioned (Gramada), and to the Sumari, for they stand between the organized system and the creative artist.» — Seth, según Roberts, asigna a la familia Sumafi la enseñanza y la tradición, entre el sistema organizado y el artista creativo.
«In the Middle Ages they faithfully copied manuscripts. They are custodians in a way. Again, there are infinite variations. Many music or art teachers belong in that category, where the arts are taught with a love of excellence, a stress upon technique — into which the artist, who is often a Sumari (although not always, by any means) can put his or her creativity.» — Seth, según Roberts, hace custodios a los sumafi, copistas fieles en la Edad Media y maestros de técnica donde el artista pone su creatividad.
«The next family (Tumold), in the order given, is primarily devoted to healing. This does not mean that these people may not be creative, or organizers, or teachers, but the primary slant of their consciousness will be directed to healing. You might find them as doctors and nurses, while not usually as hospital administrators. However, they may be psychics, social workers, psychologists, artists, or in the religions. They may work in flower shops. They may work on assembly lines, for that matter, but if so they will be healers by intent or temperament.» — Seth, según Roberts, asigna a la familia Tumold la curación, ejercida en cualquier oficio por intención o por temperamento.
«Those in the next group (Void), are primarily reformers. They have excellent precognitive abilities, which of course means that at least unconsciously they understand the motion of probabilities.» — Seth, según Roberts, asigna a la familia Vold la reforma, movida por la precognición de hacia dónde va una idea; el troceo imprime el nombre como Void por corrupción de la capa de texto.
«Almost all of their energy is directed in an inward fashion, with no regard as to whether or not inner experience is translated in usual terms. These persons, for instance, may be utterly unknown, and usually are, for as a rule they care not a bit about explaining their interior activities to others — nor, for that matter, even to themselves.» — Seth, según Roberts, asigna a la familia Milumet la mística, con la energía volcada hacia dentro y sin interés en explicarse ni a sí mismos.
«The next group (Zuli) is involved mainly with the fulfillment of bodily activity. These are the» — Seth, según Roberts, asigna a la familia Zuli el cumplimiento del cuerpo; el tramo se corta en el cambio de plana.
«They are physical doers. They are also lovers of beauty as it is corporally expressed.» — Seth, según Roberts, llama a los zuli hacedores físicos y amantes de la belleza expresada en el cuerpo.
«The next family (Borledim) deals primarily with parenthood. These people are natural “earth parents.” That is, they have the capacity to produce children who from a certain standpoint possess certain excellent characteristics. The children have brilliant minds, healthy bodies, and strong clear emotions.» — Seth, según Roberts, en la sesión 737, asigna a la familia Borledim la paternidad y les atribuye hijos de mente brillante, cuerpo sano y emociones claras.
«These are not rigid parents, though, blindly following conventions, but people who see family life as a fine living creative art, and children as masterpieces in flesh and blood. Far from devouring their offspring by an excess of overprotective care, they joyfully send their children out into the world, knowing that in their terms the masterpieces must complete themselves, and that they have helped with the underpainting.» — Seth, según Roberts, describe a los borledim como padres que ven la vida familiar como arte vivo y a los hijos como obras maestras que deben acabarse solas.
«The next family (Ilda) is composed of the “exchangers.” They deal primarily in the great play of exchange and interchange of ideas, products, social and political concepts. They are travelers, carrying with them the ideas of one country to another, mixing cultures, religions, attitudes, political structures. They are explorers, merchants, soldiers, missionaries, sailors. They are often members of crusades.» — Seth, según Roberts, asigna a la familia Ilda el intercambio: viajeros que mezclan culturas, religiones y sistemas políticos.
«They can be “con men,” selling products supposed to have miraculous values, blinding the local populace with their city airs. Yet even then they will be bringing with them the aura of other ideas, often inserting into closed areas concepts with which others are already familiar.» — Seth, según Roberts, admite entre los ilda al embaucador que vende productos milagrosos, y le reconoce el acarreo de ideas nuevas a lugares cerrados.
«Some members of this family served as initiators of new orders in the (Catholic) church in the past — the worldly Jesuits, for example, and some of the more sophisticated popes5 (amused), who had a fine eye out for commerce and wealth.» — Seth, según Roberts, pone entre los ilda a jesuitas mundanos y a papas con buen ojo para el comercio, y hace de las Cruzadas un movimiento más de comercio y política que de religión.
«Your house hunting serves, however, as an excellent example of the ways in which Sumari are attracted to other Sumari, even in connection with probabilities in your system. The same relationships could be seen with other family interconnections.» — Seth, según Roberts, usa la busca de casa de ellos como ejemplo de cómo los sumari se atraen entre sí, incluso a través de probabilidades.
«Both homes appealed to you, however, because the people who lived in them organized their houses about their work. This is what you picked up and reacted to.» — Seth, según Roberts, explica el atractivo de las dos casas por haber sido organizadas alrededor del trabajo de quienes las habitaron.
«Now: When you make any important decision you automatically rouse all portions of your psyche. You set probabilities into motion. The kind of decision to some extent organizes the patterns. This should be obvious. But when you decide to move you are putting yourself in league with others who also make the same decision. Someone who moves will leave a house or an apartment vacant for someone else to move into. Unconsciously, then, the movers are in league with each other. There are sympathetic probabilities set up.» — Seth, según Roberts, hace que toda decisión importante mueva la psique entera y ponga a quien la toma en liga con otros que deciden lo mismo.
«A clarification: Seth didn't actually suggest that Jane and I buy the “1964 house. "His statements just before break that he did so are distortions on Jane's part, I would say, while speaking for him tonight; even in trance, her memory could have been in error — or she could have been touching upon another probable reality.» — Butts consigna una distorsión: Seth no había aconsejado comprar aquella casa de 1964, y atribuye el error a la memoria de ella en trance o a otro tramo de probabilidad.
«Because there are such inner connections as mentioned (at 11:25), your intents are going outward, to be picked up by others. (With emphasis:) It would take a book to probe into the probabilities alone being roused at this time, for example, by all of those interested in either of those two houses.» — Seth, según Roberts, hace salir hacia afuera las intenciones de ellos para que otros las levanten, y declara que haría falta un libro para rastrear las probabilidades que despiertan.
«I. Gramada (736) To found social systems 2. Sumafi (736) To transmit “originality” through teaching 3. Tumold (736) To heal, regardless of individual occupations 4. Void (736) To reform the status quo 5. Milumet (736) To mystically nourish mankind’s psyche 6. Zuli (736) To serve as physical, athletic models 7. Borledim (737) To provide an earthstock for the species through parenthood 8. Ilda (737) To spread and exchange ideas 9. Sumari (723,732, To provide the cultural, spiritual, and artistic 734-36) heritage for the species» — Butts resume en tabla la función de cada una de las nueve familias de consciencia, de fundar sistemas sociales a proveer la herencia cultural de la especie; el troceo imprime el uno de la lista como I mayúscula y Vold como Void.
«We regard Seth’s material on counterparts and families of consciousness as excellent explanations — as thematic frameworks that help us perceive and organize facets of our greater reality that are ignored by conventional academic disciplines. Seth’s explanations stand for aspects of reality that usually escape us.» — Jane Roberts, por escrito, llama a los counterparts y a las familias de consciencia marcos temáticos que ayudan a percibir lo que las disciplinas académicas ignoran.
«But the names and designations aren’t meant to be taken too literally; these aren’t to be interpreted as esoteric clubs or brotherhoods, but as natural psychic ‘conglomerations’ to which we all belong.» — Jane Roberts advierte que esos nombres no se tomen al pie de la letra ni como clubes esotéricos o hermandades, sino como conglomerados psíquicos naturales.
«Suddenly a male voice burst loudly through that dream fabric in a very intrusive way, saying only: “Wait a few days.”» — Butts narra la experiencia auditiva de Roberts: una voz masculina irrumpió en su sueño con la respuesta que había pedido sobre la casa.
«interesting — but I must note much later that we never received it.» — nota de Butts: consigna otro muro, la explicación que Seth ofreció dar de la experiencia auditiva de Roberts y que nunca llegó; el tramo arranca en la plana siguiente al corte de la frase.
«Houses themselves have a quality, a life, that is picked up by potential buyers. Certain houses repel you and Ruburt. They will positively attract others, however, so the qualities in the houses that appeal to you two are precisely the ones that have turned off others, and prevented their sale.» — Seth, según Roberts, en la sesión 738, da a las casas una cualidad viva que los posibles compradores captan, y explica así lo que atrae a unos y repele a otros.
«The hill house represents the future, and the contemporary qualities of it. I suggest — and only suggest — that that be your choice, because it is the most daring of the ventures for you, and because the hill will give you a view in many more ways than one.» — Seth, según Roberts, recomienda la casa del cerro por ser la más atrevida de las opciones y por la vista que dará en más de un sentido.
«As the physical races mix, so do the psychic ones. Every once in a while, in your terms, a new family forms out of such subgroups. So the families are meant to be understood as general categories into which earth-tuned consciousnesses fall more or less naturally.» — Seth, según Roberts, mezcla las razas psíquicas como las físicas y deja que de esas submezclas nazcan familias nuevas.
«The “natural earth parents” [the Borledim] and the Sumari, for instance, are very close, and yet have great difficulty in merging, because one considers the family itself as art, and the other subordinates the family for a different kind of art.» — Seth, según Roberts, explica por qué borledim y sumari, tan cercanos, cuestan de mezclar: unos tienen por arte a la familia y otros le subordinan la familia a otro arte.
«I can foresee probabilities, but you make your own reality, and I will not take the responsibility.» — Seth, según Roberts, declara que él prevé probabilidades pero que cada quien hace su realidad, y se niega a cargar con la responsabilidad de la decisión; el ancla arranca después de la llamada de nota.
«Sue Watkins picked up a variation of the Gramada family of consciousness (the Grunaargh) — quite legitimate, and at the time very good on her part.» — Seth, según Roberts, valida lo que Sue Watkins había captado como familia Grunaargh: una variación legítima de la Gramada; el ancla corta antes de la llamada de nota.
«People love to make divisions. There are then what you can call subfamilies, combinations, highly creative. All divisions are simply for the purpose of organizations of consciousness.» — Seth, según Roberts, admite subfamilias y combinaciones porque a la gente le encanta dividir, y reduce toda división a un modo de organizar la consciencia.
«The hill house neighborhood is composed of a rather beneficial balance: No particular family of consciousness predominates. Instead, a love of woods and trees transcends such classifications. The area has brought together diverse kinds of people, united by love of nature, some airy spaces, and some privacy» — Seth, según Roberts, en la sesión 739, describe el barrio de la casa del cerro sin familia de consciencia predominante, unido por el amor a los árboles.
«An open fire elicits certain responses from the cells4 that, for instance, a furnace does not. The effect of the light plus the warmth on the skin is extremely healing. People sit by a fireplace in wintertime because it is unconsciously recognized that recuperative and therapeutic results occur. Simply put, the cells respond to firelight in somewhat the same manner that flowers do to sunlight. The stimulation is much more than skin deep, however, and an open fire is cleansing.» — Seth, según Roberts, atribuye al fuego abierto respuestas celulares que la calefacción no provoca, y lo declara limpiador.
«The proximity of so many trees also has considerable health value, and to those doing psychic or other creative work the effects are particularly conducive to a peaceful state of mind. Trees are great users and yet conservators of energy, and they automatically provide much vitality to areas in which they are plentiful. This is physically obvious in scientific terms. Besides that, however, the consciousnesses of trees are remarkably kind and enduring.» — Seth, según Roberts, declara a los árboles usuarios y a la vez conservadores de energía, con consciencias notablemente amables y duraderas.
«In those terms, now, trees are also guardians. They are attached to the people they know. You cannot put a leash on them and walk them around the block, yet trees form a protective barrier about, say, a home or a neighborhood. They are actively concerned. They have personalities — certainly to the same extent that dogs do, yet of an entirely different nature. They respond to you.» — Seth, según Roberts, hace guardianes a los árboles, apegados a quienes conocen, con personalidad propia y capaces de responder.
«As your body senses temperature changes, so it also senses the psychic charge not only of other human beings but also, believe it or not, of animals, and to a lesser extent... of plants and vegetative matter. Your tree builds up a composite of sensations of this sort, Sensing not the physical dimensions of a material object, whatever it is, but the vital psychic formation within and about it. ‘The table beside Ruburt senses him even as Ruburt senses the table ... The abilities of the tree are latent in man as, dear Joseph, are the abilities of man latent in the tree.» — Seth, según Roberts, en la sesión 18 citada por Butts, hace que la mesa sienta a Roberts como ella a la mesa, y deja las capacidades del árbol latentes en el hombre y al revés.
«Then in the eyes of this Seth there are two little Seths looking out. Both of these images are like your portrait. Now they climb out of the eyes; with their bodies they make a garland around the big Seth's head; they sit on it back-to-back like a pair of bookends.» — Jane Roberts, en estado alterado y antes de la sesión 740, describe la visión de un Seth gigantesco de cuyos ojos salen Seths diminutos que se le sientan en la cabeza.
«The giant image of myself, never clearly glimpsed by Ruburt, represents my own greater reality. In a particular fashion, that identity cannot be fully expressed within the confines of any one form, any more than yours can. Period. Ruburt saw many miniature versions of me. In his inner vision these appeared as identical, simply so that he would identify them as portions of myself. They are actually quite different, one from the others.» — Seth, según Roberts, interpreta esa visión: el gigante es su realidad mayor, que no cabe en una sola forma, y los pequeños son porciones suyas, distintas entre sí.
«One of those “Seths” was born in your space and time. That Seth then seeded himself, so to speak, in the space-time environment you recognize — appearing through the centuries, sending out offshoots of “himself,” exploring earthly experience and developing as well as he could those potentials of his own greater identity that could best be brought to fruition within a creature context.» — Seth, según Roberts, dice que uno de esos Seths nació en el espacio y el tiempo de ellos y se sembró a sí mismo por los siglos.
«So the psychic families, or the families of consciousness, can be thought of as natives of inner countries of the mind, sharing heritages, purposes, and intents that may have little to do with the» — Seth, según Roberts, hace de las familias de consciencia nativos de países interiores de la mente; el tramo se corta en el cambio de plana.
«In those terms you are that superself — looking out of only one eye, or using just one finger.» — Seth, según Roberts, niega que uno sea adjunto de un superser: en esos términos uno es ese superyó, mirando por un solo ojo o usando un solo dedo.
«Now (eyes open): In the same way the most infinitesimal self is infinite, and the most finite self, carried to the extremes of itself, is infinite. Each of you is part of an infinite self. That infinite self appears as a series of finite selves in your reality.» — Seth, según Roberts, en la sesión 740, hace infinito al yo más infinitesimal y presenta al yo infinito como una serie de yoes finitos.
«If you would identify with your own psychological reality, following the inward structure of thoughts and feelings, you would discover an inward psychological infinity. These “infinities” would reach of course into both an infinite past and future. Yet true infinity reaches far beyond past or future, and into all probabilities — not simply straightforward into time, or backward.» — Seth, según Roberts, abre una infinitud hacia dentro, en el seguir la estructura interna de pensamientos y sentimientos, y la extiende a todas las probabilidades.
«There are infinite versions of yourself, but no one negates the others, and each is connected with the others, and aids and supports them.» — Seth, según Roberts, hace infinitas las versiones de uno mismo, sin que ninguna niegue a las otras.
«The soul, so-called, is not related to size or duration in space and time, except insofar as it is wedded to experience within those contexts.» — Seth, según Roberts, desata al alma del tamaño y de la duración en el espacio y el tiempo.
«But unless you step far back from the tree you will not realize that the entire string of lights exists at once.» — Seth, según Roberts, remata la parábola: solo alejándose del árbol se ve que la sarta entera está encendida a la vez.
«In all of the sessions, Jane has mentioned the third (or “back”) eye of occult lore only once before — in Session 612 for September 6, 1972 — and she’d been somewhat embarrassed then, too.» — nota de Butts: consigna que Roberts solo ha nombrado dos veces el tercer ojo del saber ocultista, y las dos con pena.
«If you imagine the official numbers 1 to 10 in a row, then there would be an infinite number of unofficial l’s hidden in the 1 you saw, and an infinite number of spaces between the official 1 and 2. The position of the 1 on the paper would represent our sense-data world» — Jane Roberts, desde lo que llama su biblioteca psíquica, pone infinitos unos no oficiales detrás del uno oficial y espacios infinitos entre los números.
«It’s significant that we apply numbers to time, but as there are unrecognized spaces between numbers, there are unrecognized spaces (psychologically invisible) between or within moments, and some of the events of our bodies are ‘too small’ for us to follow, focused as we are in our prime series. These body events actually are ‘infinitesimal but infinite,’ following their own patterns that merge with ours.» — Jane Roberts pone espacios no reconocidos dentro de los momentos, como entre los números, donde caben sucesos del cuerpo demasiado pequeños para seguirlos.
«More than men Have walked these shores in twilight. More gods than ours have risen altars fair. The earth is filled With songs not of our singing, There are worlds about us in which we have no share. Between each ticking of the clock Long centuries pass In universes hidden from our own. And our time's eons are far less than breath Or the flight of a leaf by the wind blown.» — More Than Men, poema que Roberts escribió en 1954, nueve años antes de las sesiones: entre cada tictac del reloj pasan siglos en universos ocultos.
«It was there in the poetry all the time, only I didn’t understand.» — Jane Roberts, citada por Butts, reconoce que lo que después dictaría ya estaba en su poesía de entonces sin que ella lo entendiera.
«Now, you move through probabilities in much the same way that you navigate in space. As you do not consciously bother with all of the calculations necessary in the process of walking down the street, so you also ignore the mechanisms that involve motion through probable realities. You manipulate through probabilities so smoothly, in fact, and with such finesse, that you seldom catch yourself in the act of changing your course from one probability to another.» — Seth, según Roberts, en la sesión 741, hace navegar por las probabilidades con la misma soltura irreflexiva con que se camina por el espacio.
«Mentally, a part of you actually starts out upon each street — a projected mental image. Period. As you stand there, then, in this case two such projected images go out onto streets Three and Four. To some extent these images experience “what will happen” if you yourself take one direction or the other. That information is returned to you instantaneously, and you make your decision accordingly.» — Seth, según Roberts, manda una imagen mental propia por cada calle considerada, y hace volver de ahí la información con que se decide.
«The portion of you that was attracted to that route continues to travel it. At the point of decision this alternate self made a different conclusion: that it experience Street Three as physical reality.» — Seth, según Roberts, deja al yo alterno recorriendo la calle no escogida y tomándola por su realidad física.
«The self as you think of it is literally reborn in each instant, following an infinite number of events from the one official series of events that you recognize at any given “time.”» — Seth, según Roberts, hace renacer al yo en cada instante, siguiendo una serie oficial entre infinitas.
«Basically, the past is as open to change as the future is. When you are dealing with historic events you believe that no prediction is involved. Personally and as a species, you are convinced that there is a one-line series of finished events behind you.» — Seth, según Roberts, abre el pasado al cambio tanto como el futuro y objeta la convicción de tener detrás una fila única de sucesos terminados.
«It has been fashionable to think in terms of straight-line evolution, for example. As mentioned earlier in this book, 13 the accepted theory of evolution is highly simplistic. Your species did not come from one particular source. You have many cousins, so to speak.» — Seth, según Roberts, llama simplista la teoría aceptada de la evolución y niega una fuente única para la especie.
«You are all counterparts of each other who are alive at any given earth time. By really understanding this you could come to terms with the ideas of brotherhood that religions have taught for so long.» — Seth, según Roberts, cierra la sesión 741 amarrando la tesis de los counterparts con la hermandad que las religiones enseñan desde hace tanto.
«You may be convinced that events happen to you, and are beyond your control, simply because you are so out of touch with yourself that you never catch the moments of your own decisions.» — Seth, según Roberts, en la sesión 742, explica el sentirse víctima del destino por no alcanzar a ver el momento de las propias decisiones.
«Human capabilities will be seen as what they are, and a great new period of development will occur, in which all concepts of selfhood and reality will be literally seen as “primitive superstition.” The species will actually move into a new kind of selfhood.» — Seth, según Roberts, anuncia un periodo en que los conceptos actuales de yo y de realidad se verán como superstición primitiva.
«You build smooth structures of beliefs, then look at reality using the beliefs like glasses — tinted ones.» — Seth, según Roberts, convierte las creencias en lentes tintados con que se mira la realidad; el ancla corta antes de la llamada de nota.
«Your ideas of Atlantis are partially composed of future memories. They are psychic yearnings toward the ideal civilization — patterns within the psyche, even as each fetus has within it the picture of its own most ideal fulfillment toward which it grows.» — Seth, según Roberts, hace de la Atlántida una memoria del futuro y un anhelo psíquico hacia la civilización ideal, como el feto trae el retrato de su cumplimiento.
«The species then moves into its own new houses. Atlantis is the story of a future probability projected backward into an apparent past.» — Seth, según Roberts, define la Atlántida como una probabilidad futura proyectada hacia atrás, a un pasado aparente.
«As simply as I can explain it, your planet is also “divided” into time and probability areas. Period. So many civilizations exist at once, then, and there are certain bleed-throughs. In your terms some civilizations are real and perceivable, and some are not.» — Seth, según Roberts, divide el planeta en áreas de tiempo y de probabilidad, con muchas civilizaciones a la vez y filtraciones entre ellas.
«I'll have to admit that we cringe a bit when Seth talks about cultish concepts like Atlantis. We always think that such beliefs, while serving a variety of quite legitimate creative and psychic purposes, are very likely to be more mythic than physically factual.» — Butts admite que a él y a Roberts les incomoda que Seth hable de la Atlántida y otros conceptos de culto, que ellos tienen por más míticos que físicamente ciertos.
«At any given “time,” depending on whatever information he’s given previously, Jane could just as easily quote Seth as placing Atlantis in our historic past, or in a probable past, present, or future — or all four “places” at once, for that matter.» — Butts consigna la elasticidad del asunto: según lo dicho antes, ella podría citar a Seth poniendo la Atlántida en el pasado histórico, en uno probable, en el presente o en el futuro, o en los cuatro a la vez.
«There were highly developed human beings with elaborate civilizations, existing simultaneously with what you might call animal kingdoms — that is, more or less organized primeval animal tribes, possessing their own kinds of ‘primitive’ cultures.» — Seth, según Roberts, en la sesión 747 citada por Butts, pone civilizaciones humanas elaboradas conviviendo con reinos animales de cultura propia.
«But in certain terms, the ruins of Atlantis have not been found because they have not been placed in your past yet, from the future.» — Seth, según Roberts, explica que no se hallen las ruinas de la Atlántida porque todavía no se han puesto en el pasado desde el futuro.
«Atlantis and the Garden of Eden are the same in that regard.» — Seth, según Roberts, iguala la Atlántida con el Jardín del Edén: imágenes plantadas desde el futuro para seguirlas o desatenderlas.
«Dictation: No book entitled The “Unknown” Reality can hope to make that reality entirely known. It remains nebulous because it is consciously unrealized. The best I can do is to point out areas that have been relatively invisible, to help you explore, actually, different facets of your own consciousness.» — Seth, según Roberts, en la sesión 743, declara que ningún libro con ese título puede volver del todo conocida la realidad desconocida, y reduce su tarea a señalar zonas invisibles.
«You cannot understand perceived events unless you understand who perceives them. You must learn more about the slant of your own consciousness before you are in a position to ask truly pertinent questions about the reality that you perceive.» — Seth, según Roberts, antepone la pregunta por quién percibe a las preguntas sobre la Atlántida, el Triángulo de las Bermudas o los ovnis.
«All That Is creates its reality as it goes along. Each world has its own impetus, yet all are ultimately connected. The true dimensions of a divine creativity would be unendurable for any one consciousness» — Seth, según Roberts, hace que Todo Lo Que Es cree su realidad sobre la marcha y declara insoportables para una sola consciencia las dimensiones verdaderas de esa creatividad.
«This book is a bridge between realities. Reading it, each person sets out upon a psychic pilgrimage through the unknown realities of his or her own consciousness and experience. No one can predict the destination.» — Seth, según Roberts, llama al libro puente entre realidades y peregrinación psíquica de destino impredecible para cada lector.
«Forget what you have been told about time and space. Refuse to accept ideas that limit the dimensions of your own natural being. Again, the unknown reality is what you are.» — Seth, según Roberts, cierra el libro con la fórmula de que la realidad desconocida es uno mismo.
«So we have been working on a probable “Unknown” Reality — in fact, on many probable “Unknown” Realities. Not mere versions, but variations.» — Seth, según Roberts, en la sesión 744, declara haber trabajado también en realidades desconocidas probables, variaciones y no meras versiones del libro.
«In one reality, of course, the work was finished at the Foster Avenue house (in Elmira, New York). In another it was finished in Sayre» — Seth, según Roberts, sitúa el término de este mismo libro en otras casas, en otras realidades.
«I’ve also helped in the construction, so to speak, of Ruburt’s [psychic] library,4 and I hope that he will be able to meet me there, in surroundings in which he feels confident and at home, and yet on neutral ground. (Smiling:) He does not want my apparition, you might say, to intrude upon a physical living room, particularly, yet he wants to meet me (much louder, leaning forward) in an out-of-the-way place.» — Seth, según Roberts, dice haber ayudado a construir la biblioteca psíquica de ella para poder encontrarse ahí, en terreno neutral y no en una sala física.
«I quite approve, for in greater terms I do not belong in your living room in that particular fashion. My reality is far more apparent than any apparition’s.» — Seth, según Roberts, declara no pertenecer a una sala de estar en forma de aparición y su realidad más patente que la de cualquier aparecido.
«Any such appearances, by the way, would also add to much superstitious nonsense.» — Seth, según Roberts, descarta las apariciones porque abonarían al disparate supersticioso.
«we learned through a close relative of the Steffans (I’ll call them), the couple from whom we bought the hill house, that at a small social gathering over two years ago Jane had spontaneously given something of a psychic “reading” for Mrs. Steffans.» — Butts consigna otra conexión de casas: años antes Roberts había hecho una lectura psíquica a la señora a quien después le comprarían la casa del cerro, sin saberlo.
«In a strange fashion, of course, the word ‘invisibility’ has meaning only in your kind of world. There is no such thing as true psychological invisibility» — Seth, según Roberts, en sesión privada citada por Butts al cerrar el tomo 2, niega que exista invisibilidad psicológica verdadera.
«As some have very clearly noted, in the biological and earth sciences especially, circular reasoning often predominates: The theory of evolution is used to prove the theory of evolution.» — Butts consigna el razonamiento circular que ve en las ciencias biológicas y de la tierra: la teoría de la evolución se usa para probar la teoría de la evolución.
«Your idea of space is some completely erroneous conception of an emptiness to be filled. Things — planets, stars, nebulae — come into being in this physical [camouflage] universe of yours, according to your latest theories, and this universe expands — pushed so that its sides bulge, so to speak the outer galaxies literally bursting into nowhere. True inner space is to the contrary vital energy, itself alive, possessing abilities of transformation, forming all existences, even the camouflage reality with which you are familiar, and which you attempt to probe so ineffectively.» — Seth, según Roberts, en la sesión 44 del 15 de abril de 1964 citada por Butts, llama errónea la idea del espacio como vacío por llenar y hace del espacio interior energía vital viva.
«Nevertheless the dream world, the mind, and the basic inner universe do exist... in what we will call the value climate of psychological reality. This is the medium. This takes the place of what you call space. It is a quality which makes all existences and consciousness possible.» — Seth, según Roberts, pone el mundo onírico, la mente y el universo interior en lo que llama el clima de valor de la realidad psicológica, medio que sustituye al espacio.
«If growth is one of the most necessary laws of your camouflage universe, value fulfillment corresponds to it in the inner-reality universe.» — Seth, según Roberts, empareja el crecimiento del universo de camuflaje con el cumplimiento de valor del universo interior; el compuesto inner-reality quedó partido en fin de renglón en el troceo y aquí se restituye con guion, cotejado contra el crudo.
«He [Darwin] spent his last years proving it, and yet it has no real validity. It has a validity within very limited perspectives only; for consciousness does, indeed, evolve form. Form does not evolve consciousness.» — Seth, según Roberts, en una clase de ESP del 27 de abril de 1971 citada por Butts, niega validez real a la teoría de Darwin e invierte el orden: la consciencia evoluciona la forma, no al revés.
«then you would have known that the theory of evolution is as beautiful a tale as the theory of Biblical creation. Both are quite handy, and both are methods of telling stories, and both might seem to agree within their own systems, and yet, in larger respects they cannot be realities....» — Seth, según Roberts, llama cuento hermoso por igual a la teoría de la evolución y al relato bíblico de la creación, cada uno válido dentro de su sistema y ninguno realidad en términos mayores.
«Illness and suffering are not thrust upon you by God, or by All That Is, or by an outside agency. They are a by-product of the learning process, created by you, in themselves quite neutral.. . Illness and suffering are the results of the misdirection of creative energy. They are a part of the creative force, however. They do not come from a different source than, say, health and vitality. Suffering is not good for the soul, unless it teaches you how to stop suffering.» — Seth, según Roberts, en la sesión 580 citada por Butts, niega que Dios imponga la enfermedad y el sufrimiento, los hace subproducto neutro del aprender y niega que el sufrimiento sirva al alma salvo para enseñar a dejarlo.
«Animals have a sense of justice that you do not understand, and built into that innocent sense of integrity there is a biological compassion, understood at the deepest cellular levels....» — Seth, según Roberts, en la sesión 634 citada por Butts, atribuye a los animales un sentido de la justicia y una compasión biológica sabida en lo hondo de las células.
«A cat playfully killing a mouse and eating it is not evil. It suffers no guilt. On biological levels both animals understand. The consciousness of the mouse, under the innate knowledge of impending pain, leaves its body. The cat uses the warm flesh. The mouse itself has been hunter as well as prey, and both understand the terms in ways that are very difficult to explain.» — Seth, según Roberts, niega que sea malo el gato que juega con el ratón y se lo come, y hace salir la consciencia del ratón antes del dolor.
«Note: I did not say that man emerged from the animals.» — Seth, según Roberts, en la sesión 637 citada por Butts, deslinda expresamente: no dijo que el hombre saliera de los animales.
«This occurs constantly. Energy transformation and value fulfillment, both existing within the spacious present [or at once], add up to a durability that is at the same time spontaneous ... and simultaneous. You may see what we are getting at here. Our third law is spontaneity, and despite all appearances of beginning and end, of death and decay, all consciousnesses exist in the spacious present, in a spontaneous manner, in simultaneous harmony; and yet within the spacious present there is also durability.» — Seth, según Roberts, junta transformación de energía, cumplimiento de valor y espontaneidad dentro del presente espacioso, de donde sale la durabilidad; el ancla arranca después de la llamada de nota.
«He also projects upon cellular components like genes and DNA14 learned concepts of “protection” and “selfishness”: DNA is said to care only about its own survival and “knowledge,” and not whether its host is man, plant, or animal Only man would think to burden such pervasive parts» — Butts objeta que se proyecten sobre genes y ADN nociones de egoísmo y protección, y dice que solo el hombre cargaría así a porciones tan penetrantes de su propio ser.
«Basically, then, an overall genetics of cooperation becomes a truer long-run concept than the postulated deadly struggle for survival of the fittest, whether between man and molecules, say, or among members of the same» — Butts propone una genética de la cooperación como concepto más verdadero a la larga que la lucha mortal por la supervivencia del más apto; el tramo se corta en el cambio de plana.
«But the earth and all upon it are given. To imagine that such an entire environment is an accident is intellectually outrageous and emotionally sterile.» — Jane Roberts, parafraseada por Butts desde un escrito suyo, llama intelectualmente escandalosa y emocionalmente estéril la idea de que este entorno entero sea un accidente.
«but to us science is as far away from Seth's philosophy in one direction as religion is in the opposite direction.» — Butts deslinda la posición de los dos: ni creacionistas ni cientificistas, con la ciencia tan lejos de la filosofía de Seth por un lado como la religión por el otro.
«The tiniest blade of grass And highest mountain, The smallest ant And the Empire State Building (and all the shops, streets and people in modern-day Manhattan) All exist because Some elemental dice Just happened to Fall together right! Dice thrown by no hand Or intent, Because neither were Invented yet.» — final de Science Convinces Me of Magic, poema de Roberts: todo existe porque unos dados elementales cayeron bien, echados por ninguna mano y sin intención, porque ni la mano ni la intención se habían inventado; el tramo arranca en la plana siguiente al corte del poema.
«in certain terms the theory of evolution, as it is conventionally held, has caused unfortunate beliefs. For how can you look at yourselves with self-respect, with dignity or with joy, if you believe that you are the end product of forces in which the fittest survive? Being the fittest implies those given most to what would appear to be murderous intent — for you must survive at the expense of your fellows, be you leaf, frog, plant, or animal.» — Seth, según Roberts, en una clase de ESP citada por Butts, culpa a la teoría corriente de la evolución de creencias desdichadas: no cabe respeto propio si uno se sabe producto de la supervivencia del más apto.
«You do not survive through cooperation, according to that theory, and nature is not given a kind or creative intent, but a murderous one. And if you see yourselves as the end result of such a species, then how can you expect goodness or merit or creativity from yourselves, or from others? How can you believe that you live in a safe universe when each species exists because it survives through claw, if it must hunt and kill out of murderous intent, as implied in the theories of evolution and of reality itself?» — Seth, según Roberts, objeta que esa teoría niegue la cooperación y le dé a la naturaleza intención asesina en vez de creativa.
«Because consciousness creates form with joy, there is no murder that you have not projected out of misunderstanding and ignorance of the nature of that consciousness.» — Seth, según Roberts, hace que la consciencia cree la forma con alegría y atribuye todo asesinato visto en la naturaleza a una proyección por ignorancia.
«Roots do not struggle to exist. One species does not fight against the others to live. Instead creativity emerges, and cooperatively the environment of the world is known and planned by all the species.» — Seth, según Roberts, niega la lucha entre especies y hace que todas conozcan y planeen cooperativamente el entorno del mundo.
«If it were scientifically inclined, the body would know that such spontaneous performance was impossible, for science cannot explain the reality of life itself in its present form, much less its origins.» — Seth, según Roberts, en sesión privada citada por Butts, señala que si el cuerpo fuera científico se sabría imposible, porque la ciencia no explica la vida ni sus orígenes.
«There is no such thing, in your terms, as nonliving matter. There is simply a point that you recognize as having the characteristics that you have arbitrarily ascribed to life, or living conditions. For there is no particular point at which life was inserted into nonliving matter.» — Seth, según Roberts, en una sesión posterior citada por Butts, niega que exista materia no viva y que haya un punto donde la vida se insertara en ella.
«In those terms there was a point where consciousness, through intent, impressed itself into matter. That “breakthrough” cannot be logically explained, but only compared to, say, an illumination — that is, a light occurring everywhere at once, that became a medium for life as you define it. It had nothing to do with the propensity of certain kinds of cells to reproduce — [all cells are] imbued with the “drive” for value fulfillment — but with an overall illumination that set the conditions in which life was possible as you think of it; and at that imaginary, hypothetical point, all species became latent.» — Seth, según Roberts, compara esa irrupción con una iluminación ocurrida en todas partes a la vez, que dejó latentes todas las especies.
«There is a design and a designer, but they are so combined, the one within the other, the one within and the one without, that it is impossible to separate them. The creator is within its creations, and the creations themselves are gifted with creativity. The world comes to know itself, to discover itself, for the planner left room for divine surprise, and the plan was nowhere foreordained.» — Seth, según Roberts, afirma diseño y diseñador inseparables, con el creador dentro de sus creaciones y el plan en ninguna parte preordenado.
«In your terms of history, man appeared in several different ages — not from an animal ancestor in the way generally supposed. There were men-animals, but they were not your stock. They did not “lead” to anything. They were species in their own right.» — Seth, según Roberts, hace aparecer al hombre en varias eras y no desde un antepasado animal: los hombres-animales fueron especies por derecho propio.
«In those terms so-called modern man, with your skull structure and so forth, existed alongside of the creatures now supposed to be his ancestors.» — Seth, según Roberts, pone al hombre moderno conviviendo con las criaturas que hoy se le suponen antepasadas.
«Jane and I just don't think it all came about through chance! The mind can ask too many questions to be satisfied with mechanistic explanations, and nurturing that characteristic of dissatisfaction alone may be one of the most valuable contributions the Seth material can make.» — Butts declara que ni él ni Roberts creen que todo haya salido del azar, y pone en la insatisfacción ante las explicaciones mecanicistas una de las aportaciones más valiosas del material de Seth.
«How does one deal with new facts that undermine old facts, in whatever field of endeavor? Do you say that reality has changed? Upon examination, facts give.» — Jane Roberts, parafraseada por Butts, pregunta qué se hace con los hechos nuevos que socavan a los viejos y remata diciendo que examinados, los hechos ceden.
«However, Jane and I believe that at most the “facts of evolution” make up a working hypothesis — or unproven proposition — only, for many of evolution’s tenets, especially those involving energy/entropy (see Note 6), are open to serious challenge. There’s plenty of evidence around for changes occurring within species, but the “upward” transmutation of one species into another has not been scientifically proven from the index fossil record, nor has it been experimentally verified.» — Butts reduce los hechos de la evolución a hipótesis de trabajo y señala que la transmutación de una especie en otra no se ha probado ni en el registro fósil ni en el laboratorio.
«Equally insistent are the puzzles posed by the missing intermediate forms in the fossil record: Where are all the remnants of those creatures that linked birds, reptiles, cats, monkeys, and human beings? The hypothetical evolutionary tree of life demands that such in-between forms existed; it seems that by now paleontologists should have unearthed enough signs of them to make at least a modest case for their belief systems; the lack of scientific evidence is embarrassing.» — Butts consigna el hueco de las formas intermedias en el registro fósil y llama embarazosa la falta de evidencia.
«These activities certainly represent evolution through conscious intent, guided by the same creature who insists that no sort of consciousness could have been responsible for the origin or development of “life,” let alone the “dead” matter of his planet.» — Butts señala la ironía de que el hombre haga evolución por intención consciente con la cría selectiva mientras niega consciencia alguna en el origen de la vida.
«The physical world that you recognize is made up of invisible patterns. These patterns are ‘plastic,’ in that while they exist, their final form is a matter of probabilities directed by consciousness. Your senses perceive these patterns in their own way. The patterns themselves can be ‘activated’ in innumerable fashions. (Humorously:) There is something out there to observe.» — Seth, según Roberts, en la sesión 803 citada por Butts, compone el mundo físico de patrones invisibles y plásticos dirigidos por la consciencia, y admite que sí hay algo afuera que observar.
«Your sense apparatus determines what form that something will take, however. The mass world rises up before your eyes, but your eyes are part of that mass world.» — Seth, según Roberts, hace que el aparato sensorial determine la forma de eso que hay afuera, con los ojos ya parte del mundo de masa.
«You cannot see your thoughts, so you do not realize that they have shape and form, even as, say, clouds do. There are currents of thought as there are currents of air, and the mental patterns of man’s feelings and thoughts rise up like flames from a fire, or steam from hot water, to fall like ashes or like» — Seth, según Roberts, da forma a los pensamientos y corrientes al pensar, que suben como llamas del fuego y caen como ceniza; el tramo se corta en el cambio de plana.
«I never ask Seth about Atlantis; I’m afraid the cultish ideas connected with it turned me off long ago.» — Jane Roberts declara que nunca le pregunta a Seth por la Atlántida porque las ideas de culto pegadas al asunto la alejaron hace mucho.
«What is this passion for nonbeing, this denial of sensual life, that drives so many gurus and self-proclaimed prophets? They speak out against desire while propelled by the overwhelming desire to lose themselves. They luxuriate in a kind of cosmic masturbation, titillating their psychic organisms into pitches of mindless excitement; cavorting in orgasms of self-surrender. They bask in a sort of universal steam bath that drives all impurities of individuality or creativity from their souls, leaving them immersed, supposedly forever, in a bliss beyond description; in which, indeed, their own experience disappears.» — Jane Roberts, por escrito y con pasión, objeta a gurús y profetas su pasión por el no ser y su negación de la vida sensual, y llama masturbación cósmica a esa disolución de sí; el compuesto self-proclaimed quedó partido en fin de renglón en el troceo y aquí se restituye con guion, cotejado contra el crudo.
«Thank God that some god managed to disentangle itself from such psychic oneness, if that’s what it’s supposed to be. Thank God that some god loved itself enough to diversify, to create itself in a million different forms; to multiply, to explode its being inward and outward. Thank God that some god loved its own individuality enough to endow the least and the most, the greatest and the smallest, with its own unique being.» — Jane Roberts agradece que algún dios se haya desenredado de esa unidad psíquica y se haya diversificado en un millón de formas, dotando de ser único a lo mínimo y a lo máximo.
«The gurus say: ‘Give it all up.’ One of those we read about today counsels: ‘When you want to do one thing, do another instead. Do not do what you want to do, but what you should do.’ Never trust the self that you are, the gurus say, but the self that you should be.» — Jane Roberts resume lo que reprocha a los gurús: desconfiar del yo que uno es en favor del que debería ser.
«Is my body an appearance, hence an untruth amid the truth which is changeless? Ah dear body, then, how lovely and blessed your untruth, which is sensate and feels desire through the hollowest of bones. How blessed, bodies, leaping alive from the microscopic molecules that combine to walk down the autumn streets; assemble to form the sweet senses’ discrimination that perceives, for a time, the precise joy and unity of even one passing afternoon. The body’s untruth, then, is holier than all truths, and if the body is an untruth then I hereby proclaim untruth» — Jane Roberts contesta a la doctrina de las apariencias proclamando la no verdad del cuerpo más santa que todas las verdades.
«You will not attain spirituality or even a happy life by denying the wisdom and experience of the flesh. You can learn more from watching the animals that you can from a guru or a minister — or from reading my book. But first you must divest yourself of the idea that your creature-hood is suspect. Your humanness did not emerge by refusing your animal heritage, but upon an extension of it.» — Seth, según Roberts, en la sesión 642 citada por Butts, niega que se alcance espiritualidad negando la sabiduría de la carne, y hace la humanidad extensión y no rechazo de la herencia animal.
«Then from Seth, mentally, I thought, I got the information that Atlantis, as it’s come down to us in myth and story, was actually a composite of three civilizations.» — Jane Roberts consigna por escrito lo que le llegó sobre la Atlántida: un compuesto de tres civilizaciones; el tramo se corta en el cambio de plana.
«in response to a truth, then, I suppose. Next I got that Plato picked up the Atlantis material himself, psychically — he didn’t get it the way he said he did.» — Jane Roberts añade que Platón levantó psíquicamente el material de la Atlántida y no por la vía que él dijo; el tramo arranca en la plana siguiente al corte.
«Wear your individuality proudly. It is the badge of your godhood. You are a god living a life — being, desiring, creating. Through honoring yourself, you honor whatever it is God is, and become a conscious co-creator.» — Jane Roberts cierra pidiendo llevar con orgullo la individualidad como insignia de la propia divinidad, y honrando el yo honrar lo que Dios sea.
«I challenge you now to be as creative in another reality as you are in this one. And if it seems to you, because of your beliefs, that you are limited here, then I joyfully challenge each of you to create a city, an environment, and perhaps a world, in which no such limitations occur. What kind of world would you create?» — Seth, según Roberts, en la clase de ESP del 8 de octubre de 1974 citada por Butts, reta a los estudiantes a crear una ciudad y un mundo sin las limitaciones que aquí se dan por puestas.
«Bow down before no man, no woman, and no belief — but know you are indeed the creators.» — Seth, según Roberts, manda no inclinarse ante hombre, mujer ni creencia alguna, porque quien escucha es el creador.
«Now there are books programming out-of-body activity; millions of you are told that when you leave your body you will meet this demon or that demon, or this or that angry god. So, instead, we will form a free city to which those travelers can come, and where those who enter can read books about Buddhism if they prefer, or play at being Catholic.» — Seth, según Roberts, objeta los libros que programan el salir del cuerpo prometiendo demonios y dioses airados, y propone en su lugar una ciudad libre.
«I feel no great responsibility for any of your beings. [If I did] then I would be denying you your own power, and therefore seemingly building my own... I am here because I enjoy it. I am a teacher, and because I am a teacher I love to teach. A person who loves to teach needs people who love to learn. That is why I am here and why you are here ... My view of reality is different from your own, and that is fine, and so I can teach. A true teacher allows you to learn from yourself.» — Seth, según Roberts, rechaza toda responsabilidad sobre el ser de sus oyentes, porque asumirla les negaría su propio poder, y define al maestro verdadero como el que deja aprender de uno mismo.
«I am the daughter of the wind, I am the vagabond of time. I am a spirit, unleashed and free, Foster child of infinity.» — Lorrylo, poema que Roberts escribió a los quince años, citado por Butts: hija del viento, vagabunda del tiempo, hija adoptiva del infinito.
«Even if beta waves, then, seem to be the “official pulses” of our civilization [to use Seth's phrase from a session that will be quoted in part below], still Jane and I wonder: When aren’t we actually in a state of altered consciousness?» — Butts se pregunta cuándo no se está en un estado alterado de consciencia, si cada ritmo cerebral es alterado respecto de los otros tres.
«The beta waves quicken. They seem to be the official pulses of your civilization, giving precedence to official reality, but you have little idea that the psyche is inherently able to seek its conscious experience from all of the known ranges, according to the kind of experience chosen at any given “time.”» — Seth, según Roberts, en la sesión 760 del 10 de noviembre de 1975 citada por Butts, llama pulsos oficiales de esta civilización a las ondas beta y da a la psique acceso a todos los rangos.
«In these sessions the full range of brain waves is utilized as you understand them. Here, in a highly creative, disciplined, and yet spontaneous performance, a situation is set up in which knowledge is obtained from the known frequencies, combined so that consciousness can use itself more fully, reaching into many areas closed to one range of consciousness alone.» — Seth, según Roberts, describe las sesiones como uso del rango completo de ondas cerebrales, combinadas para alcanzar zonas cerradas a un solo rango.
«He is combining and alternating frequencies so that he literally brings forth a different creature of consciousness — one that in your terms is not alive, yet one whose very reality straddles the life that you know.» — Seth, según Roberts, dice que ella, alternando frecuencias, saca adelante una criatura de consciencia distinta, que en los términos de aquí no está viva y cuya realidad cabalga sobre esta vida.
«The most elemental portions of my reality begin at the furthest reaches of» — Seth, según Roberts, sitúa las porciones más elementales de su realidad donde terminan los alcances más lejanos de la de ellos; el tramo se corta en el cambio de plana.
«In one sense meeting with you costs me little energy, it is true. On the other hand the effort to communicate explanations does involve a very real endeavor on my part. And so you are not the only ones who grow weary in this respect. As I have said, feeling is action, and in my communications to you feeling plays a strong part.» — Seth, según Roberts, en la sesión 14 del 8 de enero de 1964 citada por Butts, dice que explicarse a ellos sí le cuesta esfuerzo y que el sentimiento pesa mucho en sus comunicaciones.
«I have never trusted the written word half as much as I trust the spoken word, and on your plane it is difficult to trust either. But I do not feel that I could be myself as easily by means of automatic writing, for example. I do not mind speaking through Ruburt’s mouth — somehow the sound of the words is rather pleasant. But seeing myself transformed more or less into plain black and white words on a sheet of paper seems dull and uninteresting. And I have always enjoyed conversation, which is the liveliest of all arts....» — Seth, según Roberts, en la sesión 22 del 4 de febrero de 1964, desconfía de la palabra escrita y llama a la conversación el más vivo de los artes.
«Concepts fit together in patterns. In order for there to be communication between us I must disentangle a concept from its pattern, which is somewhat difficult. It is somewhat like having to free a particular word from a strong emotional association. I experience patterns made up of concepts, and you use words in associations. When I speak through Ruburt I must disentangle the concept. This sometimes leaves me with short ends, because it is natural for me to experience the concepts in their entirety; and yet I must drop very important data by the wayside because you are not capable of handling it, except in consecutive form.» — Seth, según Roberts, en la sesión 24 del 10 de febrero de 1964, dice tener que desenredar el concepto de su patrón y tirar por el camino datos importantes que ellos no pueden manejar sino en serie.
«In the beginning, for example, there is always a distortion of material by the person who receives it, at least on the topmost subconscious level. So an individual whose personal prejudices are at a minimum is excellent. If, for example, Ruburt’s prejudices happen to lie along lines which do not contradict what I know to be true, then all the better, and there is much less resistance. Information like this is sifted through many layers of subconscious conception, and is subsequently colored.» — Seth, según Roberts, en la sesión 27 del 19 de febrero de 1964, admite que quien recibe distorsiona siempre el material en la capa superior del subconsciente y lo colorea.
«I am not his subconscious, though I speak through it. It is the atmosphere through which I can come to you, as the air is the atmosphere through which the bird flies.» — Seth, según Roberts, en la sesión 28 del 24 de febrero de 1964 citada por Butts, niega ser el subconsciente de ella y lo llama la atmósfera por la que él pasa, como el aire por el que vuela el pájaro.
«Excess enthusiasm can lead to fanaticism, and this at all costs must be avoided.» — Seth, según Roberts, advierte a dos visitantes que el entusiasmo excesivo lleva al fanatismo y que eso debe evitarse a toda costa.
«Ruburt is not myself now, in his present life. He is nevertheless an extension and materialization of the Seth that I was at one time. Nothing remains unchanging, entities and personalities least of all. You cannot stop them in time ... I am Seth today. I keep my continuity but I change, and offshoots like currents explode into being. Ruburt was myself, Seth, many centuries ago, but he grew, evolved, and expanded in terms of a particular personal set of value fulfillments. He is now a personality that was one of the probable personalities14 into which Seth could grow. I represent another. I am another.» — Seth, según Roberts, en la sesión 54 del 18 de mayo de 1964, dice que ella fue el Seth que él era hace siglos y que hoy es otra de las personalidades probables en que ese Seth pudo crecer.
«I also want to add that I am not a control, as mediums speak of controls. I am not, as I believe I have mentioned, a secondary or split personality of Ruburt’s. For example, I am not a conglomeration of male tendencies that have collected themselves into a subsidiary personality that struggles for recognition or release. I say that I am an energy personality essence, since that is what I am» — Seth, según Roberts, en la sesión 83 del 31 de agosto de 1964, niega ser un control de médium, una personalidad secundaria o un conglomerado de tendencias masculinas de ella, y se llama esencia de personalidad energética.
«Ruburt should learn much of advantage from the book by Jung16 which he is reading. And I would like to mention here that I am not Jane’s animus ... Nor could I possibly live up to Jane’s animus. I use the name ‘Jane” here rather than “Ruburt” because the animus belongs to Jane and to the present personality. Talk about reflections — because Ruburt has an anima!» — Seth, según Roberts, en la sesión 119 del 6 de enero de 1965, niega ser el ánimus de ella y remata diciendo que Ruburt tiene un ánima.
«This is not my voice, for example. It is a representation or» — Seth, según Roberts, en la sesión 33 del 9 de marzo de 1964, declara que la voz que se oye no es la suya sino una representación; el tramo se corta en el cambio de plana.
«I am not the Holy Ghost. I do not require or demand the vows of poverty, obedience, and certainly not chastity.» — Seth, según Roberts, en la sesión 49 del 29 de abril de 1964, niega ser el Espíritu Santo y rechaza los votos de pobreza, obediencia y castidad.
«We are dealing here with something rather unusual (the tests), in that we are attempting to permit two personalities to exist side by side, so to speak. Ruburt is not in a deep trance state. I do not supersede his own personality. He allows me, in our sessions, to coexist with himself.» — Seth, según Roberts, en la sesión 179 del 18 de agosto de 1965 citada por Butts, describe las pruebas de sobre cerrado: ella no entra en trance profundo y los deja coexistir.
«The distortions that appeared are most helpful, in that they allow Ruburt to differentiate between my own communications and his own thoughts.» — Seth, según Roberts, declara útiles las distorsiones de las pruebas porque le enseñan a ella a distinguir lo que él comunica de lo que ella piensa.
«Now and then with Ruburt, when I am allowed to manifest myself to a smaller or lesser degree, my own habits therefore show through, for I manipulate his muscles in a different way than he does. But, scientifically, this would not be proof of my existence as an independent personality who has survived physical death.» — Seth, según Roberts, en la sesión 211 del 24 de noviembre de 1965, explica por sus propios hábitos que ella gesticule con la izquierda en trance, y niega que eso pruebe nada de su existencia independiente.
«When communication takes place between a survival personality and one who exists within the physical system, this involves a reshuffling on the part of the survival personality, where the ego is momentarily given greater reign» — Seth, según Roberts, en la sesión 242 del 16 de marzo de 1966, describe la reorganización que hace la personalidad sobreviviente, dando más lugar al ego, para poder comunicarse.
«I speak as my whole self to you ... since my personality structure is more advanced than is usual for communications from other systems. Therefore, I do not need to adopt a past ego [of my» — Seth, según Roberts, dice hablar como su yo entero, sin necesitar adoptar un ego pasado, y por eso hace falta el puente psicológico; el tramo se corta en el cambio de plana.
«It makes no difference whether or not I am myself speaking through Ruburt now, or whether I did this last night in his sleep, and tonight is a film or playback. Again (with a smile): the medium is the message....» — Seth, según Roberts, en la sesión 458 del 20 de enero de 1969 citada por Butts, admite que una sesión pueda ser repetición de lo dictado en el sueño y remata con el retruécano de que el medio es el mensaje.
«and to get everyone over the idea that so-called spirits must be sweet-faced, quiet, sober, and dignified. That, for example, is one of my main concerns. I also want each of you to understand that energy is being used — and that the same energy Ruburt uses is available to each of you. (With much good humor.) For all of those who have in their deepest, most sacred thoughts, imagined that to be quiet was good and to be dignified was pious, then such a performance as mine should certainly make them think!» — Seth, según Roberts, en la clase de ESP del 16 de febrero de 1971, dice venir con esa fuerza para quitar la idea de que los espíritus deben ser dulces, callados, sobrios y dignos.
«it is not out of the inner sense of my invisible heart, but out of the depths of your own psychologies that you make me into a wise old man, and project upon me the authority images that lurk in your own minds. I have always tried to keep you from making this error, and sought to release from within yourselves your own abilities.» — Seth, según Roberts, atribuye a la psicología de quien lo oye, y no a él, el convertirlo en viejo sabio y proyectarle imágenes de autoridad.
«I do not come to you as someone who does not know what it is like to be human,26 and in those personality characteristics that I use when I speak to you, I show you that the emotional life continues....» — Seth, según Roberts, en la clase del 20 de abril de 1971, dice haber odiado a un padre y haber saqueado en la guerra, y no venir como quien ignora lo que es ser humano.
«The excitement [of living] must come from each of you, and not from me. You come here to know yourselves, and that should always be your purpose. I can help you — I can help you — but I am not the person you search for. You are the person you search for. The dimensions of your reality are the important points....» — Seth, según Roberts, en la clase del 24 de septiembre de 1974, les dice a los estudiantes que él no es la persona que buscan y que cada quien es esa persona.
«Any perception is action; it changes that upon which it acts, and in so doing it is itself changed.» — Seth, según Roberts, en la sesión 463 del 3 de febrero de 1969, hace de toda percepción una acción que cambia lo percibido y se cambia a sí misma; el ancla corta antes de la llamada de nota.
«I did not experience it. Ruburt experienced it. I commented on Ruburt’s experience... In his experience, Ruburt is also free enough so that he can open up certain channels of his mind that then comment upon his activity. Some of those channels lead to my reality. But, I am not some spooky Big Brother experiencing his reality for him!» — Seth, según Roberts, en la clase del 18 de febrero de 1975 citada por Butts, deslinda su papel: él comenta la experiencia de ella, no la vive, y no es un Gran Hermano fantasmal.
«My characteristics as they are displayed through the Seth personality, therefore, come from you as well as Ruburt... Triggers were needed also to initiate my emergence into your world through that personality I display. Ruburt’s own background and questions were highly vital as such initiating principles. Your questions merged with his.» — Seth, según Roberts, en la sesión 768 del 22 de marzo de 1976, hace venir de los dos los rasgos con que se presenta la personalidad de Seth.
«My personality, as it so richly presents itself, is (louder) to some extent a joint creation of the two of you. This does not mean that I do not have my own reality, for I do, but in my relationship with you and Ruburt, and with your world, I do take certain characteristics that come from each of your realities.» — Seth, según Roberts, llama a su personalidad creación conjunta de los dos hasta cierto punto, sin negar su realidad propia.
«In your terms, I am relatively unemotional at my own level of activity. Rather, my emotional behavior does not follow your patterns — that is closer to “the truth.” I have long delegated your kind of emotional activity to what you would call unconscious behavior. Our focuses are different, yet the overall coloration of your experiences does come through to me, and through this delightful personality (Jane indicated herself), I can to some extent relate to it.» — Seth, según Roberts, se declara poco emocional en su propio nivel y dice acceder a lo emocional de ellos a través de la personalidad de ella.
«My own psychological reality is not particleized. My identity includes the identities of many others, and they each operate in their own fashion. In those terms I am a wave formation.» — Seth, según Roberts, en la sesión 775 del 10 de mayo de 1976, dice que su realidad psicológica no está hecha de partículas y se llama formación de onda.
«And in my time, I was also quite a dogmatic scientist. The times were different, however, and then I was even more intolerant in my beliefs than your scientists generally — underlined — are today! In the terms of my book (“Unknown” Reality), I was a dream-art scientist,37 but I was very dogmatic, and I demanded that others follow my symbols and not their own. And that is why I now so carefully tell you to follow your own ways.» — Seth, según Roberts, en la sesión del 11 de marzo de 1977, se confiesa científico dogmático en su tiempo y explica por eso su insistencia en que cada quien siga su propia vía.
«When I enter your system, I move through a series of mental and psychic events. You would interpret these events as space and time, and so often I must use the terms, for I must use your language rather than my own ... In one way, I translate what I am into an event that you can understand to some extent.» — Seth, según Roberts, en la sesión 519 del 23 de marzo de 1970, dice traducirse a sí mismo en un suceso comprensible al entrar en este sistema, usando el lenguaje de aquí y no el suyo.
«Individual life, or the life of the present individual, could be legitimately compared to the dream of an entity. While the individual suffers and enjoys his [or her] given number of years, these are but a flash to the entity. The entity is concerned with such years in the same manner that you are concerned with your own dreams... And as your dreams originate with you, arise from you, attain a seeming independence and have their ending with you, so an entity’s personalities arise from it, attain various degrees of independence, and return to it while never leaving it for an instant.» — Seth, según Roberts, en la sesión 28 citada por Butts, compara la vida individual con el sueño de una entidad, de la que las personalidades salen y a la que vuelven sin haberla dejado nunca.
«Pretend that you are some weird creature with two faces. One face looks out upon one world and one looks out upon another. Imagine, further, this poor creature having a brain to go with each face, and that each brain interprets reality in terms of the world it looks upon, Yet the worlds are different, and more, the creatures are Siamese twins.» — Seth, según Roberts, figura al ser humano como criatura de dos caras y dos cerebros, cada uno mirando a un mundo distinto y unidos como siameses.
«The anima and the animus ... are highly charged psychically, and also appear in the dream state. They operate as compensations and reminders to prevent you from overidentifying yourself with your present physical body.» — Seth, según Roberts, en la sesión 555 del 21 de octubre de 1970 citada por Butts, hace del ánima y el ánimus recordatorios que impiden identificarse de más con el cuerpo presente.
«The libido does not originate in the subconscious of the present personality. It begins instead in the energy of the entity and inner self, and is directed by means of the inner senses — outward, so to speak, through the deeper layers of the individual subconscious mind, then through the outer or personal areas.» — Seth, según Roberts, en la sesión 83 citada por Butts, saca el origen de la libido del subconsciente personal y lo pone en la energía de la entidad y del yo interior.
«Basically, Jung feared such a journey because he felt that it led only to the racial source ... that anyone involved in such a study would end up in the bottleneck of a first womb — but there, there is an opening up into other realms, through which the libido also passed. Figuratively speaking, it squeezed itself through the bottleneck, and there is a lack of limitation on the other side.» — Seth, según Roberts, atribuye a Jung el miedo de que ese viaje acabara en el cuello de botella de un primer útero, y sostiene que del otro lado no hay límite.
«Freud courageously probed into the individual topmost layers of the subconscious, and found them deeper than even he suspected. These levels are indeed filled with what may be termed life-giving differentiated and undifferentiated impulses acquired in the present life of an individual, but when these have been passed there are many discoveries still to be made. After that passage the diligent, consistent, intuitive, and flexible seeker after knowledge will find horizons of which Freud never dreamed. Freud merely touched the outer boundaries.» — Seth, según Roberts, reconoce a Freud el valor de sondear las capas altas del subconsciente y lo deja apenas en los lindes exteriores, con Jung viendo poco y mal más allá; el compuesto life-giving quedó partido en fin de renglón en el troceo y aquí se restituye con guion, cotejado contra el crudo.
«The psychological bridge can transmit, you see, and to some extent translate, but not interpret. I am dependent in a large measure upon Ruburt’s own knowledge, and lack of it, in that I cannot force from him, from his speech mechanism, concepts with which he is entirely unfamiliar. I must introduce them step by step» — Seth, según Roberts, en la sesión 241 citada por Butts, declara que el puente psicológico transmite y traduce pero no interpreta, y que él depende del saber de ella.
«It is not as simple a thing as it might seem, for there is no coercion involved, Ruburt always consenting to let me push concepts at him, which he interprets speech-wise with my assistance.» — Seth, según Roberts, descarta toda coerción: ella consiente en dejarle empujar conceptos que después interpreta en habla con ayuda de él.
«The trick is to allow Ruburt’s associations free reign to a certain point, and then expertly insert the correct data. This is sometimes difficult. His associations may go, for example, from C, D, E, and F, but precisely where he would say ‘G,’ we must insert X or Yt and do it so smoothly that he is quite unaware.» — Seth, según Roberts, describe la maña de dejar correr las asociaciones de ella hasta cierto punto e insertar ahí el dato correcto sin que ella lo note.
«The constant motion within them is caused by the unending perceptive nature of any consciousness, however minute in your terms.» — Seth, según Roberts, en la sesión 464 citada por Butts, hace del movimiento dentro del átomo un efecto de la naturaleza perceptiva incesante de toda consciencia.
«Each of the particles within the atom is perceptively aware of all of the other particles within that same atom. They move in response to stimuli received from each other, and to stimuli that come from other atoms .. . Each atom within a cell, for example, is aware of the activity of each of the other atoms there, and to some extent of the stimuli that come to the cell itself from outside it.» — Seth, según Roberts, hace que cada partícula del átomo perciba a las demás y responda a sus estímulos, y que cada átomo de una célula sepa de los otros.
«As the sessions became part of our joint reality, we gradually came to understand that the illness I struggled with was a disguised expression of rebellion for both of us. We were very dissatisfied with our status quo» — Butts consigna que la enfermedad con que él batallaba antes de las sesiones era una rebeldía disfrazada de los dos contra su situación.
«You are actually ‘reincarnated’ many times during one accepted lifetime. There are often great challenges to which you respond. You pick these for your own reasons. In doing so you often change affiliations.» — Seth, según Roberts, en la sesión 775 citada por Butts, reencarna a cada quien muchas veces dentro de una sola vida aceptada.
«Consciousness forms patterns of identities. They move faster than the speed of light. They can be in more than one place at one time. (See notes 5 and 6 for Session 702.) They can operate in a freewheeling fashion as identities in themselves, or as ‘psychological particles.’ They can also operate in a wavelike fashion, flowing through other such particles. They can form together into endless, infinite combinations, forming psychological gestalts.» — Seth, según Roberts, hace de la consciencia patrones de identidad más veloces que la luz, que operan como partículas psicológicas o como ondas y se combinan en gestalts.
«I do not travel physically in a UFO (with amusement), and yet my mental or psychic journeys must occur in a medium of some kind. There are rhythmic activities in that atmosphere that I count upon and use, as for example a sea captain might use the rhythm of the waves for his voyages. Those inner atmospheric ‘waves’ have a certain regularity. They are more intense at certain times than others.» — Seth, según Roberts, en sesión personal citada por Butts, dice no viajar físicamente en un ovni y describir sus viajes psíquicos como navegación por ritmos de la atmósfera psicológica de la tierra.
«Seth is what I am, and yet I am more than Seth is. Seth is, however, independent, and continues to develop as I do . . . Simply as an analogy, and only as an analogy, I am what you would refer to as a future Seth, as Seth in a “higher” stage of development. This is not to be taken literally, however, since both of us are fully independent and exist simultaneously.» — Seth Dos, según Roberts, en la sesión 407 citada por Butts, se declara más que Seth y a la vez independiente y simultáneo con él; la analogía del Seth futuro, advierte, no se toma al pie de la letra.
«Unlike Seth, Seth Two has never been physical in our terms, and only partially comprehends our reality even while helping to form it.» — Butts consigna que Seth Dos nunca ha sido físico en estos términos y que solo comprende en parte esta realidad, aunque ayude a formarla.
«I can’t do it,” she said quietly. “I don’t think I can do it. . . .” She repeated variations of this idea several times; some of them were less intelligible than others. “I don’t understand what I’m getting, and I don’t know what to do with it.» — Jane Roberts, en trance y antes de emitir el sonido largo, dice que no puede hacerlo y que no entiende lo que recibe.
«In a voice quite a bit deeper and stronger than usual, but not as overpowering as I’ve heard it be on occasion, Jane began to express a series of very “long,” drawn-out syllables.» — Butts describe cómo ella empezó a emitir sílabas larguísimas con una voz más honda y fuerte que la suya.
«Now I began to make out very drawn-out “long” or slow words. Jane’s voice remained on the same deep, even keel:) “Wwwwhhhhheeeeeeennnnnnn......Wwwweeeeeeeeee......Ssssspeeeeee eaaaaakkkkk......Wwwwooooorrrrrlllllldsssssss......Ffffooooorrrrrmmmmmmm.” (My interpretation: “When we speak worlds form.”» — Butts consigna la única frase que alcanzó a descifrar del sonido largo de Roberts y da su interpretación: al hablar nosotros, los mundos se forman.
«Everything is conscious, of course. Atoms and molecules, the whole thing. The massive part is the core. This core is, I believe, not discovered yet [by physicists], and it’s so slow to us that no motion is apparent. I don’t know whether this is an atom or not. You can call it a dead hole” (Pause.) “Its motion in our terms is so slow as not to be observable, but in terms of time it’s a backward motion.» — Jane Roberts, por su cuenta en la sesión 612, describe un núcleo macizo que ella llama agujero muerto, tan lento que no se le ve movimiento y que en tiempo va hacia atrás.
«As mentioned, sound is connected here also, and each one of these phenomena has consciousness that does express itself, and is aware of the stages through which it passes. In certain terms, dead holes connect past and present; also future. In practical terms, they have to do with the seeming permanence of an object. They are the invisible portions of the atom.» — Jane Roberts atribuye consciencia a esos fenómenos y hace de los agujeros muertos la porción invisible del átomo, que enlaza pasado, presente y futuro.
«The third eye (sometimes called the “back eye”) is the legendary organ of psychic perception, supposedly located behind the forehead. In occult science it’s been connected with the pineal body, or gland, that mysterious member of the endocrine system is buried deep within the brain, and through the centuries has been considered by many — including the French philosopher and mathematician, Rene Descartes (1596-1650) — to be the seat of the soul.» — nota de Butts: define el tercer ojo del saber legendario, lo liga a la glándula pineal y consigna que Descartes la tuvo por asiento del alma.
«Many are familiar with the Hindu discipline of Yoga. In that ascetic system of breathing, meditation, and postures, the third eye corresponds to the sixth chakra, as one starts counting the positions of those seven nonphysical wheels of psychic energy from the base of the spine to the brain’s cerebrum.» — nota de Butts: sitúa el tercer ojo en el sexto chakra de la disciplina hindú del yoga, y consigna que Roberts casi no sabe nada de esa historia.
«Now she felt that “to do proper justice to them would take years — centuries perhaps.» — Butts consigna que al día siguiente Roberts subió su cálculo: hacerle justicia al sonido largo tomaría años, quizá siglos.
«Long is the light Of the moth and the willow. Long is the journey Of the root and the stem. Deep is the cry Of the tree bark and blossom. The leaf hears its growing, And life sings its truth. Sweet is the depth Of air to the swallow. Long is the still breath Of the stone and the pebble. Deep is the trance Of the mountain and meadow.» — Long Is the Light, poema que Roberts escribió en el verano de 1963, meses antes de las sesiones: hondo es el trance de la montaña y del prado.
«That particular kind of relaxation seems to repeatedly come upon me over a period of several months or even a year, then to vanish for the same amount of time. I first felt it right after we moved into the new apartment in June 1971, and when it started I knew it was a different kind of feeling. It’s a sort of super-relaxation; almost profound, and mental and physical at once.» — Jane Roberts describe por escrito una relajación que le viene por temporadas, profunda y mental y física a la vez.
«I was writing poetry one day early in August 1971, when suddenly I mentally heard the oddest sounds — incredibly fast, too quick to follow. Instantly I ‘knew’ that these faster sounds were objects coming into material focus. They slowed down to become physical. I sensed this neurologically, though how that was possible, I don’t know....» — Jane Roberts, en su cuaderno, consigna haber oído mentalmente sonidos rapidísimos que supo objetos entrando al foco material, frenándose hasta volverse físicos.
«The relaxation involves a curious sense of dropping down inwardly, of going slowly beneath the realities we usually recognize. It’s a smooth transition in which perception is slowed down topwise, but deepened so that usually unperceived stimuli seem to rise from an underside of consciousness» — Jane Roberts describe esa relajación como un caer hacia dentro, donde lo que no se percibe sube desde el envés de la consciencia.
«Looking at a leaf while in that state, I easily feel myself as part of the leaf, and I think this is a biological as well as a psychic perception. At certain levels the body feels that way itself, although ordinarily we aren’t aware of it. Such a relaxation, then, is almost an extension of biological insight.» — Jane Roberts dice que en ese estado se siente parte de la hoja que mira, y llama a eso una extensión de la intuición biológica.
«In trance or out, Jane likes to “take off” in her own creative ways from concepts like that of the tachyon, or the black hole or the white hole — so in this session she came up with the “dead hole.”» — Butts consigna el modo de trabajar de ella: arrancar creativamente de conceptos como el taquión o el agujero negro y sacar de ahí su agujero muerto.
«The strange thing about your flying saucers is not that they appear, but that you can see them. As science advances on various planes the inhabitants learn to travel between planes occasionally, while carrying with them the [camouflage] manifestations of their home stations» — Seth, según Roberts, en la sesión 16 del 15 de enero de 1964 citada por Butts, halla raro no que los platillos voladores aparezcan sino que se les pueda ver.
«I am quite sure — I know for a fact — that beings from other planes have appeared among you, sometimes on purpose and sometimes completely by accident. As in some cases humans have quite accidentally blundered through the apparent curtain between your present and your past, so have beings blundered into the apparent division between one plane and another.» — Seth, según Roberts, afirma que seres de otros planos han aparecido aquí, a veces a propósito y a veces por tropiezo.
«Its actual structure is caught in a dilemma of form ... between transforming itself completely into earth’s particular camouflage pattern, and retaining its original pattern. The earthly viewer attempts to correlate what he sees with what he supposedly knows or imagines possible in the universe. What he sees is something between a horse and a dog, that resembles neither. The flying saucer retains what it can of its original structure and changes what it must.» — Seth, según Roberts, deja a la nave atrapada en un dilema de forma entre el patrón de su origen y el de aquí, y de ahí saca las descripciones contradictorias.
«I want to get away from the idea of a plane being a place. It may be in some cases but is not always. A plane may be a time. A plane, believe it or not, may be only one iota of vitality that seems to exist by itself. A plane is something apparently divided from the rest of the universe for a time and for a reason. A plane may cease to be.» — Seth, según Roberts, desliga el plano del lugar: puede ser un tiempo, o un ápice de vitalidad que parece existir solo, y puede dejar de ser.
«In fact, the analogy of a plane with an emotional state is much more valid than that between a plane and a geographical state — particularly since emotional states take up no room.» — Seth, según Roberts, halla más válida la analogía del plano con un estado emocional que con un estado geográfico, porque las emociones no ocupan lugar.
«A note added a decade later: So far, Seth has failed to volunteer information on the inhabitants of any of the “saucer” planes — but neither have we asked him to do so.» — nota de Butts añadida diez años después: consigna otro muro, la información sobre los habitantes de los planos de los platillos que nunca llegó ni se pidió.
«All right,” she said finally. “I’ll just tell you this: The whole idea of reincarnation is all screwed up. To unscramble it would really be confusing. What I’m getting is that the idea of just one life in any given time is bullshit — the psyche is so rich that it can have more than one life in one time period, like your Nebene and Roman soldier living together in the first century. But if you tell people that, you’ll just get them all mixed up.» — Jane Roberts, cansada y en primera persona, declara enredada la idea corriente de la reencarnación y afirma que la psique es tan rica que puede tener más de una vida en un mismo periodo.
«Now: a footnote to our [private] session of last night. Ruburt was correct: Lives are simultaneous. You can live more than one life at a time — in your terms now — but that is a loaded sentence.» — Seth, según Roberts, en la clase del 19 de noviembre de 1974 citada por Butts, le da la razón a ella: las vidas son simultáneas y se puede vivir más de una a la vez.
«You have several time and space tracks in operation at once, then, but you acknowledge only certain neurological messages physically. Yet there is more to the body than you perceive of it, and this is difficult to explain to you» — Seth, según Roberts, pone varias pistas de tiempo y espacio funcionando a la vez, con el cuerpo dando más de lo que se percibe de él.
«Far be it from me to disturb your ancient ideas of yin and yang, or Jung, or good and evil, or of right and wrong, or of good and bad vibrations! I was beginning a new body of material, and so we have not finished with it by a long shot! What I hope to say is that your world exists in different terms than those you recognize, and that reincarnation is indeed a myth and a story that stands for something else entirely.» — Seth, según Roberts, en la clase del 26 de noviembre de 1974, se ríe de las ideas heredadas de yin y yang, de Jung y del bien y el mal, y declara la reencarnación un mito que está por otra cosa.
«for how like us these earth gods are, yet next to us, superstars, bigger than life counterparts, dramatizing us beyond degree and running off with the show as vicariously we watch them play our parts.» — Apprentice Gods, poema que Roberts escribió en 1973, citado por Butts: los dioses de la tierra son counterparts nuestros pasados de tamaño, que se roban la función haciendo nuestros papeles.
«Quite literally, the “inner” self forms the body by magically transforming thoughts and emotions into physical counterparts . . . Now whenever you think emotionally of another person, you send out a counterpart of yourself, beneath the intensity of matter, but a definite form.» — Seth, según Roberts, en la sesión 520 del 20 de marzo de 1970 citada por Butts, hace al yo interior formar el cuerpo y mandar un counterpart de uno cada vez que se piensa emocionalmente en otra persona.
«One whole entity may need several manifestations, even at simultaneous so-called times.» — Frank Withers, según Roberts y por tabla ouija en la sesión 4, dice que una entidad entera puede necesitar varias manifestaciones en tiempos llamados simultáneos; Butts lee ahí el primer asomo de los counterparts.
«Part of same entity or counterpart» — Seth, según Roberts, por tabla ouija en la sesión 6 del 11 de diciembre de 1963, usa la palabra counterpart por primera vez, once años antes de desarrollarla.
«Return o my brother, counterpart of heaven, For I am permitted to cry only through your voice» — verso de un poema que Roberts escribió en 1949, a los diecinueve años, citado por Butts: el hermano counterpart del cielo por cuya voz ella puede llorar.
«Much could be written here — volumes, easily. I’ll simply add that in religious terms alone Christ can be seen as androgynous, in that he’s obviously a symbol of the unification of opposites — whether of the conscious and the unconscious, the feminine and the masculine, this reality and others, the mystical and the “practical,” and so forth. And a number of old disciplines thought that before the creation of Eve from his body, Adam, the first, original man, was really male and female.» — Butts lee a Cristo como andrógino, símbolo de la unificación de los opuestos, y consigna las disciplinas antiguas que hacían a Adán varón y mujer antes de Eva.
«Not long after I closed my eyes I saw, almost in silhouette, a Roman soldier standing on the top of a square, crenelated tower that formed a corner or angle in a massive stone wall. My position was at ground level. I’d lost all sensation of my body lying on the cot. The scene was very faint, so much so that it might almost be called more of an idea than an image. The sky behind the soldier was darkly overcast; I was aware of very little color. I ‘knew’ that the tower I faced marked the southeastern corner of Jerusalem, and I ‘knew’ that the wall itself was an enormous fortification that had surrounded that ancient city sometime during the first half of the first century A.D.» — Butts narra en primera persona su cuarta visión romana: un soldado en lo alto de una torre almenada, en la esquina sureste de la muralla de Jerusalén.
«There was something very contradictory about the affair: The soldier-self I saw atop the tower was a Roman — whereas, according to the little I know of those times, such a position should have been occupied by a native Jew, who was perhaps a lookout for the city behind him.» — Butts consigna la contradicción de su propia visión: ahí debería haber un judío de la ciudad y no un romano.
«A sound effect was involved here that was unique for me — doubly so, actually. First, until now my internal perceptions have staged themselves like old silent films; second, the sound itself was quite unusual: The clustered troops on the ground were emitting a low rhythmic chanting or wailing. This was no happy occasion. This sound, rising and falling in such mournful cadences, was unintelligible to me.» — Butts consigna el único efecto sonoro de sus visiones internas: un canto rítmico y lastimero de la tropa, para él ininteligible.
«My only touch of emotion was involved with this second image; as I first saw it, I felt light thrillings in my body, coupled with a somewhat fearful reaction. I trust the thrilling sensations, since over the years I’ve learned that they signify something psychically legitimate for me5; their onset now at least reinforced my suspicion that the tumbling figure was me.» — Butts liga el estremecimiento que sintió con lo que para él marca algo psíquicamente legítimo, y con la sospecha de que el que caía era él.
«But at any given time, in your terms — at any given time — the population of the earth is made up of counterparts ... and so when you kill an enemy, you are killing a version of yourself» — Seth, según Roberts, en la clase del 3 de diciembre de 1974 citada por Butts, hace de la población entera de la tierra counterparts unos de otros, de modo que matar a un enemigo es matar una versión de uno mismo.
«Rob: In one of my own ‘past-life’ memories, I was a guard or sentry on a tower like the one in your drawings. Or I was the sentry’s enemy, who came up the steps and attacked him. I was overcome and pushed off the tower, falling backwards in the position your drawing shows. It was night or semi-dark.» — Peter Smith, por escrito en la clase, cuenta una memoria propia de vida pasada con la misma torre y la misma caída que Butts acababa de describir y dibujar.
«Aside from whatever intrinsic validity they may have, does each of us telepathically pick up on the experiences of others and weave such information into personal psychological dramas? If so, do we do this frequently, so that our private fantasies have an inner coherence with those of our fellow human beings — and connections with them — that quite escapes our usual notice?» — Butts se pregunta si cada quien levanta telepáticamente la experiencia ajena y la teje en dramas psicológicos propios, con una coherencia interna que no se nota.
«Just as I do, Peter rebels in his own peaceful ways against conventional authority, preferring to go his individual route in the arts, no matter how dubious his rewards may be.» — Butts halla el terreno más firme en lo simbólico que en lo físico: los dos se rebelan a su manera contra la autoridad convencional.
«In deeper terms that era still exists, and that is something you should not forget. For as you view a painting and it has a frame, so do you view the centuries and put separate frames around them....» — Seth, según Roberts, deja existiendo aquella era y reprocha el mirar los siglos como cuadros enmarcados por separado; el ancla arranca después de la llamada de nota.
«Now, when you learn to communicate with the gracious ease with which those primitive people communicated, then you can call yourself civilized. You [as a member of the human species] do indeed see yourself as the supreme flower of history so far, yet when you can know what is going on clearly and concisely on the other side of Elmira, and can communicate it also, then you will be as primitive and as civilized as some of those primitive people.» — Seth, según Roberts, en la sesión informal del 1 de febrero de 1974 citada por Butts, reta a llamarse civilizado solo cuando se comunique uno con la soltura de aquellos pueblos primitivos.
«And that is the worst kind of history of all! It has nothing to do with the people!» — Seth, según Roberts, llama a la historia esotérica la peor de todas porque no tiene que ver con la gente.
«In your terms, your histories were not written by the people who worked the earth. They were created by the priests and the elite, who made up their own histories to suit their purposes — to hold down the masses, for reasons that I will someday discuss, for they are important.» — Seth, según Roberts, atribuye las historias no a quienes trabajaron la tierra sino a los sacerdotes y a la élite, que las hicieron a su conveniencia para someter a las masas.
«And so those people lifted up their minds and hearts and heard the voices of the earth speak to them, as they still do. The elite did not hear those voices. They wrote histories in which in their own memories they annihilated races of people with emotions as strong and as real as theirs. The elite leave you records and methods, telling you of kings and queens, of gurus and prophets and gods, in whose eyes the masses of the people vanished.» — Seth, según Roberts, hace oír a aquella gente las voces de la tierra, y acusa a la élite de dejar registros de reyes, gurús, profetas y dioses donde las masas desaparecen.
«Now, the material is new, as you yourselves are new. It is old, as the heritage of your selves is old. There is no old knowledge, however!» — Seth, según Roberts, contesta a la disputa sobre si su material es viejo o nuevo: es las dos cosas, y no hay tal cosa como conocimiento viejo.
«Actually, what I needed were personalities who were not fanatics along any line — including scientific fanatics who would object as forcibly to the reincarnational data as religious fanatics would object to some of the other material.» — Seth, según Roberts, dice haber necesitado personalidades no fanáticas de ningún lado, ni científicas ni religiosas.
«All religions are distortive. For that matter, much of your science is distortive. Both arrive at approximations, at best, of reality. Religion has been the cause of much prejudice and cruelty, but the bombs over Hiroshima were not caused by the Catholic Saint Teresa showering down any roses. Science is apt to turn into another religion, if it has not done so already. The distortions in science and religion have been truly disastrous. Any fanaticism is vicious, onesided, and limiting, causing an alarming shrinkage of focus that is explosive and dangerous.» — Seth, según Roberts, declara distorsivas a las religiones y a buena parte de la ciencia, y llama vicioso y peligroso a todo fanatismo.
«And where does the great spectacular reality, the physical reality of your earth, spring from? Why is shit not considered sacred and blessed and glorious? You think of shit, unfortunately, as the antithesis of good; and when you play around it or with it, you think you are being childish at the best, and wicked at the worst.» — Seth, según Roberts, en la clase citada en el apéndice 24, pregunta por qué la mierda no se tiene por sagrada y bendita, si de ahí sale la realidad física de la tierra.
«Your soul and your flesh are wedded together. One is not “better” than the other. Both are good.» — Seth, según Roberts, casa alma y carne y niega que una sea mejor que la otra.
«The categories [healing, teaching, or whatever] are general descriptions of the families of consciousness. You can split them up also and make further distinctions, if you choose. You can cut those divisions down. They merely represent interpretations that you can understand in your reality.» — Seth, según Roberts, en la clase citada en el apéndice 26, llama a las categorías de familias meras interpretaciones comprensibles en esta realidad, divisibles a gusto.
«I am not giving you these groups to set up divisions, but to help you understand that consciousness is diversified — that usually each of you falls, because you want to, into a certain family. And there you acquire friends, alliances, and counterparts. Besides the physical relationships that each of you know, therefore, you have other brothers and sisters, mothers and fathers, on a psychic level» — Seth, según Roberts, aclara que no da esas familias para levantar divisiones sino para mostrar lo diversa que es la consciencia, y da a cada quien hermanos y padres psíquicos.
«If you do not like the families that you have, you have others to choose from.» — Seth, según Roberts, ofrece otras familias a quien no esté a gusto con las que tiene.
«The Sumari experience began when one family, the Sumari, learned that some class members felt alone in this world — bereft of family, often. A class member lost a father. Ruburt (Jane) lost a parent also. And because of that emotional and quite human experience, Ruburt allowed the Sumari development to show itself....» — Seth, según Roberts, fecha el nacimiento del sumari en la orfandad sentida por miembros de la clase y por ella misma, tras morir su padre.
«Yet now it seemed that even beneath that scattered performance Jane’s psyche had felt stronger ties of some kind — at least with Del, if not with her mother — than either of us had suspected; that at least some part of her had sensed a sort of biological or creature loss upon the death of a blood relative.» — Butts consigna su sorpresa: bajo una relación tan intermitente, la psique de Roberts sintió la pérdida de su padre como pérdida de criatura.
«Members of the Grunaargh, and I personally, were involved in the invention of movable type.» — Sue Watkins, por escrito a petición de Butts, se sitúa a sí misma y a la familia Grunaargh en la invención de los tipos móviles.
«It seems so hilariously logical that the Sumari, who are creators, would want to ‘merge’ with a family more prone to organization,4 to come up with what they would need to spread ideas: movable type.» — Sue Watkins halla graciosamente lógico que los sumari creadores se fundieran con una familia más organizadora para dar con los tipos móviles.
«I see myself, then, as one of the people involved in the thinking up and making of the typefaces. I see a large, sort of beefy man with a red face, sitting at a piece of furniture like a drafting table, carefully cutting out these characters. He had fingers like sausages; people in town were always amused that he was so big and worked with such small pieces.» — Sue Watkins se ve como un hombre corpulento de dedos como salchichas que tallaba los tipos y divertía al pueblo por trabajar piezas tan chicas.
«He reveals the very structure upon which our free will rests: for if events were immutable or fated, no free will would be possible.» — Butts, en el epílogo, resume lo que ve en el libro: la estructura sobre la que descansa el albedrío, imposible si los sucesos fueran inmutables.
«The two volumes of “Unknown”Reality hardly tie truth up in neat packages, though, so that after completing them the reader can claim to know all of the answers. In fact, Seth’s material always raises more questions to stimulate the intellect and intuitions, and these two books are no exception.» — Butts advierte que los dos tomos no empaquetan la verdad: el material de Seth siempre abre más preguntas de las que cierra.
«Jane and I, for instance, have never particularly cared for the term “ESP,” or extrasensory perception (my emphasis), since to us it implies misleading conceptions about certain inner abilities. We hardly think those attributes are “extra” at all, although they’re obviously more developed or consciously available in some individuals than in others — but then, so is a “gift” for music, or baseball or whatever.» — Butts consigna que a él y a Roberts nunca les gustó el término ESP, porque esas facultades no son extra sino más desarrolladas en unos que en otros, como el don para la música.
«But if Seth-Jane are at all right, then consciousness is more than encompassing enough to embrace all that we are, and everything that each of us can even remotely conceive of doing or being. Try as we might, we’ll not exhaust or annihilate consciousness: Whatever we accomplish as people will still leave room for — indeed, demand — further ramifications and development.» — Butts cierra diciendo que si Seth y Roberts tienen algo de razón, la consciencia abarca todo lo que se pueda concebir y siempre pedirá más desarrollo.
«If there’s life after death, each of us in turn will find it out — including the nonbelievers. And if there isn’t — well, no one will ever know that. Either way, there’s absolutely nothing to worry about....» — Butts consigna su propia broma a Roberts sobre la vida después de la muerte: de un modo o de otro no hay de qué preocuparse.
«And what guided those creatures, I wondered — magnetic lines of force, genes, innate knowledge — or what? And I knew that no objective reasoning processes alone could explain their magnificent flight.» — Butts cierra el libro con la migración de los gansos, oída sin verla en un cielo despejado, y dice que ningún razonamiento objetivo basta para explicar ese vuelo.
«Somehow the twice-yearly, north-and-south migrations of the geese have become symbols for me of the known and unknown qualities of life — sublime and indecipherable at the same time, enduring yet fleeting, and almost outside of the range of human events.» — Butts hace de la migración de los gansos el símbolo de lo conocido y lo desconocido de la vida, sublime e indescifrable a la vez.
«These trances are so deep that I want to do something when I come out of them,” she said. She continued to thump away. “They’re different, there’s no two ways about it...» — Jane Roberts, en primera persona al salir de la sesión 687, describe trances tan hondos que al volver necesita moverse.
«I have found dreams and followed them And lost them. I have found speckled pebbles by the seashore And saved them, But the dreams were what I wanted.» — versos que Roberts escribió a los diecisiete años, citados por Butts: halló sueños y los perdió, y eran los sueños lo que quería.
«no trace or imprint of a thought has ever been found within its tissue. As an analogy, the innate knowledge of probabilities that Seth postulates here may be related to the brain in the same way that memory evidently “happens” throughout its parts, instead of being localized in just one of them.» — nota de Butts: consigna que, sondeado el cerebro hasta el nivel molecular, no se ha hallado en su tejido rastro de un pensamiento.
«Today I showed Jane the finished version of my “ghost image" portrait of her as a male in another probability. The painting represented a new approach in art for me, and had caused me a good deal of puzzlement at first. I began it early in February. I won't take the space to describe the series of mistaken efforts I went through in producing the work, except to say that finally I came to the rather simple conscious understanding that I was trying to paint a probable Jane.» — Butts consigna el retrato de imagen fantasma que pintó de ella como varón en otra probabilidad, y el desconcierto que le costó entender lo que estaba pintando.
«Speechless as a stone I felt myself Within me, mute. Comprehension ate my foot And gobbled up my arm. The wind lifted Layers off my skin. My heart and giblets lay All drying in the sun, Unpackaged and exposed.» — Illumination, poema que Roberts escribió en 1965 y que Butts cita a propósito de las células que pasan de una criatura a otra.
«In the United States alone there have been many discoveries of human (and/or humanlike) tracks, both large and small, in very ancient rock formations. These have been found in Pennsylvania, Kentucky, Missouri, Texas, New Mexico, California, and other states, and range back an incredible 300 million years to the Carboniferous Period. In Texas, very clear giant-sized human tracks, dating from the Cretaceous Period of 140 million years ago, have been found intermixed in rock with those of several kinds of great dinosaurs» — nota de Butts: consigna huellas humanas y humanoides halladas en rocas antiquísimas de varios estados, algunas junto a las de grandes dinosaurios.
«Certainly theories of evolution (Darwinism) forbid the notion that dinosaurs and man, or any kind of man, were contemporary! Generally speaking, science chooses not to accept the discoveries mentioned here, for were any of them to be officially recognized then several learned disciplines — among them geology and biology — would be shown to be very much in error in important ways.» — Butts explica por qué la ciencia no acepta esos hallazgos: reconocerlos dejaría en grave error a la geología y a la biología.
«One particular experiment in consciousness may be pursued by one species, for example, and that knowledge given to another, or transferred to another, where it appears as “instinct.”» — Seth, según Roberts, en la sesión 690, pasa el saber de un experimento de consciencia de una especie a otra, donde aparece como instinto.
«But not only had she done it more than once, Sue said: She could recall portions of the simultaneous dreams she'd had on some of those occasions, which was a lot more than I could claim.» — Butts consigna que Sue Watkins sí recordaba porciones de sus sueños simultáneos, más de lo que él pudo recordar de los suyos.
«Nor was I quick enough to ask Seth if the material Jane delivered for him tonight constituted any kind of contradiction with that of the 689th session; for in that session he discussed man-animal and animal-man as existing within the Tertiary Period. Presumably these “mutated forms” had implied the beginnings of man, in ordinary terms, yet now Seth spoke of cave» — nota de Butts: consigna una posible contradicción entre dos sesiones sobre las formas mutadas y el hombre de las cavernas, y pregunta si ella distorsionó una de las dos; el tramo se corta en el cambio de plana.
«The dream world is indeed a natural by-product of the relationship between the inner self and the physical being. Not a reflection, therefore, but a by-product involving not only a chemical reaction but the transformation of energy from one state to another.» — Seth, según Roberts, en la sesión 97 citada por Butts, hace del mundo onírico un subproducto de la relación entre el yo interior y el ser físico, no un reflejo.
«This point is extremely important. As you know, animals dream. What you do not know is that all consciousnesses dream. We have said that to some degree even atoms and molecules have consciousness, and each one of those minute consciousnesses forms its own dreams, even as on the other hand each one forms its own physical image.» — Seth, según Roberts, extiende el soñar a toda consciencia, incluidas las diminutas de átomos y moléculas, cada una con sus sueños y su imagen física.
«When the Johnsons told us who the owners were, I could only reply that I’d heard the name while living in Sayre; the old couple would be contemporary with my mother. Although I couldn’t remember my mother mentioning them, it was at least possible that she’d known them. There could have been links through mutual friends. To some small extent, then, Jane and I could toy with inferences drawn from Seth’s comment that that particular house had represented my mother’s second choice. I could hardly ask her, since she’d died five months ago, but Stella Butts could have known the owners, and been in their home; she could have liked it inordinately» — Butts deja abierta, contra su propia lógica, la posibilidad de que su madre hubiera conocido y querido aquella segunda casa.
«degrees, also participates in the involuntary construction of the dream universe.» — Seth, según Roberts, hace a toda materia física partícipe de la construcción involuntaria del universo onírico; el tramo arranca en la plana siguiente al corte de la frase.
«Jane and I understand Seth’s point when he tells us that “the cells of a man or woman may become the cells of a plant or an animal.” However, for the reasons given in Note 3 for Session 687, in Volume 1, we’d rather think of the molecular components of cells as participating in the structures of a variety of forms.» — Butts matiza la afirmación de Seth sobre las células que pasan a planta o animal: ellos prefieren pensar en los componentes moleculares de las células.
«Dictation .. . The cells of course are changing. The atoms and molecules within them are always in a state of flux. The CU’s1 that are within all matter have a memory bank that would far surpass any computer’s. As cellular components, the atoms and molecules, therefore, carry memory of all the forms of which they have been part.» — Seth, según Roberts, en la sesión 707, da a las unidades de consciencia dentro de la materia un banco de memoria superior a cualquier computadora, con el recuerdo de todas las formas que han sido.
«One of the most unique out-of-body experiences, or projections, I’ve had was much like that which Seth describes here. It took place in April 1971, and I wrote about it in Chapter 20 of Seth Speaks. See the notes for the 583rd session. My consciousness didn’t travel more than 10 feet from my body that time, but the little journey, so vivid and pleasant, did much to reinforce the enlarged view of reality that I’d gradually begun to adopt after Jane started delivering the Seth material late in 1963. I’ve never forgotten the sense of freedom that that modest projection engendered within me — and during it, my temporal relationships were different.» — Butts narra una proyección suya de abril de 1971, de menos de tres metros, que le reforzó la visión ensanchada de la realidad y en la que el tiempo fue distinto.
«With disentanglement,” Seth stated in the 43rd session, “the inner self disengages itself from one particular camouflage before it either adopts another set smoothly or dispenses with camouflage entirely. This is accomplished through what you might call a changing of frequencies or vibrations ... In some ways, your dream world gives you a closer experience with basic inner reality than does your waking world, where the inner senses are so shielded from your awareness.» — Seth, según Roberts, en la sesión 43 citada por Butts, define el desenmarañamiento del camuflaje como cambio de frecuencias, y acerca el mundo onírico a la realidad interior más que la vigilia.
«Seth mentions that there are more inner senses he’ll tell us about someday — then adds that many of them are so far removed from reality as we understand it that our comprehension will be intellectual at best; in such cases we won’t be able to identify with them emotionally. And then other groups of inner senses, Seth continues, are truly “beyond verbalization.”» — nota de Butts: consigna que Seth promete más sentidos internos y advierte que algunos quedan fuera de toda palabra.
«It is quite possible to tune in to the world view of any person, living or dead in your terms. The world view of any individual, even not yet born from your standpoint, exists nevertheless.» — Seth, según Roberts, admite sintonizar la vista de mundo de cualquiera, viva, muerta o todavía no nacida.
«He felt that the soul chooses states of emotion as you would choose, say, a state to live in. He felt that the chosen emotional state was then used as a framework through which to view experience. He began to see a conglomeration of what he loosely called religious states, each different and yet each serving to unify experience in the light of its particular “natural features.” These natural features would appear as the ordinary temperaments and inclinations of the soul.» — Seth, según Roberts, resume el libro no escrito de William James: el alma escoge estados de emoción como se escoge un estado donde vivir, y esos son sus estados religiosos.
«Such creative “architect’s plans” are often unknowingly picked up by others, altered or changed, ending up as entirely new productions. Most writers do not examine their sources that closely.» — Seth, según Roberts, hace que los planos creativos se levanten sin saberlo y salgan como producciones nuevas, sin que quien escribe examine sus fuentes.
«I was sure that this old man was me, though, and no one else. I was very thin beneath the blanket, which I believe was an ivory color. The whole experience had a hard-to-define childlike or naive quality, as several members of Jane’s ESP class remarked the next night when I read this account to them, and showed the sketch around.» — Butts describe su propia figura de anciano bajo una manta color marfil, con una cualidad infantil que su clase de ESP reconoció al oír el relato.
«Your film, however, will only take pictures today, of today. No yesterday or tomorrow will suddenly appear in the snapshots of the present. The photographer in the dream world, though, will find an entirely different situation, for there consciousness can capture scenes from entirely different times as easily as the waking photographer can take pictures of different places. Unless you realize this, some of your “dream albums” will make no sense to you.» — Seth, según Roberts, opone la cámara física, que solo retrata el hoy, a la del mundo onírico, que toma escenas de tiempos distintos.
«When you awaken with a dream photograph in mind, it may appear meaningless because it does not seem to correlate with the official order of activities you recognize. You may make one particular decision in physical and waking consciousness, and that decision may bring forth certain events. Using your dream camera, you can with practice discover the history of your own psyche, and find the many probable decisions experienced in dreams. These served as a basis from which you made your physical decision.» — Seth, según Roberts, explica el sinsentido del sueño recordado por las decisiones probables que lo anteceden.
«Telepathic communications go on continually beneath consciousness, and without the aid of telepathy and of the inner senses, language itself would be meaningless. The hidden cues are the symbols that make language intelligible.» — Seth, según Roberts en la sesión 34 del 11 de marzo de 1964 que Butts recupera en nota, pone la telepatía y los sentidos internos como sostén de todo lenguaje.
«Prior to the 17th century, extensive searches and studies were made for a “natural” or Adamic language, a basic form of human communication that was supposed to underlie all racial languages; no such universal protolanguage was ever isolated.» — Butts consigna, en términos lineales convencionales, la búsqueda de una lengua adámica anterior al siglo XVII y su falta de resultado.
«Seth tells us, of course, that prehuman communication and human language and speech have originated in rhythmic patterns again and again, since in the far past our planet has seen the development of a number of presently unknown civilizations.» — Butts remite a las civilizaciones reencarnatorias y los lumanianos de Seth Speaks para el origen rítmico y repetido del habla.
«You are consciousnesses at particular points of experience, and in other kinds of reality you twinkle like stars.» — Seth, según Roberts, cierra el argumento astrológico ante Will Petrosky diciendo a los presentes que titilan como estrellas en otras realidades.
«Jane and I appear to be two of those individuals “who follow a different order of probabilities” as far as astrology is concerned. Beyond some general reading we’ve done on the subject — both pro and con — we know little about it. However, horoscopes that readers have cast for us, after we’ve given the requested information about our births, seldom show much correlation with the Jane and Rob we think we know — nor will one person’s charts for us agree with those prepared by others. We’ve ended up feeling that astrology, as it’s presently practiced, is too limited in conception.» — Butts consigna que los horóscopos que les han levantado no coinciden entre sí ni con quienes ellos se saben, y da la astrología por corta de concepción.
«For the moment, then, Jane and I think that Seth’s material on astrology in this 729th session (and, it soon developed, in the 730th) can serve as his answer to those who have asked for his opinion about it.» — Butts deja el material de la sesión 729 como la respuesta de Seth a quienes le piden opinión sobre astrología.
«Left untapped so far in all of this is any material from Seth on whether the counterpart and family-of-consciousness mechanisms apply to other species. If they do, I remarked to Jane as I typed this session the next day, then Seth must have a great amount of extremely interesting information on those concepts in relation to animals, say, or birds, insects, and marine life — not to mention bacteria and viruses;» — Butts anota el hueco: nada dice Seth todavía sobre si las contrapartes y las familias de consciencia rigen también a animales, aves, insectos, vida marina, bacterias y virus.
«Our dictionary defines a soul mate as one of the opposite sex with whom an individual “has a deeply personal relationship” — a mundane enough description. Jane and I had thought the term, along with its implications, rather out of style until the publication of The Seth Material in 1970. Then we began to get letters from readers who either asked for Seth’s help in finding soul mates, or for his verification that such counterparts had, indeed, already been located.» — Butts data en las cartas de lectores posteriores a The Seth Material el retorno del alma gemela, ya fuera para pedir ayuda en hallarla o confirmación de haberla hallado.
«Then see Seth’s material in Appendix 21 on the counterpart association that Florence, a student in ESP class, has with a young man in China. I’m almost 10 years older than Jane; Florence is probably 25 years older than her Chinese counterpart.» — Butts contrasta las distancias de edad entre contrapartes con el caso de Florence, alumna de la clase de ESP, y su contraparte china.
«We speculated over the weekend that three layers or portions of Jane’s self had been involved in her auditory experience: 1. Her dreaming self, which had provided a comfortable fabric or framework. 2. Her intrusive or “library” self — not Seth. (The library connotations are briefly referred to below. Seth also touches upon them at session’s end.) 3. Her conscious self, the recipient of the information, in usual terms, and the portion of her psyche that put it all together.» — Butts reparte la experiencia auditiva de Roberts en tres capas: el yo soñante que pone el tejido, el yo bibliotecario que no es Seth, y el yo consciente que recibe y arma.
«As Jane wrote at about this time in her manuscript for Psychic Politics: “So in house hunting I can almost feel the shape of my ideas and beliefs looking for their proper house.» — Roberts, citada por Butts desde el manuscrito de Psychic Politics, dice sentir la forma de sus ideas y creencias buscando su casa propia.
«Neither of us had any conscious intentions of making the trip to Sayre, which lies just across the New York State border in Pennsylvania, some 18 miles east and south of Elmira. We found ourselves doing so, however; we also found ourselves driving past the house we’d considered buying there last year. I received a distinct shock of surprise when I saw the familiar “For Sale” sign still tacked to the front of the house.» — Butts narra el viaje no premeditado a Sayre y el letrero de venta todavía clavado en la casa que les habían dicho vendida.
«I bid you then a fond good evening for now, from my unknown reality to yours. You can have all the books that you want, when you want them, and at your own pacing.» — Seth, según Roberts, se despide al cerrar el dictado ofreciendo cuantos libros quieran y al paso de ellos.
«Here my part in the thing is done, but you've got to live with it for a long time yet while you do the notes and typing. I wish there was some way each book could be turned into print instantly, so that we could go on to the next one ... I can't help it — every time Seth finishes a book I feel like crying.» — Roberts, según Butts, dice quedar consternada al terminar el dictado: su parte está hecha y él carga años de notas, y llora cada vez que Seth acaba un libro.
«We finally rested from the sessions for most of July, although Jane continued working on her Psychic Politics, among other projects. Then, in the 752nd session for July 28, 1975, Seth plunged into his next book: The Nature of the Psyche: Its Human Expression.» — Butts fecha en la sesión 752 del 28 de julio de 1975 el arranque del libro siguiente y anuncia notas muy cortas para él.
«The electron is the lightest particle known to have mass and charge, and its internal structure — whatever it may be — is unknown. The atomic nucleus is largely made up of more massive protons and neutrons, but investigation within the nucleus has either uncovered or produced many other subatomic particles as well — over 200 of these, some of them very unstable, are presently known. According to Seth, of course, all of the particles or probability patterns discussed here would be composed of the much, much smaller CU’s, or units of consciousness.» — Butts resume el estado de la física de partículas de su momento y lo remite a las UC de Seth como estofa de toda partícula.
«Jane held her first ESP class on the evening of September 12, 1967, although she didn’t let Seth come through within that format until the following December, so cautious was she in taking that psychic step.» — Butts fecha la primera clase de ESP y anota que Roberts tardó hasta diciembre en dejar pasar a Seth en ese formato.
«Pocket Books reprinted it in 1976 as a paperback and with a new title: The Coming of Seth.» — Butts consigna el cambio de título del primer libro de Roberts al reimprimirse en rústica.
«Now when I began contacting Ruburt and Joseph, I hid from them the fact of my numerous lives. (Smile:) Ruburt, in particular, did not accept reincarnation, and the idea of such multiple life experiences would have been highly scandalous to him.» — Seth, según Roberts en la sesión 588 que Butts recupera, dice haber escondido sus vidas numerosas porque Ruburt no aceptaba la reencarnación.
«We’re so used to thinking that our encounters with others are caused by chance — except for those we purposely bring about through choice, such as marriage partners — that Seth’s comments about my students seem a bit outrageous at first: So many counterparts in one room?» — Roberts, citada por Butts, registra su propio escándalo ante tantas contrapartes reunidas en un mismo salón de clase.
«Jane's own counterparts, Sue, Zelda, Alan Koch, “Maryland, " and myself are all committed to the dissemination of Seth-type ideas» — Butts observa que las contrapartes de Roberts comparten el oficio de difundir las ideas del tipo de las de Seth.
Sobre la obra
44 entradas — lo que el aparato y la investigación dicen de ella«All rights reserved. This book may not be reproduced in whole or in part without written permission from the publisher, except by a reviewer who may quote brief passages in a review» — reserva de derechos del editor Amber-Allen, con la excepción del reseñista; los dos tomos la imprimen palabra por palabra y esta es la primera aparición.
«Library of Congress Cataloging-in-Publication Data Seth (Spirit) The “unknown” reality / [channeled by] Jane Roberts ; notes and cover art by Robert F. Butts. p. cm. — (A Seth book) Previously published: Englewood Cliffs, N.J.: Prentice-Hall, c1977.» — la ficha de catalogación de la Library of Congress encabeza la entrada principal en la voz dictante y no en la autora, y data la publicación anterior en Prentice-Hall en 1977.
«ISBN 1-878424-25-4 (v. 1: alk. paper) 1. Spirit writings. 2. Reality — Miscellanea. 3. Parapsychology.» — el editor numera el tomo 1 y el catálogo lo clasifica en tres materias, la primera de ellas escritos de espíritus.
«I. Roberts, Jane, 1929-1984. II. Butts, Robert F. III. Title. IV. Series: Seth (Spirit). Seth book.» — las entradas secundarias del catálogo nombran a Roberts con fechas de nacimiento y muerte y a Butts, y la serie vuelve a llevar el nombre de Seth.
«Printed in U.S.A. on acid-free paper Distributed by Publishers Group West» — pie de imprenta y distribuidora del tomo 1; el tomo 2 imprime otra distribuidora.
«Cover Art: Robert F. Butts Cover Design: Beth Hansen Editorial: Janet Mills Typography: Rick Gordon, Emerald Valley Graphics» — el aparato de producción del tomo 1 va firmado: Butts firma el arte de cubierta, Beth Hansen el diseño, Janet Mills la edición y Rick Gordon la tipografía.
«Post Office Box 6657 San Rafael, CA 94903» — la dirección del editor Amber-Allen en el tomo 1.
«A Verse From Summer Is Winter by Jane Roberts Introductory Notes by Robert F. Butts Preface by Seth» — el índice del tomo 1 declara sus tres piezas preliminares: un verso de Roberts, las notas introductorias de Butts y el prefacio de Seth.
«Appendix 14: Some Material on Atlantis by Jane and Seth. Atlantis as Discussed by Plato» — el índice del tomo 2 anuncia un apéndice sobre la Atlántida con material de Roberts y de Seth y la discusión de Platón.
«Appendix 27: Sue Watkins’s Material on the Grunaargh Family of Consciousness Final Epilogue by Robert F. Butts» — el índice cierra con un apéndice firmado por Sue Watkins y el epílogo final de Butts.
«(A note by R. F. B.: This is the second and last verse of a poem Jane wrote in April, 1952, when she was 23 years old. Even in this immature work, which she produced 11 years before she was to initiate the Seth material, her mystical nature was asserting its innate knowledge.)» — Robert F. Butts fecha el poema del epígrafe en abril de 1952, cuando Roberts tenía veintitrés años y faltaban once para el material de Seth, y lee en él la naturaleza mística que le atribuye.
«I started the first rough draft for these notes on April 16, 1975.» — Butts fecha el primer borrador de sus notas introductorias del tomo 1.
«The firm decision to do this was made when we were visited by Jane’s editor at Prentice-Hall, Tam Mossman, and a business colleague who accompanied him.» — Butts atribuye la decisión de publicar en dos tomos a la visita del editor de Roberts en Prentice-Hall, Tam Mossman, con un colega.
«Seth gave no headings for individual sessions, so after each one as it’s listed in the Table of Contents (in each volume), Jane plans to insert a few words indicating at least some of the subjects discussed in that session.» — Butts explica que los títulos de sesión del índice los pone Roberts, no Seth.
«Volume 2 will be published a year or so after the first printing of Volume 1. After that initial waiting period, the two can always be read together.» — Butts anuncia el desfase de publicación entre los dos tomos y lo declara transitorio.
«Now I’d like to briefly comment on the handling of the notes, excerpts, and other such matter.» — Butts abre la explicación del aparato de notas, excerptos y demás material.
«As in Seth Speaks and Personal Reality, the usual notes are presented at break times, but I’ve indicated the points of origin of what would ordinarily be footnotes by using consecutive (superscription) numbers within the text of each session; then I’ve grouped the actual notes at the end of the session for quick reference. For consistency’s sake, these notes are printed in the same smaller type throughout both volumes. Footnotes will be found “in place” only when they refer to a specific appendix in the same book. So for the most part, these approaches keep the body of each session free of interruptions between breaks.» — Butts describe el sistema de notas: llamadas numeradas dentro de la sesión y las notas agrupadas al final de cada una, para no interrumpir el cuerpo.
«Without carrying the idea too far, I designed the notes and appendixes so that to some extent they reinforce each other, as the sessions themselves do.» — Butts declara que notas y apéndices se refuerzan entre sí como las sesiones.
«The appendix idea worked well in both The Seth Material and Seth Speaks. Here in “Unknown”» — Butts remite el procedimiento de los apéndices a dos libros anteriores de Roberts; el tramo se corta en el cambio de plana y sigue en la 13.
«Reality the individual excerpt or session in an appendix, with whatever notes it may have, is usually pretty complete in itself. These pieces can be read at any time, but I prefer that the reader go over each one when it’s first mentioned in a footnote, just as he or she ought to check out all other reference material in order throughout both volumes.» — continuación del tramo anterior: Butts declara cada apéndice completo en sí mismo y pide leerlo cuando la nota lo llama.
«In Volume 1, I refer to certain sessions — the 681st, for instance — every so often because in them Seth comes through with key concepts that should be stressed.» — Butts explica por qué vuelve sobre ciertas sesiones del tomo 1, entre ellas la 681.
«Our latest attempt to cope here consists of three pieces we’ve prepared for correspondents: a short form letter from Jane and me; a longer one dictated by Seth in April, 1975, soon after he finished Volume 2 of “Unknown” Reality; and a list of all editions of Jane’s books.» — Butts describe el aparato de respuesta al correo: dos cartas modelo, una de ellas dictada por Seth en abril de 1975, y una lista de ediciones.
«Yet the form letters aren’t really a satisfactory answer for the correspondent who’d like a personal response from Jane and/or Seth; given our characteristics, they merely represent the best we can do within the time we have available.» — Butts declara insatisfactorias las cartas modelo para quien pide respuesta personal, y las presenta como lo único posible.
«Once before (in January, 1973), Seth dictated a letter for us to send to those who wrote, and it can be found in the 633rd session in Chapter 8 of Personal Reality.» — Butts data en enero de 1973 una carta anterior de Seth y la localiza en la sesión 633 de otro libro.
«(The circumstances surrounding Jane’s delivery of Seth’s Preface, while she was in trance, are given in the 685th session for February 25, 1974, in Section 1. After a break midway through the session, Seth began the material below at 10:57 P.M.» — Butts sitúa el dictado del prefacio dentro de la sesión 685 del 25 de febrero de 1974 y da la hora exacta del arranque.
«He always indicates each word, phrase, or sentence to be underlined. This time he also called out each paragraph as he went along and some of the other punctuation; to show Seth’s own sense of organization on such occasions, I’ve left a few of his instructions in place in the first three paragraphs.)» — Butts explica que Seth dicta también la puntuación y que deja a la vista algunas de esas instrucciones en los tres primeros párrafos.
«Seth first announced his presence by name to Jane and me in the 4th session, held on December 8, 1963. See Chapter 1 of The Seth Material.» — nota de Butts al prefacio: fecha la primera vez que Seth se nombró, en la sesión 4 del 8 de diciembre de 1963.
«Seth’s two previous books are Seth Speaks and Personal Reality — but they’re also Jane’s too, of course.» — nota de Butts: nombra los dos libros anteriores de Seth y los reclama a la vez para Roberts.
«To make the record complete, it should be noted that Jane’s first book on psychic phenomena was How to Develop Your ESP Power. It was published in hardcover and paperback editions in 1966 and 1974, respectively, by Frederick Fell Publishers, Inc., New York, N.Y 10016. Then in 1976 it was issued in paperback by Pocket Books, New York, N.Y, 10020, under a new title: The Coming of Seth.)» — nota de Butts: da la historia editorial del primer libro de Roberts sobre fenómenos psíquicos, reeditado en 1976 con otro título.
«Actually, Jane began the final draft of her manuscript for. Adventures in Consciousness: An Introduction to Aspect Psychology, earlier this month (February, 1974).» — nota de Butts: fecha en febrero de 1974 el borrador final de Adventures in Consciousness.
«The decision to publish “Unknown” Reality in two volumes followed receipt of this preface by some 13 months.» — nota de Butts: la decisión de publicar en dos tomos llegó trece meses después del prefacio.
«Seth Network International (SNI) is a network for Seth/Jane Roberts readers from over 30 countries who meet to explore the ideas and share the excitement of the Seth material. SNI, a non-profit company, was established in 1992 to provide Seth readers with a meeting place, or forum, for gathering. Its primary purpose is to offer Seth readers a platform for expression and discussion.» — aparato final del editor en el tomo 1: describe la Seth Network International, fundada en 1992 como foro sin fines de lucro para los lectores de Roberts.
«RARE RECORDINGS OF SETH SPEAKING through Jane Roberts are now available on audio cassette. The Seth Audio Collection consists of selections of Seth, recorded by Jane’s student, Rick Stack, during Jane’s classes in Elmira, New York in the 1970s. The majority of these selections have never been published in any form and represent the best of Seth’s comments gleaned from over 120 Seth classes.» — catálogo del editor: ofrece grabaciones de Seth hablando por Roberts, tomadas por su estudiante Rick Stack en las clases de Elmira de los años setenta.
«Amber-Alien Publishing is dedicated to bringing a message of love and inspiration to all who seek a higher purpose and meaning in life.» — declaración de propósito del editor Amber-Allen al pie del catálogo del tomo 1; el troceo imprime Amber-Alien por corrupción de la capa de texto.
«Seth himself always referred to “Unknown” Reality as one unit until we reached the last session. He divided the manuscript into six sections of varying lengths. There are no chapters per se.» — Butts explica la forma del libro: Seth lo trató como una sola unidad hasta la última sesión y lo dividió en seis secciones sin capítulos.
«Section 1: “You and the ‘Unknown’ Reality” — Nine sessions describing how probabilities merge with the events of our private lives.» — Butts cifra en nueve las sesiones de la Sección 1 del tomo 1 y resume su asunto.
«Volume 1 of “Unknown” Reality concludes with 11 appendixes compiled from Seth sessions related to the book’s subject matter. These are supplemented by notes regarding the relationship involving Seth, Jane, and myself, and by other pertinent material that throws light upon the larger framework in which these sessions take place. I also provided a certain number of cross references, directing the reader to connected passages in Seth’s and/or Jane’s other books.» — Butts describe el aparato del tomo 1: once apéndices armados de sesiones, más notas sobre la relación entre los tres y remisiones cruzadas a los otros libros.
«ESP class had really jumped last night The 32 people crowded into our living room enjoyed rich, active, loud, and even profane exchanges among themselves, with Jane, and with Seth. “Fuck you, Seth!" one girl screamed — which daunted that worthy not at all: Class members hardly agree with Seth or anyone else all of the time.» — Butts describe la clase de ESP del 8 de octubre de 1974 en su departamento: treinta y dos personas, intercambios ruidosos y hasta groseros con Seth, y consigna que los asistentes no le dan la razón todo el tiempo.
«The Seth books present an alternate map of reality with a new diagram of the psyche ... useful to all explorers of consciousness.» — solapa del editor: Deepak Chopra presenta los libros de Seth como un mapa alterno de la realidad con un diagrama nuevo de la psique.
«I would like to see the Seth books as required reading for anyone on their spiritual pathway. The amazing in-depth information in the Seth books is as relevant today as it was in the early ’70s when Jane Roberts first channeled this material.» — solapa del editor: Louise Hay pide los libros de Seth como lectura obligada en cualquier camino espiritual y los declara vigentes.
«The Early Sessions is the material given by Seth in the first 6 years of his relationship with Jane Roberts and her husband Robert Butts. It consists of the first 510 sessions dictated by Seth and is published in 9 volumes. The majority of The Early Sessions material has never been published in any form. It contains great new material and insights from Seth on a vast array of topics.» — catálogo del editor en el cierre del tomo 2: describe The Early Sessions, las primeras 510 sesiones en nueve volúmenes, casi todas inéditas hasta entonces.
«In the first volume of The “Unknown” Reality, Seth initiates a journey in which it seems that the familiar is left behind. Where do the events of our lives begin or end? Where do we fit into them, individually and as members of the species? These questions, with Seth’s explanations, are the heart of Volume One. In Volume Two of The “Unknown” Reality, Seth invites us to discover the unknown reality for ourselves through a series of exercises that illuminate the inner structures upon which our exterior ones depend. Volume One provides the general background and information upon which the exercises and methods in Volume Two are based.» — contracubierta del editor: resume los dos tomos, con el primero de fondo y el segundo de ejercicios, y plantea las preguntas por dónde empiezan y acaban los sucesos de una vida.
«This was the last book ever dictated by Seth, and has never before been published. It is an in-depth examination of the miracle of life in a human body, woven through the poignant story of Jane’s courageous attempt to understand why she had contracted the crippling condition that ultimately led to her death. Seth speaks about the mechanics of self-healing and the influence of the mind upon our physical health.» — catálogo del editor: presenta The Way Toward Health como el último libro dictado por Seth, ligado al intento de Roberts por entender la condición que la llevó a la muerte.
«Jane Roberts died in 1984. Her husband, Robert Butts, is an artist, writer, and resident of Elmira, New York.» — nota biográfica del editor: fecha en 1984 la muerte de Jane Roberts y consigna a Robert Butts como artista, escritor y vecino de Elmira.
Conceptos tratados
Imaginación (phantasia) — Seth pone la imaginación como puerta de entrada a otros planos ya en la sesión 15 de enero de 1964 que Butts recupera; la vuelve instrumento del ejercicio en que el suceso recordado y lo imaginado se cruzan con otra probabilidad, y declara que su oficio es estirar la imaginación del lector hasta que suelte los conceptos rígidos. También dice que las contrapartes pasan desapercibidas porque quien las roza las despacha como imaginación suya.
Ocultismo (occultisme) — El volumen usa la palabra siempre desde fuera y entrecomillada: Roberts habla de enseñanzas ocultas atribuidas a Cristo y a los esenios, Butts sitúa el trabajo de ella fuera de los marcos aceptados, incluido el oculto, glosa en términos ocultistas los Registros Akáshicos y llama saber oculto al del tercer ojo; Seth, por su parte, se burla de que los lectores de literatura oculta lo tengan por alma vieja.
Iniciación (recepción por grados / metamorfosis del ser) — Seth, en la sesión 760 que Butts excerpta en el apéndice de las ondas cerebrales, dice que las cualidades aceleradoras de la onda beta pueden llevar a iniciaciones en reinos superiores de consciencia, donde las ondas se avivan, aunque beta no fue hecha para cargar con todo el peso de la actividad consciente.
Crítica de fuentes (criterios de inclusión y descarte) — Butts declara los criterios con que arma el aparato: notas agrupadas al final de cada sesión y llamadas numeradas dentro del cuerpo para no interrumpirlo, apéndices completos en sí mismos que pide leer cuando la nota los llama, y remisiones cruzadas a los otros libros. Al excerptar la sesión 760 declara además qué hizo con lo descartado: eligió unas pocas citas solo para indicar la dirección de la información, y dejó dicho que la sesión entera espera publicación.