“Seth material” search engine (Jane Roberts)

The approach that you use in the production of art is instinctively “magical.” [...]

[...] It was the fear of death — not chosen, of course — the fear that if he did not deliver, work hard, and pay his mother back for a life magically given, grudgingly given, then in a magical equation she, the mother, could take it back. [...]

[...] I want to impress upon you the fact that all of this simply follows the natural function of the mind, and to dispel any ideas that you have about the “magical” aspects of hypnosis.

[...] In the future, you will probably imagine it as a magic carpet.

The magic word. [...]

[...] In the beginning this had quite magical connotations for you. Basically you have felt this magical commitment to realistic work, for to leave it would be to break the lines of this imprisonment, letting loose the emotions that you feared.

[...] [That total includes Mass Events, God of Jane, and the poetry book, all of which are yet to be issued.] In the private session for September 22—one of his series on the magical approach to life—Seth had told us that our work is “protected.” [...]

[...] In a fashion the form also represented the innocent and powerful inner self, or spontaneous self, or naturally magical self—the terms are synonymous.

[...] The infant’s discovery that it can communicate in such a way is indeed magical to it. [...]

[...] You are taking conscious control of the magic of words, in order to use them for new intents, and to dramatically change the old ones.

These magical brushstrokes, however, are not simple representations on a flat surface, but alive, carrying within themselves all of the artist’s intent, but focused through the characteristics of each individual stroke.

[...] These mundane activities may seem quite divorced from what I am telling you, yet in each simple gesture, and in the most necessary of physical acts, there is the great magical unknowing elegance in which you reside — and in the most ordinary of your motions, there are clues and hints as to the nature of the psyche and its human expression.

In the meantime another excellent verse for my poem came to mind plus the phrase, the body of pleasure and the magical impetus.... [...]

[...] The magic that the people had, those gurus never learned. They learned techniques, but the techniques did not bring them magic, did not allow them to really hear and understand the voice of one leaf.

[...] All of these events followed the barrage of letters I’ve been sending out, trying to unearth something, some treatment, some magical potion or truth or belief that would help my wife in her time of deep need. [...]

There are no magical properties involved. [...]

[...] I had the impulse, for no particular reason, to write about the meeting today instead of writing on this book (The Magical Approach) and spent a good ten minutes thinking about the entire affair. [...]

*Note: Early A.M. I think about writing today about first meeting Rob — though I’m working on Chapter Two of Magical Approach! [...]

(As I shaved, I felt the improvements continue — again, as if by magic. [...]

[...] Why hadn’t Seth gotten her out of her dilemma, turned the magic key in the proper psychic lock? [...]

My magic powers will set her free,

The import is magical. [...]

[...] You are me without my towering volcano, ignorant of the thundering magic of flowing lava, calm and rather stupid (emphatically), if the truth be known.”

The second island-spirit says, also to the third: “You are myself, only my excitement, my joy and beauty, are concentrated in the magic of my volcano, and you instead stand for the twittering excitement of diverse species — birds and animals and insects — that flow in far less grandiose fashion across the slopes of your uneasy land.”

[...] Indeed, a “magical” transformation is involved. [...]

(Pause.) In all of these areas the problem, whatever its nature or cause, is in one way or another “magically” transferred to another facet of activity, projected away from the self. [...]