“Seth material” search engine (Jane Roberts)

[...] (Pause.)

[...] (Pause.) I was trying to correct certain errors. [...]

[...] (Pause.) The short session allows him to handle and dissipate effectively any reactions. [...]

[...] It might be important that the child learn to put off enjoyment for a period of time, to extend the period between desire and gratification (long pause). [...]

(Long pause.) These issues are extremely vital in cases of creativity also, although they operate in all areas. [...]

(Long pause.) As creative people, and as certain kinds of creative people —not being audience performers as musicians, for example—you deal with the creative construction of artistic worlds in which as your friend (painter) William Alexander would say, you are the master magician perhaps—but it is your world primarily, created according to your vision. [...]

[...] People of that nature have very private ways, and to some extent now those ways involve a deliberate (long pause) repudiation of the ordinary world—not that they need to stop relating to it, but that they must momentarily forget it in light of another vision. [...]

[...] (Pause.) These are impressions.

[...] (Pause.) And a triangle.

(Pause.) With civil, or civil rights. [...]

(Pause.) I am not sure. [...]

(Pause. [...]

[...] (Pause.) The charge gradually thus becoming manageable.

[...] (Pause.)

(Jane took a pause, her hand to her closed eyes, which lasted well over a minute.)

[...] (Pause.) The mind must become rid of its burden of fear, and this can be accomplished by following the suggestions that I have given and will give. [...]

(Pause.) The body has begun its renewal process, which has always been present, only slowed down, or momentarily suspended. [...]

(Long pause at 2:05. [...]

(Long pause at 2:20. [...]

(Long pause; the pace was still slow at this point.) Consciousness can be turned in many directions, obviously, both inward and outward. [...]

[...] (Pause.) Begin with a feeling of joy. [...]

[...] (Long pause.) He may see images that are highly symbolic to him of joy or exuberance. [...]

[...] (Pause.) End of dictation. [...]

[...] (Pause.) Dictation: Your body is you in flesh. [...]

(A one-minute pause at 9:21.) In normal daily life, considerable natural therapy often takes place in the dream state, even when nightmares of such frightening degree arise that the sleeper is shocked into awakening. [...]

[...] (Pause.) Faced with the exterior nightmares of wars and natural disasters, the conscious mind is still directed outward into that world with which it knows it was formed to cope. [...]

[...] (Pause.) Again, the body is a living sculpture. [...]

(With pauses): Your scientists are finally learning what philosophers have known for centuries — that mind can influence matter. [...]

[...] Jane would deliver a sentence, then pause longer than usual, so that her accustomed rhythm was a little off.)

[...] (Pause.)

(Pause at 9:36.) Your thoughts and emotions, therefore, go forth from you not only in all physical directions but in directions that are quite invisible to you, appearing in dimensions that you would not presently understand. [...]

(Pause at 10:06.) Such an impulse could be an indication that another probable portion of your identity is gifted with that instrument. [...]

[...] (Pause.)

A spoken language is, again, dependent upon all other languages that could possibly be spoken, and thus its sounds rise into prominence and order because of the silences and pauses between them; so your waking consciousness is dependent upon what you think of as sleeping or dreaming consciousness. It rises into prominence in somewhat the same fashion, riding upon other possible versions of itself; alert only because — in your terms — of hidden pauses within its alertness.

(Pause at 10:12.) Mundane language tells you, as you think with its patterns, that your imagination is running away with you, for obviously you are one thing and the sky is another. [...]

[...] (Long pause.) You form your own reality. [...]

(Long pause.) Nature is luxurious and abundant in its expressions. [...]

[...] (Pause.) For our next one will be a beauty.

(Long pause.) You may have overall reasons for a particular illness, however, that have nothing to do with crime or punishment, but may instead involve an extraordinary sense of curiosity, and the desire for experience that is somewhat unconventional — usually not sought for — exotic, or in certain terms even grotesque.

[...] The reasons for maladies are almost always present in current life experience (long pause) — and even though old events from childhood may have originally activated unhealthy behavior, it is present beliefs that allow old patterns of activity to operate.

[...] (Long pause.) When you were a child you thought in a freer fashion, but little by little you were educated to use words in a certain way. [...]

(Long pause at 4:44.) What you are involved in then is really, of course, a completely new educational procedure, so that you are at least able to distinguish one style of thought from another, and therefore be freer to make choices.

[...] (Pause at 10:11.) There were also men called “Little Popes,” those in training of an ambitious nature, and catered to. [...]

(Long pause at 10:20.) A cousin or brother was important to me. [...]

(Pause at 9:37.) Give us a moment.... [...]

(Pause at 9:49.) It would have been highly impractical, then, to expect Prentice to advertise the book. [...]

[...] (Long pause.) There will be some good advertisements. [...]

(Pause at 10:11.) You would not necessarily want to handle those results. [...]

(Pause.) Each individual recognizes the existence of abilities or talents, leanings or propensities, that are largely unexpressed. [...]

(Pause at 10:02.) Again, in the terms of one lifetime such achievements are practically impossible. [...]

(Pause.) It is difficult to try to explain the creativity of the psyche when, as a species, you have such set ideas about it, but I shall try.

(A one-minute pause at 11:48.) These are like psychic snapshots rather than physical ones, involving instances that are a part of your heritage — yours but not yours. [...]

(Long pause.) Those innate bodily abilities also help sustain you as you continually create the image. (Pause.) The source for all of this creativity springs from your own inner identity, which is never completely materialized in flesh, and so you always have unused portions of creativity at your command. [...]

(Pause.) I am trying to get a rhythm here that will be a good one for you to take notes by….

[...] (Pause.) You create not only the body, then, but its entire experience, the context in which it takes place. [...]

[...] (Pause.) Another situation involving a young man and a family connection. [...] (Pause.)

[...] (Pause.)

[...] (Pause.) The circumstance having a connection with a letter from the western portion of the country, or west of his location, from a university or large foundation of some sort, or from a man who is connected with such a group.

[...] (Pause.) Will you put Ruburt’s cigarette out for him, please.

[...] Her voice was average and she used many short pauses; between the pauses, oddly enough, her delivery was rather fast.)

(Her pace had been fast between many short pauses, with her eyes open much of the time. [...]

(Jane now paused for over a minute, sitting quietly with her eyes closed.)

[...] Her pace had been faster between many pauses, some of which were long. [...]