“Seth material” search engine (Jane Roberts)

[...] But, all of these inner psychological realities color your expectations, just as Ruburt is entirely convinced that a writer of real merit cannot bear children.

[...] Ruburt has yet to manage his abilities competently but you have except for this distortive expectation which colors your constructions.

[...] He was afraid that spontaneity would cause him to color certain transcriptions from the past. [...]

[...] Ruburt is quite deeply committed to them despite all of these colorations, and so are you.

(Pause.) They give the overall emotional coloration that characterizes what happens to you. [...]

[...] (Pause.) It paints the colors in the large “landscape” of your experience. [...]

[...] The colors were very vivid, the detail needle sharp. [...]

[...] Of gray, of mood or color. [...]

[...] A small note, not necessarily a recommendation here: a change of hair color would minimize any lingering mother identification.

[...] Everything was misty, gray, without color. [...]

[...] These inclinations will color sexual expression, then. [...]

[...] I’ve had them for some time, actually, and they involve either black-and-white or color illustrations for some of my own psychic adventures, perhaps to be used in a work like Through My Eyes. [...]

[...] The mental data were very vivid, and in full color.

[...] It was woolen, a brown natural color because it wasn’t dyed. [...]

[...] They were in cool brilliant color, blues or greens. [...]

[...] “The colors were terrific.”

[...] The windows blew out and the color of the flames was fantastic.

[...] I could see that they were light-colored, translucent from the knees down — this without my sitting up in my astral form to see them.

[...] It flashed a bright red color which I thought strange and unaccountable. [...]

When an artist paints a painting, you can look at the painting and say, “Ah, the artist was in a certain frame of mind” or: “Look at the dull colors and the dreary landscape” or: “Look at the wild colors and the fantastic forms” or: “See, there is no form and yet there is marvelous vitality.” [...]

With a Gray in the middle of a last name, or a color. [...]

The colors, brilliant and mobile, represented the overall healthy state of his psyche. [...]

[...] and carrying a box of a dozen long-stemmed carnations of four colors. [...]

Now the incident either occurred in Miss Healy’s dining room, the one with which Ruburt is familiar, or in a room very similar, in color and markings and period. [...]

(In the dream, all of which was in brilliant color, I’d combined many elements, which I described in more detail to Jane than I’ll give here. [...]

[...] I must play upon them as a painter plays with color or a musician plays with notes and keys, and he (Ruburt) must acquiesce and join in this creative activity. [...]

Yet, I read all of those dire newspaper stories predicting disaster, and (oh yes, dear readers) I watched the daily tragic news events dramatized in living color on our television screen. [...]

[...] In terms of color. [...]

[...] The color of a room is important. Cool colors are best. Too warm colors are detrimental, being too closely allied with earthly conditions. [...]