“Seth material” search engine (Jane Roberts)

([Jane:] “I think if we leave our experiences at face value, we’re not learning all we can. [...] And then to accept them at face value can lead us astray. [...]

[...] Now Seth rather imperiously commanded us to move our little table over a few feet so that it faced the doorway to our bathroom. [...]

[...] At the same time, I had the feeling that the face, now somehow animal-like in the shadows, hung forward of the body, that it had somehow detached itself from the shoulders. [...]

[...] These same models are also the figures Seth mentions, and as you can see from the photograph of the page, the women’s faces give a skull-like impression, with their hair pulled back. [...]

[...] Then he threw the ball to me, and I nearly fell flat on my face. [...]

[...] Somewhat humorously, he described how the artist had drawn his face as though it were symmetrical and without blemish, while actually it was quite asymmetrical with an impaired eye. [...]

[...] I went around the house with a smile on my face just thinking of it for days afterward.

[...] He said that many of my needs were really based on fears which would have to be faced as time went by, and he discussed several of them in the session. [...]

[...] “I could hardly keep a straight face, hearing Seth make the suggestions and knowing ahead of time what you’d say. [...]

[...] The personality is not actually layered, of course, but continuing with the necessary analogy, beneath the racial memories you look out upon another dimension of reality with the face of this other self-conscious part of you.

It was in this session that Seth made the analogy of the “weird creature with two faces,” one turned to physical reality and one to inner reality, both conscious and aware, each representing one facet of our consciousness.

[...] Your own illness did literally terrify him, and he feared that if he faced his true doubts concerning my existence, that he would hurt you.

[...] Do not take it at face value but feel within yourself for the hidden self that is within. [...]

(October 29, Thursday, 5:30 PM: I saw a close-up of a child’s baby face, from the 3/₄ front facing to my right. [...]

[...] If he is brilliant he may receive the acclaim of his fellows, but the artist, whether or not he finds acclaim, must still always be face to face with that creative challenge. [...]

[...] This was to help you save face: you didn’t take time out because you wanted to, but because you were so miserable that you could not work—and then yelled out in outrage that the body so betrayed you. [...]

This had much to do with the way you faced the world. [...]

[...] Peace does not mean a sober face and dull thoughts. [...]

[...] Now, these are truths that you do not face and fiction you do not tell yourself. [...]

[...] As already discussed, the exterior situation then serves to reinforce the inner data, and it seems to fly in the face of all reason, to deny exterior symptoms. [...]

Emotional feeling will also emerge as you remember people and faces that you have known, and places that you have loved. [...]

[...] Jane was still sitting down as she spoke, facing me across our living room table.)

I will not get into Ruburt’s immediate past life, since he would slam the door in my face right now. [...]

[...] If certain long-standing distorted concepts are held, therefore, then they must be faced and struck out. [...]

[...] The inner ego, however, you may think of as another face that looks inward. [...]

[...] Seth understood the problems we faced in our daily lives, and didn’t want the sessions to take up any more of our time.

You yourself were also not willing to face consciously certain possible consequences directly, for example—of television appearances; possibilities of fame, etc., and you were ambiguous in that regard. [...]

[...] But somehow in my mind at least, not recording that session added to it’s magical quality … the spontaneous psychological or psychic transformation came and went … We were sitting at the living-room table with the lamplight clear on my face; Gramacy could follow Seth’s psychological passage; see my features change, taking on ever so subtly those other contours. [...]

[...] You are so used to the image that you have projected outward that you are uncomfortable when you try to face a situation nakedly without the image. [...] You do not want to or had not wanted to face even a transient relationship with a man because you did not then have time, you see, to project this image in any dependable manner. There was also a gap when you would have to face the individual as he was. [...]

[...] You constantly explore a face for a sign that you have made an error. [...]

In the third dream you face a painless execution which is to be carried out by your father, who will give you the needle. [...]

[...] In this dream you faced the possibility that you would not survive so easily. [...]

[...] As I rested face up in a very pleasant and peaceful state, waiting to enter the sleep state, I became aware of two extremely bright lights shining off to my right, beyond Jane’s form but within my peripheral vision. [...] The shade of the closest lamp was fatter and taller than its companion’s, but this didn’t seem to matter: I soon realized that both lights were supernally bright—so strong, indeed, that although I was very tempted to turn my head to look straight at them, I refrained because I wasn’t sure I could stand facing them. [...]

[...] It is a kind of creative (underlined) psychological face that you use for the purposes of your life’s drama. This psychological face of our analogy has certain formal, ceremonial features, so that you mentally and psychologically tend to perceive only those data that are available within the play’s formal structure. [...]

[...] There were certain truths that you found difficult to face. [...]

[...] Brad said that it dealt with his struggle with reality—and his having to “face the music.” [...]