“Seth material” search engine (Jane Roberts)

[...] You do this simply because you are afraid of standing on your own two feet, figuratively speaking. [...]

[...] Merely turn the focus of your awareness in another direction and freedom shows itself and time is seen then as the figurative closed eyelid that deceives you. [...]

[...] I figure why doesn’t he say something to help me out?—I’m not going to have Bob ask.” [...]

Thursday 12:20—What I like about all this is that I FEEL that the head area—which is clearing all day and week—is the basic area in which everything started; even the slowness; and that all of that is in the process of clearing—that, the physical stuff PLUS, this AM the feeling I’m doing stuff at creative inspirational levels too; figured out important stuff about James for example—and I FEEL that my recovery can be easy—automatic—and that it only seems that the “body needs time” etc. [...]

I picked the six-thousand figure for good reason. You may feel secure at this figure. [...]

[...] That is, though I am no banker, you should not at this time pay more than six thousand, even though a higher figure might make more land possible. [...]

[...] Financially I see no difficulty with the given figure. [...]

[...] There has been a strong distaste among your people for the blind following of public figures. [...]

[...] I figured that Seth must be giving a short session for a reason, or reasons, so I didn’t ask any.)

[...] The figure inside represented the actuality; that is, what seemed to be an opportunity would instead end up as a dead end, a threatening and stagnant position. The male figure represented the director, who offered the new position. [...]

[...] He, Ruburt, opened a strange door to find a threatening male figure therein.

You want the feeling, within that apparent state of motionlessness, of highly accelerated contained activity that cannot be physically expressed — that must radiate from the painting despite the obvious and illusionary appearance of your figure.

You are stressing perhaps too strongly the aspects of the chair, as the binding elements that hold your figure more or less stationary. [...]

[...] I saw briefly various male and female figures, some of them apparently monster types.

[...] I saw a few figures, male and female.

[...] There was an indistinct male personage or figure on the sidewalk before me, passing the empty storefront. [...]

[...] (Pause.) You are to him in this existence a figure for lover, father and child, but he is also a figure to you of mother, mistress and child. [...]

[...] Because he does at times use you as an authority figure, he did have a tendency to think that he must have sessions because you wanted them.

[...] In portraits, while the inner skeletal structure must be hinted at, and while the figure should be well done, still there should be the suggestion of the personality going beyond the image, and of the personality’s energy radiating outward.

[...] ‘The figure manages to suggest the universe of men and the world that holds them, yet nowhere literally do these appear.

[...] (Pause.) From someone else here… Your figures, to get the feeling of depth and breadth, this is not to get the feeling simply of the flesh and bone within the flesh, but to suggest the personal energy and vitality that is in a riot, to be loose within the flesh.

[...] He understands so little about the eyes’ operation to begin with, that he does not bother to figure out, or try to figure out, the order that such improvements should take, or how they should happen.

[...] With a figure.” [...] As stated the stamp on the object is gray blue, and bears a figure 5. It seems however that this data probably refers to the figure of Mother Goose, shown on the object, and to the statue standing upon a base that is painted blue. [...]

[...] With a figure.

At the end of our next session (smile) after I have delivered the evening’s material, I will devote some time to explaining Ruburt’s figure of lights. [...]

[...] The “figure of lights” describes an apparition Jane recently experienced, at night, and we are interested in getting Seth’s explanation of it.)

(I then had repeated glimpses of a silhouetted male figure seen from the back, wearing a pointed helmet and a greatcoat, such as perhaps German officers wore in the past. [...] I could not see what if anything the figure was striking. [...]

[...] Full figure 3/4 front view. [...]

(9:13.) Various old religions picked up the idea of the Lumanians’ fierce god figure for example, in whom they managed to project their concepts of force, power, and violence, this god who had meant to protect them when nonviolence would not allow them to protect themselves.

[...] However, I did figure out the way to handle the few notes for the session, and decided to forget others I’d started struggling with. [...]

The Christ figure represents the exaggerated, idealized version of the inner self that the individual feels incapable of living up to. [...]

(Pause at 9:54.) These are often complicated, however, since the individuals’ belief patterns are of such an exaggerated blend to begin with, so that such episodes are usually accompanied by phantom figures from religion or mythology. [...]

(Long pause at 9:55.) The Christ story in the beginning was not nearly as singular and neat as it might now seem, for the finally established official Christ figure was one settled upon from endless versions of a god-man, with which man’s psyche has long been involved: He was the psychic composite, the official Christ, carrying within his psychological personage echoes of old and new gods alike—a figure barely begun, comma, to be filled out in time, although originating outside of it (again, all very intently).

[...] She wasn’t sure without looking at the chart, Joan said, but she thought the dosage had been cut from 0.2 milligrams twice a day to 0.3 milligrams once a day—a reduction of 0.1 milligram daily, as I figure it. [...]

(In all the sessions Jane has given, this is but the third time that Seth has referred to past-life connections involving historical figures. [...]