“Seth material” search engine (Jane Roberts)

[...] She also had fleeting glimpses of a monklike figure, seen from the back.

[...] The figure 14,378. [...]

[...] They would much prefer to think of him (Ruburt) as a sweet, passive, and spiritual channel—the figurative phone booth. [...]

(Beyond my figure I saw the typical blue-green opaque water of the tiled swimming pool, and some shining pipe work, evidently a fence or ladder. [...]

2. I underlined the word story (like this) in Seth’s material just to remind the reader that the Christ figure symbolizes our idea of God and his relationships. [...]

[...] With the figure painted out of the photo the rocks would easily resemble any number of aerial shots of denuded mountain ranges, or hills, depending on scale.

[...] I did not know who it represented consciously; merely that I had a very clear mental image of a face and figure to paint. [...]

[...] Generally speaking, however, the kind of person who performs as a public figure is not the kind of person who could produce highly creative material of an original nature. [...]

“I’m not quite sure of the meaning of the older handsome Navy man who stands at attention — an authority figure … whose purpose is merely to stand guard and observe; perhaps a reassurance to Rob that the rational self is there, in its true position — but standing apart, observing the magical proceedings. [...]

[...] Figuratively, its image was appalled. [...]

[...] And if I am not to be compared to a symphony, Joseph, you must admit that I do well with a figurative baton.

[...] The base of the clock itself is ornate with small pink flowers or figures upon it, and I believe a green felt beneath the base.

(Or when I have to take writing time to figure this stuff out—

[...] I finally figured out why that mirror image confronted me with such an unreal quality: All the muscles and planes of my face were super-relaxed and smoothed out, so that the face at once looked both younger and older than its real age. [...]

(“Did they figure correctly?”)

Imagine if you can the figures or inhabitants in the painting having psychological reality, all within the set limits prescribed by the given space. [...]

(Some quick figuring showed us that the 50’s for my mother had encompassed the years 1942–51. [...]

Rob had been working on portraits and human figures, so this data made sense to him. [...]

[...] Do not however strain yourself trying to figure out whether or not the suggestions are being followed. [...]

Now here we have a fine and substantial figure (Brad). [...]