“Seth material” search engine (Jane Roberts)

[...] I seem now to be able to know in advance when the sensation will manifest itself during such experiments.

[...] I’ve always been intrigued by the remark he made just before 10:43 in the 526th session: “You are one manifestation of your own soul.” [...]

[...] Just before Seth announced his presence to us in that same session, Frank Withers spelled out a remark through the board that meant little to Jane and me at the time: “One whole entity may need several manifestations, even at simultaneous so-called times.”

[...] However, she also began to occasionally manifest an upsetting new development—a slight tremor in her voice. [...]

[...] The nature of creativity, regardless of any given specific manifestation, is reflected in an overall generalized fashion that automatically increases the quality of life, and such benefits are definite regardless of what other conditions also become apparent. [...]

[...] Your universe is the focal point for physical manifestation, where the manipulation of matter predominates. [...]

Projecting your consciousness out of your body, therefore, provides at the same time an inner probing of consciousness itself, as well as experience of its manifestations. [...]

It should be remembered that the intellect, in the light of this book, is as perfect then as any other manifestation of what is termed divine spirit. [...]

(This time it began in both my feet and moved up my legs to my hips, then manifested itself in the back of my head. [...]

(“What’s the point of ectoplasmic manifestations, anyway? [...]

[...] You think of it as an exteriorized manifestation, expanding perhaps, but in an exterior rather than an interior fashion.¹

[...] Their main points of consciousness were elsewhere, in another kind of reality, while their physical manifestations were separate. [...]

[...] Her conflict can be easily seen, then, manifesting between that idea and her deep-seated need for protection.

(9:14.) Such a time version suggests an occurrence in time, of course, and yet the event may leave only a ghostly track, so to speak, being hardly manifest, while in another life the time version may be of considerable prominence—while in your own experience it represents a fairly trivial incident of an ordinary afternoon.

“Seth as a ‘master event.’ As the Mona Lisa is ‘more real’ than, say, a normal object or the [materials] that compose it, so is all good or great art more than its own physical manifestation. [...]