“Seth material” search engine (Jane Roberts)

[...] We find here also a balance of strong points and weak points, and again, compensations.

One point, Joseph. [...]

[...] There was only so much leeway granted, so much questioning allowed—for beyond a certain point of course the entire dogmatic structure would fall apart. [...]

[...] The Shakespearean plays are an excellent case in point, even when they concern even older heritages, so the creative artist in any field has certain creative traditions that become classic models for his art and that of the world. [...]

Of course, the experience represents an important point of progress, as do the dream intentions. [...]

[...] And at this particular point, by this indention, no beach, though there is a beach to the left and right. [...]

(We arrived at the idea of similes for some of the specific material, in case the idea of being exact scared Jane off, and she said she thought the “green cabaret” data might be a case in point.

[...] Jane pointed out also that one would expect such dates as she gave in connection with island history in the Caribbean, and that such things as dungeons, galleons, etc., would be involved. [...]

[...] I didn’t mail a long letter Jane wrote him over the weekend; she covered its points in the call this morning. [...]

Under Prentice’s auspices, however, you also have Parker Books — books that are devoted to quite anti-establishment ideas and concepts — to all brands of psychic, scientific, or religious eccentricities, given to matters that contradict the establishment and challenge it at every point. [...]

[...] I am simplifying here to some extent to make my point. [...]

[...] Ruburt is doing the point of power exercise well. [...]

[...] (An important point to remember.) He was determined to go his own way. [...]

[...] One small point: as you realize, the adolescent children did represent emotional conflicts in the dream that Ruburt managed to force his way through.

(Pause.) The next chapter will deal with the experience of any personality at the point of death, and with the many variations on this basic experience. [...]

[...] This chapter will contain some rather fascinating points, for not only do you form the physical reality that you know, you are also forming other quite valid environments in other realities by your present thoughts, desires and emotions. [...]

[...] This will lead up to the basic communication used by human personalities as you understand them, and point out these inner communications as existing independently of the physical senses (pause), which are merely physical extensions of inner perception.

[...] We haven’t read all of it yet, but from our points of view we’re already questioning some of the conclusions drawn within it. [...]

You may have dreams urging you to move in such and such a direction, or pointing out areas in which corrections should be made. [...]

(As often happens, the “personal” material that followed break has good general application, and Jane decided she’ll use it to make certain points in ESP class. [...]

He has noticed, however, that almost immediately afterward his arms are freer, and that he has taken some of the steps there (pointing to the couch) with his weight better distributed, though he is bent way over, and so he has made good efforts to understand. [...]

[...] The first very important change has been occurring; for he has progressed to a point where the knees’ positions have altered. [...]

[...] There are however some points that I would like to clear, and I would also like to add to your instructions concerning our dream experiments—since I know, Joseph, that you can’t wait to begin them.

[...] And each dream should be scrutinized first of all with these main points in mind. [...]

[...] Note that only Jane points up the uneven gilt surface in her version.)

(Peggy pointed at a life-sized oil portrait of Jane that I had painted.

[...] I use these terms to make the point clear. [...]

[...] It will be noted that his data moved between the fact of our being strongly concerned about the license plates, and the experimental object itself, which was picked up as the focal point of our concern.

That was indeed our weak point, and since we were doing well I did not press it. [...]

[...] Actually the attitude is not new; both of us have been aware of the point made for a long time. [...]

(“A miscellany of shapes that all point toward one direction.” [...] The pointing reference we think a reference to the uniform direction of the verticals in my script.

[...] A miscellany of shapes that all point toward one direction. [...]

[...] It isn’t necessary here to go into these points in detail one by one, either in the data on page 32, or on the envelope object. [...]

(Tonight we had several points we thought Seth might cover:

[...] The point, however, was always made that Don Juan’s inner culture was alien—natural perhaps to Don Juan, but not to Castaneda or to the reader.

No other publishing house would have treated you any better to this point. [...]

You are lucky that Bantam was unable to use the exorcist type of publicity—and that is their idea at this point of how to handle such unconventional material. [...]

At a certain point the integers seem to dissolve; their value undermined (“I think this bit has to do with that Planck thing,” Jane said), but here they actually pick up added powers, precisely where you cannot follow, in integer, where its values seem to be undermined. At this point it is raised to another power that escapes the perceptive abilities of the 3-dimensional brain.

[...] The numbers are merely symbols for inner points of recognition. [...]

(Steady, rather fast pace.) Known values operate up to a point, then the unpredictable nature of the psi factor undermines accepted tenets, and the equation seems to fail. [...]

In your terms — the phrase is necessary — the moment point,⁵ the present, is the point of interaction between all existences and reality. All probabilities flow through it, though one of your moment points may be experienced as centuries, or as a breath, in other probable realities of which you are a part.

5. Seth’s concept of the moment point is implicit in his material as I quote it in Note 1 for this session. [...]

At the age of 25, however, (nine years before the beginning of the sessions), Jane expressed an intuitive grasp of the moment point in these lines of her poem, More Than Men:

Then use this brief session itself as a starting point for free association. [...]

(I think the important thing today was that as we talked we saw how with each category Jane described negative beliefs and reactions — an excellent point. [...]

[...] You are at this point now. [...]

Action must then travel through itself from every conceivable point, and yet the journey, you see, itself being action, will create new paths.

Distortions occur at transitionary points, or at points of imbalances. [...]

Some point over the spending of nine dollars in particular, a five and four ones, something outrageously priced.

[...] She felt as if she were projecting through time, rather than through space at the last; re Seth’s moment points. [...]

[...] Our friend Ruburt was bound to come to this point. [...]

The alternate sessions should be held then in that area (Jane, eyes open, pointed to our table by the windows) of the room, by the large table. [...]