“Seth material” search engine (Jane Roberts)

In those terms, using our analogy, the recognition of Framework 2 would bring you from that point to the production of great art, where words served to express not only the seen but the unseen — not simply facts but feelings and emotions — and where the words themselves escaped their consecutive patterns, sending the emotions into realms that quite defied both space and time.

We will most probably have to end the session, for there are points where the translation becomes most difficult. [...]

(Which is to say that Jane once again felt, or was aware of, the cone or pyramid effect, the extension reaching to a point up above her head, and explained in various recent sessions. [...]

[...] (Eyes open.) The woman’s death was foremost as far as probabilities were concerned, and yet at many points at the time of our session she could have altered those probabilities.

There are so many other elements involved in human nature that I do not really want to point out any culprits, yet male-segregated communities are obviously notorious for encouraging that kind of behavior. [...]

At this point, as Seth talked I seemed to be looking down on the scene he described. I watched the monk from some point behind and above, as he wandered away from the monastery and through the fields. [...]

So along with the reincarnational histories Seth had given each girl a point of information, highly significant, and unknown to anyone in the room except for the person for whom it was intended. [...]

“When it is said that certain characteristics from a past life influence or cause present patterns of behavior, such statements—and I have made some of them—are highly simplified to make certain points clear.

Matt has since become a good friend, incidentally, but at that point we didn’t know him from Adam. [...]

[...] His weaknesses were out in the open, dramatically presented, and from that point, unless he chose death he could only go forward—for suddenly he felt that there was after all some room to move, that achievements were possible, where before all accomplishments seemed beside the point in the face of his expected superhuman activity.

That is, I thought it could all happen so easily and naturally and painlessly that there would be no one point where you could say, “Now she lives and now she doesn’t.”

[...] Going out in the yard (as Jane did this afternoon in a wheelchair, accompanied by her nurse) was an excellent case in point, important on practical and symbolic levels.

[...] We were very encouraged by two key points Seth had mentioned: that her thyroid gland had repaired itself before—such an event happening now would free her of dependence upon medication—and that her sinful self’s superhuman image had “cracked and crumbled in the hospital experience.” [...]

(I mention these points because Seth deals with them also this evening.)

[...] You are ahead of the times, and behind them—yet through the point of power you affect those times. [...]

[...] You think that in terms of his physical condition the point of power is in the past. [...]

(Seth pointed to question number 5.)

(Thus, all of these points came together tonight and resulted in the session. [...]

[...] There were three or four beginning points. [...]

The pyramids, the huge boulders etched out (I think Seth refers here to Baalbek; I didn’t interrupt to ask), all of this was done in one way or another through the use of, a knowledge of, both coordination points in space (described by Seth in his own book) and the use of sound. [...]

[...] It is not a point of them trying to invade a native stock; they simply understood the nature of individual existences, therefore they are able to choose from various physical systems those in which they would like to have experience.

When your friend Philip innocently asked at what point human consciousness entered the picture, his question was not pertinent. [...]

[...] The point of course being that once the play begins the actors are so completely immersed in their roles that they forget that they themselves wrote the play, constructed the sets, or are even acting. [...]

[...] The fact is that realization to some degree can come and often does come after the play is well under way, and at this point the camouflage action is so involved that the realization itself appears in the framework of the camouflage, and is often indistinguishable from it.

[...] It should be simple as an analogy to consider the next point, where the figure in a painting would not only have a certain consciousness for example but would have other freedoms also; and this would give you a limited conception of what is involved in the creation of other planes of more varied scope.

Any investigation of the basic inner universe, which is the only real universe, must be done as much as possible from a point outside your own distortions, but the only way open for you to escape the distortions of your own physical universe is to journey inward. [...]

As to the means, the very simplest and crudest but still to be adopted method will prove to be hypnotism, simply because at this point your personalities will not trust their own abilities but must rely upon suggestion from the outside.

[...] (exclamation point).

[...] Soon I will have you at the point where your fingers will feel no fatigue, and then I will make up for lost time.

You are also in need of a change of environment (pointing to me) and you will receive insights concerning your work as a result. [...]

[...] And the point, buried somewhat in the past, came to light of consciousness, for within intuitively the necessary connections had already been made.

One point: your friend the Jesuit (Bill Gallagher)—his symptom is hidden within his tissue, and not physically observable. [...]

This necessitates finding the causes for the symptoms, backtracking, really, to the point before the symptoms’ appearance, and facing problems now that would not be faced then. [...]

[...] He must realize all of these points.

[...] You experienced a point of consciousness where, momentarily, that barrier was released. [...]

[...] On the other hand, it is perfectly alright to maintain the sensation so that you know at what point of consciousness you are attaining. [...]

[...] But I’ve got a couple of points to make....

The Christ drama is a case in point, where private and mass dreams were then projected outward into the historical context of time, and then reacted to in such a way that various people became exterior participants—but in a far larger mass dream that was then interpreted in the most literal of physical terms. [...]

(I might as well use this opportunity to point up what I think is an obvious connection between the nuclear mishaps at Three Mile Island, and the mass suicide at Guyana [Jonestown] earlier this year. [...]

[...] Tonight I asked that Seth at least comment upon the visit, since I had the feeling it marked a turning point for us as far as our attitudes went; about meeting others, etc.

[...] There are several points I would like to make. [...]

[...] Your point about the footraces is well taken in that context—the mile run. [...]

The point I wanted to make is this—each thought is an electromagnetic reality on its own, a unique electromagnetic reality. [...]

[...] That is the first point. [...]

[...] Your whole thoughts at this point are negative. [...]

[...] The point of all of this is the exploration of human consciousness, its ranges and scopes. [...]

[...] At that point I suddenly recognized Seth “around the edges” of my mind. [...]

[...] Then there was a brief point of psychological rest, an almost neutral psychological platform in which Seth’s outline began to emerge.

[...] He is now at the point where he can greatly improve the condition of his eyes, and his vision, through consistent self-suggestion. [...]

[...] We did not think Seth would clear up the doubtful points, at least not all of them, because of the lateness of the hour. [...]

[...] At the time Seth said it was a wise move, and that from that point on Jane would do well with her writing. [...]

[...] I recall that at the time Jane had seen them first, and pointed them out to me. [...]

[...] I also recall that at the end of our stay there, Jane pointed out to me the fact that they were smiling. [...]

[...] By the same token, your triumph represented a necessary one, and reinforced the healthy points of your present ego.

Were it not for the relationships between these two, then indeed the condition of the male would be more critical; and here we come to an interesting point.

(Here, her eyes still closed, Jane pointed at Bill Gallagher. [...]

[...] Nevertheless I cannot help but grow annoyed when I am literally besieged with the protests meant to insist upon his sanity, the point being that if he is sane, then I must be some nefarious seven-eyed monster. [...]

(Jane had pointed to Bill. [...]