“Seth material” search engine (Jane Roberts)

[...] A very weak analogy can be found if you imagine at one time hearing the most exciting and moving music imaginable, while simultaneously smelling the strongest but not necessarily unpleasant odor, viewing the most emotionally-charged scene while feeling intense and vivid bodily sensations. [...]

[...] You should write down a description of each scene and what you remember of it, including your feelings both at the time of the dream, and later when you record it. [...]

On the other hand, I did watch with some amusement as the scene was enacted in a small room, and as the ghosts were supposed to materialize in the doorway. [...]

[...] In this case, you see, since the book has already been written you could say that the scene was a past event, at least of the imagination, at the time the author conceived of it.

[...] 6/28, 9:30 PM: Many instances of drumbeats and music, and miscellaneous vague scenes, very quick, of people and portions of trees and countryside, none of it familiar to me. [...]

[...] He thought of asking you to take a snapshot of the table with your camera, showing the partially-opened front door, so that later he could paint the scene. [...]

(I should take the space here to set the scene. [...]

(9:36.) The whole moral code idea was originally tailored for the current scene as it was encountered, told in terms that the natives could understand.

[...] In any given historic religious drama, therefore, the actors may have already appeared on the historic scene in your past, the prophet of today being the traitor of the past drama.

Then, the scene switched again. [...]

[...] Now one of these shifts may also concern a young man, he will either suddenly leave or it will be a young man suddenly arriving on the scene. [...]

[...] [The object represents Jane’s first day of teaching.] Briefly, a very violent scene was enacted before Jane and her class. [...]

[...] Behind the respectable scenes such concern was high, and many a good churchgoer let ministers in the front door while they collected bottles supposedly filled to the brim with fleshy incentives in hidden back rooms.

Imagine looking at a scene outside your window as Ruburt now allows me to do. [...]

[...] During break, we discussed what had been said and then somehow got to joking about a reincarnational drama-scene that Rob and I had played out a few months ago, in which he had apparently been a teacher of mine and an exasperatingly thorough record-keeper. [...]

[...] Behind the scenes not only would the performers, as performers in all of the programs, all know each other, but the characters portrayed by them would know each other and be aware of each other’s roles in the programs, and even now and then stray into one another’s dramas.

[...] Briefly through those eyes I looked out upon twin rows of galley slaves … I described the scene and my feelings about it to Jane, and made small, full-face and profile pen-and-ink drawings of myself as the officer. [...]

[...] A medieval scene depicted, with romantic overtones. [...]

[...] And once you walk to that window, a scene will appear. [...]

Perhaps in their room there is a rather elaborate lamp, on a table, that depicts a scene, that glows when it is lit.

[...] I added the lettering to Peggy’s drawing, as well as to Jane’s second version of the same scene, shown on page 162.)