“Seth material” search engine (Jane Roberts)

[...] Others are distorted versions of factual events.

[...] Seth’s material above is certainly excellent—the latest version of what he’s been telling us for years. [...]

[...] I explained my second question to her now, to save time: Is what Jane gets a literal translation of what I write in Sumari, or does my Sumari act just as an impetus for her to get her version of it, etc.? [...]

The plea, “Peter, why hast thou forsaken me?” came from the man who believed he was Christ — the drugged version. [...]

[...] Events are physical interpretations, conventionalized versions of inner perceptive experiences that are then “coalesced” in space and time. [...]

[...] My version will mainly feature the dozen or so sessions Seth gave in August—September 1980, and the poetry Jane was inspired to write because of them. [...]

[...] Within the context of my discussion, reincarnation is Seth’s historical version of his counterpart concept, which is that each of us is physically connected with certain other males and females who are living at the same time we are, and who are exploring physical life from a variety of viewpoints in ways that no one physical self could possibly match. [...]

In addition, Jane has described some unique versions of out-of-body episodes that have grown out of the thyroid-medication connection. [...]

[...] That time it gave a version of a requested Irish jig. [...]

(Pause.) Nor can this concept fit into your versions of good and evil, as I will explain later in this book. [...]

(All with a rolling intensity:) I must of necessity tell this story in serial terms, but the world and all of its creatures actually come together like some spontaneously composed, ever-playing musical composition in which the notes themselves are alive and play themselves, so that the musicians and the notes are one and the same, the purpose and the performance being one, with each note played continuing to strike all of its own probable versions, forming all of its own probable compositions while at the same time taking part in all of the themes, melodies, and notes of the other compositions—so that each note, striking, defines itself, and yet also exists by virtue of its position in the composition as a whole.

[...] But between the moments that you know, and neurologically accept, there are other kinds of moments, if you prefer, other versions of time, and other kinds of accomplishments and fulfillments that are not dependent upon your usual ideas of, say, growth through time.³

[...] This is a simplified version.

[...] The ommm exercises, or a version, should be followed by you also, Joseph. [...]

[...] I spelled it out, my version.)

Now all of this certainly sounds unscientific to many people, yet most of my readers have already picked up a different version of the nature of science, or they would not be reading this book to begin with. [...]

[...] Whose version is the final one for a cover? [...]

[...] You both did very well on many occasions recently, so try to duplicate versions of the behavior I told you was helpful—and focus in those directions.

As usual, Rob methodically records each session in his own version of shorthand and then types it. [...]

[...] So you may take pictures of the shadows instead of the trees, and end up with a fine composition indeed — but one that would give you somewhat of a distorted version of inner reality. [...]

(I did not describe the vision further at this time, although by now Jane had read my written version of it. [...]

It may be another version of yourself. [...]

[...] … Any such translation is, nevertheless, a second-hand version of the original — an important point to remember.