The eye projects and focuses the inner image (idea) onto the physical world in the same manner that a motion picture camera transfers an image onto a screen. The mouth creates words. The ears create sound. The difficulty in understanding this principle is due to the fact that we’ve taken it for granted that the image and sound already exist for the senses to interpret. Actually the senses are the channels of creation by which idea is projected into material expression.

There is never any justification for violence. There is no any justification for hatred. There is no any justification for murder. Those who indulge in violence for whatever reason are themselves changed, and the purity of their purpose adulterated.

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If you examine your thoughts for five minutes at various times during the day for several times a month, you will indeed receive a correct impression of the kind of life you have arranged for yourself in the next existence. If you are not pleased with what you discover, then you had better begin changing the nature of your thoughts and feelings.

It wasn't that I mistrusted the Seth personality, but I felt it was a personification of something else -- and that "something else" wasn't a person in our terms. It was, I felt, a consciousness different from mine, but to call Seth a spirit guide, meaning a nonphysical person in usual terms, just didn't fit to me.

Your own inner capabilities and potentials are more varied and powerful than you realize. The purpose of this book is to enable you to recognize and use them in daily life. You use them now, but in a subdued and inefficient manner. They work in spite of you.

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Ruburt tuned in to the world view of a man known dead. He was not directly in communication with William James. He was aware, however, of the universe through William James' world view. As you might tune into a program on a television set, Ruburt tuned into the view of reality now held in the mind of William James. Because that view necessarily involved emotions, Ruburt felt some sense of emotional contact -- but only with the validity of the emotions. Each person has such a world view, whether living or dead in your terms, and that "living picture" exists despite time or space. It can be perceived by others.

The senses serve to blot out many more aspects of reality than they allow you to perceive. They are actually rather rigid limiting devices, yet in many inner explorations you will automatically translate experience into terms that the senses can use.

You take it for granted that interpretations of events change, but that certain definite events occurred that are beyond alteration. Instead, the events themselves are not nearly that concrete. You accept one probable event. Someone else may experience instead a version of that event, which then becomes that individual’s felt reality.

When every young man refuses to go to war, you will have peace. As long as you fight for gain and greed, there will be no peace. As long as one person commits acts of violence for the sake of peace, you will have war. Unfortunately it is difficult to imagine that all the young men in all of the countries will refuse to go to war at the same time. And so you must work out what violence has wrought. Within the next hundred years, that time may come. Remember, you do not defend any idea with violence. There is no man who hates but that hatred is reflected outward and made physical. And there is no man who loves but that love is reflected outward and made physical.

Time expands in all directions, and away from any given point. The past is never finished, and the future is never completely formed. You choose to experience certain versions of events. You then organize these, nibbling at them, so to speak, a bit "at a time." The creativity of any given entity is endless, and yet all of the potentials for experience will be explored . . . You follow in terms of continuity one version of yourself at any given "time" . . . Quite literally, you live more than one life at a time. You do not experience your century simply from one separate vantage point, and the individuals alive in any given century have far deeper connections that you realize. You do not experience your space-time world, then, from one but from many viewpoints.

Pretend that you are a writer of fiction, and you create a character. This character is so independent, alive and real, that it in turn forms other characters -- and each writes its own book, or forms its own reality. That is a truer picture of your position.

You do not need to feel guilty over the creation of any probable selves. They come into reality with problems, but all of you come into reality with challenges that you have set 'ahead of time.' You have given them the gift of existence. They will learn how to use it and develop their own abilities in their own way. You have also given them individuality, which means that they are not yourselves, but variations on yourselves.