Family

Jane Roberts on Family

Browse 11 quotations attributed to Jane Roberts, catalogued under family, with dates where available.

Literature
United States
11 quotes

This page displays 11 quotations attributed to Jane Roberts and filed under "family" in QuoteLineage. The selection is ordered by stored importance and quality scores, not citation counts. A topic label describes how an entry is catalogued; it does not establish the theme's importance in the author's work.

Attributed to Jane Roberts, entry #115404: "The personality when it leaves your plane for good will have developed its potentials as far as it possibly can."

Attributed to Jane Roberts, entry #219800: "Your closest approximation of the purpose of the universe can be found in those loving emotions that you have toward the development of your children, in your intent to have them …"

11 Quotes by Jane Roberts on Family

"The personality when it leaves your plane for good will have developed its potentials as far as it possibly can."

— Jane Roberts

"Your closest approximation of the purpose of the universe can be found in those loving emotions that you have toward the development of your children, in your intent to have them develop their fullest capacities."

— Jane Roberts

"Some of my ideas certainly came from my mother's father. She and he had a family argument and didn't see each other for twenty years, though we all lived in the same town. Mother wouldn't let my grandfather in the house. She let me visit him though. He was part Indian and part French, a tiny dark-haired man with an Indian hoked-nose; tight-lipped and stubborn. But he talked to me about the spirits of the fire and the wind, and took me for long walks in a nearby woods, while he told me Indian legends."

— Jane Roberts

"As a rule, each entity is born so that he experiences at least three roles, that of mother, father and child . . . Beside the three necessary roles there is another quality, different in dimension, which is also necessary for the personality, and this involves the fullest use of potential."

— Jane Roberts

"The most legitimate instances of communication between the living and the dead occur in an intimate personal framework in which a dead parent makes contact with its offspring; a husband or wife freshly out of physical reality appears to his or her mate. But very seldom do historic personages make contact except with their own intimate circles."

— Jane Roberts

"I want to assure you that regardless of your circumstances, age, or sex, you can indeed start over, re-arousing from within yourself those earlier, more innocent expectations, feelings and beliefs. It is much better if you can imagine this endeavor more in the light of children’s play, in fact, rather than think of it as a deadly serious adult pursuit."

— Jane Roberts

"Rob liked Seth immediately. the two of them set up an excellent rapport. Through me, Seth related to Rob. Almost from the beginning he was an objectified personality to Rob; a visitor regardless of the unconventional situation; someone in whose ideas Rob was tremendously interested. On the other hand, I only knew what had been said and when the trance was over."

— Jane Roberts

"Neither of you have a need for children in your present personalities. You are almost finished with incarnations on the earth, so much so that the physical bodies will return completely and unfragmented upon your physical death. This is always the case in the final earth life. The physical property is left behind, no portion of it being carried on that plane through children."

— Jane Roberts

"Joseph was correct when he spoke of entities creating stages upon which to act out their problems. The point is that once the play begins, the actors are so completely engrossed in their roles that they forget that they themselves wrote the play, constructed the sets or are even acting. The reason is rather apparent: If you know that a situation is 'imaginary,' you are not going to come to grips with it."

— Jane Roberts

"The routine in the gallery seemed eternal. The artists ate a skimpy breakfast, worked from seven in the morning until noon, ate lunch when lunch was available, exercised by shift in the courtyard below, worked again till six, ate dinner, and worked from seven until eight-thirty. The gallery housed writers, artists, and a few musicians. Sexes were segregated. Every two weeks the men and women were allowed to mix indiscriminately. Any children born were immediately put in the outside government nurseries where they were brought up as workers, beginning in the fields or chemical gardens at the age of six."

— Jane Roberts

"In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'"

— Jane Roberts