“Seth material” search engine (Jane Roberts)

You identified, primarily now, as a poet and an artist because those designations, up to that time, seemed most closely to fit your abilities and temperaments. Ruburt’s¹ writing set him apart. Your painting set you apart. These were recognizable, tangible proofs of creativity. You therefore identified with elements, characteristics, and traditions that seemed to suit you best.

To some extent you had your own niches, recognizable by society even if they were relatively (underlined) unusual. You did not know that there was a deeper, older, or richer tradition—a more ancient heritage—to which you belonged, because you found no hint of it in your society. It seemed at different times since our sessions began that there were disruptive conflicts. For example: Was Ruburt a writer or was he a psychic? Were you an artist, or weren’t you? What about the writing you did—both for our books, and the writing that you sometimes plan to do on your own?

Ruburt was correct in his introductory notes (for Mass Events) today—about the poet’s long-forgotten abilities, and his role. Ruburt has been a poet all of the time in the most profound meaning of that term. For the poet did not simply string words together, but sent out a syntax of consciousness, using rhythm and the voice, rhyme and refrain as methods to form steps up which his own consciousness could rush.

That is the heritage that both of you follow, and have followed faithfully. It has an honored tradition. Also involved is, as Ruburt correctly picked up from me, a group of accomplishments that we will call the psychological arts. You are involved in those also.

Explore, for example, your own feelings toward me: whether or not they have changed through the years, how much I seem to be myself, or part Jane, or part Ruburt, or part you, or part Joseph, or whatever. Realizing that you are in the position you wanted to be [in], and realizing that your abilities are not in conflict with each other, nor you with them, will automatically fulfill and develop all of those abilities, in a new kind of overall creativity that is itself beyond specifics.

Now: When Ruburt begins to trust himself, as he has, the physical (arthritic) armor loosens. The creative abilities become even more available, hence his new creativity, and the new physical steps he has taken. They all go together.

When you trust the thrust of your own life, you are always supported. Tell Ruburt that.

Almost always Seth refers to Jane by her male entity name, “Ruburt”—and so “he,” “his,” and “him.”

To sum up Seth’s somewhat amused comments in the 12th session for January 2, 1964: “Sex, regardless of all of your fleshy takes, is a psychic phenomenon, merely certain qualities which you call male and female. The qualities are real, however, and permeate other planes as well as your own. They are opposites which are nevertheless complementary, and which merge into one. When I say as I have that the overall entity [or whole self] is neither male or female, and yet refer to [some] entities by definitely male names such as ‘Ruburt’ and ‘Joseph’ [as Seth calls me], I merely mean that in the overall essence, the [given] entity identifies itself more with the so-called male characteristics than with the female.”