“Seth material” search engine (Jane Roberts)

(Pause.) You must understand, I know, that the terms “male” and “female” here are being used as they are generally understood, and have nothing to do with the basic characteristics of either sex. In those terms, the male-oriented intellect wants to order the universe, name its parts, and so forth. It wants to ignore the creative aspects of the universe, however, which are everywhere apparent, and it first of all believes that it must divorce itself from any evidence of feeling. You have in your history then a male god of power and vengeance, who killed your enemies for you. You have a prejudiced god, who will, for example, slay the Egyptians and half of the Jews to retaliate against previous Egyptian cruelty. The male god is a god of power. He is not a god of creativity.

Ruburt (Jane) was highly creative, and so following the beliefs of his time, he believed that he must watch his creativity most carefully, for he was determined to use it. He decided early to have no children — but more, to fight any evidence of femininity that might taint his work, or jumble up his dedication to it. He loved you deeply and does, but he always felt he had to tread a slender line, so as to satisfy the various needs and beliefs that you both had to one extent or another, and those you felt society possessed. He was creative, and is. Yet he felt that women were inferior, and that his very abilities made him vulnerable, that he would be ridiculed by others, that women were not taken seriously as profound thinkers, or innovators in philosophical matters.

The trance itself had feminine connotations, though he conveniently forgot [several excellent male mediums]. And yet at the same time he was afraid of exerting power, for fear it would be thought that he was usurping male prerogatives.

The art of the old masters escaped such connotations, largely because it involved so much physical labor — the making of colors, canvases, and so forth. That work, providing the artist’s preparation, now belongs to the male-world manufacturer, you see, so as a male in your society the artist is often left with what he thinks of as art’s feminine basis, where it must be confronted, of course.

Indeed, these are some of the reasons why Ruburt distrusted the spontaneous self: because it was feminine, he believed, and therefore more flawed than the spontaneous self of the male.

I have given material on that before (but in private sessions). To some extent, Ruburt became afraid of his own creativity, and so did you. In Ruburt’s case the fear was greater, until it seemed sometimes that if he succeeded in his work he would do so at some peril: You might be put in an unpleasant light, or he might become a fanatic, displaying those despicable, feminine hysterical qualities.

(10:35 P.M. “I didn’t know he was going to go into all of that,” Jane said, after I’d told her she’d given an excellent session. “Maybe that’s why I felt so uncomfortable before the session: Part of me knew Seth was going to talk about us. Now I feel exhausted. I could go right to bed, but I won’t….”