“Seth material” search engine (Jane Roberts)

Many writers of historical pieces, for example, are writing out of direct experience with those times. Such instances represent an excellent working rapport between the present self and the unconscious, which brings these memories to the surface in such a way that current life is enriched. More often than not, true awareness of the situation often becomes almost conscious, and just beneath awareness the individual knows the source of his authentic material.

In dreams this reincarnational material is likewise cast into a dramatic mold very frequently. Beneath all this, the anima and the animus work together, again not opposites but blending characteristics. Together, of course, they represent the fount of creativity, psychically as well as physically.

The anima represents the necessary initial “inwardness,” the brooding, caring, intuitive, inside-turning characteristics, the inward focusing from which creativity comes.

The projection of the man’s anima, or hidden female self, upon [his] relations is quite natural, and allows him not only to understand them better but to relate with the other female existences of his own. The same is true of the woman’s projection of the animus upon male relatives and friends. The reality of the anima and the animus is far deeper then than Jung supposed. Symbolically speaking, the two together represent the whole self with its diverse abilities, desires, and characteristics.

(9:48.) The male yearns toward the anima because it represents to the deep unconscious those other characteristics of the whole self that, on the one hand, lie latent, and that, on the other hand, struggle for release. The tension between the two leads him to temper aggressiveness with creativity, or to use aggressiveness creatively.