“Seth material” search engine (Jane Roberts)

You will find that a creative, placid and yet fulfilling time is beginning, when you will both begin to do some of your best work. Certain elements are leaving your lives now, and with the signing of the contract Ruburt feels socially, economically and creatively justified, and accepted.

I do intend to begin my own book now, very shortly, for this will give a new organization to the material, and direct the flow of information. There has been a very marked improvement in Ruburt’s condition. There will shortly be another equally remarkable improvement—another stage, in other words, and this one will be followed in a matter of two months or so by complete recovery —that is, two months after the next improvement.

When resting, and in a tranquil state of mind, he should simply imagine the limbs slowly stretching out, becoming somewhat longer, and then slowly returning to their original length. He should then imagine the neck revolving easily and normally three times in each direction; mentally here doing the yoga neck exercise that he recalls.

It will do good also if during the day occasionally he imagines the exercise as he goes about his chores, but he should not do this willfully, with an intent to command physical performance. The whole thing should be done with a mental lightness, more as if it were a children’s game, and he must remember this for it is the whole point of the procedure.

I am giving you this information because it is useful. I do not intend to keep you long this evening however, being content with the resumption of our schedule. Ruburt’s decision in regard to his classes is a good one. There will be no difficulty in holding students, or in keeping the same income, with only one class.

(9:38. Jane left trance quickly. Her pace had been good, eyes open often. She said she could see how to do the exercises while Seth was describing them.

You do not need to justify your existence by painting. It is impossible to do so. (Pause.) There are two approaches, either of which would be highly beneficial. The first is to paint a portrait of a person whom you know, trying to portray the essence of that person, their deepest agonies and highest joys, their highest capabilities and fears of failure. (Pause.) This would induce on your part an honest effort to face the raw emotion of another personality, and portray it.

Now. The other approach in many ways is completely opposed to the first one. Indeed it may not seem like an approach at all to you. Using this approach however, for ten days minimum, you drop the work you are doing. You drop the idea of work as work during your usual work hours. You capture as much as possible and in whatever way you choose, a careless, childlike, playing attitude.

Look at the scenes outside your window in this light. Think of your painting as a spontaneous play of the godlike self, who paints or plays for the pure joy of doing so, without effort, without questions, and without plans. Sketch whatever comes into your head. Do not limit yourself in any way whatsoever in terms of intent as far as subject matter, medium, technique. Indulge in a spontaneous childlike game. When you feel like sketching or painting, when an idea springs into your head, try it immediately. When it does not, when an idea does not come, then walk, play with your cat, do anything you want to do.

The idea, again, art as a spontaneous play of the godlike self. Do not dictate to it. It knows more than you about the game. Now either of these techniques will serve you very well and refresh your creative energies. They are equally valid, and equally geared though in different ways, to your peculiar dilemma. Do not mix the approaches however. Plunge into one or the other wholeheartedly, and underline wholeheartedly fifty times.

Now you may take a break, and we shall continue. (Pause at 10:20.) In the first approach you become completely immersed in the subject. In the second approach you become completely immersed in the idea of spontaneous play, which is true blessedness and creativity and there is no focus upon subject. Do you see the value and similarity of the approaches?

This restriction will show in all areas of your work if you do not break it, and you can do so. Its effects literally color all of your painting activities, and serve to reinforce the restrictions of an emotional nature. So solving one issue helps both.

You need not hammer this. The feeling is what is important. Think of yourself as being flexible creatively. Psychological time, if you contemplate it, will set you free, so that you feel value fulfillment and durability within the time that you know. Do not think in terms regretfully that you have only afternoons in which to work. This restricts you in two main ways.

In this way creative ideas can even come to you at your job, or on other occasions, and be used at a more convenient time. The negative thought that you have only afternoons (underline only), also tends to limit the value of the time that you do have, and restrict it.

Now this information, properly used, plus your use of one of the two approaches given earlier, will be of great benefit. Not only now but for the rest of your life. Do you have any questions?

My heartiest wishes to you both. You have been given advice geared to you and to your needs. If you follow it you will be amazed at the difference in your attitude and in your work. It must not be a willy-nilly trial, a one-or-two day affair, but a wholehearted plunge into whatever approach you choose, and you should also follow the suggestions given later concerning time and your attitude. This is your artistic prescription, and half doses will not do a full job.