“Seth material” search engine (Jane Roberts)

One had to do with the in quotes “problem” of artistic creativity versus womanhood, and this along with personal background brought about a distrust of the feminine organs. Not in such a manner that illness would result therein, or, say, diseased organs, but only so far as function was concerned.

The mistrust of mobility, or fear that it could be taken away, was built up also, with other reasons given in the sessions, simply through the suggestion over the years of living with someone who was not mobile. The proximity alone. While Ruburt trusted the body then in all other areas, these two points represented holes in his armor, so to speak.

A note: the reincarnational information you received was quite legitimate—and with some little application on your part entire episodes of that existence could become clear, with little relative effort.

(“Was my father there in that class?”)

He was indeed.

This is done in such a way, when it is done correctly, so that no comparisons against present behavior is involved. The idea of health however becomes as persuasive as ill health was.

Despite your feelings against this house, generated because of Mr. Spaziani, at least on one level, your love of it was picked up by your present landlady for several reasons having nothing to do with the house. She has great respect for your painting, and for Ruburt’s abilities, and you knew her when she was a soldier in Rome. It is for this reason that she painted the halls, and made the apartment adjustment. In this case the past overrode your negative ideas about the house when she bought it.

Now Ruburt was a priestess in that life—

—when you were in Rome, and did not know Sue. There was no great connection with you, except that you visited her once, and the two of you were both involved in what you may call the in quotes “mystery” religions. You were seeped in such lore, having been born in Greece rather than in Rome. Ruburt acted as an oracle, and you consulted her at one time.