“Seth material” search engine (Jane Roberts)

It chose an environment where hardship would automatically teach a certain discipline, and yet one in which the psychic nature of the circumstances would also permit intuitive creative growth. In fact the controls were applied precisely in proportion to the intuitive gifts. The purpose was to set up a situation in which both strong facets of the personality could emerge; the intellectual, reasoning, rather practical and controlling aspects, hand in hand with the highly volatile creative spontaneous portions.

One evening dancing, he tried consciously too hard, so that he tensed the muscles as he was trying to use them, and there was a physical result then. Now, the point is, he no longer needs the controls. (Pause.) Understand that the whole situation, on a very deep basis, was protective as it tried to reproduce to some extent, though to a far lesser extent, those early conditions that allowed for the controlled and disciplined growth of strong creative abilities. He chose a mock version of those early restraints. Now. The controls are no longer necessary. The reasons as given in this evening’s session should make him realize that. The physical symptoms now remaining are a direct result of these contradictory messages being given—one relax let go, the other wait, now, not so fast, slow up.

Now, some practical suggestions: one I mentioned earlier. Remember that many symptoms have vanished. He should be on the alert for restrictive statements, vocal or mental—I can’t, for example; I’d better go slowly; or mental pictures of that nature. Such thoughts automatically tense the muscles. If he is consciously adding instructions to relax on top of this he worsens the situation, for the muscles cannot relax and contract at once.