“Seth material” search engine (Jane Roberts)

(11:16 PM.) Now. A few remarks having to do with the main reason that your suggestions were not as effective as you would have liked.

You did not rise above the fear that the symptom itself, a part from everything else, gave you. You were in a panic, thinking of the importance of your hand to your work. You feared so strongly that the symptom could stop you, even from painting, that the fear itself became a detriment for positive suggestion. When your imagination operated freely and not directed concerning the symptom, then it ran in those directions. The very charge behind the fear propelled it.

You did not give the suggestions from a standpoint of assurance. They were like thumbs in your estimation, subconsciously, to hold back the dam of feared eventuality. You gave the suggestions out of fear then, not from a strong framework of assurance. You overaggravated the symptoms, overexaggerating their importance because of this fear.

Give me a moment here. Give yourself suggestions only when you recognize that you have achieved a certain sense of peace within you, even if it is only momentary, the feeling that you have stilled your fears for the time being.

You recognize that feeling. You must not be propelled to give your suggestions by fear of what will happen, or might happen, or could happen otherwise. In your suggestions tell yourself in whatever way you choose that your hand can be steady under any and all conditions.

Do not specifically relate the behavior of the hand with your artistic self or artistic abilities in your suggestions, but in a general manner to the natural health of your being and easy flow of your ideas outward.

It mirrored your attitudes toward your job, not toward your art in that regard. The fear that the artistic self was being threatened led to a certain panic that impeded the flow of information you were trying to suggest to the unconscious.

The understanding that the artistic self was not being threatened should allow you to relax sufficiently for the suggestions to take effect more. You were as a result distrustful of the subconscious, and this hampered the suggestions. You felt, if it were threatening your artistic self, what could you expect from it when you had always supposed previously that it upheld the creative drive? Your deduction you see was false—the earlier deduction that it threatened the painting.

You did not get your suggestions through adequately because in this important area you misjudged its motives, and this caused a certain panic on your part, as mentioned.