“Seth material” search engine (Jane Roberts)

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.

The difficulties with the hand were not meant to threaten your artistic self. You feared they were. They were meant, in some instances, to protect your artistic self, if you recall our last session. Therefore the fear was a conscious one, and basically unwarranted. The unconscious was not (underlined) threatening your artistic self. You were afraid that it was, or that unwittingly the symptoms would bring this about.

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.