“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.

The unconscious was trying to protect your artistic self. If you wanted to stay home and paint all day badly enough, then it would hamper your hand motions at work. Do you follow that or should I elaborate?

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.