“Seth material” search engine (Jane Roberts)

First of all, Ruburt has as you know an excellent intellect. It is not as well developed however as he supposes. He could do far more with it. Now he emphasizes its strictly analytical nature, and in so doing puts limitations upon the ways in which he uses it.

Some of this has to do with the cultural climate that colored his attitudes. He puts his intuitions in as intellectual terms as possible. To his way of thinking this gives them greater acceptability, strength and durability. He will not be laughed at as a result.

He could not deny the intuitive self, so it became the self who wrote poetry. In his environment this however was an intellectual thing to do. The feminine image meant instability, intuitions that could lead into unrespectable by-ways, and emotions that were not intellectually restrained.

In appearing on television he wore initially the pants suit to stress the masculine aspects, or tailored clothes, each stressing to him the more masculine, intellectual, respectable qualities of his nature. He is saying, you see, “I am quite normal, quite intellectual, and in my way quite responsible and proper. Do not be alarmed by my wild mystical self, for it is well under control.”

He feels also that this image suits your ideas, as indeed it does to a large degree. This also has something to do with your private lives, for the feminine portions of that nature can quite easily be frightened into not showing themselves through the monthly function—that is so utterly spontaneous, so mysterious to the intellect, and the one main sign by which the female monthly shows her difference from the male.

He is saying “I do not run off half-cocked. I am not feminine, mystical, wild, given to fancies that will take you far from the world you know into unknown territory. I am not the unpredictable and therefore unreliable prophetess or mistress. My slow and deliberate movements should tell you this. They tell me this, and offer me then that security.” Thus he interprets these emotions to himself.

The very experience however, with all of its triumphs and insights had to bring to the foreground personal problems of development that many people simply do not face, or come to grips with. Strains and tensions developed, but in grappling with these and with the physical symptoms, new insights were reached.

So all in all, with the problems, you have managed well. This fits in with your own artistic nature, and with your background in this life. You also identified your creativity with female characteristics or abilities, symbolically speaking, and this has something to do with your distrust of making money with your art.

Now. As noted much of this has to do with the fact that in your last reincarnation both the masculine and the feminine aspects of personality are to be as fully experienced as possible, while the overall present one-sex identification is to be maintained.

All of this stems, again, from your misconception of the nature of the creative self. Now logically it may not be stable in intellectual terms, for it knows that one and one do not always give you two, but its great stability lies in its flexibility, its intuitions, and in its unending source of creativity.

Now do you have questions?

You do not paint the faces of females as a rule, because of the ideas of which I have just told you. Whenever you show the so-called feminine qualities of insight or compassion, you show them as appearing in the male profile, where they are seen opaquely and not faced full on. You feel they need the male discipline to give them a suitable framework, and to define them. Without this you feel them threatening. This also has something to do with your feelings toward oils under certain conditions (underlined).

Do you have other questions?