“Seth material” search engine (Jane Roberts)

Now. In his restrained motion he has to some extent (underlined) adopted what he feels to be the more proper, deliberate responsible characteristics connected in his mind with the symbolically masculine, analytical intellectual.

The male characteristics he always thought of as stabilizing. The intellect and the tailored clothes went together. The quick motions were always associated with inner intuitive feminine abilities. The symptoms have in part been meant to reassure you that you need not be afraid that he would be driven by his impulses. In the beginning of the psychic work you were concerned at spontaneous sessions, and while you were highly intrigued by the developments. There was one situation in particular that frightened you both—the time that Ruburt ended up on the floor when he picked up the information from your neighbor, Barbara.

The relative (underline that twice) exile of Ruburt’s symbolically feminine characteristics is something that neither of you consciously realized. You did this to assure yourselves that these abilities, feminine in both of your minds, would not so get the upper hand that the responsible, and in both of your minds, masculine or dependable aspects of your life would be threatened.

Now all of this is highly important. To some extent it was inevitable, considering your backgrounds. The feminine aspects in any case, culturally speaking, were being denied since you did not want children. Reincarnationally this you set ahead of time. If the psychic developments that represented your greatest fulfillment, with all their ramifications in your art and life, had not occurred, then you would have had two children, and continued a reincarnational cycle. There are other aspects here, in that in your last reincarnational life you had somewhat greater freedom within the sexual framework. You can come closer to the ideal identity that gives greater rein within one individual to both male and female characteristics.

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.

In your mind making money is a male characteristic, and subconsciously a male prerogative. The fact that you painted and it did not seem to bring you money served further to make you distrust these creative abilities. You identified them to some extent with your mother, the first female of course in your background. She was unpredictable, and so you felt you could not depend upon your art, nor count upon it as a man. (Much louder.)

This permits the fullest expression of true identity that is possible within the physical system. Otherwise identity is smothered to a large degree beneath a strictly oriented one-sex identification, with other characteristics masked and denied expression.

I can indeed. Now in your paintings, many of them, you merge the male and female characteristics—the feminine compassion and intuition often appearing as it does here in a male face.