“Seth material” search engine (Jane Roberts)

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.

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.)

Ruburt on the other hand felt he could use psychic books as a means of livelihood, for in the books at least he felt the masculine and female tendencies merge; the intellect making use of the intuitive information.

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.

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).