“Seth material” search engine (Jane Roberts)

He has as you know excellent intuitive abilities. In the past in his poetry the intuitive abilities were somewhat isolated. The truths that came through could be considered as creative fantasies and therefore did not have to be accepted literally, or accepted by the intellect.

The intuitive portions of himself he has always considered as feminine. The intellectual capacities he always considered masculine. He relied upon the intellectual abilities therefore as the stronger, because in his own background he believed the male to have the greater strength.

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.

One of the reasons why he did not understand that the spontaneous intuitive self was the deeply creative and therefore deeply stable self, was that he identified it with his idea of femininity as he unfortunately misunderstood it. It was therefore second best, undependable, and could lead to byways that were not respectable. He never equated money with respectability or prestige. As a youngster he had no family background or money, and his need to be looked up to and held in esteem could not wait.

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.

You, being a male, he felt, would be most alarmed at any undue emotionalisms. This aside from your own reaction to your mother’s emotionalism. So there was a good division set up between his intellectual-respectable-to-him masculine aspects, and his intuitive, feminine, private aspects.

The psychic work meant that these would be united. There was strain, as could have been expected. Intuitively and as a woman he would naturally have longer hair, wear earrings and jangly jewelry, which fits the inner feminine image, and also the inner mystical, psychic image of the seeress, the prophetess, and in your own relationship, the mistress.

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 tests with Instream, and your own, precipitated a situation in which his intellect was constantly checking his intuitive information. Because of his own background this precipitated a situation in which one portion of the self was constantly scrutinizing another portion with a jaundiced eye.

All of the time of course these feminine aspects were being used as the intuitive, mystical thresholds of psychic activity. I told you once that Ruburt would not have allowed a feminine counterpart of myself to speak, but neither would you have. You would have been afraid of the “unpredictable” in quotes feminine aspects.

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.

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.