“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 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.

In your relationship as a couple then you set up a framework in which freedoms allowed to one were compensated until certain adjustments were made. The creative aspects were given so much leeway, until out of fear one of you applied restraints of a restrictive nature. The painting to you had such strongly feminine connotations that subconsciously you felt your studio was like a womb, out of which the paintings were produced. You felt that this had some (underlined) terrifying implications, many of them threatening your sense of masculinity since, because of your misconceptions you were convinced ahead of time that they would never be used as a means of livelihood.

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).