“Seth material” search engine (Jane Roberts)

As mentioned, the far contact point is somewhat more manageable for you than for Ruburt, but affects you nevertheless. You do not dare allow your intuitions full reign even when you paint at such times for fear that they will carry up with them these repressed feelings.

Now give us a moment. When the point is reached of which I had just spoken, your objectivity comes foremost in your work at the expense of spontaneity. Remember some time ago I mentioned your feeling about oils and the emotions. This is in keeping you see with the fact that you felt more threatened than Ruburt at those boundary-near-contact points. At such times you became more alarmed working with your oils and colors, and wanted a retreat, and sought for greater distance in your paintings.

When you closed off and retreated to compensate, you came closer to the people with whom you work, enjoying their safer emotional contact. It was not threatening, you see. At the same time you adopted a more hard line in your relationship with those in the family, trying to avoid all emotional situations which might trigger a release of the repressed feelings.

Ruburt is apt to be more adjusting in that area, but here also you see, you have set certain unconscious points, boundaries on either side between what you consider too close contact, and too little. The tendencies operate in all areas, and they provide very constructive guidelines, and are beneficial when they are not carried to extremes, and when the focus is on maintaining the balance between. Because of your fears, both of you had your eyes out instead for the danger points.

In your contact physically with others these tendencies also apply. Ruburt will allow himself to be taken advantage of, for example, more easily than you in personal contacts. This outrages you because your symbolic danger point is brought into focus. It bothers him, but less.