“Seth material” search engine (Jane Roberts)

He would purposely choose occasions in which dancing, to begin with, was at least not the thing—when no one else was dancing, when an ordinary person might have inhibitions against it. The very challenge was made because it, the challenge, aroused him to action in a situation in which he felt your natural inhibitions would meet up against his denied spontaneity.

His sudden desire to dance and the freedom came fairly quickly after you started going out again. You stopped immediately, avoiding the situation. Ruburt’s sudden desire to dance was also based upon desperation and defiance, which you recognized and reacted against.

There is more there, but it is a cameo situation involving many important ingredients, where he feels that letting go means he is too flamboyant for you. It is important because it involves both private and public circumstances, his attitude toward himself, you, and other people, spontaneity, and restraint.

The dancing situation is also important because bodily motion is involved. He always believed, now, that when you spoke to him in the past about walking faster than you, or not waiting for you to open doors, that you were saying to him “You are going too fast for me, and putting me in a poor social light.”

Until now you both got enough out of the situation so that you did not seriously challenge it. It was meeting both of your needs.