“Seth material” search engine (Jane Roberts)

Ruburt saw how being away from his desk and the house worked creatively to his advantage, as per the ride to your mother’s (in Centerville), and the earlier walk around the block. There is no doubt of the many improvements, made up of a series of inner improvements that do not show as yet, except as the time element presents itself—i.e., he gets over here (apartment 5) quicker and easier.

The promise in the dream made by you, that the events (of Jane’s great flexibility)were indeed happening, represented your inner knowledge that he would make it now, and his own realization of the fact, as well as the body’s acknowledgment. The first part of the dream involved excellent physical release and manipulability. The second part concerned new rooms, all rich avenues open to him, both as a result of the release and yet bringing forth the release. The rooms represented exploration, new areas of creativity in which he is even now involved.

The suggestions I gave (in recent sessions) amounted to a “schedule of activities,” calculated to give room to creative and physical expression. Common sense applies. If he dances or cleans the apartment, then his natural impulses are being physically directed in those fashions. He does not have to feel that he must go for his walk when physically he feels like cleaning, for example. The badminton, unless he is in a relaxation period, is excellent, however, and should be maintained because of the opportunity for speed. Now it is the only way he can experience some, except for the swinging of the arms.

The body’s mobility, its freedom, its agility and its creativity, is dependent upon its ability to relax, to give itself up to itself, and therefore to the source of its being, to let go, in which case it is supportive, agile, and unhampered. (Forcefully).

Your father represented what you thought of as the secret, isolated creative self—more or less at odds with the world, unappreciated by it in family or financial terms; the alone, artistic self you thought unable to communicate, inarticulate and dumb, locked away from close communication with others, and indeed barraged by misunderstandings because of its very creativity—emotionally frozen, afraid to show itself.

Your mother represented the opposite in your mind—the emotionally explosive, suffocating immediacy, a female life and earthly ties, social commitment, homey chores and distractions that seemed to be directly opposed to solitary creativity.

We come back to will and freedom, discipline and purpose. Ruburt’s background with his mother and his beliefs in will then merged with your feelings for isolation from your father. Ruburt blocked out emotional spontaneity, feeling that his father was lax. You blocked out emotional spontaneity, feeling that your mother’s was detrimental to creative isolation. At the same time you admired Ruburt’s spontaneity. You trusted it however only because it was merged with creative purpose. He therefore used it only for such purpose, not wanting to frighten you with it otherwise because he loved you so.

He was also afraid of spontaneity not related to creativity because of his feeling that his father went willy-nilly and produced nothing. In solving his dilemma, which was the creative one, the both of you triumph for yourselves and for your parents.