“Seth material” search engine (Jane Roberts)

There is a significance in your dancing dilemma that neither of you have come to grips with—having to do with each of your natures and characteristics and ways of looking at a situation. Of course projection is involved, on both of your parts, and not therefore simply on Ruburt’s . He to some extent (underlined twice) recognizes his projections, is consciously aware of them, and tries to deal with them, but in that particular situation you do not recognize yours, though you understand to some degree your different individual reactions.

Ruburt feels if you love him you will make the effort, but you retreat. Other things are involved. He has had several drinks before he reaches that point of deciding to dance, or to ask you to. You project upon him the attributes of emotional extravagance that you fear in your mother. That is, what you interpreted as such. Quite simply to you it seemed not the place or the time, precisely because to Ruburt it did seem the place and the time. To him this meant that his emotional mobility could be expressed privately at home under conditions you both found acceptable, but not physically through the body. Yet both of you chose conditions that were not “proper” in those terms to begin with, and hence highlighted the situation so you could understand it. It is more difficult in a way for Ruburt without the highlighted situation, yet easier for you. The spotlight serves as an impetus for him, and as an impediment to some extent for you—so he was trying to use the spotlight as an impetus for action precisely because he doubted his abilities. Now: that is enough for this evening. My heartiest regards to you both, and a fond good evening.