“Seth material” search engine (Jane Roberts)

It must be seen in its entirety. It takes for granted abilities that are extraordinary, abilities that are not enjoyed by most. The purpose, a good one, was to protect and develop them in the circumstances in which Ruburt found himself, and in line with his other ideas about the nature of reality.

Now. Let’s return to the basis: the dedication to “work.” This in itself is good, but his idea of “work” was what limited him, and what is still limiting him. His life is his “work.” This includes his particular, unique, extraordinary abilities; but these spring out of his life, and even out of his relationship with you.

Great talent requires great spontaneity, not great discipline. Spontaneity knows its own order, and will see that it flows in proper, free, orderly directions. Ruburt has been trying to dam his spontaneity to make sure it flows only through his work, and in doing so has hampered both his life and his work.

He has trained his mind to respond with amazing facility to the moods and messages of the soul. Physically this meant in previous times that the body was fast, responding instantaneously almost to nuances of feeling that were then translated into both physical mobility and mental and psychic leaps of intuition that arose therefrom.

The individual feels the presence of great energy, and is unsure as to how to use it. Picasso let it go freely. Ruburt wonders how much wasted energy went into Picasso’s antics—that should have gone into his work. Van Gogh and Cézanne were afraid of their energy, and with all they did could have done far more. Picasso’s free flow of energy in all areas freed energy for his work, and did not detract from it. He kept his channels to energy open, therefore the energy flowed through his work freely, and in a short period of time he could produce a painting that might take years for another as gifted to produce, who husbanded his talent as a miser.

Ruburt sees the two of you against the world. He has taken precautions to protect you and himself. The spontaneity he feared might interfere with his abilities is precisely the key that will release them and him. It is important that you, Joseph, also examine your beliefs honestly in regard to your work and spontaneity, and your relationship with the world.

We know what he still gets out of them. You form your private and joint realities. If Ruburt knew that you were receiving no benefits, but only torment, from his symptoms, then he would give them up on the spot, because of his great loyalty to you, and because he would understand that he was hurting you beyond any benefits he gave.

This is not to place his condition in your hands at all, but to point out that each of you still find benefits therein. Or the joint reality would not exist as it is.

Those purposes involve each of you and your work, and those methods that you think are necessary to direct your energies “properly,” husband your energy, and protect you from what you think of as a hostile world. You are as afraid of your energies as Ruburt is. He is afraid of not directing them into his “work.” He is convinced that he must protect you and himself from any spontaneity not reflected in work, and from the world.

You are afraid of releasing your energy into your work, for fear it will carry you beyond all ordinary relationships—simply because your father’s creativity seemed to cut him off from his wife and sons, and to lead to isolation. Creative success, not necessarily in terms of money, but creative fulfillment, becomes then a threat in which you see yourself cut off and isolated—while isolation is precisely what you think you must have to fulfill your abilities.

Ruburt’s symptoms help provide the isolation. His continuing love provides however the climate, the steady reassuring climate, the only climate in which you dare to taste that isolation. He fears his spontaneity directed toward you sexually and emotionally would threaten you. So do you. You equate emotionalism with your mother. Ruburt equates spontaneity with emotionalism, therefore he imagines that his spontaneity will threaten your art.

You are not clear here.... This is enough for this evening but Ruburt has been afraid that his energy, spontaneously released, could threaten both of your prized abilities. This is not, again, to place his condition at your doorstep by any means. It is to show you that you have a private and a joint reality, and that your purposes merge, and so do your beliefs.

—good evening.... A note: Ruburt is heading toward something important with his latest poetry, and as always it leads toward a change of beliefs.

(All of this has to be turned to finding different methods quickly and an examination of the original theses, and the need for discipline to begin with. What did I give up to get what I’ve got? Do I really want to keep it up and how can I keep good results and get rid of method? Do I really want to end up as an invalid with R. devoting time to me and anything left over to his work, what would this get either of us?

4. Can’t count on Rob to do much financially, would think it self-betrayal on his part to get a job, and he always complained at Artistic. I felt he had to have his chance and was confident I could swing the financial end without buying a house, etc., anyhow.

9. Yet R.’s work as painter may be greater than either of us know, so on the other hand I feel he should hang onto them, rather than scatter his work, put them in one large room—bedroom?—to show them off well and sell them at high prices; he doesn’t sell many now anyhow and his prices may reflect his ideas of art value in society. Is there a correlation between my conflict between poetry and book contracted for, and Rob’s attitude toward art and money?

11. I think all this is for Rob’s good as much as mine despite my fears and his fears for me. One thing I can give him; buy time for him to do whatever he wants, be free of family and money problems, if he worries about me he isn’t going to feel responsible to get a job and my symptoms give him an excuse not to socially (old ideas) and the symptoms cut down on my flamboyance which has class to express itself in. It’s kept in work where it can’t threaten our framework.)