“Seth material” search engine (Jane Roberts)

Before we get down to Ruburt’s particulars, consider the fact that you are presently a part of a species that is specializing in the development of various kinds of consciousness, embarked upon an adventure that sees consciousness not only trying out new directions, from your perspective, but also trying to “perfect” and advance particular attributes.

Now: I want to speak directly about Ruburt’s written statement of today.

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.

When new “threats” arose, Ruburt reverted to the old pattern. (The new threats being the death of my mother; our freedom to travel, now that we have finished Personal Reality; the absence from home and the interruption of routine, etc., as we talked about tonight.) Reading our book however kept some improvements alive, and it was but a matter of time before he would read again the sessions of work that I gave him (as Jane did today). The beliefs for a while fell back into invisibility because he wanted them to, of course. Those particular sessions are highly important.

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.

While Ruburt felt he was doing the right thing, he would put up with almost any inconvenience, or make almost any sacrifice. He must understand that no sacrifice is ever required.

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.

How many distractions do you honestly feel are automatically cut out because of Ruburt’s condition? How much isolation do those symptoms provide you? How do they automatically cut down on ordinary give-and-take with neighbors and friends that Ruburt might otherwise engage in?

Now: for you this question: what do you still get out of Ruburt’s symptoms?

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.

All of this involves conscious beliefs, some that you have not officially recognized. I know that your hands must be tired but I want to get this clearly stated. What purposes are Ruburt’s symptoms serving for you? In other words, what joint purpose are those symptoms serving?

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.

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.