“Seth material” search engine (Jane Roberts)

You believed the painting self had to be protected. For one reason, you identified your painting creative self with your father, and you felt that he had had to protect his creative self in the household from your mother. As these ideas became entrenched, you actually became more concerned with protecting your ability than with using it. You spent more mental energy setting up barriers to protect it, so that any one instance, say, of interruption or conflict, would immediately arouse the power of the buried fear, and become a symbol for it. You learned repression. Therefore, free time was not enjoyed creatively. You could not paint freely in it, for you were so on guard against distractions that anything could distract you.

Ruburt used his body as a symbol of the entire situation, and the symptoms as a way of maintaining privacy, and lack of distraction on both of your parts—again, inhibiting sexual freedom, spontaneous outings that threatened both of your ideas. He would go so far, throw out test balloons, and meet with your disapproval. The disapproval was yours, and you saw his fears projected upon you. You were both happy when he showed some improvement, because neither of you wanted physical disability carried too far, but as soon as he showed signs of being free enough so that he could really take a trip, or dance, you both clamped down. He always waited to see what you would do, and these episodes, again, occurred after enough improvement, so that first he wanted to go out. Sometimes he forced himself to, thinking he was denying you the pleasure of your bars and outings. But despite what you said, he saw that you did indeed disapprove.