“Seth material” search engine (Jane Roberts)

Ruburt’s creativity not only involves that kind of behavior, but the mystic elements of the personality, meaning that the inner activity is very intense, so that Ruburt learned from a young age to develop a certain kind of secrecy. His poetry was largely mystical poetry, and though he did not dwell upon the fact, he realized that this vast inner reality of his was quite beside the point of living as far as other people were concerned.

A good deal of the time, he hid his own decisions from himself. His nature is open—basically trustful, and direct in its dealings with the world and others. He began to find, of course, that the world could react quite differently to openness and trust. He has great powers of concentration, as indeed all mystics do, and everything in his environment becomes charged and important.

The mystic is primarily concerned with a one-point relationship to the universe. Ruburt used to feel as a child threatened by crowds. He did not like to sit close to others. The two of you maintain a psychic distance from others, even your closest friends. In a way the symptoms are a statement of the distance Ruburt wanted to maintain from public life, because he felt equally that he should go out into the world in a public manner, and “tackle it.”

Now: in a way the mystic’s goals are eternal—that is, they involve comprehensions sought for whose validity is in important ways independent of historical time, even though the comprehensions may be couched in certain frameworks.

In other periods, for example, there were acceptable frameworks through which mystics expressed themselves, and most cultures have such avenues. In times of transition the old avenues no longer serve. Ruburt has no exterior framework to judge his subjective experience against, for even when he was in the church his experience did not fit the mold.