“Seth material” search engine (Jane Roberts)

(10:13.) It has been withheld because you have not understood your creative natures. Your own are obviously not limited to art, per se, or art would have satisfied you so completely, and taken your attention so completely, that you would not have looked in other areas at all, so there is a place meant for you, in which your artistic—meaning painting—writing, and intellectual capacities form a synthesis in which all those abilities take part, and are fulfilled. Spontaneity knows its own order.

The instances of Framework 2 activity as you become aware of them will show you the true nature of creativity, and acquaint you with the mental feeling of freedom and spontaneity. You have not understood the connections between your work and your life. A problem in a painting or in a book might be solved through an hour’s lovemaking, for often what might seem to be a problem of technique is, as you are beginning to understand, an emotional equation instead. None of your impulses are meaningless. You cannot separate your work from your life. Spontaneity as you understand it now, in the light of your knowledge, can only add to your work, for it is not meaningless license, nor is it composed of impulses contrary to your work.

Spontaneity as you are aware of it represents the force of your being, with a full knowledge of your work and intents. It is the voice of inspiration, whether or not you recognize it as such. End of session, or take a break as you prefer.

You have used your own abilities, both of you, and done well with them despite your overly protective attitudes toward them, and despite methods you used, Ruburt in particular, to insure their use. You cannot cut down physical freedom without inhibiting creative freedom, so to some extent Ruburt’s methods have inhibited his creativity. You cannot inhibit spontaneity in one area and not in another, but he did not get it properly through his head that spontaneity did not mean license, or that spontaneity was going to work against his work if he gave it half a chance. (Very intently.)

His intent in Framework 2 was so clear that his creative spontaneity was retained to a large degree despite the blankets he threw upon it. He equated, again, the writer or poet as highly gifted but emotionally not stable, so that he thought he had to set himself against his own nature in order to produce.

This is bound to inhibit creative inspiration to some degree. He felt he needed financial freedom in order to work, but in those terms work was equated with the Protestant work ethics, where spontaneity was frowned upon. Artistic work will show its own regularity. It will find its own schedules, but your joint ideas of work hours were meant to fit in with a time-clock puncher’s mentality, and not your own.

I want Ruburt, again, to encourage spontaneity in all areas, and to trust that the spontaneity is the result of quite orderly sequences in Framework 2, and of larger patterns of creativity that are not yet consciously apparent. I want him to allow for greater physical spontaneity, to perform a physical act when he feels like it, and for greater psychic and creative spontaneity, both in his working hours and outside them; to concentrate on creativity, not time; for then you use time and it does not use you.