“Seth material” search engine (Jane Roberts)

Now: Ruburt has been looking through some old papers, and it became obvious that over a period of time his journals show two main concerns—or, rather, main interests and goals: his writing and his attempts “to get better.”

Before, earlier, there was a third concern—a financial one, but he did not come across those journals this evening. The two main concerns then instantly caught his attention. He did not see, however, the difference in his approach to those concerns—and in that difference lies the difference in results.

Oftentimes he was not sure what his next book would be, but overall he never doubted there would be a next book. He did not imagine impediments that might rise to prevent a next book being written—nor did he doubt his ability to write one, or any number of books. At times he might think of writing in one area or another, but his imagination did not set up barriers: it was always receptive to new ideas, casting about for new experiences, consciously involved in the process of creativity.

To Ruburt that is taken for granted—for there he operates extraordinarily well, mixing and merging the realities of Frameworks 1 and 2. The practical results of course appear in Framework 1, while the real creativity takes place in Framework 2. Understand that I make these divisions for simplicity’s sake, for the realities are merged. In “trying to get better,” Ruburt has taken impediments for granted, not only generally but specifically. In his books he lives in and with the present. Manuscripts that did not jell are simply forgotten, so he is supported in those terms by a background of success.

In his other main concern, “getting better,” he looks back upon past failures, and projects impediments into the future. In other words, his approach to these two main concerns is quite different—one opposite the other.

You changed your approaches indirectly, and Ruburt was always stronger in the financial regard than you, as far as his beliefs that artistic creations could bring financial rewards. You believed that commercial art could give financial results, but not necessarily good writing, or good art.

In Ruburt’s dream last night, he was dancing. His physical body carries that memory. The actual muscles involved were rehearsing. The dream in Framework 2 is as much a definite plan for a normally walking body as any Oversoul Seven that did result in the book. The original Seven did come from a dream, from a drama occurring in Framework 2—but there were no negative beliefs to block it, no habits of erecting impediments. Other dreams of Ruburt’s health did not materialize because their creativity was blocked by an insistence upon following, in that regard, the most limiting of Framework 1’s premises.

There is, incidentally, a Framework 3 and a Framework 4, in the terms of our discussion—but all such labels are, again, only for the sake of explanation. The realities are merged. A brief point (with some humor): When you moved here you wanted to make “a fashion statement” as per your television commercials, where the gentlemen only cut hair. You are more knowledgeable now, but at the time Ruburt did restrict his abilities, pull in his horns, and to some extent with your implied consent. Those in the neighborhood would know you were not to be bothered. You did not go out to parties. You were, generally speaking, to be left alone.

In between, Frank’s help was quite necessary. His assurances were important, and quite valid. They helped Ruburt considerably. To some extent, however, they limited improvement in that area. Ruburt must now take the lead. Frank’s knowledge can still be helpful, but it should not be allowed, now, to curtail improvements, or limit them, by conventional knowledge of what muscles and joints can or cannot do, or by projecting any particular procedure—as, for example, Ruburt will do this or that, before this or that.

At this stage I do not want Ruburt to compare his physical performance with yours at all. That would be detrimental. In the physical flexibility area, however, you are operating in Framework 2 yourself, and so you can be of great help by catching Ruburt when he projects negatively on the one hand, and on the other by leading him toward the more creative habits of thought that are your own about your body.

You can also help by trying to utilize your natural feelings about flexibility on Ruburt’s behalf. This must be done however in Framework 2—in other words, in quiet moments when you recognize when you are dealing at another level, so that you feel no contradiction with Ruburt’s Framework 1 behavior. Such thoughts will be received by Ruburt in Framework 2, and will then, with his present intent, begin to alter Framework 1 through direct action.

When Ruburt writes a book the paragraphs take care of themselves. It is his way not to concentrate upon details. He does not wonder how he constructs a paragraph. In the area of his physical condition, however, he does concentrate upon details: how to get up, how to go to the bathroom, how to do thus-and-so—an uncharacteristic mode of behavior.

By way of comment, and in reference to this discussion only, without taking other issues into consideration, your own parents for example operated largely in Framework 1 for their entire lives. In portions of our work and your own, you have sometimes operated in Framework 3. Ruburt’s initial Idea Construction experience momentarily propelled him into Framework 4, where indeed enough energy, creativity, and power was generated to change his life beneficially, and open his mind to higher levels of understanding and knowledge.

(11:26 PM. I hadn’t actually asked any questions of Seth; his material after break came through following my joking remark that I was half afraid to ask any, my reaction stemming from his discussion in the last deleted session, regarding Jane’s dislike of details, etc.

(Seth’s material offers some new insights, I think, as I type this session, concerning his reality. He may be saying that our entire experience with him was encapsulated in Jane’s experience with Idea Construction.)