“Seth material” search engine (Jane Roberts)

Most of this has been said before. Ruburt’s symptoms have always been a cautionary and protective measure. He believed such measures must be taken because of his erroneous concept about the spontaneous self and creativity.

He believed that his creativity was highly specifically oriented to its artistic expression only. He did not understand that the spontaneous self knows its own order (gently), or that the spontaneous creative self had any notion of his conscious needs and desires. He believed that often creativity expressed itself at the expense of other portions of the self, and that if it were allowed to spill over the edges (with gestures) from artistic productivity into normal living, then it would lead to all kinds of disruptive activity. This is obviously not the case.

Specific creativity is but one important aspect of the psyche’s vast, almost incomprehensible productivity, for it produces your lives. You had parents and brothers, a family. Ruburt has no one in that same manner. He had an unfortunate marriage behind him when you met. When he fell in love, it was wholeheartedly, and he was determined to merge his creativity and his marriage.

You also give him much more attention than you used to before the emergence of the symptoms—attention that he believes he deserves. All of this, however, is connected with the misunderstanding concerning the nature of the creative self, and on both of your parts.

The apartment house was one thing, a mixture of various classes of people. When you came here (to Pinnacle Road), to a more lucrative kind of middle-class America, Elmira-style, you wondered what people thought, that you were home all the time. To some extent (underlined), and again, only as part of the picture, the symptoms have been a social device that to varying degrees, now, suited your purposes, both of you. Beside that, the session given recently on the creative state, is vital, for you became hypnotized, of course, by the materialized situation. So reread that session with this one.

(9:49.) Many other issues were involved, as stated often—but all were based upon the misunderstanding of the spontaneous self—its creativity. To some extent the symptoms provided you both with a cushion against too many distractions from outsiders. They became very handy devices for a multitude of reasons. They can only serve so far, of course, before the body’s objections state most clearly its disagreement. Ruburt has been doing well and is heading in the proper directions, particularly with the ideas of effortlessness and informal self-hypnosis.

The session just referred to on the creative state has important hints that Ruburt has been using, but can use better. (Pause.) The symptoms have served, then, as a framework. Oftentimes body language is used in such cases, to state a situation, to communicate an attitude that is otherwise not clearly stated. Bringing such issues into the open does help, for the more consciously you become aware of what you are saying through a physical condition, the more adequately you can state it verbally, or in other ways. You do not need your body then to make such a statement for you.

Ruburt’s work, as far as his symptoms are concerned, rests primarily in his mental attitudes, and they are indeed changing for the better. The state of creativity is one you both know intimately. In it there is a kind of mental or psychic plasticity, where the evidence of the normal world loses its hard edges, becomes less real, and yet is touched by the psyche’s creativity so that it can (underlined) in a moment be literally transformed.

In such a state the channels to probabilities are open and receptive. Physical matter is seen out of the corners of mental eyes, so to speak. Matter actually pulsates at a different rate when you are in that kind of a creative state, so the body is then very amiable to healing. It all works together, you see.

(10:06.) You must each try to get the feeling (underlined) of creativity as you are acquainted with it, and then let that feeling splash over to other portions of your life, and particularly to the area of Ruburt’s mobility.

(Pause.) You do not understand the nature of your own psychological extensions, or how your written words influence others. You said that Benny Hill (the English comedian) advertises his beliefs in his program, and in the same way your notes in our books advertise your own beliefs, and provide an example of a creative and also reasonable framework in which to interpret psychic behavior.