“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.

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.

(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.

The sessions, dream activity, Ruburt’s writing of books, his poetry and his painting—these states by themselves contribute to his health. Worrying, future projections of unpleasant conditions, concern over a public image, or whatever, even overconcern about his work itself—these cause strain and tension. (Pause.) When you see yourselves as being primarily in direct opposition to the ideas of the world (pause), then Ruburt feels the need also to overprotect himself from it. You should see yourselves as primarily in an excellent position to help the world, which brings about an entirely different set of feelings and beliefs.

(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.) Painting should be enough, you may think sometimes, but you chose to be the kind of person who wanted to explore the greater reaches of reality, from which art itself emerges. You were looking for some kind of vehicle, and you found it. Ruburt should understand that. Consciously (underlined), at the start of your marriage you would both have been delighted to work together doing comic strips, fulfilling male and female roles quite conventionally, with just an added flair. Your abilities led both of you far beyond, and it is time that you updated your ideas.

(Pause at 10:25.) You must again realize that you chose your situation, and because it is a valuable one you sought it out. If Ruburt understands that, then he will realize he does not have to protect himself privately or socially, for all of his characteristics are meant to help him deal successfully with the challenge he has chosen. The same applies to you.