“Seth material” search engine (Jane Roberts)

(Jane was so relaxed yesterday and last night—as she has been often lately—that we held no session. At the same time she’s been extremely creative, working on her God of Jane, and the introduction to Mass Events—producing many pages of excellent material for those works. She’s been quite inspired. Even though she was again very relaxed today, she was also active writing. In fact, after supper tonight she produced two more pages of notes that she’d picked up from Seth on his new book: Dreams, “Evolution,” and Value Fulfillment. She laughed. “I keep trying to change that title, though.” She’d picked up the title as long ago as July 30, 1979—see the 869th session note. A copy is attached of her notes having to do with the new book. I’ve been expecting Seth to begin it at any time.

Ruburt was correct in his introductory notes today (for Mass Events)—about the poet’s original, long-forgotten abilities, and his role. Ruburt has been a poet all of the time in the most profound meaning of that term. For the poet did not simply string words together, but sent out a syntax of consciousness, using rhythm and the voice, rhyme and refrain, as methods to form steps up which his own consciousness could rush.

(8:53.) Early artists hoped to understand the very nature of creativity itself as they tried to mimic earth’s forms. Poetry and painting were both functional in ways that I will describe in our next book (humorously, elaborately casual), and “esthetic.” But poetry and painting have always involved primarily man’s attempt to understand himself and his world. The original functions of art—meaning poetry and painting here specifically—have been largely forgotten. The true artist in those terms was always primarily—in your terms again—a psychic or a mystic. His specific art (pause) was both his method of understanding his own creativity, and a way of exploring the vast creativity of the universe—and also served as a container or showcase that displayed his knowledge as best he could.

Now: When Ruburt begins to trust himself, as he has, the physical (arthritic) armor loosens. The creative abilities become even more available, hence his new creativity, and the new physical steps he has taken. They all go together.

He believed in the specific nature of the creative self, so that it could only be trusted in certain areas. He believed he needed strong mental barriers as well as physical ones, set up against his own spontaneity. He is beginning to understand that the spontaneous and creative aspects of personality are the life-giving ones. They can and must be trusted. He knows now he does not have to slow down, and that relaxation leads to motion.