“Seth material” search engine (Jane Roberts)

(Long pause at 9:02.) The Sinful Self shows itself in a period of transition from its religious to scientific format in science fiction or fantasy in particular, where you can almost trace the translation of religion’s self, tainted by original sin, to the Darwinian and Freudian concepts of the flawed self, bound to destruction one way or another, propelled by the unbridled unconscious or evolutionary defect.

The creative abilities must revolve largely about man’s definition of himself, his source and purpose, and all of your Western literature and art has revolved about the concept of the Sinful Self in one way or another. The Shakespearean plays are an excellent case in point, even when they concern even older heritages, so the creative artist in any field has certain creative traditions that become classic models for his art and that of the world.

Religion, having in certain terms created the entire concept, had then to create the idea of redemption to rectify it. Ruburt has not been able to utilize the natural grace of the basic self because of those beliefs in their sinful nature. Those feelings were the ones that he experienced this morning—the fear that the self’s very expression was somehow wrong, since the self itself was intrinsically flawed. Your own lovemaking the other evening, and your renewed expressions of affection, helped initiate the entire experience, by letting Ruburt feel safe enough to be aware of and experience those sensations. Of course they reflect upon the body. They seek expression. It is not that they are so fearful in themselves, but the effort to repress them gives them additional charge.