“Seth material” search engine (Jane Roberts)

(Long pause.) Many other people were making that same leap at that time in your society. He was far from any scientist, of course. He did poorly in science in college, for that matter, for if his mind was too scientific for religious dogma, it was too creative and emotional for conventional scientific thought.

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.

Ruburt’s creative abilities still had those classical models, yet because of his mind’s originality and his natural intuitive nature; those creative abilities were also fueled by unofficial information: he was always to some extent in strong connection with the knowledge possessed by his natural person—and that knowledge kept seeking expression. Its expression directly contradicted first religious then scientific precepts. It kept seeking a larger framework for its own fulfillment and expression, of course, and at the same time it seemed to Ruburt it brought about further dissension. It made him more of a rebel.

(Long pause.) They had always been present, of course. He did not admit those feelings, however. They were pushed back further and further. They seemed especially humiliating in the light of what he thought his public position should be. They inspired all the doubts. I want it understood that those feelings nevertheless were often used as creative propellants. The other material recently given on the Sinful Self should be kept in mind along with this session.