“Seth material” search engine (Jane Roberts)

In the time those fears originated, he shared the belief framework of Christianity, so that he believed that outside of that framework there could indeed be nothing but chaos, or the conventional atheism of science, in which the universe was at the mercy of meaningless mechanistic laws—laws, however, that operated without logic, but more importantly laws that operated without feeling.

He [Ruburt] was afraid that if he went too far he would discover that he had catapulted himself into a realm where both answers and questions were meaningless, and in which no sense was to be found. To do that is one thing, but to take others with you would be, he felt, unforgivable—and in the framework of those fears, as his work became better known he became even more cautious.

Outside of that context, none of those fears make any sense at all (equally important, of course). In a large regard the church through the centuries ruled through the use of fear far more than the use of love. It was precisely in the area of artistic expression, of course, that the inspirations might quickest leap through the applied dogmatic framework. The political nature of inspirational material of any kind was well understood by the church.