“Seth material” search engine (Jane Roberts)

(Pause at 9:15.) Again, many people carry the same kind of emotional charge. Ruburt’s fears, as expressed in that material, can be encountered, of course. It is when they are hidden that difficulties arise, because their charge is then added to other issues.

The church was quite real to Ruburt as a child, through the priests who came [to the house] regularly, through direct contact with the religious [grade] school, and the support offered to the family. Ruburt’s very early poetry offended Father Boyle, who objected to its themes, and who burned his books on the fall of Rome, so he had more than a hypothetical feeling about such issues. Many of those fears originated long before the sessions, of course, and before he realized that there was any alternative at all between, say, conventional religious beliefs and complete disbelief in any nature of divinity.

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.

(9:28. A very significant sentence:) The entire structure of fears, of course, is based upon a belief in the sinful self and the sinful nature of the self’s expression.

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.

By such tactics the church managed to hold on to an entire civilization for centuries. (Long pause.) Ruburt well knew even as a child that such structures had served their time, and his poetry provided a channel through which he could express his own views as he matured. Later the old fears, if they surfaced, were not encountered. They seemed beneath him, unworthy or cowardly—but in any case their validity as feelings was not recognized or understood.

Some of Ruburt’s short notes, written after the nightmare experience (and which I’ve asked Jane to copy for this record), show that he is beginning to put that material into its proper reference. Those fears, however, have been pertinent, since they stood between old beliefs and new ones—that is, they prevented him from taking full advantage of his newer knowledge, and of the abilities and good intent of the spontaneous self.