“Seth material” search engine (Jane Roberts)

(9:32.) That process has been strengthened as far as Ruburt is concerned once again. The Stonehenge poem (that Jane began writing earlier in March, when we received an English postcard from Michael Lorimer) in a way is a case in point, since it shows the reawakening of a certain kind of creative and psychic activity. So does the bodily relaxation, however, and that steady reduction of tension is bound to show good results as he learns to trust himself further.

There are other repressed inspirations and creative insights that will also come to the forefront. Unfortunately, it is amazingly difficult to verbally describe the connections between the dream state, health, cultural stimuli, and the way all of these are put together in the interrelationship of body and mind —but Ruburt’s notes on his dreams and other experiences, being specific, can offer some excellent clues.

Your own interest in (flower)seeds right now presents you with an excellent example of the natural person’s inclination to seek out fresh stimulation, and to ally itself, however innocently, with those forces of natural creativity. The exterior interest, the physical manipulations, also stand for, and reflect, inner manipulations with psychic growth, and serve as symbols of a united psychological approach.

(Pause at 9:50.) I also want to stress the fact that the entire psychic area of expression belongs to the natural person. It is not some esoteric addition. Man, for example, exhibited natural psychic activity long before the birth of science —and for that matter before the initiation of formal religion. There is therefore a great connection between creativity—poetry in particular—dreams, and psychic exploration. If anything, these provide humanity with a great rich structure of psychological activity from which all of the later cultural, religious, or scientific elements emerge. So remind Ruburt that his psychic activity represents a most basic portion of his nature—and of human nature.