“Seth material” search engine (Jane Roberts)

You have been taught for centuries in one way or another that repression, generally speaking, now, was all in all a natural, good, social and moral requirement, that expression was dangerous and must be harnessed and channeled because it was believed so thoroughly that man’s natural capacities led him toward destructive rather than positive behavior.

Energy was feared, expression suspicious unless it was directed and tempered in conventional fashions. Through all of man’s religions and philosophies that line of thought has been most prominent; those who had the most energy suffered from it the most, of course. If you did not believe that energy was more naturally dangerous than beneficial, you would not have any difficulties at all concerning issues like nuclear bombs.

(9:34.) Instead, your natural creativity and your natural energies would some time ago have led you naturally (underlined) to a more productive use of nuclear force, to ways of rendering such use harmless in the short and long run, so that it could take its place in a loving technology. You take the opposite for granted, of course, and you consider psychological energy in the very same terms.

You are alive to express the individualistic life-force that is the source of your being. You have been taught not to trust that energy, however, and in one way or another your social programs and your governments themselves are based upon the proposition that man must be protected from his own nature —a nature seen as unsavory at best.

One of the main issues is the recognition of the fact that energy is good, that its expression is to be naturally encouraged, and that through such encouragement each individual best fulfills his or her life, and also adds to the development and understanding of the species.

(9:49.) There are qualitative leaps that exist impossible to bridge with the intellect alone that separate, say, well-meaning, adequate-enough attempts toward artistic achievement, and works that are of themselves naturally artistic exhibitions. A lifetime of concentrated effort and intellectual concern alone will not, for example, turn a poor poet into a good one. Techniques may improve, the work may become more polished, but the quality of the poetry itself is what is important.

(Pause.) In one way or another, Ruburt always understood that his natural leanings led him in such directions. It is easy to say that he overdid his defenses. (Pause.) Those defenses also served, however, to some degree (underlined) as a part of a larger learning process, and as a way of containing knowledge that he wanted and felt he required.

(10:06. With a smile:) When you want to express darkness you might paint your canvas with black instead of your magic white (a la William Alexander), so that then the use of lighter colors upon it will indicate more clearly the quality of light, at least for the painting’s purposes. So to some extent or another, Ruburt’s own adherence to past beliefs of a “negative” nature were also used in his life itself, appearing as symptoms that only the more pointed out the necessity for light, and the need for the greater understandings toward which he was searching.

Ruburt then has indeed been involved in working out his dilemmas, both in their private and public nature through the use of such dream techniques, the subsequent feelings aroused in the daytime, and the intuitive resolutions and insights that then occur. He has not “given up” the book sessions, by the way, but suspended them for these sessions, to give you more time, but they are merely in abeyance.