“Seth material” search engine (Jane Roberts)

The entire Sinful-Self syndrome should remind him of his own personal background, so that he can see the growth of his personality, for in the large he has of course grown out of that framework. If he had not, he would not have done any of his creative work, and in the light of his background his achievements become even more outstanding. The symptoms are the result of the strain between the still-lingering beliefs from childhood, clashing with the unrealistic goals of being a kind of superself, for in the light of that kind of superself image so much is expected that almost any achievement is taken for granted.

To some extent Ruburt’s panic is also the result of trying to live up to an impossible image, while forgetting his own personal background, and by expecting himself to behave as if that background was unimportant. (Long pause.) He was a person taught to believe that expression was somehow wrong. Despite that he became an excellent writer. He uses expression constantly. He expected himself to be a public personality—that is, he felt the responsibility to be one, as if that had always been a goal, when of course it had not been.

(Long pause at 9:58.) He had been shy with people, shy about reading his own poetry, though determined to do so, yet he felt that he should become this public personality, or to perform. I keep trying to think of examples so that you know what I mean. The entire idea of responsibility has been over-stressed. The creative work was expected not only to be creative, imaginative, intuitive, to contain the highest elements of conceptual thought, but must also be capable of solving the most concrete physical problem, tuned with some magical tuning fork so that it could serve almost any purpose required of it.

The symptoms were the result of strain placed upon the personality by the conflicting pulls of various beliefs—beliefs that did not fit the basic natural makeup of his personality or temperament.

(Long pause.) He was also expected to be an excellent businesswoman, a fine artist, an extrovertish personality, to shine in any company, an introvert capable of greater spiritual exertion. He expected too much of himself. At the same time, of course, to some extent he blocked his own natural motion (underlined), which followed directly from his own motivations and abilities, his own desires and instincts.

He may not want to be a public personality, but he does enjoy expression. He does enjoy his own brand of teaching. Part of all this is due to the original aspect of your work itself, which does not have any well-defined definitions.

The present situation has been bound to result in more concentration upon the problem than usual, but in this particular instance the overall results become constructive, because they result in the psychological motion of the released feelings of panic. The experiences he had, of better imagined walking, for example, are important indications of inner resolutions, and that the body is making progress. (Long pause.) The panic kept him from trusting his body, and as that dissipates his innate trust in his body and in his own capacities will improve, and his performance, of course. The suggestion I gave about his situation is important in that regard. (See session of April 24, 1981.)

(“Okay.” I knew it, but asked anyhow in case Seth wanted to add to his material.)

(10:36.) A note to Frank Longwell, by the way—that all in all he is handling the events of his life well at this time. It will help if he trusts that such is the case, so that self-doubts are minimized. It will also help if he remembers what he likes to do and enjoys doing, as opposed to what he thinks he should do in the line of business.