“Seth material” search engine (Jane Roberts)

There is no doubt that Ruburt’s right leg manifested important new motions yesterday. It began to stretch and move itself in ways that it had not been able to do before. Those motions allowed other motions to occur in other parts of the body. Those improvements were in the process of taking place in the period immediately before they showed themselves, when the legs seemed comparatively quiet.

There was some disorientation on Ruburt’s part because of the unaccustomed motion, but he handled that well. (The crying.) His arms also showed additional freedom—and in many instances portions of his body moved with the same kind of ease that you experienced in your dream of last evening, as you painted the large portraits—

You do innately possess that freedom in your painting—as Ruburt innately possesses that same freedom of bodily motion. The funeral parlor did indeed represent the death of old beliefs (as I’d speculated), but it also represented the negative arena that sometimes exists, it seems, in the world at large, as it impinges upon your own life and beliefs. In a way, your paintings were larger than life. In that their spontaneity so beautifully followed their own order, and the painting seemed to simply flow outward into physical existence. As in art, so in life—then both of you possess that childlike and yet wise spontaneity and freedom.

Ruburt’s books, of course, “came through” in the same fashion as do these sessions, for they follow the inclines of nature—that inner nature upon which the exterior world depends.

Ruburt’s improving vision also carries a hint of that mysterious inner knowing—for on a conscious level he cannot know what nerves or muscles or blood vessels are activated, and yet the improvements show themselves with that same ease and freedom.