“Seth material” search engine (Jane Roberts)

He is to realize that if he has any duty or purpose in life, it is indeed to express those very abilities (all very emphatically), since those abilities are so natural in his makeup, they also possess their own protective mechanisms. He must realize that he is free to express his poetic, psychic nature, and to follow wherever it leads — since it is indeed his natural pathway into existence, and his most intimate connection with the universe, and with All That Is.

[...] He should indeed give himself suggestions that the necessary insights will come to him, and that the proper connections be made whether consciously or unconsciously. But the idea is that it is safe to express himself, and that the true purpose of his life is indeed to express those characteristics that compose his personal reality.

Above all, Ruburt must not concentrate upon what is wrong. In the deepest of terms, if you understand my meaning, nothing is wrong. You have instead a conglomeration of severely conflicting beliefs, so that there is no clear single road to action.

(Jane said she thought that if I’d had to choose between painting and her, I’d have chosen painting. Not so, I said — after all, I worked at commercial art four years full time at one stretch, and part time a number of other times. She agreed that she needed much approval — something I hadn’t fully understood at the time we married. I added that I’d always been proud of her as my wife, and considered myself very lucky to have her. I’d never once questioned her loyalty or love, and I’d taken it that she felt the same way. I discovered today that I could have been wrong at times — strange.

(Very long pause.) He should also realize that pleasure is indeed a virtue. By all means express your emotions to each other as they naturally occur. Ruburt was not taught to love himself as a child, and thought of his talents as a way of justifying his existence — an existence of somewhat suspicious nature, he felt, since his mother told him often that he was responsible for her own poor health.

(I hardly had time to discuss it with her, but I think the session is a breakthrough one that’s most valuable. It also showed me that even Jane’s poetry was suspect, where I’d been under the impression that the poetry was the one aspect of her creative abilities that was essentially free, or uncontaminated by fears or doubts. For years I’d thought that if Jane had done only poetry, she’d have had minimal troubles, if any.)

(“Years ago in the 1960’s,” Jane said, “I thought I loved you a lot more than you loved me, and that you could get along very well all by yourself.” I said that was a total misconception on her part, that I’d never had such ideas, nor wanted to do any such thing. [...] Not that I wanted fatherhood.

[...] I said that much of what we talked about would be considered the normal hassles in life, but that we had put negative connotations on those things and ignored the positive. [...] I added that each person is so different from each other person that it’s useless to make judgments, so each person might as well do their thing and let the chips fall. [...]

(4:45.) In other words, Ruburt was given strong creative abilities that he was determined to express — but at the same time early in his life he was given the idea that it was highly dangerous to express the very uniqueness that was inherent in his creativity. This is a part of the main issue.

The expression of emotions in itself is an expression of action, of motion. To move requires first of all the expression of feeling, and the expression of any feeling makes room for still further motion. [...] Expression, rather than repression, is vital.