“Seth material” search engine (Jane Roberts)

[...] It is far better to situate yourself firmly in your own reality, acknowledge it as your own, encourage your strength and creativity, and from that vantage point view those areas of the world or of your own society that need constructive help. [...]

[...] If each of you understood and perceived the graceful integrity of your own individuality, just as you try to perceive the beauty of all other natural creatures, then you would allow your own creativity greater reign. [...]

[...] You cannot close out the vitality of your own being that easily, and the vitality “squandered” on deeper bouts of depression is often greater than the energy used in creative pursuits. [...]

[...] Surely all of the creativity cited in this note is the “proof of the pudding,” then — evidence of the psyche’s richness and abilities. [...]

[...] And more, seeing that, he often does not know how to assess his own progress, since his journey has no recognizable creative destination. By its nature art basically is meant to put each artist of whatever kind into harmony with the universe, for the artist draws upon the same creative energy from which birth emerges.”

[...] The character in the play is seemingly alive (creatively) for the play’s duration, perception being limited to that framework, yet to play that role the actor draws upon the experience of his own life. [...]

[...] It is a kind of creative (underlined) psychological face that you use for the purposes of your life’s drama. [...]

[...] With all the opportunities of creativity, and with your own greater knowledge instantly available, you would be swamped by so many stimuli that you literally could not physically respond, and so your particular kinds of civilization and science and art could not have been accomplished—and regardless of their flaws they are magnificent accomplishments, unique products of the reasoning mind.

Ruburt’s feelings of physical mobility are to some extent connected with his feelings of creative mobility—that is, the connections are strong. [...]

[...] Creatively, on that level alone, he also feels stalled, since he does not know whether or not to continue with my book, or whether or not to begin one of his own—so you have a stalled mobility, without any particular decisions being made of a clear-cut nature. [...]

[...] So in searching out new ways, personally and creatively, Ruburt felt himself on insecure ground. [...]

[...] Those areas include the psychic one, the creative one, the financial one, and the mental one. [...]

“All That Is retains memory of that state, and it serves as a constant impetus—in your terms—toward renewed creativity. [...] It is for this reason that each minute consciousness is endowed with the impetus toward survival, change, development, and creativity. [...]

“All That Is, therefore, ‘lost’ a portion of Itself in that creative endeavor. [...] It is triumphant and joyful at each development taken by each consciousness, for this is an added triumph against that first state, and It revels and takes joy in the slightest creative act of each of Its issues.

[...] It was a state of agony in which the powers of creativity and existence were known, but the ways to produce them were not known.

[...] This is the agony from which creativity originally was drawn, and its reflection is still seen.”

[...] The money did not come by computing the number of hours worked on a project, for example, or the number of hours worked at a job, but instead accumulated because of the quality of creative work and the inquisitiveness of the creative mind. [...]

[...] I must remind you again, however, that in the overall your activities are not all confined to that framework because of your creative interests and your personalities. [...]

[...] Your creative endeavors have brought you good rewards (long pause) in more areas than you realize, but part of your account was in an ordinary savings structure so that you were, in those areas, somewhat restricted—and restricted by Framework 1’s largely trial-and-error framework. [...]

[...] The nature of creativity itself is involved, and the characteristics of energy, without which no action is possible.

Pure energy, or any “portion” of it, contains within itself the creative propensity toward individuation, so that within any given portion all individually conscious life is implied, created, sustained. [...]

[...] In historic terms the changing nature of accepted events provides far more than, say, a history of civilization, but mirrors the ever-creative nature of the psyche.

[...] Creatively, then, you organize your experience in such a fashion, with the conscious mind as you think of it also carrying its own responsibility. [...]

[...] That man approves of creative projects only when he thinks of them as jobs, when they become acceptable as legitimate male pursuits. [...]

[...] He is pleased with the time that has been gained, with the abilities that he has used and developed, and filled with a natural creative zest. [...]

[...] The ones that are not done are not done for a reason, because they do not fit in with your nature, or because they can be handled in a different way, or whatever, but you must trust that the spontaneous self understands the overall shape of your life, and its creative contexts and contents.

[...] The very creativity that surrounds you should be quite legitimate proof of the practical nature that results from our concepts. [...]

[...] Creative abilities would be quickened, and the great problem of insomnia that exists for many people would be largely conquered — for what they fear is often the long period of time in which consciousness, as they think of it, seems to be extinguished.

[...] In doing so you divide your intuitive, creative, and psychic abilities quite neatly from your physical, manipulative, objective abilities. [...]

[...] But the largely creative portions of the self do leave the body, and for large periods of time when you sleep.

[...] This has definite effects upon the nature of your consciousness, your creativity, your degree of concentration. [...]

[...] Most people, however, don’t realize the time or work required to keep up with Seth’s seemingly endless creativity: the sessions to be typed, the various stages of manuscript preparation, or the simple persistence necessary, so that the sessions continue despite life’s normal distractions.

I’d been producing my own books during this time, and getting them ready for publication, so surely Seth wasn’t taking up any creative slack of my own. [...]

[...] This desire, coupled with Seth’s seemingly endless creativity, led us to a decision: From now on, the Seth books will carry far fewer notes. [...]

[...] All of this, Seth’s books and my own, surely gives evidence of the psyche’s vast creativity, and of its abilities to perceive and use information that comes from the inner, as well as from the exterior environment.

[...] And you [Rob], incidentally, have helped a probable Carl [Sue’s husband] in the same manner, using his creative abilities. The probable Carl, in other words, has strong creative abilities, and you have helped him understand this.

Ruburt’s creative ability quickly deteriorated, for bitter attitudes shrivelled up the source of the creativity. [...]

[...] For all versions and possibilities of each event must be actualized in the limitless multiplication of creativity.

[...] Later as we explained the nature of personality and its creative potentials, I saw that this was precisely what we had done.

[...] Creativity and consciousness are never linear achievements. [...]

[...] Before this book is done I hope to show you precisely how you create each minute of your experience so that you can begin to exert your true creative responsibility on a conscious level — or nearly so.

And so, in this children’s tale, that is given to you in parable and in symbol, you came to have your being and yet when this universe, as you know it, was then brought into existence, you had to forget momentarily where you came from and you had to be created in flesh so that you could experience, in flesh, this new portion of creativity and so that you could, in your turn, create from that of which you were physically made and so you forgot your heritage, on purpose in a way. And you found yourself upon a physical planet and all the stars blazed on, and you opened your eyes and found infinite possibilities and a virgin physical reality that you could shape to your heart’s desire and in which you could give your creativity full rein. [...]

[...] This brief life taught you strongly, however, that music, as a portion of creativity, could be violently used by the state and by authority. [...]

The music represented your main interest then in several lives, but behind this has always been an interest in emotions translated into some kind of creativity such as music or art; but also, at times an oversusceptibility to emotions so that they drove you, and you could find no escape from them. [...]

[...] You learned discipline, for to a large extent you did not allow yourself to express your own creativity but put yourself at the service of the communication of others. [...]

All of the issues I have mentioned—love-making, the energy exercises, poetry and so forth—lead toward a therapeutic situation (pause), toward the realization that expression itself is safe, and serve to remind him that creativity’s uncertainty is itself highly creative, providing its own safety within a context of exuberant expression. [...]

[...] The psychic work brings in a further extension, both of a do-it-yourself element, and the creative uncertainty. [...]

[...] Now because of these uncertainties—financial, creative, and psychic—other certainties become highly important, as a framework for such seeming unpredictability. [...]

[...] It is a portion of you, however, that deals with the formation of events, that glories in a rather rambunctious and creative activity that your specifications of time and place physically preclude. [...]

[...] He did not thoroughly understand, however, the creative ramifications involved, for it did not occur to him at the time that the prime work of your world was actually done by you in that other wider aspect of your existence.

[...] Give us a moment… I do not want to compare the inner ego with a computer in any way, for a computer is not creative, nor is it alive. [...]

[...] The flow of creativity begun by the inner ego will be impeded.

(“All creativity is basically joyful. [...] Ideas change the chromosomes, but the sessions and Ruburt’s books, and so forth, must first and foremost be joyful expressions of creativity, spontaneous expressions that fall into their own order…. [...] Ruburt’s spontaneity lets all of his creative abilities emerge. It is foolhardy to try and apply discipline, or secondary order to a spontaneous creativity that automatically gives you the finest order that nature could ever provide.”

[...] Seth is a highly creative “energy personality essence,” as he calls himself, who speaks through Jane while she’s in a trance or dissociated state. [...]

[...] [The only trouble is that Jane and I wouldn’t last long!] That astonishing creativity and energy in the sessions beckon us on constantly, then, regardless of what we think about Seth’s “reality or nonreality,” and even regardless of what he tells us about himself.

(I also think that Seth himself could have some pretty funny things to say here to Jane and me — some day I’ll ask him — words with which he’d humorously caution us not to take the whole affair too seriously, to leave room in our daily lives for the simple, uninhibited joy of creative expression and living even while we study his unending outpouring of material. [...]

[...] Dealing with thoughts and feelings as just directed at least roots you firmly in the integrity of your present experience, and allows its innate motion and natural creativity to thrust toward a therapeutic solution.

As in the material that Ruburt received ahead of time for his own use, natural aggression is cleansing and highly creative — the thrust behind all emotions.

[...] A series of self-revelations will inevitably result, each leading you to further creative psychological activity. [...]

[...] You may feel that you are swamped by emotion, but trust it — again, it is the motion of your being, and it arouses your own creativity. [...]

Storms, for example, are highly creative natural events, though they can also cause destruction. [...] Some intuitively understood that any effects are creative, despite their appearances, but few could convince their fellow men.

Instead, the soul stands at the center of itself, exploring, extending its capacities in all directions at once, involved in issues of creativity, each one highly legitimate. [...]

[...] Within the mass of distortions, however, hidden beneath the dogma there was always a hint of the basic creativity of every effect.

They realized that from their own creativity they formed idea into matter, and that the stuff of matter was itself conscious and alive. [...]

He wanted to write, to use his creative and psychic abilities to the fullest, and so he cut down all distractions. His literal mind led him on the one hand to a rich diet of creativity and psychic experience, and to a situation in which he and Joseph could finally be financially free and not in that way threatened.

Creativity would have to be involved. [...]

[...] You cannot separate creative and psychic ability. When Jane seriously questioned her psychic nature, she was without realizing it questioning also the basis of her own creativity, and this interfered with the writing.

Such an arrangement would indeed allow more freedom and creativity than usual. [...]

I am telling Jane therefore that the channel is open for creative inspiration from Ruburt, and the channel is clear. [...]

[...] Now it is Jane’s (underlined) responsibility as a present physically oriented creature, to use the psychic and creative abilities that she has to their fullest, and as a legacy to help others.

(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. [...]

[...] There was a conflict between creative work and the church even when only poetry was involved. [...]

[...] 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. [...]