“Seth material” search engine (Jane Roberts)

[...] He is returning to activity at his creative, naturally therapeutic pace, no longer afraid that he is going too fast—or will —but shown only too clearly that activity and motion represent the only safe, sane, and creative response. [...]

[...] He found a mixed world—one hardly black or white, one with some considerable give-and-take, in which under even the most regrettable of circumstances there was (underlined) room for some action, for some improvement, for some decision, for some creative response. [...]

[...] I’d wanted him to at least refer to the arthritis subject tonight, hoping that the reinforced suggestions would help Jane mobilize her own strong creative powers. [...]

[...] Your natural health and creativity and motion will be expressed at all levels of your experience. [...]

[...] Think of the evening as a creative period. [...]

[...] I am saying that the situation contains excellent creative opportunities that outweigh the lack of sleep or whatever thus far experienced. [...]

[...] I want it to be the best suited to your needs at any given time—but also, such a practice leaves the door open, for example, for the insertion of creative material. [...]

It is this dilemma, precisely between identity’s constant attempts to maintain stability, and action’s inherent drive for change, that results in the imbalance, the exquisite creative by-product that is consciousness of self. We have a series of creative strains. [...]

[...] For consciousness and existence do not exist because of delicate balances, so much as they are made possible by lacks of balances, so richly creative there would be no reality as it is understood to be, if balance were ever maintained.

[...] It is an almost miraculous state, made possible by what I choose to call a series of creative dilemmas.

The ego is a state resulting from the third creative dilemma, which happens when consciousness of self attempts to separate itself from action.

[...] They all go into the creative mill, for example, where they are in their ways uniquely sorted, transformed into patterns, emerging into creative illuminations. [...]

[...] They find themselves acting more naturally, creatively and efficiently following their own natural bents. [...]

Others for their own reasons—as numerous as there are individuals—are interested in pursuing the “wicked,” finding the lost, teaching creativity, seeing into the future or past or whatever. [...]

(Long pause at 9:38.) All of this should be considered along with the natural uncertainties that exist in creative ventures—his desire for inspiration and so forth. [...]

[...] She fears then, Seth going too far as an expression of her creative and spontaneous self. [...]

Taking some kind of writing or sketchbook or whatever into the bedroom will help, so that he can do some creative work there if he wants to. [...]

The idea that it is indeed safe to relax is important, coupled with the realization that all creativity is basically now—basically—effortless, and that this applies to the body’s motion also. [...]

[...] Those early autumn sessions, and the late summer ones, are of help here to balance what we are doing now, for they remind Ruburt of the magical framework and its operation, and assure him that relaxation is one of the best methods that release Framework 2 and its creativity. [...]

[...] You tried to rationalize your creativity, both of you, to some extent. The rational line of thought finds creativity highly disruptive, so in those terms as highly gifted creative people, you would have encountered some difficulties in any case.

It is time that you regarded such difficulties instead as challenges that are a part of a creative adventure that you have yourselves chosen. [...] It would, again, help considerably if you thought of your work more as an adventure, an exciting creative adventure, than of work in your old terms.

All of this applies to your situation, for I want you to thoroughly understand, intellectually and emotionally, the errors of current thought, so that you can see that our material is indeed providing you not only with “creative material,” but with a more factual presentation of the framework in which you have your existence.

[...] Sue’s unexpected presence is a fine example of how spontaneous events can influence a session in a very creative way — as Sue’s notes, quoted later, will show.

I refer readers to Ruburt’s Introduction, in which he compares his own creative experiences as a writer to those he feels in our sessions. [...]

In our own sessions he is not aware, consciously, of the creative work that is being done, precisely because he has gone out of the range that the conscious mind can follow. [...]

Referring to his Introduction again, he remarks that he misses the excitement of the chase, encountered in his own creative work. [...]

[...] As far as his overall personality structure is concerned, creativity is a must. [...] His identity is strongly connected with his creativity. [...]

If he first of all focuses his abilities in his creative pursuits, then everything else will follow. [...] But he must primarily focus his energies in his creative pursuits, for these give him the exuberance that makes other pursuits possible.

The knowledge then available is first of all creative, intuitive knowledge which the outer ego may translate into intellectual terms when possible. [...]

[...] They should be taken simply, but the overall energies should be used in creativity. [...]

[...] The structure of probabilities provides on the one hand a system of barriers, in which practical growth is not chosen or significant; and on the other hand it insures a safe, creative, rich environment — a reality — in which the idealization can choose from an almost infinite variety of possible actions those best suited to its own fulfillment.

[...] Privately your thoughts are expressions of your idealizations; and while expressing those inner patterns they also modify and creatively change them. [...]

[...] It does mean that you have chosen certain experiences, but that these will automatically lead to further creative development if you allow them to. [...]

[...] You also have your hand in the larger creativity of mankind’s experience.

[...] You both hit a period when for the moment your work was done —a time of creative regeneration.

[...] He has determined not to backtrack, for example; but both of you must remember that creativity is playful—that is, that you must not try too hard, that you mentally look the other way now and then, and not watch the pot boil all of the time.

Let Ruburt write something—anything—as a creative playful exercise daily, without caring whether or not it will develop into a book.

(Besides helping Jane go over Seven Two I am going to make a chart for her to keep records of her walking, exercising, and “free, playful, creative writing,” as Seth put it.)

I mentioned long past that creativity continued to operate in a work of art long after its physical completion. [...]

[...] Constant creativity applies to every system, then, and what you create in one system has its effects in other systems also.

Much of man’s creativity is expressed directly through his hands, and for this reason they are often used in healing experiences. [...]

Oversoul Seven and Cyprus do exist, though in different terms than he may imagine them, and the whole episode allows him to work creatively with fiction, and creatively with his psychic abilities.

[...] Ruburt is psychically working out some of his concerns over reincarnation in his novel, coming to grips with the subject creatively, and in ways that have deep meaning, not only for himself but for others.

[...] I give thanks for the healing I know is taking place now: Wonderful are the works of the creative intelligence within me.

[...] Each buyer is sent to me by the creative intelligence of my subconscious mind, which makes no mistakes. [...]

[...] Give yourself a chance to use your own creative energy....” [...]

[...] He is afraid that he has few abilities of any kind, so he must of course take steps to see that they are never put to the test in the physical world—hence, some disaster or another always prevents the great creativity that he says he has to offer.

[...] A novelist, being himself or herself writing a book, will nevertheless imaginatively live the actions of all of its characters—the villain, the hero, the madman, the saint or whatever—and a true creative gestalt is involved. [...]

[...] The situation also allows him to use his creative abilities in terms of fantasy and imagination. [...]

[...] (We feel reincarnational relationships but have yet to explore them.) Laurel helped revitalize me; our years together have been full and creative and productive—and yes, at times controversial. [...] Each one of us springs into creativity while All That Is gives us the supreme privilege of doing so—and thus, I feel, constantly surprises itself.

[...] Yes, I chose to be creatively involved (as I still am, obviously) for my own intuitive reasons—not only as an intensely interested observer and recorder, but as an artist too. [...] That may be true, but I’m also sure that she would have expressed her innate creativity in other surely literary ways—and maybe in psychic ways, too! [...]

[...] Not only because of our simple love for one another and our mutual interests—but even then, I came to understand, because we could intuitively sense the fine creative adventure in consciousness that was to become the Seth material. [...] I have no reasons or motivations to present myself as being really cautious or asking my wife to be careful as she began to unleash the great flow of creativity that was to follow. [...]

[...] So even if Seth did help, still Jane chose to live her own life within the face and force of her own very creative present personality. Seth did offer insights, excellent ones of certain very creative depths that we more than welcomed, while all the time being quite aware, I think, that the beautiful young woman through whom he spoke—who let him speak—had her own agenda at the same time. [...]

[...] But this computer is so highly endowed with creativity that each of the various personalities it programs spring into consciousness and song, and in turn create realities that may have been undreamed of by the computer itself.

Each personality has within it the ability not only to gain a new type of existence in the environment — in your case in physical reality — but to add creatively to the very quality of its own consciousness, and in so doing to work its way through the specialized system, breaking the barriers of reality as it knows it.

The entity, or the soul, has a far more creative and complicated nature than even your religions have ever granted it.

[...] In subjective experience you leave behind physical existence and act, at times, with strong purpose and creative validity within dreams that you forget the instant you awaken.

[...] In a curious fashion, however, that circle of safety provides each individual with the freedom and curiosity to go ahead and test independent theories and situations—so it also serves the purposes of creativity and knowledge, and even allows for the acquisition of new knowledge that was not in the original belief structures. [...]

[...] He could assimilate much new knowledge by means of the creative mechanisms, which could not transform troublesome ideas into other symptoms that could become quite acceptable. [...]

[...] When that is understood you are already on the way to a new, more expansive creative path (all emphatically). [...]

[...] For it puts Ruburt on top of those old bondings, while still giving them their recognition as issues that can indeed be creatively reconciled. [...]

If you are overconcerned with helping others, then you must first of all begin to question whether or not your creative material, still forming, will serve that purpose, and if not, or if there is a question, you give birth to hesitations and doubts that—again—subvert art’s free flow. [...]

[...] Left alone, Ruburt’s creative life falls into inspirational patterns that spring from their own secretive sources. [...]

[...] The sense of responsibility of that kind stifles love, which must be free to form its own creativity in its own fashion. [...]

(10:28.) He is proud of that translation of private creative experience into the artistic public act of publication. [...]

[...] The Stonehenge poem (that Jane began writing earlier in March, when we received an English postcard from Michael Lorimer) in a way is a case in point, since it shows the reawakening of a certain kind of creative and psychic activity. [...]

There are other repressed inspirations and creative insights that will also come to the forefront. [...]

Your own interest in (flower)seeds right now presents you with an excellent example of the natural person’s inclination to seek out fresh stimulation, and to ally itself, however innocently, with those forces of natural creativity. [...]

[...] There is therefore a great connection between creativity—poetry in particular—dreams, and psychic exploration. [...]

[...] Her creative output also goes well. [...]

[...] They are endowed with the desire for creativity, and to increase the quality of existence.

[...] Spiritually speaking, his “purpose” is to understand the qualities of love and creativity, to intellectually and psychically understand the sources of his being, and to lovingly create other dimensions of reality of which he is presently unaware. [...]

[...] All of your dreams somewhere waken, but when they do they waken with the desire for creativity themselves, and they are born of an innocent new intent. [...]