“Seth material” search engine (Jane Roberts)

[...] It is this portion of the self that initiates many of the creative ideas that seem to spring from the subconscious. [...]

[...] The subconscious is the seat of the emotions and is a creative mind. [...]

[...] Beside the creativity, certain previously unexercised portions of the body are used. [...]

[...] In creative time one adds to the other.

[...] Briefly and very simply, Seth maintains that Framework 2, or inner reality, contains the creative source from which we form all events, and that by the proper focusing of attention we can draw from that vast subjective medium everything we need for a constructive, positive life in Framework 1, or physical reality. [...]

[...] It encourages curiosity and creativity, and places the individual in a spiritual world and a natural one at once.

[...] At least the whole brain (its hemispheres are connected deep within by the corpus callosum) must contain that necessary basic creative ability that may then be apportioned out — but only to an extent, I think — between the hemispheres. [...]

2. I’ll remind the reader that Jane has already received inspiration and material for two books from her amazingly creative dream state: her novel, The Education of Oversoul Seven, and James. [...]

[...] This is also a time of deep unconscious creativity. [...]

[...] The subconscious is the seat of the emotions and is a creative mind. [...]

(Pause.) In a fashion those ancient dreamers, through their immense creativity, dreamed all of life’s creatures in all of their pasts, presents, and futures—that is, their dreams opened up the doors of space and time to entities that otherwise would not have been released into actualization, even as, for example, the units of consciousness were once released from the mind of All That Is.

[...] Both of us were impressed anew by Seth’s present and potential creativity. [...]

[...] The anima or woman within will rouse him to make compensating actions, causing an upsurge of intuitive abilities, bringing a creative element to offset aggressiveness.

Ideally, left alone, these operations would result in a balance individually and en masse, where aggressiveness was always used creatively, as indeed it can and should be.

[...] In my “dream” condition, or rather conditions, I form links of consciousness that combine these various systems, creatively forming them into new versions. “Waking” again, I become consciously aware of those activities, and use them to add to the dimensions of my usual state, creatively expanding my experience of reality. [...]

[...] Of course, instead it is the other way around: his thoughts are creative and exuberant—naturally—when he leaves himself alone, and the troublesome thoughts that seem so natural now are the results of acquired mental patterns as he began to distrust his own nature, as given many times.

[...] When dreams appear bizarre it is only because, awake, you cannot follow the intricate creative unity that unites them. [...]

[...] These conditions inhibit creative expression in particular, and deny the conscious self the continually emerging insights and intuitions otherwise unavailable.

[...] Creativity and intellect do not show themselves as the brothers that they are, but often as strangers. [...]

(11:29.) The creative power to form your own experience is within you now, as it has been since the time of your birth and before. [...]

[...] It will always be one of his main creative endeavors. [...]

Your ideas themselves follow certain laws of creativity. [...]

[...] There is, as Joseph (Seth’s name for me) said in our break, no magic therapy — only an understanding of your own great creativity, and the knowledge that you yourself make your world.

(Now here are excerpts from the account she wrote for me of her experiences involving the rain-puddle creature and the light on the evening of February 2. Jane’s narrative and poetry supplement Seth’s own words, and show how she became consciously aware of the unique transformation of her original poetic ideas into visual reality — and how she then carried the creative process another step by converting her new perceptions into more poetry. [...]

[...] Working like crazy, really on a creative ‘high.’ Just before supper time I’d been writing about the single yet double universe of self and soul, and the last line had quoted the mortal self:

[...] Both of you decided that you would give your lives to creative work. Both of you decided that you would have no children, not only because this fit in with the first goal, but because the energy connected with family life would go into your creative productions, would be saved and available when you began to embark upon the psychic work for which you had also planned.

[...] Both of you intuitively realize that your work, both creative and psychic, is bound up in your relationship, for Ruburt helped to bring out in you the freedom to paint, as you knew ahead of time he would.

Symbolically you also compared that spontaneous flow with semen, creative abilities, and were jealous of it getting away from you. [...]

Now if you will allow me, creativity is born from desire. To deny creativity is to deny All That Is, is to deny the vitality that was born itself out of its own desire. [...]

([Ron:] “Within this system of meditation you talked about the creative vitality and the creative energy, that the idea of the end goal is the identity of the source of All That Is ...what is Buddha doing now?”)

[...] Your power as a rational consciousness focused in the present provides you with opportunities for creativity that you are but vaguely learning to understand. [...] The moment as you think of it, then, is the creative framework through which you, the nonphysical self, constantly form corporeal reality; and through that window into earthly existence you form both its future and its past.

[...] In trying to deny these early facts of your existence you have shut off strong portions of your own energy and creative strength so that they could not operate for you in your life. [...]

[...] The creative selves within you know what you are up to and I know what I hope this class will be up to and you must have faith in each other and trust if we are going to do the kind of group experiments that I have in mind. [...]

(Jane started a new book today, and she’s exhilarated — intoxicated — by this development in her creative abilities. [...]

[...] We speculated that her creative self, knowing the completion of Seven is in sight, wanted her to have another project underway. [...]

[...] He actually concentrated upon Seven, typed it creatively, walked several times a day, began to help with meals and with the house, and comparatively speaking you both had a fairly good week. [...]

[...] This chair (indicated), being used to get from room to room, was at that point creative, and it got him involved in the household again, and greatly added to the exercise given the legs over the entire day, for sometimes he walked to the bathroom three times in the winter, but for the rest of the day his motion was most limited.