“Seth material” search engine (Jane Roberts)

(Dickie read his essay about creativity and commitment.

[...] And when each person feels and releases their own creativity, (to Sue) there will be no need for books about Seth classes, but now there is such a need.

[...] Creativity least of all. [...]

[...] It is true that your thoughts and emotions and beliefs form the reality that you experience — but it is also true that this creative construction is, in a manner of speaking, magically formed. [...]

[...] There is no object that was not formed by consciousness, and each consciousness, regardless of its degree, rejoices in sensation and creativity. [...]

[...] If, on the other hand, your intuitions and creative instincts are allowed freedom, then they communicate some knowledge of greater dimensions to this most physically oriented portion of your personality.

In those terms it is like a creative venture, finished to the best of one’s ability in the given medium, and leaves one with a sense of satisfaction, fulfillment, and completion. [...]

[...] I accept my creative abilities wholeheartedly. [...]

[...] A small note to our friend — again — to trust the great power of the universe that forms his own image, to trust his spontaneity, and his body’s natural urges toward relaxation, motion, and creativity, as these show themselves in their own rhythms.

Poetry was her first, childhood love, and it remained a powerful creative factor throughout her life. [...]

Aspects is extremely important, for it represents the reorganization of his ideas, and in a highly creative framework. [...]

[...] He used the last episode (on the back stairs) to trigger an important development in walking up the stairs, but he is not to imagine that everyone else is perfect because they look all right; then he deals with absolutes, becomes frightened, and exaggerates his condition, thinking in physical terms alone and forgetting those inner abilities of his, of creativity, that are indeed so important.

[...] To some extent this was a true, creative, sexual drama — again, of high pretense, for in its own way the consciousness of the species was playing for high stakes, and the drama had to be believable.

[...] They will squeeze their identity into sexual clothes, and the society will suffer because the great creative thrusts of growing intellect and intuitions will be divided at puberty, precisely when they are needed.

Now development is a journey within creativity. [...]

[...] And while one portion of your personality is in a period of deep depression, other portions may be highly creative of which you may not be aware in the present, in your terms. [...]

[...] It simply means that the inner self also is far more creative, far richer, and far varied and much different than you originally supposed. [...]

[...] It is important, however, that you realize the fact that there is more creativity and variety in an inner reality than you ever physically perceive.

[...] They are innately endowed with the desire or propensity for growth and creative organization. [...]

[...] Such points of intersection are highly charged and creative. [...]

[...] From it springs a completely new and unknown species of plant, as far as the island is concerned; and the plant in turn brings forth flowers with pollen, fruits, and scents (spelled) that have a different kind of creativity that is still its own. [...]

The spirit of Island One says: “I quite enjoyed my venture, and I’ve learned that the great explosive thrusts of creativity are good — but, oh, I yearn for my own quiet, undisturbed shores; and so if you don’t care I think I’ll return there.” [...]

[...] But in certain terms she was the masculine center of the family, emotions or not, the aggressive one; and speaking conventionally now, your father (Robert Sr.) accepted the more passive creative role. [...]

Take the last few sentences and apply them creatively. [...]

In the overall structure, all seeming errors are indeed redeemed, forming syntheses of creativity of their own kind, leading to understandings and future developments that, say, outshine whatever problems you might have encountered. [...]

[...] All very well, I suppose—I agreed with Seth’s closing remarks about new creativity arising out of our experiences, yet this truth hadn’t seemed to do much to relieve the depths of feeling I’d experienced while rereading those 1973 sessions.

[...] But there is a long history of the conflicts between creative thought, heresy, excommunication, or worse, death. [...]

There are, however, classic connections between creative thought and heresy, between established belief and the danger of revelatory material as being disruptive—first of church and then of state. [...]

[...] (The kittens had the same mother, but had come from successive litters.) I was 44 and Jane was 34, and in conventional terms both of us were still struggling—not only to learn about ourselves and the world, but to find our creative ways in that world. [...]

“When your own personalities are more or less in balance, you have no trouble at all in looking out for these creatures, and actually reinforcing their own existence with residues of your creative and sympathetic powers. [...]

[...] With many pauses:) All That Is, as the source of all realities and experience, is so psychologically complex, so multidimensionally creative, that it constantly surprises itself. [...]

I’m sure that in much larger terms even negativity is creative, and often in ways we cannot comprehend in our temporal reality, but I do believe that Jane’s work offers more penetrating and redeeming insights into many of those challenges we create. [...]

[...] The great force of love and devotion is withdrawn from personal areas of individual creativity through purposeful work. [...]

[...] This resulted of course in an overemphasis upon dogma — rules and the ritualization that had to be colorful and rich because it would be the one outlet allowed in which creativity could be handled. [...]

[...] I added that we simply have to banish all negative thinking, and concentrate upon creative ends—we have no room or need for anything else. [...]

^* In Jane/Seth’s The Individual and the Nature of Mass Events, which was published in 1981, I wrote: “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.” [...]

[...] He senses the awe of creativity as it becomes physically apparent, and that force is being released in your lives. [...]

[...] Yet the wait itself was creative. [...]

[...] More often than not, this made me redo my own notes in unanticipated ways — always a creative challenge that was most enjoyable, and yet, paradoxically, one that at times was very frustrating. [...]

[...] Such an endeavor essentially involves the pursuit of an ideal, and represents our attempts to give physical and mental shape to the great inner, creative commotion of the universe that each person intuitively feels. [...]

“In your mind you creatively envision the ideal — the sanity of some future culture that, you hope, our work and [that of] others will bring about. [...]