“Seth material” search engine (Jane Roberts)

[...] (See sessions 714, 716 for instance.) Your own creativity emerges, and will not only in your sketches of your experiences—those you have done and those that you will do—but in the paintings also that you will indeed do from them. More and more your creative abilities are being challenged, stimulated through our work, and they will flow naturally from it.

[...] Remind yourself however that even in this period of activity your creative mind is working on paintings, and you will have the time to physically produce them.

While he worries sometimes about future money, or how he will make out, generally speaking he can handle that, and knows that left alone his creativity will, and is, producing financial as well as other results. [...]

The more financially threatened he feels, the less free he feels to be creatively himself, and the more something like a book deadline gains in importance. [...]

[...] When he feels financially threatened, however, that is when he pulls in his horns, cuts down on creativity, and tries to do his “job.’’

NATURAL GRACE, THE FRAMEWORKS OF CREATIVITY, AND THE HEALTH OF YOUR BODY AND MIND.

[...]

Chapter Nine: “Natural Grace, the Frameworks of Creativity, and the Health of Your Body and Mind. [...]

[...] The world is being changed through our work—but because that work is primarily a creative endeavor in the fullest, deepest meaning, now, of the word creative. When you hold the attitude I have mentioned, however, you begin to insist upon immediate creative results in the way that the shoemaker does, again—and again, we are not making shoes.

[...] The original prerogative is the creative one, from which all benefits automatically flow.

[...] Remember that its processes are creative.

[...] Whether they are the result of your own behavior or the behaviors of others, use them creatively, and as they are tackled such instances in the future will be minimal.

This must be worked through now, and it can be if you both exert your creativity and daring in that direction. [...]

The whole matter then comes down to building up your confidence, and making a creative effort to let nothing take it from you. [...]

[...] But you can also determine to use your own creativity, and your own faith in the body’s efforts and power to combat such episodes.

While I was trying to define Seth that way and questioning whether or not he was a spirit guide, I was closed off to some extent from his greater reality, which exists in terms of vast imaginative and creative power that is bigger than the world of facts and can’t be contained in it. [...]

[...] Frequent psychedelic-type experiences paralleled Seth’s dictated material, and my own creative and psychic abilities developed into some entirely new areas.

[...] This led to another group of poems, The Speakers. To me this all means that there is a rich vein of creativity and knowledge available to each according to his abilities, just beneath the surface of usual consciousness. [...]

[...] It shows what was happening in my personal reality while Seth was writing his book on the subject, and reveals how the creative impetus splashes out into all areas of the personality. [...]

[...] You both possessed such strong creative abilities, however, that once expressed they were bound to create attention. [...] Many such ideas have been held by those relatively innocent of any great creative ideas themselves, in order to rationalize their own deficiencies.

[...] Because of such fears as I have spoken about this evening, many people never use their true creative abilities at all. [...] I will be physically flexible, but I will no longer use my creative abilities in the ways natural to me.” [...]

[...] It might be creative. [...]

[...] The idea however has been, the more secret you were, each of you, the better off you were, while at the same time your individual and joint creativity would be known. [...]

[...] Church—at a very creative level—or the feeling, use the creative ability to bring about punishment, illness or whatever. [...]

I was not connected in this way with Seth’s book, and had no awareness of the creative processes involved. [...] The creative work was so distant from me, that in this respect I could not call the product my own. [...]

[...] I also began holding a weekly class in creative writing.

[...] It was only natural, then, that I found myself comparing my own conscious creative experience with the trance procedure involved in Seth’s book. [...]

[...] It simply appears, and from it new creative connections spring.

[...] We are able to travel through emotions in a way that is not now natural to you, and to translate them into other facets of creativity than those with which you are familiar. [...] We are only now learning their full potential, and the powers of creativity with which they are connected.

[...] It is more pleasurable — though my ideas of pleasure have changed some since I was a physical being — being more rewarding and offering far greater opportunities for creative achievement.

My work in this environment provides far more challenge than any of you know, and it also necessitates the manipulation of creative materials that are nearly beyond your present comprehension. [...]

[...] We realize that we form our own reality, and therefore we do so with considerable joy and creative abandon. [...]

[...] The creative explosions begun with these books still erupt, for “Unknown” Reality does seem to have a life of its own, one that defies definition, and that even now serves as a springboard for new psychic and creative experience. [...]

Seth told us ahead of time, of course, that “Unknown” Reality would follow an intuitive and inner organization rather than a linear one, and that this writing method would itself arouse the creative, revelatory characteristics of the psyche. [...]

[...] It’s almost impossible to describe the creative frustration I sometimes felt — for no matter how fast I worked to record the sessions themselves, noted our day’s activities, hunted down the references pertinent to a given discussion, I couldn’t truly keep up: Reality kept splashing over the edges of my notes. [...]

In any case, I feel that the entire production, Seth’s dictated work and my running commentaries and references, adds up to extra dimensions of creativity that can be sensed, if not described. [...]

“I have the simple, profound faith that anything I desire in this life can come to me from Framework 2. There are no impediments in Framework 2. Framework 2 can creatively produce everything I desire to have in Framework 1 — my excellent health, painting, and writing, my excellent relationship with Jane, Jane’s own spontaneous and glowing physical health and creativity, the greater and greater sales of all her books. I know that all of these positive goals are worked out in Framework 2, regardless of their seeming complexity, and that they can then show themselves in Framework 1. I have the simple, profound faith that everything I desire in life can come to me from the miraculous workings of Framework 2. I do not need to be concerned with details of any kind, knowing that Framework 2 possesses the infinite creative capacity to handle and produce everything I can possibly ask of it. My simple, profound faith in the creative goodness of Framework 2 is all that is necessary.”

[...] As you do not know what happens in the television studio before you observe a program, however, so you do not know what happens in the creative framework of reality before you experience physical events. [...]

[...] They are creative reflectors, acutely aware of the overall, generalized emotional and psychic patterns of the age.

[...] When you are in other than your normally conscious state, you visit that creative inner agency in which all physical productions must have their beginning. [...]

[...] It is as valid — far more valid — as an orbiting city in the sky, in physical terms, and it challenges your creative abilities much more. [...] Not because you should do it, but because you desire it … It is a great creative challenge that you can throw down to yourselves from your future selves.

[...] I challenge you now to be as creative in another reality as you are in this one. [...]

[...] “To do so, you must give your best with dedication and joyful creativity. [...]

For the most part over the six years and 510 sessions covered in The Early Sessions, from December 2, 1963 to January19, 1970, Jane spoke for Seth in her own creative yet also objective manner. [...] Surely her intuitively-chosen manner helped us acclimate to the highly original and creative fact that Jane was learning to speak in a dissociated (or trance) state for Seth, a disembodied worthy who called himself an “energy personality essence.” [...]

[...] It wasn’t until after Jane’s death in 1984 that I took the “time” to understand that Jane’s Seth material—her great passionate body of work—really didn’t need to be categorized as public or private—that all of it was simply one multifaceted creative entity.

“Now,” I mentally said to my departed loved one in all sincerity, “if we had the chance to do it all over again, I’d suggest that we dispense with all divisions—that we regard the Seth material as a great whole, any part of which, public or private or in between, has the creative power to help not only us but many others. [...]

[...] I’m going to be most interested in the responses of others to Seth’s book about that highly creative and world-famous individual. [...]

[...] Now many creative people unfortunately do the same thing. [...]

[...] The free flow of his experience goes rather easily, and incidentally, safely and exuberantly from what you think of as objective and subjective experience, and his creative gifts then make subjective knowledge objective in terms of art.

When he allows the experience, his creative abilities will translate it. [...]

He normally and naturally awakens often in the early hours, and does not get up because his body is too sore, in his terms, but he spontaneously feels an alliance with himself and those hours, and intuitively knows that his creative abilities are strong then, and his dream recall good.

[...] It is a sense of joy and makes all creativity possible. [...]

[...] The vitality of the universe is creativity and joy and love and that is spirituality. [...]

The point about success being a critical factor (in the 367th) also means that it was a potentially creative factor. [...]

[...] Your meeting and love helped reinforce all of his own creative aspects and rearroused his faith in himself. [...]

Intuitively the personality knew its abilities also, so there was the creative urge to develop and grow. [...]

The entire psychic situation then brought into your lives fantastic energy, and attempted to correlate diverse creative, personal and psychic goals. [...]

For example, you are not creatively playful because you are Sumari. Instead, you join the Sumari grouping because you are creatively playful. [...]

Taking the Sumari as an example, there can be overly intent, ponderous, or simply dour Sumari who have not learned to use their creativity graciously, or with joy. [...]

[...] Their creativity is very threatening to such a society.

However, the Sumari are practical in that they bring creative visions into physical reality, and try to live their lives accordingly. [...]

The creative abilities must revolve largely about man’s definition of himself, his source and purpose, and all of your Western literature and art has revolved about the concept of the Sinful Self in one way or another. The Shakespearean plays are an excellent case in point, even when they concern even older heritages, so the creative artist in any field has certain creative traditions that become classic models for his art and that of the world. [...]

Ruburt’s creative abilities still had those classical models, yet because of his mind’s originality and his natural intuitive nature; those creative abilities were also fueled by unofficial information: he was always to some extent in strong connection with the knowledge possessed by his natural person—and that knowledge kept seeking expression. [...]

[...] He did poorly in science in college, for that matter, for if his mind was too scientific for religious dogma, it was too creative and emotional for conventional scientific thought. [...]

[...] I want it understood that those feelings nevertheless were often used as creative propellants. [...]

[...] It is a sense of joy that makes all creativity probable.

[...] The vitality of the universe is creativity and joy and love, and that is spirituality. [...]