“Seth material” search engine (Jane Roberts)

[...] I am saying that you should change your beliefs concerning the nature of time and creativity—and for Ruburt, time, creativity, responsibility, and work. [...]

[...] Left alone, your creativity knows its own rhythms, and drinks at the springs of Framework 2 at its own delightful leisure. That delightful leisure, that “loafing of the soul,” from Ruburt’s Whitman—the poet—is what ends up producing the kind of great creative “works” that Ruburt searches for.

[...] Relaxing for her nap afterward, she asked for a message from her creative, spontaneous inner self, the part that keeps her body alive and gives her life meaning and inspiration. [...]

[...] Basically, however, creative acts, the acts of insight, intuition, of revelation, do not take time in the same fashion. [...]

[...] The creative self is the most spontaneous of all. There are hidden rhythms of creativity that you do not take advantage of, and I am not speaking here to you (RFB) alone. [...] It represents a way of handling your energy that is native to your own being, and permits creativity its easiest, most natural flow.

It means trusting yourself, following your own rhythms, riding the thrust, the aggressive and joyful thrust of your creativity full blast, so to speak. [...] It is simplistic to say that you need food to work, and yet going out into the world in such a manner does indeed become its own creative endeavor when it is clearly embarked upon. [...]

[...] Following your inclinations, you would discover your own prime working creative rhythm.

[...] Behind the habits, however, lie beliefs concerning creativity and the world.

In this case there was also the belief that there was a lack in the flow of communication, a blockage in the flow of creativity, so tell yourself that your creative ventures can flow through you easily and well. When you are upset, ask the creative man what he thinks. [...]

[...] Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. [...] A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned. [...]

(9:19.) The artistic acts always directly involve strong direct interactions with Framework 2. In the production of our book we want, say, people we may not even know to come together in certain fashions to make certain decisions that will be in direct agreement with our own creative intent. [...] When you continue to think of events—and publishing is one—as multidimensional creativity, involving many people instead of one, then you have some leverage to help you understand. [...]

Mankind’s most majestic experiences, and his most unfortunate, still come from that same great creative force. I have been very careful in my use of the word love, because it is so bandied about and distorted—but all creativity, and any work of art, and any life, springs from love—a love that automatically brings all things into their own kinds of order. [...]

Now, some of these problems are simply those of the creative personality emerging, in Ruburt’s individual case, in their own way. They should not be overemphasized however, for the creative personality, by the very standards of creativity that it adopts, becomes a focal point for varying conflicts that in many other kinds of personalities are never allowed to emerge. [...]

[...] In any creativity there must be a magnification. [...] Without this there is no creativity. [...] Certain personality characteristics are exaggerated quite purposefully by the creative personality, to act as a lens to intensify experience.

[...] The creative personality does indeed have the potential use of greater amounts of energy, the latent capability for emerging psychic insights. The creative personality is striving to be born in new dimensions, to release entirely original concepts, regardless of the field of activity chosen.

[...] While these conflicts appear highly destructive, and you shake your head at what appears to be some stupidity or stubbornness on Ruburt’s part, the conflicts themselves are creative, and will be used creatively. [...]

(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 flexibility and creativity, the greater and greater sales of all of her books. I knew 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.)

In one way or another, your creative abilities have always sustained you, at least with subconscious knowledge, and with a sense of the greater creative capacities always present within you. [...] You were creatively filled out by it. [...]

His creative spontaneous self created the body to begin with, and all of its physical desires were precisely those that his creative abilities needed—a quickness of body and mind working together, a quick perception mentally and physically, a natural exhilaration that is supported by (underlined) the power, of his own nature.

[...] This means that I sidetrack —but not try to repress—those cultural and learned beliefs I’ve let rule my life in large measure, instead of following the natural, creative dictates of my first, or primary man. [...]

(My own activities, then, have aroused in Jane the urge to try the same approach, and I’ve suggested she think of her own women numbers 1 and 2. It seems that she confronts the same basic challenges I do, I told her, so she could delineate the two opposing portions of her personality well enough to understand that many of her cultural beliefs have been imposed upon her natural, spontaneous, free, creative self, and to such an extent that the acquired beliefs have turned into detriments rather than aids, that she envisioned as helping her obtain what she wants in life. [...]

[...] Consciousness, in forming an image, or creating it, then responds to it creatively, setting up frameworks for further creative actions. Consciousness experiences reality directly, but having formed physical matter into a personal image, it must then creatively translate data to that physical brain. [...]

[...] There is no mass creative act, for all portions of consciousness have their part to play in creativity. [...]

Without this there would be only a sham creativity, without involvement and without the involvement of action. Every dream is a creative act, that could be initiated in no other way, highly individual.

The brain looks out upon the physical universe, and consciousness then reacts, again creatively, to that environment. [...]

(I told Jane I think that if it is not fed a steady diet of repressed material—which it may not even want—the conscientious or creative self is perfectly capable of doing its job without excesses. There will be no fears of unrestrained sexuality, or not working creatively, of overidealization of me, or my work, etc. All of these ideas, I feel, evidently grow out of repressed, unexpressed fears that have built up over the years, and have been taken over, or dumped upon, the conscientious and/or creative self. [...]

I am the creative self. [...] Far more than Ruburt suspects from the beginning, his natural creative drives were also used to their ends, both religious, social, and as a way of gaining approval.

(Jane got two more bits as we talked: The creative self had to disentangle itself from the conscientious self to get this material out; and she had ambiguous feelings about her books because she felt they put me in a poor light. Then the creative self returned at 9:50:)

(This morning when she expressed resentment at her conscientious or creative self, Jane said it took her a long time to get mad—several days in this case—after the session of February 19, when the creative self spoke. [...]

[...] I have said before that many creative people, highly gifted, have died young in one way or the other because their great gifts of creativity could find no clear room in which to grow. [...]

(Long pause.) Ruburt broke through both psychically and creatively—that is, the sessions almost immediately provided him with new creative inspiration and expression and with the expansions needed psychologically that would help fulfill his promise as a writer and as a mature personality. [...]

The creative abilities, again, can help provide the necessary psychological motion and direction—they have in a large regard in the past, but they have not gone far enough. They have not gone far enough because Ruburt did not come to terms with his private version of the Sinful Self, and therefore still kept himself open to all of the negative conditioning that is so involved there: a conditioning that views all creative expression with distrust. [...]

(Long pause at 9:20.) Ruburt’s creative nature early began to perceive at least that man’s existence contained other realities that were deeper. [...]

[...] The strong ideas of responsibility are limiting too; they put you in a less creative framework, stifle creativity. [...]

To confine such creativity to solve life’s problems primarily or to direct it primarily in that fashion, limits it and holds it in an improper focus; shackles it. [...]

We have to go beyond that—the point of problem-solving or problem-focus —back to stressing the creative larger-than-life aspects, otherwise all we have is a better problem-solving framework. [...]

For Seth to comment on our world is okay, but for me to somehow insist that his material offer solutions to all of men’s problems is not— instead it limits the sessions creative thrust. [...]

If you think of Ruburt’s normal flexibility as a creative endeavor, then automatically and easily, Ruburt first of all, and you, will find your creative abilities coming to the fore in that direction, bringing about results that are far quicker, easier, and executed in such a manner that Framework 2 adds immeasurably to that area of your lives.

With that understood, my material comes from beyond Framework 2. Creative material in general, however, has its origin in Framework 2, and when it is perceived in Framework 1, to some extent or another it connects the perceiver to that other source. [...]

[...] I keep comparing that to creative activity because the same principles are involved—and impediments do disappear.

[...] I gave suggestions that you creatively plan a vacation trip together. [...]

[...] But the creative problem is never entirely even stated: it is felt or sensed. [...] I refer to a creative tension, but one that is of course to some extent also a state of stress, creative stress. [...]

[...] 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. When you trust your abilities you allow them, through their expression, to find their own creative reconciliation, for the creative product is indeed a reconciliation between the sensed ideal and the world’s actuality. [...]

[...] Children draw, play with images, with language, with the sounds of their voices creatively and artistically. The natural man, the natural person, knows that art provides its own sense of creative power. [...]

Try to remember—and Ruburt too—a sense of freedom in your creativity. [...] The book sessions should indeed be fun, even as children have fun with their creativity. [...]

[...] Creativity is still the closest field of endeavor that can possibly teach you about the origin of the species, for your creativity mimics that higher creative spontaneity, out of which all (underlined) order emerges (again intently). [...]

(Pause.) All creativity is basically joyful, it is play in the highest sense of that term, and it is always alive with motion. [...] (Whispering:) Ideas change the chromosomes, but the sessions and Ruburt’s books, and so forth, must first and foremost be joyful expressions of creativity, spontaneous expression that fall into their own order. [...]

[...] Ruburt’s spontaneity let 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. [...]

[...] Your impulses, intuitions, and creative abilities have always innately provided open channels of communication through which man was guided toward those probable actions most beneficial to his private reality—and those actions would automatically, again, add to the best probable reality for the species as well. [...]

[...] His creativity, in other words, is renewing itself now. [...] He depends upon creativity, for example, as you do, to provide a more or less steady source of enjoyment, excitement, personal accomplishment—not to mention livelihood —and as per last evening’s session, creativity operates in ways that may appear uncertain. [...]

[...] In between, while it may seem he is not being as creative, inner work is being done that will later appear in a new burst of creativity. [...]

(Pause at 9:42.) I want you to see that in many of your situations there are creative possibilities that can be flexibly considered, for these will also be reflected in life’s daily enjoyments, in creative satisfaction that literally cannot be measured in terms, say, of how much money is expended, and with the proper attitude the money simply will not matter, it will be so easily replenished. [...]

Ruburt receives esthetic pleasure from looking at the clean rugs or windows—a pleasure which actually encourages his creativity. [...]

One, you are limiting the time in which you can be creative or get ideas. You are saying, effectively: I can only get my creative ideas in the afternoon. Instead tell yourself that creative ideas for your paintings can come to you at any hour of the night or day, and that creativity knows no time barrier.

You will find that a creative, placid and yet fulfilling time is beginning, when you will both begin to do some of your best work. Certain elements are leaving your lives now, and with the signing of the contract Ruburt feels socially, economically and creatively justified, and accepted.

The resulting inner freedom will also free his own creative energies, and his career will continue to expand. [...]

[...] Now either of these techniques will serve you very well and refresh your creative energies. [...]

[...] I have given more material than I can say on the subject of Ruburt’s attitude toward creativity and what happens when he emphasizes the idea of work as work, or as a career, above his spontaneous creativity. [...]

In those circumstances, free creativity itself almost becomes suspect, for supposing his creativity turns up an element that is contradictory? [...]

[...] First of all, truly creative “work” is timeless. [...] Ruburt’s lifework so far has been produced—again, so far—because despite such erroneous beliefs he has still allowed himself a creative spontaneity. [...]

[...] At the same time, poetry was and is creative play, and it sprang from the depths of his being. [...]

[...] They must, therefore, be used in exciting creative ways having to do with his intuitions, intellect, and creative work.

He must be in throes of creativity. This can apply to actual work on a manuscript, intellectual excitement, or intuitional discovery, but a humdrum creative ritual is defeating for him. [...]

It seeks outlet and must find it, and must find it a manner that satisfies the creative abilities. [...]

[...] When it flows outward, the emotional charges are used in those explosive developments of creative work.

They are trying things that other people will not try—being creative in whatever area is open to them, so that often the creativity itself has a strained or even grotesque air. [...] They are looking for a rational pattern large enough to contain and explain and focus their own misunderstood creativity.

Ideas are used in astounding fashions by creative people, and so many who read the article will in their own way use it as highly creative material. [...]

[...] The creative abilities are always released when the will and the imagination are together, in whatever area.

Your willingness to help Ruburt walk, your encouragement—these are all important, but the most important issue is the unity, in practical terms, of imagination and will, and the generation of creative ability in health terms, that can be sparked.

Strong moral ideas welded what I am together—welded the creative drives like glue. [...] This part was strengthened by your own ideas of work and creativity. [...] I relied on you to see that Ruburt’s creativity was channeled and used, protected, but most of all not frittered away.

Your creative drives became a part of what I am, so that what I am includes the strength of both of your creative drives. [...]

[...] I was caught between using my energies to help Ruburt create, and trying to get money through the creativity for you to quit. This itself hampered the creative drive, hence the dream book difficulty.

[...] The physical freedom symbolized creative freedom, I said. To us freedom of motion meant creative freedom. [...]

(Long pause at 9:20.) New sentence: if you cannot put your disillusionment aside, then you can at least use the idea of such a program as a creative exercise, a creative game that you play with one portion of your consciousness —a game that might just possibly have some creative benefits whose effects might just possibly crop up in the middle of your more practical considerations. [...]

Another point: regardless of any seeming contradictions, the beneficial aspects of any particular creative activity far outweigh any disadvantages. (Long pause.) The nature of creativity, regardless of any given specific manifestation, is shown in an overall generalized fashion that automatically increases the quality of life, and such benefits are definite regardless of what other conditions also become apparent. [...]

[...] In such ways you allow yourselves the largest possible areas for creative expression and creative changes. [...]

[...] In this case at this time, however, they can serve as valuable springboards to release from your own creative areas new triggers for inspiration and understanding, and hence for therapeutic development. [...]