“Seth material” search engine (Jane Roberts)

Intuitively Ruburt blazed through such beliefs—intuitively—and his books and mine are evidence of that. Intuitional knowledge and conscious assimilation are some poles apart, at least in your society. Both of you found it quite necessary to take a strong conscious, critical look at the material from the beginning, for your trainings told you, in the terms that you understood them, that the “subconscious” could be very misleading, though creative, and that therefore you must critically examine any intuitive productions that profess themselves to stand as truths rather than as creative fictions in your world.

In that regard he becomes overly conscientious. We have never told anyone to do anything, except to face up to the abilities of consciousness. Because of that attitude, however, and because of the critical—or, rather, overly critical stance—he has held himself more aloof than necessary from using the material itself. The ideas, for example, in Personal Reality are exactly those that will resolve his doubts and remove his fears, and the techniques given do work.

(A true use of Personal Reality would be to use it like a bible – although not slavishly – but such use would unite the critical and intuitional faculties. The critical approach would be to use the book.)

Because Ruburt was the person most involved, he became in a way the most critical. Therefore to some extent he has not been able to use the ideas on his own behalf nearly as effectively as he might.

[...] This simply was: I could not critically comment on it at the time. I had some difficulty coming out of the trance state and did not realize the fact of the projection critically until I lay in bed.

[...] I reacted to her desire; just as I react negatively to someone who is highly critical. [...] It is the idea of leaving myself vulnerable to criticism I suppose.

[...] While this is happening I am in no condition to critically analyze my own state of consciousness. [...]

[...] I was in no condition to offer or indeed to make any critical judgement at the time, and Seth was fully focused in delivering the statement to the students, however. [...]

[...] (Pause.) You are, or we are, certainly criticizing many of the aspects of your society. In that particular book (Mass Events)—rather powerful honored aspects, and criticism will (underlined) meet criticism. At the same time, as the book’s criticism has a good import, so is the disclaimer in its fashion a creative example, again, of the book’s premise, and also would serve for that matter in a way that may not have been anticipated: with the disclaimer the book may well sell more copies by far than it would otherwise (humorously), for people will be curious about what such a volume might contain that will be dangerous to the public good. [...]

[...] It shows the elements of the society that we have criticized in action. [...]

(Long pause.) Because the book met criticism at Prentice does not mean that you or it were not protected. [...]

In schools, for example, there are courses in the criticism of literature. Art criticism, and so forth. [...] It is quite safe, therefore, to criticize them in that regard, to see how a story or a painting is constructed—or more importantly, to critically analyze the structure of ideas, themes, or beliefs, that appear behind, say, the poem or the work of fiction.

When children are taught science, there is no criticism allowed. [...]

[...] Afterward the critics may point out patterns, assign the work to a certain school, connect the images or symbols to those in other paintings — and then make the mistake of believing the symbols to be general, always apt, meaning the same thing wherever they are found. But all of this may have little to do with the artist’s interpretation of his own symbols, or with his personal experience, so he may wonder how the critics could read this into his work.

[...] An as artist myself, I’ve experienced this “critical” phenomenon more than once. [...] I’ve also been praised or criticized for elements that I hadn’t realized existed in a painting, while my conscious intentions were ignored or unperceived. [...]

[...] If you read books in which you are told that a certain object always represents such and such, then you are like the artist who accepts the critic’s idea of the symbols in his own work. [...]

[...] Now at this time, it seems too much to bear both at the same, and so our friend here is being the critical one for you and then you can free yourself for this trance work knowing that any questions of a critical nature that you might have will be asked by her and, therefore, you will feel free to go ahead. [...]

Now she also has a great inner interest and so for her and for both of you, you are traveling these inward roads for both of you and she is carrying on the critical aspects for both of you. You could not be burdened if you thought them through with these deep questions of criticism for they could send you back to a rigid attitude. [...]

[...] You know that she will be highly critical and, therefore, she saves you the burden, the added burden, of questioning yourself. [...]

[...] I was going through a lot of soul searching and this has tapered off and yet her criticism hasn’t tapered off and I wondered if that is why I have been able to get into it a little more relaxed?”)

[...] He became angry, and still is, when you show normal criticism of Prentice and their dealings with our books, or his, because he feels that you do not really understand how difficult it is to market creative work, and since you do not sell your paintings you should not criticize his admittedly worrisome efforts. The fact that some of your criticisms are justified makes him worry the more, that he is not doing as good a job as he should.

[...] He thought previously that Eleanor and Dick would be a means, and there was a period from the time when you met them, until now, when for him everything was critical. [...]

[...] This of course meant, as we said, that she needn’t go about any longer pretending to be like the normal housewife next door, or whatever inanity—since nothing could be further from the truth: She is not like the normal housewife next door, should not want to be, should not be in alarm at their criticism, and should thank God for whatever abilities she has of her own that do inevitably make her different, superior, talented, etc., with something unique to offer the world—an opportunity few possess, and that should be used with the greatest joy and abandon. [...] To stand in fear of the criticism or scorn of others is now, we see, the worst possible behavior. [...]

[...] We voiced the idea that three key words seemed to symbolize her physical hassles—fears of scorn, criticism, and flamboyance. [...]

[...] Always ask yourself: “Do I want to be the one who’s trying to do something, or the one who criticizes the efforts of others?”)

[...] When these dreams are unusually vivid, then the ego is aware and participating, but generally it is not using its critical faculties. As you know, you can become critically alert, but when you do so, you realize that you are not in your normal waking condition.

The experience of “coming to life during dreams” with any consistency, having some critical awareness, some rational control, some glimpse of other-dimensional reality — these events in the overall are bound to transform ordinary concepts regarding the nature of consciousness.

[...] Here the critical consciousness can be fully alert while the body sleeps. [...]

[...] It serves no purpose to include all of the many dreams of this nature that I recorded — dreams in which I managed to regain my critical senses, sometimes only to fall back into normal dreaming and sometimes to embark upon conscious experiments. [...]

[...] He is spontaneously critical, but critically spontaneous.

[...] The criticisms could hurt if you weren’t prepared... but we can ignore such critics.”)

[...] The book will be criticized... a barrage of criticism. [...]

(Dr. Instream said it was best to pursue a policy of denying nothing, to ignore the criticisms and go our own way. [...]

For all of these reasons the habits of repression continued, for any critical comment could bring up the whole barrage. [...] He dared not criticize you for anything, or even disagree in normal conversation, the charge was so great.

[...] He felt you did not trust his judgment, remembering what he thought of as key points in your life, when his judgment seemed wrong or when it was criticized.

From that point on he kept any negative thoughts or criticisms to himself, and during that time he feared that you almost disliked him completely. [...]

[...] You used to say in a critical manner that he would not wait for you to open doors, and run ahead of you on the street. [...]

[...] His ego is a critical one. It is his inner ego which is intuitional and gives his critical ego the material from which his books are written; and I expect naturally that his ego, and yours, will critically appraise what we have done here, what we will do, and beyond doubt any suggestions to you that I might make. [...]

I expect reasonable criticism, indeed enjoy it. [...]

(“What will the critics say about it?”)

A few good reviews from well-known critics.

[...] In a moment of high critical tension the personality may put itself together again.

Such critical-uniting episodes usually do not involve long sickness, though they may, but instead events such as bad accidents. [...]

[...] I say this now, not in a critical fashion, but so that you understand you are projecting outward that which you fear in yourself and others. [...]

[...] (Long pause.) You want to remove the idea that the situation is critical, and as unrealistic as it may seem, begin to change your thoughts more valiantly when this is possible. [...]

There is nothing you need fear, then, in Ruburt’s condition of a critical nature. [...]

Very briefly: (John) Fuller (see session 808 re John Fuller notes) is by turns overly credulous and overly critical. [...]

[...] As a journalist he can say “Yes, these things happen, but they did not happen to me,” and therefore gain what he thinks of as critical distance.

It involves the fear of criticism, that he will be criticized for being discouraged. [...]

[...] He identifies strongly with his work, so that there is often, however, a misunderstanding on his part, so that if you criticize, say, any portion of the work, or his handling of it with Prentice or whatever, he often takes that as a criticism of himself. [...]

Now some people deal with critical situations, and it is in the nature of their temperament. [...]