“Seth material” search engine (Jane Roberts)

(9:46.) Largely, but not completely, your imagination follows your beliefs, as do your emotions. [...] It will stop when the hurt stops, and the emotion behind the cry will automatically change into another. But if the child discovers that a prolonged cry after the event gets extra attention and consideration, then it will begin to extend the emotion.

Your emotions and your imagination both follow your belief. When the belief vanishes then the same emotional context is no longer entertained, and your imagination turns in other directions. Beliefs automatically mobilize your emotional and imaginative powers.

[...] When you are examining the contents of your conscious mind, you must learn, or recognize, the emotional and imaginative connotations that are connected with a given idea. [...] You generate the emotion opposite the one that arises from the belief you want to change, and you turn your imagination in the opposite direction from the one dictated by the belief. [...]

[...] And in order to have a good framework you must begin with the self that you know, and you must not ignore feelings or emotions, and you must not decide which feelings or emotions you will accept and which you will reject. [...]

[...] You move quickly, emotionally, and there is nothing wrong with this. [...]

[...] The intimate and noble qualities of life that can only be known through emotion of flesh with flesh. [...]

[...] You must try not to categorize things in old ways, but when you open your mind you will see a similarity between chlorophyll as a mental enzyme or mover, and emotion which is never still. Emotion solidified is something else again and perhaps is a framework of other worlds. [...]

Joking aside, I will now ask you to imagine these wires as being composed of the solidified emotion of which I have just spoken. Surely you must know that even the words feeling or emotion are at best symbols to describe something else, and this something else comes extremely close to your mental enzymes.

(“Abstract” art done in this manner would be an attempt to appeal, to generate an emotional response—in other words action on our plane—on a subconscious level. This would enable the emotional response so generated to radiate its warmth through all levels of our being. [...]

Now there is an emotional rapport, set up of course within some time, that exists between these persons. [...]

[...] The intellect can be used most handily in tabulating our results, but it will not help us to get our results, unless it is utilized as a means toward discovering how best to harness the emotions for communication purposes.

If you dislike the term emotions in this context, the word vitality may be substituted. [...]

[...] (Smile, forceful manner, eyes open wide.) You only learn emotionally. If you do not learn emotionally, you do not learn.

[...] For convenience’s sake it is better to include Seth’s later data along with our own interpretations, made during break, since emotional charges explain much concerning the material. For more detailed information on how the emotional charges influence Seth’s envelope data, see the 286th session.

[...] She called me once again; as I went to her she burst into tears; her crying was strong and highly charged; it seemed obvious she was responding emotionally to an experience of Barbara’s of an early age; Jane seemed to have attained a state beyond words. [...]

[...] Some artists with great ability may shut out intellectual maturity, utilizing native emotional qualities to such an extent and with such intensity that the mental reasoning faculties are largely shunted aside. (Pause.) Without rational illumination, the emotional elements may be so unwieldy that the artist, for all of his spontaneous expression, cannot relate in any kind of permanent situation of an intimate nature. For reason and emotion are natural counterparts.

[...] If they place a great value upon intellect at the expense of the emotions, then the child may be acting out for them the emotional spontaneity of which they are so afraid themselves.

A person with several existences stressing intellectual achievement might purposely then decide upon a life in which mental abilities are beyond him, and the emotions allowed a full play that he had denied them “earlier.”

(To Carl:) You must learn to reflect upon your own emotional states, to ride the emotions like a rider upon a horse rather than the other way around—and to show gentleness, to reflect more upon your own attitudes. [...]

Intellectually you are certain enough of your worth as a person, but emotionally not nearly as certain as far as other abilities are concerned. [...]

(Humorously:) I am not done with you yet, but I do not want him (Carl) to feel left out over here, and while you are recovering I will speak to him: for you were also in your own isolated universe, and if hers had fears in it, then yours was a valley of desolation in which your emotions were like unruly animals galloping around in there; and you were so frightened and worried about your own worth that you could not consider hers, and you were so insecure that her sensing insecurity, when you were aware of it, drove you to anger.

[...] You, Joseph, were particularly distrustful of the emotions, particularly of course of any raw emotion, and you preferred, if possible, to discuss emotions intellectually while feeling them as indirectly as possible. Ruburt was more emotionally demonstrative, more open to people, while frightened of them at the same time.

When he danced, he often felt that he was dancing out the emotions of others. When our sessions began I spoke to you in an intellectual rather than emotional manner. [...]

(10:05.) It is very possible that you would have found the emotional aura at least vaguely unpleasant on some occasions—so Ruburt always tried, because of his own feelings as well as yours, to be intuitional and intellectual at the same time. [...]

It was propelled from inner reality to outward reality through belief, emotion and imagination. [...] Physically you can only see the results of an emotion, for instance. [...]

(Deliberately:) Imagination and emotions are the most concentrated forms of energy that you possess as physical creatures. Any strong emotion carries within it far more energy than, say, that required to send a rocket to the moon.

[...] They generate emotion and imagination. [...]

[...] To discharge, and then examine, emotional responses that have lain latent.

In a new crisis situation, in facing a present crisis squarely and dealing with it in adult terms, he may indeed free himself largely; for the present situation through association brings up highly charged emotional energies that have been stopped up and causing difficulty.

It is highly necessary then that his present course be maintained, expressing his emotions honestly to himself and to you; and examining them, if he prefers, afterward, then taking with you whatever steps are necessary in your family situation.

[...] You must make an emotional bridge, for she will not understand an intellectual one. But the emotional bridge must not be of a violent nature.

[...] Your own ideas concerning various issues could be profitably inserted when you are not emotionally upset over them.

[...] There seems to be some situation arising particularly on Wednesdays, that is important emotionally to her. [...]

The emotional identification with nature meant that man had a far greater and richer personal emotional reality. [...]

[...] These were what you might call vital, responding personages, born of emotions of creativity. Perhaps you could compare them to the natural psychic or emotional equivalent, the psychological equivalent, of nature’s clouds, sun, storms, or seasons.

Myths are far more powerful than any facts, and they carry with them the great sway of nature’s own emotional force as it is interpreted through man’s experience. [...]

[...] Your emotional intensity and focus create forms beside your physical body, however their duration and degree are dependent upon the intensity of any given emotional origin.

[...] Form is the result of concentrated energy, the pattern for it caused by vividly directed emotional or psychic idea images. [...]

[...] Any intense mental act — thought or emotion — will not only be constructed in some physical or pseudophysical manner, but will also bear to some extent the imprint of the personality who originally conceived it.

[...] Such cross purposes, of course, can lead to mental, spiritual, physical and emotional difficulties.

[...] All of these attitudes can be extremely detrimental, and along with other beliefs are responsible for a goodly number of spiritual, physical, mental, and emotional problems.

[...] Boys are still taught to “be cool,” unemotional, aggressive, and assertive — as opposed to being emotionally warm, cooperative, gregarious but without fake bravado. [...]

Now, each of you had to recognize your own emotions and your own feelings this evening, to one extent or another. [...] When you are doing psychological time, however, you cannot afford to be using energy to hide your own emotions from yourself. [...]

[...] It will, instead, be an emotional awareness of that relationship. [...]

[...] You do it by realizing emotionally two things: your relationship with everything else that exists and your miraculous uniqueness; and the meeting place between the two is where the self is and you think of the self. [...]

(Jane said she had felt her facial expression change, as described; at this time the data began to change, she said, from the abstract into an emotional personality who was responsible for it. [...] The personality seemed quite upset, and would have gone on to become very emotional and vehement if my wife had chosen to let it continue in that direction. But having a little experience by now, Jane said she knew when to withdraw from the raw emotional encounter while in trance, and did so.

[...] A more personal and emotional atmosphere began to enter in that was revealing to us; in these situations Jane is learning control even while she is in trance.

[...] More emotion was now apparent, as though a personality was inserting itself into the data that, so far, had been quite objective and evenly given.)

You expect yourself to be a great artist, lost in the intricacies of what you think of as an artistic emotional reality, innocent of any interfering intellectuality. You berate yourself on the one hand for an intellect that it seems to you separates you from immediate emotional contact with painting and with others. At the same time, of course, you would certainly berate a Van Gogh for his overly emotional behavior.

Your intellect operates beautifully in the notes and appendixes of “Unknown,” but instead of rejoicing in it, you wonder if your notes lack the very kind of emotionalism that would make that particular kind of clear intellectual objectivity most difficult. [...] You wish for the intensified emotional preoccupation that would close your mind to all else but painting.

[...] He tries to be disciplined, put in his time, temper his emotional nature, so neither of you approve of yourselves. [...]

[...] There is emotional and psychological instability there. [...]

[...] Suggestions, whether given to you or given by you, cause an emotional situation that automatically affects the production of hormones and chemicals.

[...] Now this leads into a highly charged emotional environment, which is the cause of the depressions of which you have spoken.

[...] It senses its quite legitimate identification with nature, exercises its mobility, and feels its own emotional power leap. Your emotions in such a case would be momentarily magnified — raised, say, to a higher power. [...]

[...] To some extent your language organizes your feelings and emotions. [...]

These emotional experiences, however, often express the language of the psyche. [...]

You made large attempts to close yourself off from deep emotion, in reaction against your mother’s emotionalism, and largely because you felt emotionalism was false. With her, emotionalism was often an excuse.

You therefore believed all emotionalism to be of this nature. [...] In the beginning feeling and emotion sparked or initiated your paintings, but you worked it out of them to some considerable degree, not trusting it, and therefore not trusting the particular painting. [...]