“Seth material” search engine (Jane Roberts)

[...] I am not saying that, the emotional encouragement however is important. [...]

Without going into reincarnational information just now: from this life Ruburt got into the habit of not physically expressing emotion. [...]

(9:57.) Through the use of symbols, however, your feelings would be given full play, each image rising and falling in flow with feelings so far underneath consciousness — pools of emotion — that you were not aware of them. [...]

[...] Was it secure enough to keep you from accepting invitations, to allow you to avoid distractions, or emotional complications that might arise from any considerable contact with others in, say, “professional terms?” Ruburt built the edifice, but you looked on, for though you disliked the building blocks, say, the symptoms—you thought until very lately that it did serve its purpose very well.

[...] I do not want to hurt Ruburt’s feelings, and I have avoided making this statement thus far, but I have been emotionally more involved with you in past existences [than with Ruburt]. [...]

The emotional feeling of this brief statement was alive in the room when I came out of trance. [...]

[...] Several times, flashes of concepts came to me while I was house-cleaning — sudden intrusive patterns of thought accompanied by a feeling of intellectual and emotional illumination. [...]

(Jane would like me to add here that she believes the envelope test data of this evening developed the way it did because of the emotional content of events involving Jane, Roy and myself. Whereas Roy’s blockprint, while appealing to us both, was comparatively lacking in such emotional content, intrinsically.

This material will take its place in the conceptual and emotional life of Western civilization, and finally will make its way throughout the world. [...]

[...] The expectations, and the acts of expectation that will generate the necessary emotional and psychic energy must come from you, and wholeheartedly. [...]

[...] All of this goes back to ideas that existence must be justified, and Ruburt’s early ideas that writing would justify his life—but writing should express life, and is an expression of being, an expression of spontaneity, an expression of emotion, of body as well as mind (all intently). [...]

[...] His mother was superstitiously afraid of cats and in the incident in his bedroom an immediate identification was set up, under emotional stress and because of past feelings.

[...] He should make every effort to understand them consciously as well as emotionally.

[...] It is intellectual, yet carries the underlaying thrust of emotional hope—the distorted voice of the beleaguered, weary, ironic idealists.

[...] I stood at the window and dashed out this poem — far too emotionally unrestrained to be aesthetically a good one but an excellent example of my feelings at the time.

To kill for convenience … or for the sake of killing involves rather dire consequences, and the emotional value behind such killing is often as important as what is killed. [...]

[...] However Jane was as much aware of the emotional charges surrounding this object; she felt that she was quite aware of the emotional disturbances involved in a hospital stay in this particular case.

[...] Sue had been taught as a child to repress emotions, but the time had come when expression was imperative. [...]

[...] These experiences were highly valuable and produced undeniable physical results which last as long as Sue allows for normal release and expression of emotional energy.

[...] All of us tried to instill confidence and joy, and the responses were emotional. [...]

[...] The children have brilliant minds, healthy bodies, and strong clear emotions.

While many people are working in specific areas, developing the intellect, for example, or the emotions or the body, these parents and their children produce offspring in which a fine balance is maintained. [...]

[...] They may be emotional rather than intellectual, as you understand those terms (pause), but they are restless, usually on the move. [...]

[...] Your emotional understanding has also deepened greatly through the years. [...]

(Once again, the material in the last delivery was very good, with much intuitive insight as regards character, background, emotion, etc., in painting. [...]

[...] An emotional eruption will do the same thing on another level, altering the local area primarily but also sending out its ripples into the mass psychological environment. [...]

He felt he responded to people more emotionally, and so he took steps to see that artificial restraints were applied, so to speak, for those tendencies, he felt, could jeopardize not only his own work, but yours. [...]

[...] You do not thoroughly appreciate emotionally your part in the production of our material, or realize that its direction and so forth must be, and is, colored by your own unique characteristics as well as Ruburt’s—and that at certain levels, the Seth material, as it exists, is a product of your lives together. [...]