“Seth material” search engine (Jane Roberts)

(This morning Jane and I worked with the pendulum on the question of inspiration, and discovered that there was much there to be learned and clarified in her attitudes, and mine too, for that matter. The three pages of questions we devised are on file. We learned among other things that Jane felt she had to hold off on new inspiration while we fulfilled existing commitments—schedules and contracts, etc., and that she wanted to help type “Unknown” Reality, Volume 2, presumably, I thought so that she could get it out of the way so she’d be free to go on to other things. I hadn’t anticipated her doing that kind of “work,” though. This afternoon she did type on the first session for the book, though, and said she felt much better. We asked that Seth comment on the whole idea of inspiration for her, beyond material he’s already given.

Inspiration, however, in its appearance is spontaneous, and those who possess it have their problems if they want to make such inspiration available to the world. There are those who can go from one spontaneous inspiration happily to another equally spontaneous one, and feel no desire to form any kind of art from it, or to order it along the ways of the world.

You were quick to intuitively understand the nature of such inspiration. You were quick to nourish it. You helped give it form, so you do understand inspiration. It is not a luxury, but the nature that sustains each individual and the world. Ruburt has more than appreciated your support, and in fact you have indeed inspired him, so your conversation earlier upset him considerably.

[...] He was quite correct, for those impulses arise from the larger self’s immersion in Framework 2, and those impulses led Ruburt to his intuitive inspirations, experiences of psychic events, and to the books. When he becomes overly concerned about writing as work, or with psychic development as something he should do, then he tangles those impulses, and becomes worried that he will not be suitably inspired again.

[...] Oversoul Seven 2 began from inspiration, and whenever he turns back to the manuscript he is inspired again. [...]

He wants to be inspired. On the other hand he thinks “What if I am inspired with new material when I still have Seven to finish, and when besides I should be helping Rob with “Unknown”?

[...] Again, while a certain time is required for any activity as far as artistic inspiration is concerned, there is little correlation, for artistic inspiration is independent of time.

Your creature feelings toward night, dawn and dusk, have much more to do with inspiration, though a painting, once inspired, may then take so many hours to execute. [...]

Now: When Ruburt’s high level of creativity happened to be strong enough to easily include five or six hours a day he improved, since his inspiration took as many hours as he thought his work should.

[...] It takes time to paint or write, but the great inspirations of painting and writing transcend time, and the feeling of freedom and exuberance can give you in a few hours creative inspirations that have nothing to do with the time involved.

[...] To some degree, you squeezed your exuberance into a tight fit, and tried to make a creative productivity regulate itself, to fit the industrial time clock: so many hours bringing a feeling of virtue, even if the attitude itself cut down on the exuberance of inspiration.

[...] It is the voice of inspiration, whether or not you recognize it as such. [...]

The experience came within a framework that he could accept — that of highly accelerated inspiration. His consciousness left his body only after he was in the throes of what seemed to him to be inspiration of almost unbearable intensity. [...]

Such information, such inspired writing, usually appears within frameworks of the personality that have already been set and formed. [...] In some cases, the framework itself is used for a final time, with the initial inspired knowledge — the knowledge itself — escaping from the framework and growing out of the context that allowed for its birth.

Ruburt, for example, would have made the same error had he not been led by his experience beyond the framework of inspiration that had given it birth. [...]

Now Ruburt, compared to Jane’s self 3 in these terms, is closer to Jane, so close that Jane has often accepted inspiration and ideas from Ruburt without realizing it. [...]

[...] Jane believed it was an extension of the arrangement Seth mentioned briefly on page 124, when he talked about Jane accepting inspiration and ideas from Ruburt without realizing it.

[...] Ruburt’s has been the voice, the inner voice, that often has given Jane inspiration.

(Pause.) Ruburt has felt too responsible to develop his psychic abilities, to produce another “psychically inspired” work of his own. [...] Therefore, left alone, Ruburt writes freely, and in an inspired nature because that is (underlined) his nature. [...]

[...] It is natural for him to be inspired. [...]

[...] Left alone, Ruburt’s creative life falls into inspirational patterns that spring from their own secretive sources. [...]

[...] There is no need condemning the attitudes he will be inspired by on both the long and short projects. He will receive new insights and inspirations. [...]

[...] Ruburt’s own inspiration operates with its own rhythms: his Stonehenge poem, or whatever. [...]

5. At night: help and inspiration can appear at all levels of my experience... [...]

[...] Other portions should explain your own ideas concerning creativity as you feel it in yourself — the differences and similarities between your experience when you paint a picture from “usual” inspiration and when first of all you perceive the psychic impression that leads to a painting. [...]

[...] This work can be followed by one utilizing sessions concerned with art mainly but covering some other artistic areas as well, such as the nature and origin of inspirations.

[...] This morning, we’d asked a series of pendulum questions about material in Monday’s session, concerning work, inspiration, protection, and so forth, and obtained some illuminating answers.

You must realize that expression and not repression is the natural complement of creative abilities, and that in freeing his body, in encouraging physical mobility, he also encourages and frees his inspiration, his psychic awareness, and creativity.

The whole area of work, time, inspiration and protection should be explored, and kept in the open, and Ruburt should write some kind of statement that expresses his understanding of the matter thus far, and states his questions. [...]

Hot in afternoon, not inspired—disappointed; do sketch.

Inspired by Jane’s ideas, Laurel wrote on September 27, 1994:

So far, metaphysics has only been entertainment, a step-science of our culture; part of the extended family of science for the purposes of inspiration and ideas, but not given credit as scientific truth. [...]

Inspiration comes when he is relaxed. [...]

[...] Your own (in quotes) “psychic abilities” now give you easy (underlined) access to inspiration. [...]

You wanted to express now the fuller inspirations that come later, and with an exquisite sense of form that Josef never learned. [...]

[...] Regardless of what you think, pure inspiration has nothing to do with time. [...]

[...] Children learn such languages mentally long before they are physically capable of speaking them; but again, in genetically inspired dreams, children—or rather, infants—practice language. [...] Those dreams themselves inspire the physical formations necessary to bring about their own actualizations.

There are also what I will call genetic dreams, which are inspired directly by genetic triggering. [...]

[...] Instead, these are genetic attributes, inspired and promoted by the inseparable unity of spirit in flesh. [...]

[...] It was precisely in the area of artistic expression, of course, that the inspirations might quickest leap through the applied dogmatic framework. The political nature of inspirational material of any kind was well understood by the church. [...]

Both the nightmare experience and the dream were partially triggered by our last session (on March 4), of course, and served to show Ruburt why he had begun to cut down on some (underlined) of his own psychic experience, inspiration, and expression—a policy reflected in the repressed nature of bodily expression. [...]

[...] During that time he automatically refreshes his body, by placing himself in a state of consciousness that is at least capable of opening up all kinds of help, inspiration, and undreamed-of considerations.

At the same time, however, over a period of time he began to hold back creatively to some extent on inspiration itself, wondering where it might lead him, and this caused part of his physical difficulties (long pause), the physical blockage of course reflecting the inner one. [...]

He has held back his inspiration, though, out of confusion, wondering about experiences that cannot be put directly into beneficial use, and also out of concern, again, that the spontaneous self and its intuitional insights will put him in further conflict with the world. [...]

[...] (Pause.) It will serve to inspire others, but each person is responsible for his or her own life, and Ruburt does not have a private clientele, nor is he temperamentally suited to use his psychic abilities to track people down or to serve as a therapist. [...]

[...] Inspiration always springs from beyond your system, and not within it. It always springs from channels that are available to you, (pause) and if it is, again, distorted, without the distortions, you could not use the inspirations.

I will try in your future to explain basic systems of co-ordinates so that you will have some conception of how all creative and inspirational ideas always appear within your system; for only one portion of you appears isolated within it.