“Seth material” search engine (Jane Roberts)

In appearing on television he wore initially the pants suit to stress the masculine aspects, or tailored clothes, each stressing to him the more masculine, intellectual, respectable qualities of his nature. He is saying, you see, “I am quite normal, quite intellectual, and in my way quite responsible and proper. Do not be alarmed by my wild mystical self, for it is well under control.”

The intuitive portions of himself he has always considered as feminine. The intellectual capacities he always considered masculine. He relied upon the intellectual abilities therefore as the stronger, because in his own background he believed the male to have the greater strength.

He set himself up then as an intellectual, and this became his badge of respectability. It also held a more masculine than feminine image in his mind however, for the reasons as given.

You, being a male, he felt, would be most alarmed at any undue emotionalisms. This aside from your own reaction to your mother’s emotionalism. So there was a good division set up between his intellectual-respectable-to-him masculine aspects, and his intuitive, feminine, private aspects.

[...] Your gods became masculine then; competitive. [...]

[...] There were gods and goddesses galore, and deities in whose natures the feminine and masculine characteristics merged. [...]

[...] It is what others will think about his masculinity that such a man is concerned with. [...]

[...] In that context, the day hours and waking consciousness are thought of as masculine, along with the sun — while the nighttime, the moon, and the dreaming consciousness are considered feminine or passive. [...]

There would have been no question of men performing so-called feminine tasks, or of women performing so-called masculine tasks, for there no leeway for that kind of individual action would have existed.

[...] Women who possess characteristics that are thought to be masculine have the same problem on the other side.

An entity is composed of what you may call feminine and masculine characteristics, but when all energy is focused into masculine-oriented personalities then a backlog develops, so that the entity is left with only unused, unmanifested, so-far-denied feminine characteristics.

[...] The vessel becomes a masculine symbol. [...]

Your dream began with this, but you quickly changed into a masculined interpretation. [...]

[...] A four plus one, and an initial—initials—I believe three, J A B. (Pronounced almost as a question.) Masculine. [...]

Masculine overtones. [...]

(“Masculine.” [...]

[...] “Masculine overtones. [...]

[...] In any case Ruburt thought of your art as noncompetitive, solitary, intuitive, and opposed to the stereotyped masculine role. [...]

[...] But in certain terms she was the masculine center of the family, emotions or not, the aggressive one; and speaking conventionally now, your father (Robert Sr.) accepted the more passive creative role. This has meaning in terms of your [unpublished] information⁸ involving the masculine and feminine aspects that united and separated your parents. [...]

She identified with you to some extent, and to some unrecognized degree was “only masculine, now,” in her understanding of power. [...]

(Here followed a discussion of Jane’s masculine actions and gruff voice when Seth comes through.)

([Rachel:] “I mean as masculine. [...]

[...] He felt that his father would consider such demonstrations not masculine.

You are endowing her with what you imagine to be highly efficient masculine qualities. [...] There are no qualities as such that are masculine or feminine. [...] And in your mind you are setting Margo up as highly efficient because she has those abilities that you think should be your own because you think that they are masculine qualities. [...]

[...] Once in a while her “Seth voice” is very loud indeed, much more powerful, with definite masculine overtones and with an obvious, tremendous energy behind it. [...]

(I think these changes in Jane during sessions are caused by her creative reception of a portion of an entity, an essence, that we call Seth, and by her own ideas of what this certain segment is like as she casts it in the masculine gender. [...]

[...] He was in a fashion frightened of the ideas of masculinity he grew up with—ideas he felt he did not embody, and he projected those upon his sons so that in a fashion they overawed him, or put him to shame. [...]

A little investigation gave us glimpses into numerous instances in which blended masculine and feminine qualities are contained in the gods of our very ancient myths. [...]

[...] I’ll simply add that in religious terms alone Christ can be seen as androgynous, in that he’s obviously a symbol of the unification of opposites — whether of the conscious and the unconscious, the feminine and the masculine, this reality and others, the mystical and the “practical,” and so forth. [...]

All of which reminds me that to many viewers the “portraits” I paint are balanced equally between the masculine and feminine, regardless of whether the subject in any one of them is male or female. [...]

[...] I don’t know whether I was more surprised at the fact that Jane seemed not at all disturbed by this voice, or by the fact that it had such a definite deep and masculine tone.”

[...] Rob told me about the heavy masculine voice with its astonishing volume, and all around me I felt this high energy and great humor as if an invisible Seth were sitting there, smiling, ready to start a friendly chat.

[...] Her mother’s domination had more masculine aspects. [...]

[...] There is a great history of masculinity that expressed itself through the development of thought, quiet meditation—and I do not necessarily mean of the mystical kind—of communion of the mind with nature. [...]

[...] “I know that in those earlier sessions Seth said I equated the left side with the unconscious portions of the personality and the masculine role in society [see the deleted sessions for April 4 and 16, 1979], but—”

[...] Some women display what you think of as masculine characteristics, growing hair about their faces, speaking with heavier voices, or becoming angular; while some men speak with lighter, gentler tones than ever before, and their faces grow smoother, and the contours of their bodies soften.

Women taught to be frightened of the “masculine” sides of their nature cannot be expected to love men, either, and the same kind of behavior results.

The discomfort in the testicle reflects the problem you feel with the masculine role. But the typical masculine role in your country, you must understand, is certainly not primarily that of an artist. [...]

[...] Generally speaking, creativity has feminine connotations in your society, while power has masculine connotations, and is largely thought of as destructive.