“Seth material” search engine (Jane Roberts)

In his case, the two go together and serve each other. The poetic creation, itself art, also serves to free the personal subconscious and to transform personal material into art. The subconscious is thus uncluttered because of the poetic expression, and this helps to make the psychic work possible.

The psychic experiences are then used as poetic subjects, and this cycle of creativity is always enriched as the whole personality continually develops itself and grows. Any undue tampering disrupts this function. The personality could not approach its own promise until the poetic nature led to the psychic development. When this occurred, some personality adjustments were required. The ego felt threatened in direct proportion to the strength of the newly felt abilities, and performed a huge trick.

Ruburt does not mistrust himself because he plunges headlong, literally, into the poetic experience. He does not feel guilty because he does not intellectually question the moment of poetic revelation. [...]

[...] The intellect follows when and to what extent it can in the poetic experience, but does not directly participate in the initial moment of revelation or intuitional insight. [...]

The strength of the intuitional insight itself convinces the intellect of its validity after the poetic experience, because Ruburt allows himself full freedom to encounter the revelation. [...]

[...] There will be further developments in his use of poetic form.

There is a poetic justice operating in that respect. [...]

[...] A poetic statement carries weight for his personality, and this poetic statement has almost magical connotations. [...]

Jane treated similar concepts poetically in 1965:

He was considered an overimaginative child, and turned much of the inner information into poetic form as he grew from childhood. [...]

[...] She simply experienced sudden new thoughts, and since she is a poet, these appeared as poetic inspirations. [...]

[...] He must realize that he is free to express his poetic, psychic nature, and to follow wherever it leads — since it is indeed his natural pathway into existence, and his most intimate connection with the universe, and with All That Is.

[...] I told him sessions ago that the poetic and psychic portions of his personality were deeply united, and now looking over his old records he knows that I was correct.

[...] Actually, she felt, the Speakers’ material was “probably more poetical.”)

(I read one of Pete’s questions aloud: “I typed some very deep emotional, almost poetical words one afternoon and felt Ferd was expressing himself in this branch of automatic writing. [...]

[...] For I feel now, in connection with the two “new” poems, the same profound sensations I had concerning Jane’s challenges when I wrote in Note 6: “Perhaps it was her poetic art of expression that helped me identify so strongly with her emotions, but I suddenly felt that even I had never really understood the myriad depths of her challenges and her reactions to them.” [...]

Ruburt I believe once wrote a poem in which he stated, much more poetically indeed, that pain was deeper than a lake or a river; and this type of depth is that to which I refer here. [...]

[...] Perhaps it was her poetic art of expression that helped me identify so strongly with her emotions, but I suddenly felt that even I had never really understood the myriad depths of her challenges and her reactions to them. [...]

Jane might have shortened her poem had she written a final draft; rather, I decided that the reader should see just how she had spontaneously and poetically contended with her challenges on a particular day. [...]

Now our friend, poetic Ruburt, wrote a poem about the Gods in the Rafters that I enjoyed, although poetry has never been one of my particular joys. [...]

(Now here are excerpts from the account she wrote for me of her experiences involving the rain-puddle creature and the light on the evening of February 2. Jane’s narrative and poetry supplement Seth’s own words, and show how she became consciously aware of the unique transformation of her original poetic ideas into visual reality — and how she then carried the creative process another step by converting her new perceptions into more poetry. [...]

Your physical time of seasons and tides, and night and day, is to me one of your most delightful camouflages, and if Ruburt will excuse my clumsy attempt at being poetical, I will say that physical time is like a delightful flowing gown that clothes psychological time with many different colors and materials and designs. [...]

The street is quiet, and were I poetic I would have more to say. [...]

[...] I also felt that in each of us there is a deep connection with “magical” elements of our nature—magical in that they rise like poetic inspiration, filling the mundane world with a special living, personal meaning. [...]