“Seth material” search engine (Jane Roberts)

[...] In your painting, remind yourself of reincarnational selves, for there are more portraits ready, and in your nap time, beside rest, both of you give such suggestions:

[...] Allow yourself at times to imagine, at least, an important portion of your own creative self as innocent, sweet (gesture), and natural as that young Butts boy relative (Steve). [...]

[...] You are asking too much of normal waking consciousness, smoothing out the valleys and peaks of its activity, demanding in some cases that it go full blast ahead when it is actually at a minimal period, denying yourself the great mobility of consciousness that is possible.

(9:59.) Think of yourself as a creative consciousness, capable of both a detailed and an extended, both a visual and a thoughtful, merged focus. [...]

You “were” right, then, when you worked on the book before your bout, and during that time you trusted yourself—but then your ideas of the comparative nature of your ideas intruded, triggered at that time by (news of) Crowder’s death, and the ensuing beliefs about the male role in society, and as that applied to your own talents. [...]

(Pause.) In a capsule, comparing yourself to what you think you should be, and largely because of troubles with communication. [...]

In this case there was also the belief that there was a lack in the flow of communication, a blockage in the flow of creativity, so tell yourself that your creative ventures can flow through you easily and well. [...]

[...] You were also pleased with the sessions on quite another level, and on this level honestly accepted Ruburt’s part in them, although you still wished this part were played by yourself.

Now Ruburt has said, and I have said, do not blame yourself, and this is valid in those terms. [...]

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. [...]

There are, then, no devils waiting to carry anyone off, unless you create them yourself, in which case the power resides in you and not in the mock devils. [...]

[...] The one mentioned in class material (in the 558th session), and the other yourself. [...]

[...] This is how your virus acted, and you yourself triggered it. [...]

You activated it yourself, and I would not tell you this until you had completely conquered it. [...]

You struck out at yourself because in the past you found pleasure in doing something, and you were well paid to do it. [...]

The other was to hurt yourself. [...]

You can discover what your own reasons are for choosing the dilemma or illness by being very honest with yourself. [...]

[...] “but you’ve just got to assert yourself when they happen at such times. [...]

[...] That you should allow yourself every ability you can to see what you can do with it. [...]

(10:50.) If you think, however, that the self as you know it is the end or summation of yourself, then you also imagine your soul to be a limited entity bounded by its present ventures in one life alone, to be judged accordingly after death on the performance of a few paltry years.

On a conscious level certainly you are not all that God is, for that is the unstated, unmanifest portion of yourself. [...]

[...] Then what an outrage do you work against yourself when you try to justify your position in terms of money or worth according to the most parochial limits and social expectations of your time. [...]

They also rise partially whenever you think of yourself as a male first or primarily, and then as an individual. [...]

If you would know yourself in deepest terms, you must start with your own feelings, emotions, desires, intents and impulses. [...]

[...] When you begin trusting yourselves, you start by taking it for granted that to some extent at least you have not trusted yourself or your impulses in the past: You have thought that impulses were dangerous, disruptive, or even evil. [...]

[...] As you focus upon certain details from a larger field of physical reality, so then you focus upon only the small portion of yourself that you consider “real.”

[...] You cut off the knowledge of yourself, and so divisions seem to occur. [...]

[...] Next, pretend that you are waking from the dream to realize that another dream was simultaneously occurring, and ask yourself quickly what that dream was. [...]

[...] You exist outside of your present context, but such statements are meaningless, practically speaking, unless you give yourself some freedom to experience events outside of that rigid framework. [...]

[...] Following through with our analogy, imagine yourself Self A. We will start you off in physical reality on Thread A, though you have already traversed many other threads to get where you are.

[...] Pretend, then, that you possessed within yourself the knowledge of all the world’s masterpieces in sculpture and art, that they pulsed as realities within you, but that you had no physical apparatus, no knowledge of how to achieve them, that there was neither rock nor pigment nor source of any of these, and you ached with the yearning to produce them. [...]

[...] You, as a consciousness, seek to know yourself and become aware of your self as a distinct individual portion of All That Is. You not only draw upon this overall energy but you do so automatically since your existence is dependent upon It.

[...] You can hardly catch yourself at it, and yet with training you will be able to catch yourself in the act.

[...] That is, you would have found yourself capable of dealing with the problem since you would not have used up so much energy as you tried to hold off the inevitable.