“Seth material” search engine (Jane Roberts)

In the dream state the actors become aware to some extent of the parts they play, and sense the true personal identity that is behind the artist’s craft. I have spoken of this before, but it is important to remember that you impose a certain kind of “artificial” sense of exaggerated continuity even to the self you know. Your experience changes constantly, and so does the intimate context of your life — but you concentrate upon points of order, in your terms, that actually serve to scale down the context of your experience to make it more comprehensible. There are no such limits naturally set about your consciousness.

Man is a part of that trans-species consciousness also, as are the plants and animals. Also, part of man’s reality contributes to that trans-species organization, but he has not chosen to focus his practical daily consciousness in that direction, or to identify his individuality with it. As a result he does not understand the greater natural mobility he himself possesses, nor can he practically perceive the natural psychological gestalts of which he is a part, that form all of your natural — meaning physical — world.

In dreams this relationship often is revealed. The truth behind such relationships is inherent in all God-Man, God-Woman, Animal-Man, or Animal-Woman legends and mythology. There are connections, then, between man and the animals and the so-called gods (in small letters), that hint at psychological and natural realities.

The natural structures of the earth are formed as the result of the biological cooperation of all species, and consciousness itself is independent of any of the forms that it may at one time or another assume.

I am simply explaining the characteristics, aptitudes, abilities, and tendencies of Nature, with a capital N. There are so many different levels in what you call the dream state that they are impossible to list, except in stereotyped ways. This is particularly because some dream sequences involve biological comprehensions that are not literally translatable.

In nature nothing is wasted, so the luxurious growth of man’s dream landscapes are also utilized. Whether or not these are physically actualized, they have their own reality. Your own personalities are to some extent the result of your waking experience. But they are also formed equally by your dreaming experience, by the learning and knowledge and encounters that occur when many would tell you that you are beyond legitimate perception. Dreams, then, are deeply involved with the learning processes. Dreams of walking and running occur in infants long before they crawl, and serve as impetuses.

In rudimentary form children’s dreams also involve mathematical concepts, so that formal mathematical training falls on already fertile ground. The arts, sciences, agriculture — all of these reflect natural contours and tendencies inherent in man’s mind, as general rather than specific attributes emerging first in the dream state, and then sparking specialized intellectual tendencies in the waking state.

(11:59.) Because that state is also connected with waking life, you also take into it many of the elements of your daily existence, so that your recalled dreams are often cast in fairly conventionalized terms. As a rule you remember the dream’s outer veneer, or what it turns into as you approach your usual level of consciousness. In a dream you are basically aware of so many facets of an event that many of them must necessarily escape your waking memory. Yet any real education must take into consideration the learning processes within dreams, and no one can hope to glimpse the nature of the psyche without encouraging dream experience, recall, and the creative use of dream education in waking life.

He is reminding you of life’s natural spontaneous creativity — the source of your own creativity, purposes, and intents. So that life can intrude upon your art (with amusement).