“Seth material” search engine (Jane Roberts)

I am putting this rather simply here. (Pause.) Imaginatively you have greater freedom to express feelings than you do practically. An earlier particular fear felt during the day involving, say, a loss of a job may then be translated when you close your eyes into a series of seemingly unrelated symbols, all however connected to that one fear.

You may see in a quick series of pictures a deep hole in the ground. It may be replaced by a street urchin, obviously poor and from another century. A casket may appear, or a black wallet fly through the air. You may see a severe, dark, wintry scene. The picture of a character from an old book long forgotten may appear and disappear. In between may be a grouping of opposing symbols, representing your hope — a spring flower, a table loaded with food, a new suit of clothes, any sign of abundance that would have meaning to you. Nowhere would the thought of the potential loss of a job enter in. It would seem to you that you had forgotten it.

To some extent the more precise a symbol is, the less meaning it can contain. In the most important dream work, done in the deep protected sleep periods, the symbols are powerful enough and yet condensed enough so that they can be broken down, used in a series of seemingly unrelated dreams as connectives, retain their original strength and still appear in different guises, becoming in each succeeding dream layer more and more specific.