“Seth material” search engine (Jane Roberts)

[...] And you will indeed work out dramas in what you think of as this room, and by working out these dramas, you change events both in your past and in your future, for time is open-ended. [...]

[...] On the other hand your common, unlettered, violent television dramas do indeed provide a service, for they imaginatively specify a generalized fear in a given situation, which is then resolved through drama. [...]

(11:30.) Such programs do indeed pick up the generalized fears of the nation, but they also represent folk dramas — disdained by the intelligentsia — in which the common man can portray heroic capabilities, act concisely toward a desired end, and triumph.

(Long pause.) Your television dramas, the cops-and-robbers shows, the spy productions, are simplistic, yet they relieve tension in a way that your public health announcements cannot do. [...]

[...] The Crucifixion and attendant drama made sense within your reality at the time. [...]

[...] This particular drama would not have made sense to other systems with different root assumptions than your own.

(10:21.) In any of these worlds, the Christ drama could never appear as it appeared within your own. [...]

(1:38.) In this case you had a kind of sympathetic drama that was symbolically and literally meant to remind you of Leonard. [...]

In a way, Ruburt’s call resolved the drama, even though the message is late. [...]

[...] Often it seems that you have no more control over the drama of your own life than you have over the outcome of a television program. [...]

So, often such dreams are like programmed dramas, in that you clothe such visitations in familiar props. [...]

[...] You will paint the situation for yourself by using many different dramas. [...]

Now in your own way, you were asking the same kind of question that he was asking and you set your own kind of drama about it. [...]

[...] There are other feelings about the same matter that did not enter into this particular drama. [...]

There is a compassion, a jovial yet understanding one, that I can feel for such activities that is more difficult for you to experience, but in many cases the drama—the gods or devils who seem (underlined) to speak through the board, the sense of importance felt by the participators, the heightened emotional activity—all of these provide often, rich elements of experience otherwise lacking from a mundane daily existence.

[...] All of us expected an easygoing session — one that might touch upon current events involving the three of us, from a very ill feline, say, to our impromptu Friday evening “reincarnational dramas.” [...]

The entanglements were those that were necessary in the context of that religious drama. [...]

(11:20 P.M. Seth’s reference to reincarnational material of my own concerned the “reincarnational dramas” that Jane, Sue, myself and a few others have undertaken on our own, usually at our Friday night gatherings. [...]

(8:47.) The origins of drama began in just that fashion. [...]

If small families kept track of their own family dreams, for example, they could discover unsuspected correlations and sense the interplay of subjective and objective drama with which they are always psychologically involved. [...]

[...] Yet I come to your reality by a strange route — one that does not involve roads or highways but psychological dramas that wind backward like paths into the “psychological history” of your species. [...]

[...] Your dreams can be interpreted as dramas, perhaps, but never as diagrams.

[...] Take your theaters’ moving picture dramas. [...]

[...] Animals enjoy drama, and in their fashions they playact.

[...] To some extent this was a true, creative, sexual drama — again, of high pretense, for in its own way the consciousness of the species was playing for high stakes, and the drama had to be believable.

[...] As indeed mentioned last week, the villain in a religious drama would be a creative figure. [...]

(Ron:] “But in the terms that we are all spirits acting out our own inner drama, the term spirit has some meaning?”)

[...] Only those still bound up in ideas of crime and punishment would be attracted to that kind of religious drama, and find within it deep echoes of their own subjective feelings.

Christ knew however, clairvoyantly, that these events in one way or another would occur, and the probable dramas that could result. [...]

[...] First imagine that during the daily programming there are three soap operas, four news programs, several excellent dramas, a few operas, some popular music, several religious sermons, and some sports programs. [...]

[...] This Wilford, while carrying on within his own drama as, say, a sickly grocer in Iowa, with a mistress he cannot support, and a wife that he must support (with amusement) — this poor, besieged man on station KYU is also aware of all the other programs going on at the other stations. [...]

[...] Behind the scenes not only would the performers, as performers in all of the programs, all know each other, but the characters portrayed by them would know each other and be aware of each other’s roles in the programs, and even now and then stray into one another’s dramas.

At levels beyond the comprehension of the viewer, all of the dramas and programs would be related. [...]

[...] The church provided a cosmic drama in which even the life of the sinner had value, even if only to show God’s compassion. In your society, however, the sterile psychic environment often leads to rebellion: People take steps to bring meaning and drama into their lives, even if intellectually they refuse to make the connection.

Yet in the midst of these beliefs each individual seeks to find a context in which his or her life has meaning, a purpose which will rouse the self to action, a drama in whose theme private actions will have significance.

The role-playing in the dream drama would be one in which you creatively worked out the problems that caused the imbalances to begin with. [...]

[...] This result stems from the psychic situation set up within any dream drama (pause), and in it the problems or challenges of your existence are worked out. [...]

[...] You can turn on television and see a drama, but the inward mobility and experience of your psyche is mysteriously enfolded within all of those exterior gestures that allow you to turn on the television switch to begin with, and to make sense of the images presented. [...]

Where is the television drama before it appears on your channel — and where does it go afterwards? [...]

[...] I am using the name here, Christ, as one person for the sake of discussion, for that entity touched many lives, each leaping into a kind of super-reality as it joyfully played its part in the religious drama.

[...] People do not understand that their dreams become reality, and that the greater dramas of history and myth often bear little resemblance to the actual occurrences, but are greater than the physical events.

Value fulfillment is the largest issue here, both with Seth’s book and my own experience, and if I really understood what Seth was saying in this book, I would not have needed to undergo such an uncomfortable drama in my daily life.