“Seth material” search engine (Jane Roberts)

Unknown characters within the dream action, persons unknown to you in everyday life, should be given careful attention also, and the roles which they play within the dream drama. [...]

[...] While she remembered the dream clearly and saw its instant results, the information was not given to the conscious self (not even in the dream drama) but to other layers more intimately concerned with body-mind mechanisms. [...]

[...] In the next session, Seth explained it and showed how reincarnational background, present problems and personal symbolism were all used in the dream drama. [...]

[...] It is a kind of creative (underlined) psychological face that you use for the purposes of your life’s drama. [...]

[...] The multistructured nature of the dream state allows for dream dramas in which probable selves do appear. [...]

[...] It’s easy to miss, or skip over, the drama in her lifework because it’s so pervasive in all of her creative endeavors. She was fully aware that that quality became much more obvious in her class singing and sessions, but she didn’t have to consciously evoke it—the drama was just there. [...]

[...] As with her speaking for Seth, her greatest power and drama in singing was engendered in class. [...]

[...] The point is that the images the artists were trying to portray were initially mental and emotional ones, and the paintings were supposed to represent not only themselves but the great drama of divine and human interrelationship, and the tension between the two. [...]

[...] They know and yet pretend they do not know, but those who die in catastrophes choose the experience — the drama, even the terror when that occurs. [...]

[...] When the death was not acted out in drama form—this you are familiar with, we shall not go into it here—then instead the mother pretended to have an attack of one kind or another, and she told the child that the child was directly responsible.

[...] In the terms of the biblical drama (underlined), however, Christ was crucified.

[...] This greater personage then has earthly counterparts, each individual alive taking part in the vital human drama of any given century. [...]

[...] However, those who choose such deaths want to die in terms of drama, in the middle of their activities, and are in a strange way filled with the exultant inner knowledge of life’s strength even at the point of death. [...]

[...] As an actor in a drama goes along with certain acts and gestures that make the play necessary, while at the same time he realizes that the play is a play, he must still focus his attention upon the lines spoken, and use the props available.

[...] He spoke to Carl about a game involving mathematics and drama that would make millions for Carl, should he succeed in working it out. [...]

Now during the dream drama the inner self may focus at various, or at one of various subconscious areas which it uses as a point of departure. [...]

[...] My part in that drama was simply to acquaint myself with its physical foundation; to be a participant, however small, in that era. [...]

For example as I have said, the fourth or conceptual sense ignores what you call past, present and future, and so can appreciate a concept in its entirety, can actually experience the concept in much the same manner that you might work out an idea through a drama, if you follow me.

[...] She needs drama, within the framework of the home, and she wants this from you. [...]

Right then and there I made up my list of similarities between dream and physical events and was astonished — precisely because the forseen event was apparently the reading of the pamphlet, which I’d then transformed into that strange dream drama. [...]

[...] The dramas are not true to life in physical terms, but are true to life in psychic terms.

This data is often wound by the dreaming self into a dream drama, which informs the subconscious of dangers, or of the probable success, of any given event which is being considered by the subconscious as suitable for physical actuality.