May 29 2012

Reading the Seth Material (part 4)

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Your environment includes far more than you may have supposed. Earlier I referred to your environment in terms of the daily physical existence and surrounding with which you are currently connected. In acuality, you are aware of very little of your larger, more extensive environment. Consider your present self as an actor in a play; hardly a new analogy, but a suitable one. The scene is set in the twentieth century. You create the props, the settings, the themes; in fact you write, produce, and act in the entire production – you and every other individual who takes part.

You are so focused in your roles, however; so intrigued by the reality that you have created, so entranced by your problems, challenges, hopes, and sorrows of your paritcular roles that you have forgotten they are of your own creation…

But there are other plays going on simultaneously, in which you also have a part to play. These have their own scenery, their own props. They take place in different periods of time. One may be called “Life in the twelfth century A.D.” One may be called “Life in the eighteenth century,” or “in 500 B.C.,” or “in A.D. 3000.” You also create these plays and act in them. These settings also represent your environment, the environment that surrounds your entire personality…

You do not understand your own multidimensional reality; therefore it seems strange or unbelievable when I tell you that you live many existences at one time. It is difficult for you to imagine being in two places at once, much less in two or more times, or centuries…

Each of you are now involved in a much larger production, in which you all agree on certain basic assumptions that serve as a framework within which the play can occur. The assumptions are that time is a series of moments one after another; that an objective world exists quite independently of your own creation and perception of it.; that you are bound within the physical bodies that you have donned; and that you are limited by time and space.

Other assumptions accepted for the same reason include the idea that all perception comes through your physical senses; in other words, tha tall information comes from without, and that no information can come from within. You therefore are forced to focus intensely upon th eactions of the play. Now these various plays, these creative period pieces represent what you would call reincarnational lives.

They exist basically at one time. Those who are still involved in existences, find it difficult to see beyond them. Some, resting between productions, as it were, try to communicate with those who are still taking part; but they themselves are merely in the wings, so to speak, and can only see so far…

In each play, both individually, and en masse, different problems are set up. Progress can be measured in terms of the particular ways in which those problems are solved or not solved. Great advances have been made in certain periods. For example, great offshoots appeared that from your viewpoint you might not consider progress at all…

Now, in some playes, generally speaking, the actors are each working on a seemingly minute portion of a larger problem that the play itself is to resolve.

Though I use the analogy here of a drama, these “plays” are highly spontaneous affairs in which the actors have full freedom within the play’s framework. And granting these assumptions that have been stated, there are no rehearsals. There are observers, as you will see later in our book. As in any good theatre production, there is an overall theme within each play. The great artists, for example, did not emerge out of a paritcular time simply because they were born into it, or (because) the conditions were favorable.

(According to Seth, each individual chooses the time and place of every “life” in his reincarnational cycle).

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