Seth Speaks, Session 522
Reincarnational Dramas (2)
These “period pieces”, overall, have a particular purpose. By the very nature of consciousness, it seeks to materialize itself in as many dimensions as possible – to create from itself new levels of awareness, new offshoots. In doing so it creates all reality. Reality, therefore, is always in a state of becoming. The thoughts that you think, for example, in your actor’s roles, are still completely unique and lead to new creativity. Certain aspects of your own consciousness could be fulfilled in no other way.
When you think of reincarnation, you suppose a series of progressions. Instead the various live grow out of what your inner self is. They are not thrust upon you by some outside agency. They are a material development, as your consciousness opens up and expresses itself in as many ways as possible. It is not restricted to one three-dimensional lifetime, nor is it restricted to three-dimensional existence alone.
Your consciousness then takes many forms, and these forms need not be alike any more, say, than a caterpillar is like a butterfly. The soul or entity has complete freedom of expression. It changes its form to suit its expression, and it forms environments like stage settings, and worlds to suit its purposes. Each setting brings forth new developments.
The soul or entity is highly individualized spiritual energy. It forms whatever body you now wear, and is the motive power behind your physical survival, for from it you derive your vitality. Consciousness can never be still, but seeks further creativity.
The soul, therefore, or entity, endows three-dimensional reality, and the three-dimensional self with its own properties. The abilities of the entity lie within the three-dimensional self. The three-dimensional self, the actor, has access to this information and to these potentials. In learning to use these potentials, in learning to rediscover its relationship with the entity, the three-dimensional self raises still further the level of achievement, comprehension, and creativity. The three-dimensional self becomes more than it knows.
Not only is the entity strengthened, but portions of it, having been actualized in three-dimensional existence, now add to the very quality and nature of that existence. Without this creativity, planetary life in your terms would always be sterile. The soul or entity then gives breath to the body, and to the three-dimensional self then goes about its purpose of opening up new areas of creativity.
Entities or souls, in other words, send out portions of themselves to open up avenues of reality that would not exist otherwise. The three-dimensional selves, in existing within these realities, must focus their attention there completely. An inner awareness gives them a source of energy and strength. They must, however, come to understand roles, and through another act of comprehension, return to the entity.
There are those who appear within these plays fully aware. These personalities willingly take roles, knowing that they are roles, in order to lead the others toward the necessary realization and development. They lead the actors to see beyond the selves and settings they have created. These personalities from other levels of existence oversee the play, so to speak, and appear among the actors. Their purpose is to open up within the three-dimensional selves those psychological doorways that will release the three-dimensional self for further development in another system of reality.
You are learning to be cocreators. You are learning to be gods as you now understand the term. You are learning responsibility – the responsibility of any individualized consciousness. You are learning to handle the energy that is yourself, for creative purposes.
You will be bound to those you love and those you hate, though you will learn to release and lose and dissipate the hatred. You will learn to use even hatred creatively and to turn it to the higher ends, to transform it finally into love. I will make this clearer in later chapters.
The settings in your physical environment, the sometimes lovely paraphernalia, the physical aspects of life as you know it, are all camouflages, and so I call your physical reality a camouflage. Yet these camouflages are composed of the vitality of the universe. The rocks and stones and mountains and earth are living camouflage, interlocking psychic webs formed by minute consciousnesses that you cannot perceive as such. The atoms and molecules within them have their own consciousness, as do the atoms and molecules within your body.
Since you all have a hand in forming this physical setting, and since you are ensconced yourself in a physical form, then using the physical senses you will only perceive this fantastic setting. The reality that exists both within it and beyond it will elude you. Even the actor is not entirely three-dimensional, however. He is a part of a multidimensional self.
Within him there are methods of perception that allow him to see through the camouflage settings, to see beyond the stage. He uses these inner senses constantly, though the actor part of himself is so intent upon the play that this escapes him. In a large manner, the physical senses actually form the physical reality they seem to only perceive. They are themselves part of the camouflage, but they are like lenses over your natural inner perceptions that force you to “see” an available field of activity as physical matter; and so they can be relied upon only to tell you what is happening in a superficial manner. You can tell the position of the other actors for example, or time by clock, but these physical senses will not tell you that time is itself camouflage, or that consciousness forms the other actors, or that realities that you cannot see exist over and beyond the physical matter that is so apparent.
You can, however, using your inner senses, perceive reality as it exists apart from the play and your role in it. In order to do this you must, of course, momentarily at least turn your attention away from the constant activity that is taking place – turn off the physical senses, as it were – and switch your attention to those events that have escaped you earlier.
Highly simplified indeed, the effect would be something like changing one set of glasses for another, for the physical senses are as artificial, basically speaking, to the inner self, as a set of glasses or a hearing aid is to the physical self. The inner senses, therefore, are but rarely used completely consciously.
You would be more than disoriented, for example, but quite terrified, if between one moment and the next your familiar environment as you knew it disappeared to be replaced by other sets of data that you were not ready to understand, so much information from the inner senses must be translated in terms that you can comprehend. Such information must somehow make sense to you as three-dimensional selves, in other words.
Your particular set of camouflages is not the only set, you see. Other realities have entirely different systems, but all personalities have inner senses that are attributes of consciousness, and through these inner senses communications are maintained about which the normally conscious self knows little. Part of my purpose is to make some of these communications known.
The soul or entity, then, is not the self that reads this book. Your environment is not simply the world about you as you know it, but also consists of past-life environments upon which you are not now focusing. Your real environment is composed of your thoughts and emotions, for from these you form not only this reality but each reality in which you take part.
Your real environment is innocent of space and time as you know them. In your real environment you have no need for words, for communication is instantaneous. In your real environment you form the physical world that you know.
The inner senses will allow you to perceive the reality that is independent of physical form. I will ask you all to momentarily forsake your roles therefore, and to try this simple exercise.
Now, pretend that you are on a lighted stage, the stage being the room in which you now sit. Close your eyes and pretend that the lights have gone out, the setting has disappeared and you are alone.
Everything is dark. Be quiet. Imagine as vividly as you can the existence of inner senses. For now pretend that they correspond to your physical ones. Clear from your mind all thoughts and worries. Be receptive. Very gently listen, not to physical sounds but to sounds that come through the inner senses.
Images may begin to appear. Accept them as sights quite as valid as those you see physically. Pretend that there is an inner world, and that it will be revealed to you as you learn to perceive it with these inner senses.
Pretend that you have been blind to this world all your life, and are now slowly gaining sight within it. Do not judge the whole inner world by the disjointed images that you may at first perceive, or by the sounds that you may at first hear, for you will still be using your inner senses quite imperfectly.
Do this simple exercise for a few moments before sleep or in the resting state. It may also be done even in the midst of an ordinary task that does not take all of your attention.
You will simply be learning to focus in a new dimension of awareness, taking quick snapshots, as it were, in a strange environment. Remember that you will only be perceiving snatches. Simply accept them, but do not attempt to make any overall judgments or interpretations at this stage.
Ten minutes a day to begin with is quite sufficient. Now the information in this book is being directed to some extent through the inner senses of the woman who is in trance as I write it. Such endeavor is the result of highly organized inner precision, and of training. Ruburt could not receive the information from me, it could not be translated nor interpreted while she was focused intensely in the physical environment. So the inner senses are channels that provide communication between various dimensions of existence. Yet even here the information must be distorted to some extent as it is translated into physical terms. Otherwise it would not be perceived at all.