“Seth material” search engine (Jane Roberts)

You are so focused in your roles, however; so intrigued by the reality that you have created, so entranced by the problems, challenges, hopes, and sorrows of your particular roles that you have forgotten they are of your own creation. This intensely moving drama, with all its joys and tragedies, can be compared with your present life, your present environment, both individually and en masse.

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.

It is learning the art of actualization. It has within it infinite sources of creativity, unlimited possibilities of development. But it has yet to learn the means of actualization, and must find within itself ways to bring into existence those untold creations that are within it.

(10:32.) Therefore it creates varieties of conditions in which to operate, and sets itself challenges, some doomed to failure in your terms, at least initially, because it must first create the conditions which will bring new creations about. And all of this is done with great spontaneity and unbounded joy. (Pause.)

You therefore create far more environments than you realize. Now, each actor, going about the role, focused within the play, has an inner guide line. He is not left, therefore, abandoned within a play that he has forgotten in his own creation. He has knowledge and information that comes to him through what I call the inner senses.