REINCARNATIONAL DRAMAS

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.

I am speaking of the portion of you who is taking part in this particular period piece, however; and that particular portion of your entire personality is so focused within this drama that you are not aware of the others in which you also play a role. 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.

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 particular time simply because they were born into it, or (because) the conditions were favorable.

Periods of renaissance — spiritual, artistic, or psychic — occur because the intense inner focus of those involved in the drama are directed toward those ends. The challenge may be different in each play, but the great themes are beacons to all consciousness. They serve as models.

In these periods he understands that he had his hand in the writing of the play, and he is freed from those assumptions that bind him while he is actively concerned with the drama’s activities. These periods, of course, coincide with your sleep states and dreaming conditions; but there are also other times when each actor sees quite clearly that he is surrounded by props, and when his vision suddenly pierces the seeming reality of the production.