“Seth material” search engine (Jane Roberts)

Four o’clock in the afternoon is a very handy reference. You can say to a friend, “I will meet you at four o’clock at the corner,” or at a restaurant, for a drink or a chat or a meal, and your friend will know precisely where and when he will find you. This will happen despite the fact that four o’clock in the afternoon has no basic meaning, but is an agreed-upon designation — a gentlemen’s agreement, if you prefer. If you attend the theatre at nine o’clock in the evening, but the actions of the play take place within the morning hours, and the actors are shown eating breakfast, you accept the time as given within the theatre’s play. You also pretend that it is morning.

(9:51. Jane left trance quickly. “Wow,” she said, “Seth’s going to have an awful lot to say about that — I can feel it up here.” She touched her forehead. “Every so often I get a huge sweep of something that I can’t put into words; do you know what I mean? But he’s going to break it down for us.

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.

(10:39. Long pause.) He has other sources of information, therefore, than those strictly given within the confines of the production. Each actor knows this instinctively, and there are periods set and allowed for within the play itself in which each actor retires in order to refresh himself. In these he is informed through the inner senses of his other roles, and he realizes that he is far more than the self appearing in any given play.

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.

(10:44.) This does not mean that the play is not real, or that it should not be taken seriously. It does mean playing a role — an important one. Each actor must of himself realize, however, the nature of the production and his part in it. He must actualize himself out of the three-dimensional confines of the play’s setting.

(11:24 P.M. Seth’s production of his book had come to be a natural part of the framework by now. He was also beginning to deviate somewhat from the outline he’d given in the 510th session on January 10, 1970, but we had expected this. Seth was on his own, Jane said. Many people knew about his book by now.