“Seth material” search engine (Jane Roberts)

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.

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.

(9:35.) Other assumptions accepted for the same reason include the idea that all perception comes through your physical senses; in other words, that all information comes from without, and that no information can come from within. You therefore are forced to focus intensely upon the actions of the play. Now these various plays, these creative period pieces represent what you would call reincarnational lives.

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 were 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.

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.

(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.