“Seth material” search engine (Jane Roberts)

These ideas become the driving themes of these religious dramas of which I have spoken. The actors may “return,” time and time again, in different roles. In any given historic religious drama, therefore, the actors may have already appeared on the historic scene in your past, the prophet of today being the traitor of the past drama.

These psychic entities are real, however. It is quite true to say that their reality consists not only of the core of their own identity, but also is reinforced by those projected thoughts and feelings of the earthly audience for whom the drama is enacted.

(9:05.) Psychic or psychological identification is of great import here and is indeed at the heart of all such dramas. In one sense, you can say that man identifies with the gods he has himself created. Man does not understand the magnificent quality of his own inventiveness and creative power, however. Then, say that gods and men create each other, and you come even closer to the truth; but only if you are very careful in your definitions — for how, exactly, do gods and men differ?

The attributes of the gods are those inherent within man himself, magnified, brought into powerful activity. Men believe that the gods live forever. Men live forever, but having forgotten this, they remember only to endow their gods with this characteristic. Obviously, then, beyond these earthly historic religious dramas, the seemingly recurring tales of gods and men, there are spiritual realities.

(9:10.) Behind the actors in the dramas, there are more powerful entities who are quite beyond role-playing. The plays themselves, then, the religions that sweep across the ages — these are merely shadows, though helpful ones. Behind the frame of good and evil is a far deeper spiritual value. All religions, therefore, while trying to catch “truth” must to some large degree fear its ever eluding them.

For example, the main character in a religious historical drama may or may not consciously be aware of the ways in which such information is given to him. And yet it may seem to him that he does know, for the nature of a dogma’s origin will be explained in terms that this main character can understand. The historical Jesus knew who he was, but he also knew that he was one of three personalities composing one entity. To a large extent he shared in the memory of the other two.

(9:20.) He will not come to reward the righteous and send evildoers to eternal doom. He will, however, begin a new religious drama. A certain historical continuity will be maintained. As happened once before, however, he will not be generally known for who he is. There will be no glorious proclamation to which the whole world will bow. He will return to straighten out Christianity, which will be in a shambles at the time of his arrival, and to set up a new system of thought when the world is sorely in need of one.

Now, mankind lacks such a focus. The third personality will represent that focus. There will be, incidentally, no crucifixion in that drama. That personality will indeed be multidimensional, aware of all its incarnations. It will not be oriented in terms of one sex, one color, or one race.

Events are not predestined. The framework for this emergence has already been set, however, within your system of probabilities. The emergence of this third personality will directly affect the original historical drama of Christ as it is now known. There is and must be interactions between them.