“Seth material” search engine (Jane Roberts)

Exterior religious dramas are important and valuable only to the extent that they faithfully reflect the nature of inner, private spiritual existence. To the extent that a man feels that his religion expresses such inner experience, he will feel it valid. Most religions per se, however, set up as permissible certain groups of experiences while denying others. They limit themselves by applying the principles of the sacredness of life only to your own species, and often to highly limited groups within it.

The dramas themselves do express certain inner realities, and they serve as surface reminders to those who do not trust direct experience with the inner self. They will take the symbols as reality. When they discover that this is not so, they feel betrayed. Christ spoke in terms of the father and son because in your terms, at that time, this was the method used — the story he told to explain the relationship between the inner self and the physically-alive individual. No new religion really startles anyone, for the drama has already been played subjectively.

The early Hebrew god became a symbol of man’s unleashed ego. God behaved exactly as an enraged child would, had he those powers, sending thunder and lightning and fire against his enemies, destroying them. Man’s emerging ego therefore brought forth emotional and psychological problems and challenges. The sense of separation from nature grew. Nature became a tool to use against others.

Sometime before the emergence of the Hebrew god these tendencies were apparent. In many ancient, now-forgotten tribal religions, recourse was also made to the gods to turn nature against the enemy. Before this time, however, man felt a part of nature, not separated from it. It was regarded as an extension of his being, as he felt an extension of its reality. One cannot use oneself as a weapon against oneself in those terms. (Pause.)

Man desired in one way to step out of himself, out of the framework in which he had his psychological existence, to try new challenges, to step out of a mode of consciousness into another. He wanted to study the process of his own consciousness. In one way this meant a giant separation from the inner spontaneity that had given him both peace and security. On the other hand, it offered a new creativity, in his terms.

Man tried to form a new realm, attain a different kind of focus and awareness. His consciousness turned a corner outside of itself. To do this he concentrated less and less upon inner reality, and therefore began the process of inner reality only as it was projected outward into the physical world.

(10:24.) God, therefore, became an idea projected outward, independent of the individual, divorced from nature. He became the reflection of man’s emerging ego, with all of its brilliance, savagery, power, and intent for mastery. The adventure was a highly creative one despite the obvious disadvantages, and represented an “evolution” of consciousness that enriched man’s subjective experience, and indeed added to the dimensions of reality itself.

The journeys of the gods, therefore, represent the journeys of man’s own consciousness projected outward. All That Is, however, is within each such adventure. Its consciousness, and its reality, is within each man, and within the gods he has created. That last is in small letters, and gods shall always be in small letters. All That Is is capitalized.