Chapter 4 - Reincarnational Dramas

"Your own environment contains far more than you may have supposed. Earlier, I referred to your environment in terms of the daily physical existence and surroundings with which you are currently connected. In actuality, you are aware of very little of your larger, more extensive environment. Consider your present self as a actor within a play, hardly a new analogy, but a suitable one. The scene is set in the 20th century, you create the props, the settings, the themes, in fact you write, produce and act in the entire production - you and every other individual that takes part.

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 that they are 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.

But there are other plays going on simultaneously, in which you also have a part to play. These have their own scenario, their own props. They take place in different places in time. One may be called,

"Life in the twelfth century AD". One may be called "Life in the eighteenth century", or in 500 BC, or in AD 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 that 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 two or more times or centuries."

"Entities or souls, send out portions of themselves to open up avenues of reality that would not exist otherwise. The three dimensional selves, in existing within these realities, must focus their attention there completely. A development of an inner awareness gives them a source of energy and strength.

They, must however, come to understand their roles as "actors, and finally, from their roles, and through another act of comprehension, return to the entity."

"Within him there are methods of perception that allow him to see through the camouflage settings, to see beyond the stage. He uses these inner senses constantly, though the actor part of himself is so intent upon the play that this escapes him. In a large manner, the physical senses actually form the physical reality they seem only to perceive. They are themselves part of the camouflage, but they are like lenses over your natural inner perceptions that force you to "see" an available field of activity as physical matter; and so they can be relied upon only to tell you what is happening in a superficial manner. You can tell the positions of the other actors for example, or time by clock, but these physical senses will not tell you that time itself is a camouflage, or that consciousness forms the other actors, or that realities that you cannot see exist over and beyond the physical matter that is so apparent.

You can, however, using your inner senses, perceive reality as it exists apart from the play and your role in it. In order to do this, you must of course, momentarily at least, turn your attention away from the constant activity that is taking place - turn off the physical senses as it were, and switch your attention to those events that have escaped you earlier."

"Act as if you were already happy and that will tend to make you happy." - Dale Carnegie

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