The coronavirus epidemic as a cosmic passion-play

[Sena]

This is what Seth had to say about cosmic passion-plays:

"Each of you are now involved in a much larger production, in which you all agree on certain basic assumptions that serve as a framework within which the play can occur. The assumptions are that time is a series of moments one after another; that an objective world exists quite independently of your own creation and perception of it; that you are bound within the physical bodies that you have donned; and that you are limited by time and space.

(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.

They all exist basically at one time. Those who are still involved in these highly complicated passion-play seminars called reincarnational existences, find it difficult to see beyond them. Some, resting between productions, as it were, try to communicate with those who are still taking part; but they themselves are merely in the wings, so to speak, and can only see so far.

The plays seem to be taking place one before the other, and so these communications seem to intensify the false idea that time is a series of moments, passing in a single line from some inconceivable beginning to some equally inconceivable end.

[... 4 paragraphs ...]

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.

[... 6 paragraphs ...]

Now (humorously louder): in some plays, generally speaking, the actors are each working on a seemingly minute portion of a larger problem that the play itself is to resolve.

Though I use the analogy here of a drama, these "plays" are highly spontaneous affairs in which the actors have full freedom within the play's framework. And granting these assumptions that have been stated, there are no rehearsals. There are observers, as you will see later in our book. As in any good theatre production, there is an overall theme within each play. The great artists, for example, did not emerge out of a particular time simply because they were born into it, or (because) the conditions were favorable.

[... 1 paragraph ...]

The play itself was concerned with the actualization of intuitive truth into what you would call artistic form, with a creativity of such vast and sweeping results that it would serve to awaken latent abilities within each actor and to serve as a model of behavior.

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.

(10:17.) Progress has nothing to do with time, you see, but with psychic and spiritual focus. Each play is entirely different from any other. It is not correct, therefore, to suppose that your actions in this life are caused by a previous existence, or that you are being punished in this life for crimes in a past one. The lives are simultaneous.

Your own multidimensional personality is so endowed that it can have these experiences and still retain its identity. It is, of course, affected by the various plays in which it takes part. There is instant communication and an instant, if you prefer, feedback system.

These plays are hardly without purpose. In them the multidimensional personality learns through its own actions. It tries out an endless variety of poses, behavior patterns, attitudes, and changes others as a result.

[... 1 paragraph ...]

(10:26.) You are the multidimensional self who has these existences, who creates and takes part in these cosmic passion plays, so to speak. It is only because you focus in this particular role now that you identify your entire being with it. You have set these rules for yourself for a reason. And consciousness is in a state of becoming, and so this multidimensional self of which I speak is not a psychological structure completed and done with. It is also in a state of becoming.

[... 2 paragraphs ...]

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.

There is great cooperation behind such momentous productions, and in playing his role, each actor first actualizes himself within three-dimensional reality. The multidimensional self cannot act within three-dimensional reality until it materializes a portion of itself within it."

—Seth Speaks Chapter 4: Session 521, March 30, 1970

[Deb]

Really great quote Sena, all of it. It really does relate to what's going on right now. These kind of stuck out to me:

Now (humorously louder): in some plays, generally speaking, the actors are each working on a seemingly minute portion of a larger problem that the play itself is to resolve.
. . .

These plays are hardly without purpose. In them the multidimensional personality learns through its own actions. It tries out an endless variety of poses, behavior patterns, attitudes, and changes others as a result.

I had a thought pop into my head the other day about the virus and the return of the Christ personality. I wonder if they could be related in any way? I feel this virus is going to cause a lot of change in the world (problem resolution?). Most pandemics lose their emotional effect on people after time. H1N1 for instance, many people struggle to remember it at all. But this flu feels more on par with the Holocaust or WWII. I heard someone the other day say "World War Flu." It's like fighting a war with an invisible enemy.

I started re-listening to Mass Events the other day and from the get-go it struck me just how pertinent the book is regarding this event. And because of what's going on right now, it has even more meaning for me now than when I first read it years ago. I could say the same about the whole quote you put up above.

Thank you.

[Sena]

But this flu feels more on par with the Holocaust or WWII.

Deb, I agree that the impact of this virus is going to be huge. One of the economic ideas being considered is "universal basic income".

https://en.wikipedia.org/wiki/Basic_income