Rita — the drama and our internal lives

Monday April 25, 2016
F: 5:30 a.m. So, Miss Rita, we have had our experience teaching guidance. Any comments? Do I get that you are ready – or, maybe, that I am ready – to start again?
R: That is to be decided. You will notice that each pause in the flow changes the flavor of what follows.
F: An interrupted process may be less interruption than reciprocating-engine strokes.
R: Exactly. The information – the nature of reality – never changes, or always changes, depending upon how you wish to look at it. Never, because reality is what reality is, and changes [whether they are] within a year, or within a season, or within a month or a day or an hour, are changes within an unvarying system. Always, because no system so vast ever is at rest in its entirety, also because you as observer and participant are never at rest and unmoving and unchanging. Therefore your experience of reality changes, because your part of the process – your end of the polarity – fluctuates.
F: This is meant not only for me but for others, I realize.

R: Naturally. In the largest sense, anything (no matter how specific) aimed at anyone (no matter whom) is meant for everyone if only because anyone may profit from observing another’s interaction. That is why you read biographies, and why you had everyone in the room [during the weekend class on accessing guidance] listening to everyone else’s feedback after exercises.
F: I hadn’t explicitly put it together before, but as you say that I get that this is yet another example of the world teaching us.
R: Yes. Other people’s experiences are part of the great drama being enacted around you – around everybody – your entire lifetime. You won’t fully understand anyone’s experiences (nor your own) but you will profit by them in a sense.
F: Yes. I think I am the one who tacked on “in a sense,” there, because I can feel that the example can do with a little more explication.
R: Well, “profit by them” merely means that other people’s dramas are bit parts of the great drama of any person’s life, as that life is but a bit part of the greater drama of —
[pause]
F: Well, I don’t know how to finish it! I think you’re intending to give me a fairly major insight that can’t be done just in passing like that. Am I right?
R: I paused – we paused, in effect – because I came to a fork in the road with more than one layer. On the one hand, should I carry the analogy to larger and larger groupings. On the other hand, should I go more into the nature of interactions. On another hand, should I tarry to explain “drama” more carefully.
F: And the winner is?
R: “Drama” is easily disposed of (maybe). I do not mean “dramatics” or soap-opera situations, or any prejudicial association that may spring to people’s minds when they hear the word. I mean drama in this sense: It is an engaging story-line involving important consequences within its own frame of reference that may illustrate one’s own situation. By that I mean, Hamlet’s personal dilemma about fulfilling society’s expectations or following his own inclinations has consequences within the context of the play, but not to the actors or audience. It produces real results – but only in the consciousnesses of those affected by it.
In that sense of the word, your life is lived among drama. The coming of Spring after Winter is drama, for instance. Growing from infant to child to adult is drama. Anything you learn is drama as you learn it. Drama, in the way I’m using it, is not melodrama, it is not high tragedy, it is not anything in between. It is an on-going story line seemingly external that in fact ends up with opportunities for you to react and grow by choosing.
In that sense, all of life – that is, the entire “external” world – is a very complicated drama with many, many subplots, all of which is for the purpose of offering you choices.
F: “For the purpose of”? I hesitated there, but let you finish the thought.
R: Yes, not so much “for the purpose of” as “which has the effect of” – although the former isn’t wrong; it is insufficient.
F: And of course I realize that this is the same for everybody, which means we are audience for everybody (and everything’s) else’s drama, and player in everybody else’s show.
R: Isn’t that how you experience the world? It is seemingly external and you function with these external beings, [who remain external] no matter how dearly you love them; and on the other hand your inner life seems apart from it all, no matter how seriously affected by it you may be.
F: Victor Frankl, saying no matter what happens to us, we always have the ability to choose how we will react to it.
R: That’s right. That is a valid insight. On the one hand, things do happen, seemingly externally. On the other hand, you determine the meaning to you of what happens, by what you choose, by what possible reactions you accept.
F: Can you finish the sentence that you and / or I interrupted?
R: We sort of did already. Your life as individual and someone else’s life as individual may interact in 3D and produce consequences. This is the most common way to interact and generate consequences, because it is focused, and 3D is all about focus. If you and I, Frank, hadn’t met as individuals in 3D, none of this interaction now would have been the same – and certainly wouldn’t have been so tightly focused – if it were even possible. But
F: New paragraph.
R: Yes, Mr. Editor! But even as you (anyone, of course, not just any single individual example) – even as you interact in 3D, you are interacting in non-3D. Don’t forget that! People with a certain amount of internal observation will find this obvious, but not everyone will, so I’ll spell it out a little, at the risk of being tedious.
Your minds are in non-3D. Your origins are in non-3D. Your destination is in non-3D. This colors your whole 3D life, unsuspected or obvious or sporadically obvious or anything in between. So, your 3D drama has its non-3D aspect, which is why you meet instant-old-friends, or perhaps instant adversaries.
F: The third part of your interrupted sentence had to do with larger and larger groupings.
R: I think we’ll defer that. There is nothing you can do with that knowledge at the moment, and I don’t want the glitter of new theory to overwhelm the solid worth of a new way to look at and appreciate the everyday.
F: Okay. Nice to be back in harness again. Shall we look forward to a new series of communications, or is this a one-off?
R: Time will tell, won’t it? But you have received a solid 3D confirmation of the value of the work we have been doing; enjoy that and allow the future to unroll as it will.
F: Not that we have any choice. Well, Miss Rita, you are acquiring a larger class now than you had in 3D as a professor, perhaps. I trust you are enjoying teaching without grading.
R: There are still lesson-plans to prepare, but yes, I am enjoying it very much, and in ways you haven’t thought about. The readers enter into direct communication, you remember, so that is a wider window for me into the on-going 3D life via their non-3D components.
F: Interesting. No, I hadn’t happened to think of that. So that is one of the rewards of fame, isn’t it? OT1H they are tugged by people’s attention. OTOH they receive greater input.
R: Greater energy, something like a speaker receives at the end of (or during) a speech. The applause and the reaction and the ongoing attention are an energy exchange. The speaker prepared and delivers – that is like a compressed spring that had to be wound back first; the speaker receives, in return, an energy from his audience equal to the speaker’s preparation. It isn’t quite that simple, but let’s leave out the qualifiers lest we blur the image.
F: Well, you have our thanks for your end of the process. And I will see you next time, whenever that may be. You did enrich my life when I was in 3D – the Sphere and Hologram book would never have come into existence without you, and who knows how much of what followed would ever have come without that foundation? – and you continue to do so now that you are back in the unobstructed realm. Till next time, then.