The Four Mighty Ones Ch 2 Seedtime And Harvest by Neville Goddard

Neville Goddard Seed, Time and Harvest Chapter two. The Four Mighty Ones and the river went out of Eden to water the garden, and from thence it was parted and became into four heads. Genesis 2:10 and everyone had four faces. Ezekiel 10:14. I see four men loose walking in the midst of the fire, and they have no hurt. And the form of the fourth is like the Son of God. Daniel 3:25. Four mighty ones are in every man. Blake. Oh, this looks. This looks like it's going to get really good. The four mighty ones constitute the selfhood of man or God in man. There are four mighty ones in every man. But these four mighty ones are not four separate beings separated one from the other, as are the fingers of the hand. The four mighty Ones. Remember, the four mighty ones each time as stated, are in print, are in quotes. Four Mighty Ones. The four mighty ones are four different aspects of his mind and differ from one another in function and character without being four separate selves inhabiting one man's body. The four mighty ones may be equated with the four Hebrew characters which form the four letter mystery. Name of the creative power. I would draw these characters. Matt. Let me. Let me just attempt these characters. I am no scribe, but these are the four characters I imagine. I see when I see here. Of course, not a calligraphist either. This looks like PI. These are the four characters he's describing. Okay. The four mighty ones may be equated with the four Hebrew characters. These which form. There's a dot here. Which form the four lettered mystery. Name of the creative power derived from and combining within itself the past, present and future forms of the verb to be. Again, please excuse me if you can write this better than I, because it's my first time. First time writing a Hebrew word or four lettered mystery. Name of the creative power. The Tetragrammaton is revealed as the symbol of creative power in man. Of the creative power in man. I am the creative four functions in man, reaching forth to realize in actual material phenomena qualities latent in itself. We can best understand the four mighty ones by comparing them to the four most important characters in the production of a play. All the world's a stage, and all the men and women merely players. They have their exits and their entrances. And one man in his time plays many parts. As yous like it, Act 2, Scene 7. The producer, the author, the director and the actor. The producer, the author, the director and the actor are the four most important characters in the production of a play. In the drama of life, the producer's function is to suggest the theme of a play. This he does in the form of a wish, such as a I wish I were successful, I wish I could take a trip, I wish I were married, and so on. But to appear on the world's stage, the general themes must somehow be specified and worked out in detail. It is not enough to say I wish I were successful. That is too vague. Successful at what? However, the first Mighty One only suggests a theme. The dramatization of the theme is left to the originality of the second Mighty one, the author. In dramatizing the theme, the author writes only the last scene of the play. But this scene he writes in detail. The scene must dramatize the wish fulfilled. He mentally constructs as lifelike a scene as possible of what he would experience had he realized his wish. When the scene is clearly visualized, the author's work is done. The author went to the end. The third Mighty One in the production of life's play is the director. The director's tasks are to see that the actor remains faithful to the script and to rehearse him over and over again until he's natural in the part. This function may be likened to a controlled and consciously directed attention, an attention focused exclusively on the action, which implies that the wish is already realized, faithful to the script and to rehearse him over and over again until he is natural in the part. Rehearse it over and over again until it feels natural to be in the part. And then this will become here or you will go there. Either way, natural in the part. The form of the fourth is, like the Son of God, human imagination, the actor. This fourth Mighty One performs within himself, in imagination, the predetermined action which implies the fulfillment of the wish. This function does not visualize or observe the action. This function actually enacts the drama and does it over and over again until it takes on the tones of reality. Without the dramatized vision of fulfilled desire, the theme remains a mere theme and sleeps forever in the vast chambers of unborn themes. Nor, without the cooperant attention obedient to the dramatized vision of fulfilled desire, will the vision perceived attain objective reality. These four Mighty ones are the four quarters of the human soul. The first is Jehovah's King, who suggests the theme. The second is Jehovah's Servant, who faithfully works out the theme in a dramatic vision. The third is Jehovah's man, who was attentive and obedient to the vision of fulfilled desire, who brings the wandering imagination back to the script 70 times 7. The form of the fourth is Jehovah Himself, who enacts the dramatized theme on the stage of the mind. Let this mind be in you, which was also in Christ Jesus, who, being in the form of God, thought it not robbery to be equal with God. Philippians 2, 5, 6. The drama of life is a joint effort of the four quarters of the human soul. All that you behold, though it appears without it, is within in your imagination, of which this world of mortality is but a shadow. Blake. All that we behold as a visual construction contrived to express a theme. A theme which has been dramatized, rehearsed and performed elsewhere. What we are witnessing on the stage of the world is an optical construction devised to express the themes which have been dramatized, rehearsed and performed in the imaginations of men. These four mighty ones constitute the selfhood of man or God in man. And all that man beholds, though it appears without, are but shadows cast upon the screen of space. Optical constructions contrived by selfhood to inform him in regard to the themes which he has conceived, dramatized, rehearsed and performed within himself. The creature was made subject unto vanity. That he may become conscious of selfhood and its functions. For with consciousness of selfhood and its functions, he can act to a purpose. He can have a consciously self determined history. Without such consciousness, he acts unconsciously and cries to an objective God to save him from his own creation. Fascinating, isn't it? O Lord, how long shall I cry, and thou wilt not hear, Even cry out unto thee of violence, and thou wilt not save. Habakkuk 1, 2. When man discovers that life is a play which he himself is, is consciously or unconsciously writing, he will cease from the blind self torture of executing judgment upon all others. This happens happened to me after the first year of studying Neville very, very intensely. You really literally stop judging others. Everybody is your brother and your sister. You just stop the division. Division disappears completely. Instead, he will rewrite the play to conform to his ideal. For he will realize that all changes in the play must come from the cooperation of the four mighty ones within himself. They alone can alter the script and produce the change. All the men and women in the world are merely players. And are as helpless to change his play as are the players on the screen of the theater. To change the picture. The desired change must be conceived, dramatized, rehearsed and performed in the theater of his mind. When the fourth function, the imagination, has completed its task of rehearsing the revised version of the play. Until until it is natural. Then the curtain will rise upon this so seemingly solid world, and the mighty four will cast a shadow of the real play upon the screen of space. Boom. Screen of space. Men and women will automatically play their parts to bring about the fulfillment of the dramatized theme. Everybody will seem like an automaton to you. They will just come forth and you'll be like, this bridge of incidents is incredible. People are just stepping right into their part. They literally step into their part. And because you've dramatized and rehearsed in your imagination and you even wrote it, you always hear verbatim the words you put into the play. You will hear verbatim literally the same exact words you scripted. Get ready to be blown away. Because when it happens, you will be blown away. That is proof you are succeeding at this dramatization. The players, by reason of their various parts in the world's drama, become relevant to the individual's dramatized theme. And because relevant, are drawn into his drama. They will play their parts faithfully, believing all the while that it was they themselves who initiated the parts they play. This they do. Because thou, father, art in me, and I in thee. I in them, and thou in me. John 17:21 23. When Neville wanted to go to Barbados, he slept there. He was there in his imagination, his brother thought. It was his brother's own original idea to send Neville a first class ticket and a check for $50 a draft, as he called it, to go ahead and spend whatever he needed, buy a suit, make himself presentable, I guess, and get on the boat and enjoy his trip. And any, any chits that he might sign along the way for tipping or for other expenses the brother would take care of when he arrived. So Neville had $50, which at that time was like, might as well have been $50,000 to us. But $50 would buy a suit, shoes, and would get him any expense he could care less or care for while he was whimsically cruising on down. But the brother thought it was his own original idea, literally. But Neville's the one who slept in Barbados. I am involved in mankind. We are one. We are all playing the four parts of producer, author, director and actor in the drama of life. Some of us are doing it consciously, right? While others unconsciously. It is necessary that we do it consciously, which is what we are talking about right here. You won't leave this channel without the ability of being able to do it consciously. This I promise. And it's not my promise. If you take your hand out and point it at me. It's actually your promise. Only in this way can we be certain of a perfect ending to our play. Then we shall understand why we must become conscious of the four functions of the one God within ourselves that we may have the companionship of God as his sons. Man shall not stay a man. His aim shall be high. His aim should higher be For God will only gods, except as company. Angelus Celestius. Man should not stay a man. His aim should hire be for God will only gods except as company. In January of 1946, I took my wife and little daughter to Barbados in the British West Indies for a holiday. Not knowing there were any difficulties in getting a return passage, I had not booked ours before leaving New York. Upon our arrival in Barbados, I discovered that there were only two ships serving the islands, one from Boston and one from New York. I was told there was no available space on either ship before September, as I had commitments in New York. For the first week in May, I put my name on the long waiting list for the April sailing. A few days later, the ship from New York was anchored in the harbor. Let me pause and interject here. Neville's brother chastised him for not making arrangements before he left New York because that's where everything happens. So his brother already chewed his ass out for not arranging a return trip. Neville's telling the story in the lecture truthfully and more openly than he is in the book. But let's continue. A few days later, the ship from New York was anchored in the harbor. I observed it very carefully and decided that this was the ship we would take. It's just a decision, that's all. I returned to my hotel and determined on an interaction that would be mine. Were we actually sailing on that ship? I settled down in an easy chair in my bedroom to lose myself in this imaginative action. In Barbados, we took a motor launch or rowboat out into the deep harbor. When we embark on a large steamer, I knew I must catch the feeling that we were sailing on that ship. I chose the interaction of stepping from the tender and climbing up the gangplank of the steamer. The first time I tried it, my attention wandered. After I had reached the top of the gangplank. There it is, simply stated, your attention will wander as you try and impress upon your subconscious that which you desire. Even in Neville's case, in 1946, he'd already been doing this almost 15 years, I believe, since 1933 when you first learned it. So 13 years later, he's still wandering with the mind upon going to sleep, with the idea of the impression into his subconscious. You just bring it back. Focus. The first time I tried it, my attention wandered. After I had reached the top of the gangplank, I brought myself back down and tried it again and again. I do not recall how many times I carried out this action in my imagination until I reached the deck and looked back at the port with the feeling of sweet sadness at departing. I do not recall how many times I carried out this action in my imagination until I reached the deck and looked back at the port with the feeling of sweet sadness at the party. And how many times must it take you? 70 times 7, if it's necessary. If it's necessary. I was happy to be returning to my home in New York, but nostalgic in saying goodbye to the lovely island and our family and friends. I do recall that in one of my many attempts at walking up the gangplank, in the feeling that I was sailing, I fell asleep. After I awoke, I went about the usual social activities of the day and evening. The following morning, I received a call from the steamship company requesting me to come down to their office and pick up our tickets for the April sailing. I was curious to know why Barbados had been chosen to receive the cancellation and why I, at the end of the long waiting list, was to have the reservation. But all that the agent could tell me was that a cable had been received that morning from New York offering passage for three. I was not the first agent that had been called. I'm sorry, I was not the first the agent had called, but for reasons she could not explain. Think about that. For reasons she could not explain, she had called, said that now they found it inconvenient to say. Excuse me, let me repeat the sentence. I was not the first the agent had called, but for reasons she could not explain, though she had called, said that now they found it inconvenient to sell in April, we sailed on April 20 and revived it and arrived in New York on the morning of May, the first in the production of my play. Sailing on a boat that would bring me to New York by the first of May, I played the four most important characters in my drama. If you are not listening tightly, this is a very, very, very important chapter. Neville's describing exactly how to use these four players, these four characters in your drama. As the producer, I decided to sail on a specific ship at a specific time. Playing the part of the author, I wrote the script. I visualized inner action which conformed to the outer action. I would take if my desire were realized. That's going to the end. As the director, I rehearsed myself, the actor, in that imagined action of climbing the gangplank until the action felt completely natural. This being done, events and people move swiftly to conform in the outer world to the play I had constructed and enacted in my imagination. Producer, author, director, and then actor. As the director, I rehearsed myself, the actor, that was three and four. In that imagined action of climbing the gangplank, until that action felt completely natural. He got to the point. From the producer to the director, to the producer, the producer, the author, the director and the actor. You just must, coming from me, you must remember there's four functions happening here, four things. Now, in your attempts at manifesting so far, have you considered this? That of course, we have a producer. You, the producer. You have the idea. You have the author who goes to the end when he writes the script, writing the ending. You have the director, whose job it is to rehearse the actor until it feels natural. Or are you, in your attempts at manifesting or falling asleep, to change the impression, are you just doing the actor? Are you not directing by rehearsing? Are you not going over and over? Are you drifting asleep without coming back to the bottom of the gangplank? You're not directing the actor back to the beginning of that gangplank. Is there someone that has thought of the end? The end result Is the end result to be married, happy, in love. That is the author. Well, who's the producer? The producer wants the happy marriage and love and life. That's the producer. The author writes the ending. The director directs through scripting. Over and over, the actor get back and go again. Cut. Go again. Cut. Go again. Four functions of the mind for your manifestation. Producer, author, director, actor. It makes complete sense why possibly your manifesting has not been happening. You haven't seen it from these four different functions of your own mind. Write it. Get four three by five cards and write it down. Here's a three by five card. Write it down. Here's another three by five card. Write it down. These are a dime a dozen. Not even that expensive, these things. Let me get this in focus. You can write anything on them. Get four of them. One, two, three, four. Write down. Okay, what do we got? Again? Producer, write your ending. Remember I told you about written goals? Author. Okay? Producer is the whole idea. Author writes the ending. Director, the next card rehearses the actor who goes back again, again, again. Director rehearses the actor over, over, over bottom of the gangplank. Go back up again. Go back up again. Director and actor. You have a producer, you have an author. Break it down into these three by five cards. If you must, you must, you must, you must. Get this impression made. I am happy, in love and married. Get this impression made. Get this impression made. Get your 3 by 5 cards. Get colored ones, get blue ones, get yellow ones, get whatever you want. Get four of these and write down what your desire equals, just as he's describing. And then come back and leave a message. I saw the mystic vision flow and live and live and live in men and woods and streams until I could no longer know the stream of life from my own dreams. George William Russell AE I told this story to an audience of mine in San Francisco. And a lady in the audience told me how she had unconsciously used the same technique when she was a young girl. The incident occurred on Christmas Eve. She was feeling very sad and tired and sorry for herself. Her father, whom she adored, had died suddenly. I love this story. Her father, whom she adored, had died suddenly. Not only did she feel this loss at the Christmas season, but necessity had forced her to give up her planned college years and go to work. This rainy Christmas Eve, she was riding home on a San Diego streetcar. The car was filled with gay chatter of happy young people home for the holidays. To hide her tears from those around about her, she stood at the open part of the front of the car and turned her face into the skies to mingle her tears with the rain. With her eyes closed and holding the rail of the car firmly, this is what she said to herself. This is not the salt of tears that I taste, but the salt of the sea and the wind. This is not San Diego. This is the South Pacific. And I'm sailing into the Bay of Samoa. And looking up in her imagination, she constructed. In her imagination, looking up, she constructed what she imagined to be the Southern Cross. She lost herself in this contemplation so that all faded round about her. Suddenly she was at the end of the line and home. Two weeks later, she received word from a lawyer in Chicago that she was holding $3,000 in American bonds for her. Several years before, an aunt of hers had gone to Europe with instructions that these bonds be turned over to her niece if she did not return to the United States. The lawyer had just received word of the aunt's death and was now carrying out her instructions. A month later, this girl sailed for the islands in the South Pacific. It was night when she entered the Bay of Samoa. Looking down, she could see the white foam like a bone in a lady's mouth. As the ship plowed through the waves and brought the salt of the sea in the wind, an officer on duty said to her, there is the Southern Cross. And looking up, she saw the Southern Cross as she had imagined. It makes me want to cry, man. I could literally stop right now and cry because we all are doing this, but we just are good at hiding this from ourselves. But now we're not anymore. Now we have instruction, especially in this chapter. Oh, my gosh, this chapter is a great chapter. In the intervening years, she had many opportunities to use her imagination constructively, but she had done with this unconsciously. She did not realize there was a law behind it all. Now that she understands, she, too is consciously playing her four major roles in the daily drama of her life. Producing plays for the good of others as well as herself. Producing plays for the good of others as well as herself. Then the soldiers, when they had crucified Jesus, took his garments and made four parts to every soldier apart, and also his coat. Now, the coat was without seam, one woven from the top, without. Excuse me, woven from the top throughout. John 19:23. Wow. To every soldier made apart. To every soldier apart. That is very fascinating. Doing their duty. Each soldier. I got to repeat the quote. It's the most profound part of this chapter. The whole chapter is incredible. My gosh, what an amazing Chapter. Chapter 2. The four mighty ones seed time and harvest. Goodness gracious. I mean, come on. Then the soldiers, when they had crucified Jesus, took his garments and made four parts to every soldier apart and also his coat. Now, the coat was without seam, woven from the top throughout. Wow. What was your favorite part of that chapter? I am dumbfounded by this chapter, and I will be putting this to use. It's like a reminder, this great reminder you get. You just go, oh, wow. Yes. See, the idea here is we're taking the information and we're breaking it down consistently. If you're taking what your desire is, right here is your desire, and you're making that desire into an impression, into your subconscious. You're simply doing this as you fall asleep. So you're doing what these four mighty ones are doing in a different form of it. You're. Again, I better look at these four because I must commit them to memory. The producer, the author, the director, the actor. So you're the producer of what you want as an end result. The author writes the end result. The producer has the idea. Boy, it'd be nice to be married. There's desire. The author writes the result. Oh, I know what I am. I am that I am. I am happily married, in love, having children with my wonderful family. The author writes, the end. Now, then, all it is up to. What you're doing next is you're the director rehearsing the actor in his part in his scene of this play. Over and over. The director says, do it again. The actor says, okay, I'm trying. I see myself married, coming home from my honeymoon, from Hawaii. Honeymoon. I'm walking across the threshold. Go again. You fell asleep by accident. Go again. You didn't do it right this time. Go again. Start again. Start again. Start again. The director takes the actor and goes through the play over and over and over. It's already been written. The author wrote the ending. The producer had the idea in the first place. Mm, mm, mm. What a wonderful, wonderful, wonderful chapter. Do they get any better if they do. Oh, my. Just hold on. All right? We'll see you in the next chapter.