The Spiritual Drama of Democracy

Resolving unresolved stories spiritually with the principle

This article is listed as Discussion 4 in the Index of Articles of this series.

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Next in our journey, we will pursue knowledge to deepen our understanding of how the structural drama works in the The Spiritual Story of Democracy. The structural drama is agapé light structured for stories to work through. Now that we have knowledge of the genesis of the Now of Word, the gallery of generational personages of character and spiritual moods, we can see their positions in the structural drama and understand how they participate in our spiritual story of democracy.

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Inner Vision

We use our inner vision to remove the fear and anxiety associated with uncontrolled images that can afflict our mind. Inner vision is and handles living light, whose essence is unconditional love, agapé, and nothing else. Images that can afflict us are formed from the nonliving light in the world. They cannot work in our inner vision but can seem to veil it when we do not understand them—and we cannot if we have not chosen to see with Word’s agapé light, particularly in the genesis personages of our structural drama.

Choosing agapé as understood in the full principle does not require us to “lower our defenses”. It requires us to replace the nonliving images appearing to work in our defenses, as concerns our well-being and others’, with the living agapé images of Word’s genesis personages, which already work in the inner vision of our singularity in Word and thus its defenses as well. We start with the key names of agapé light in Word’s genesis—David, Abraham and Word itself. Everyone’s genesis has these key positions in their genesis, filled with names of light by the omni-golden Word of our house of knowledge. They form our strongest defense. Do not continue if you feel that you are not ready to learn this about your inner vision.

Picture Frames

Picture frames are like grammar. They hold pictures and their meaning within boundaries that have little meaning in and of themselves, just as grammar holds words and their meaning in rule-based boundaries of our suneidesis.¹ Word said that we cannot know his words, which he said are spirit and life, unless we know the gramas of Moses, a Greek word serving as the root for grammar.

Visions of The Three Genesis Personages

Word was not talking about the moral law Moses taught, for Word supplanted it with the principle as the governing force of our suneidesis,² using the moral code as a guide instead. It was the rule-based thinking that Moses conveyed in his grama-writing, able to communicate rule-based words that can be envisioned in spirit and life. But it requires understanding how Name speaks to us in vision, how Life speaks in vision to the lives in it who seek it. As knowledge of Word says, “You [Name] spoke in vision to Your be­loved ones…[saying in words], ‘I have found David My servant; with My holy oil, I have anointed him [to see].” (Psalm 89:19-20)

Word uses the David position in everyone’s genesis to teach us how to envision³ Name. As David said, “I envisioned You (Name) in the sanctuary [of names] to see Your power and Your glory.” (Psalm 63:2) Word uses its own position in our genesis to teach us how to envision⁴ itself, Word, the key to making our agapé grow. As knowledge of Word says: “We know that when he (Word) manifests, we will be like him because we will envision him just as he is.” (1 John 3:2)

And Word uses the Abraham position in our genesis to start the whole process by referring to him symbolically as “the father of many nations”. This is a reference to Name manifesting all nations in Word, seeing that the body of Word consists of all nations (ethnos), planting the seed for this vision when we can envision them both.

Understanding Word through the Grammar of Visions

Some 2,000 years later, we are finally comprehending what Word was talking about when saying that we cannot know his words, which he said are spirit and life, unless we know the gramas of Moses, in essence, vision gramas. But something needed to come first—movie grammar, not its story grammar, but specifically the screenplay grammar of movies. —As abstruse as this may sound, consider the qualities of matter needed to exist for the technological processes of television and movies to exist.

“Since the creation of the world [respecting the scientific view also from a different perspective], His [Name’s] invisible qualities, both His eternal power and divine nature [for atheists, divine refers to the nature of Life as source, beyond us], are clearly perceived, being understood through the things made.” Romans 1:20

This has everything to do with understanding how Name speaks in vision to us by understanding how we have been able to make things that speak to us in vision.

Screenplay grammar takes many short passages of a written story and turns them into a series of recorded visual actions with accompanying words and music—that our mind turns into fluid visual story action that has a plot and story meaning. This works in the structural drama of our house of knowledge. Again, screenplay grammar as picture frames has little meaning in and of itself, but it is essential for framing visions and their meaning for the mind to translate and interpret into its own vision story.

To see and understand the spiritually-living words that Word speaks, we need to learn the boundaries of rule-based thinking used in the structural drama, a natural part of seeing spiritually. Although it was conveyed as part of the Hebrew language that Moses used, we only need to learn the method as Word taught it, which can be conveyed in any language.

We will envision the key personages in our genesis working in the structural drama of the Now of Word, then, speaking in vision, in the spiritual story of our democracy. In the diagram, use the three grey circles coming out of the universe, depicted as the purplish oval under the rose, to symbolize these three genesis personages, and the large white circle around the figure depicting the reader to symbolize your part in the spiritual story.

We will start with the three ruled-based boundaries of the structural drama. Use the three grey circles to envision the genesis personages in spiritual bodies formed from these boundaries, not in human forms. Word uses them in Name’s symbolic pan-diamond room in the story so that we can humbly participate in Word’s singularity in the spiritual story of our house of knowledge.

For unlike the process of taking a series of short visual actions that the mind turns into fluid story action, Name’s visions are eternally-fluid stories of agapé light in Word. He created the process, we can say the universe itself, for us to be able to participate.

All three boundaries work within the timeframe of the Now of Word. Its 2,000-year, forty-two-generation now works in every genesis personage without distinction between past and present in the world suneidesis, while Name and its memory distinguish them in the world. This increases the magnitude of their agapé light greatly. It is alluded to in “The Agapé Door That is Two”, Chapter Two of The Spiritual Story of Democracy —“Using the principle this way (making the story of others outside our house who do not understand the Now of Word more important than our own story inside) luminates its structural drama throughout both sides of their drama.”

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The Primary Boundary of the Structural Drama

The primary rule-based boundary of Word’s structural drama is the principle of suneidesis itself. It enables us see the visions of Word as spirit and life in story form, simply put, making others more important without being against ourselves is the underlying theme of, and needed to see, all of life’s stories. The failure to do so is blindness to the real story. Visually put, making others more important in story visions makes their story light visible through our own, doubling the magnitude of agapé light in the genesis personages of our structural drama and thus in the spiritual story itself.

The primary boundary is demonstrated in Paul’s actions when he spiritually fasted for others. He said, “Your temptation [was] in my flesh.” Through the structural drama, he bore the spiritual stories that enslaved others to temptation to help them see their vision story and meaning. He said, “Being free from all [things], I myself become a servant to all that I may gain the more [for Word to free also].”

Bearing them in the timeframe of the Now of Word, Paul, through Word and the vision stories of David and Abraham, assisted them in recognizing the role moral standards played in the surface appearances of their past unresolved stories. He, thus, led them to Word to resolve them spiritually with the principle of the structural drama.

The Secondary Boundary of the Structural Drama

The secondary rule-based boundary requires sole usage of the symbolic light-forms of Name, us as names, and Word as the diermeneutes,⁵ the translator/interpreter of these forms between us. This is to exclude depicting spiritual life in any form based on matter, for they are nonliving and cannot permeate each other. However, both types of forms are in each other, including the different forms of their words. The oneness of our two types bodies and our words is not one in the same, but is an in-each-other oneness.

Word’s words of life and spirit are our spiritual story in Name; the ones coming from our physical bodies can only reflect it. Thus, this boundary helps us understand that even though the divine stories of Name are clearly perceived and understood by the things made—these things are not the divine story itself. Understand this with the genesis positions of Word, David and Abraham. They set up the living boundaries of bodily names of light in the structural drama.

The second boundary provides a spatial framework for showing the visual pattern of our bodily agapé light in relation to our physical body and words. Envisioning this relationship exposes its misuse in past unresolved stories. It reveals our unchanging nature as names of agapé light in every relationship, described as light-folds, in the face of the changing levels of blindness to our light-folds in unresolved stories.

Such past stories are resolved by understanding how the appearances of our physical experience worked in—but not of—the form and visual patterns of our bodily agapé names and words. In The Spiritual Story, this is permeational blindness in the foyer of our house of knowledge thinking it clearly sees the permeational pan-diamond room it is in but not of.

With the principle the key boundary of our structural drama, the second boundary helps us resolve past story visions by making others’ bodily agapé names and words more important in them, without being against our own. Using the key genesis personages as strongholds in the structural drama, realize the importance of everyone’s words and actions in the spiritual story—even though we are not the source of anything.

We can stop wrestling Name ourselves through others and see just who is still doing so (see The Practical Guide). However, we can also then see how Abraham, David and some of their offspring did so correctly to prove the righteousness of Name.

The Tertiary Boundary of the Structural Drama

The tertiary rule-based boundary reveals the pathways of light for us to give all our agapé to Name through everyone else, tracing the pathways Name uses to give us all its agapé through everyone else. This is the purpose of our vision magnitude, brought to sublime levels by seeing it retrace the pathways over and over, displaying the key ones travelled in the Word, David and Abraham positions in our structural drama.

The three rule-based boundaries of the structural drama empower us to give Name all our agapé even through the blindest among us, which may have included us at times in past stories (not to imply that we give Name our agapé through ourselves⁶). It cannot include us in present stories if we have chosen agapé and are at least learning how to see with it. Recognizing the three levels on which we have all wrestled Name the wrong way makes this evident. Now that we have the visual boundaries of our structural drama, we are ready for the grammar of Word’s vision story action.

The Spiritual Screenplay

To compare the vision action of spiritual and nonspiritual screenplays, we will examine the passage below from Chapter Two - Mirrored. Remember that we train the story light of our agapé eyes to use our structural drama by keeping both levels of the spiritual screenplay distinct, its reality and illusion. The reality in the pan-diamond room is quite distinct from the illusion in the foyer, the latter where the nonspiritual screenplay exists in the image of the universe. The passage below focuses on the illusion. For focus on the reality, see Discussion 5, Names in The Spiritual Story of Democracy.

All illusion is due to misuse of our awareness of the aspects of Name’s light, explained in The Practical Guide, and given a place in the story by Word forming the illusion of the misuse out of the jasper transparency of its piety light. Once it is formed, we “put it on” and use it to wrestle Name in the part of the duality name designating us spiritually dead. Once the duality name is exposed with the mind of our heart though, we can perceive Word’s jasper piety light in its normal beauty in Name and Word’s exquisite light-fold in all our double light-folds, including those who still have a duality name.

Bending and twisting itself back far enough—by the will of one name of light in each of its camps (Republicans and Democrats)—their national suneidesis sees into its own opaque dream and allows both names to envision themselves as God, one literally in a sense, the other figuratively by believing that they can bring peace without the principle. Ruling over the others in their respective camps, they each have a plan to surreptitiously enslave the collective visions of both camps. Forming their respective visions of enslavement on the walls of the foyer, each one enthrones the other as its jasper antichrist of blindness.

Both types of screenplays work from these short-worded actions: a) bending the light of the national suneidesis, b) two members seeing its illusion, c) both partaking of it to somewhat play God, d) plans for using it to enslave others, and e) each forming an image of the other as the jasper antichrist to hide behind.

In the nonspiritual screenplay, this series of five short-worded actions is made into a series of recorded visual actions using two human forms with accompanying words and music. Watching it, our mind turns it into one fluid visual sequence of actions with a plot, which, translated and interpreted according to time in the illusion, our mind turns into a vision story of nonliving light in our suneidesis.

In the spiritual screenplay, we first envision the written sequence—or the completed movie sequence with human forms, or even the illusory vision story of it already formed in our mind—according to the rule-based boundaries of our structural drama with the bodily agapé names in the David and Abraham genesis-positions. Then, Word translates and interprets Name’s vision of our vision for us—according to the reality of the story in the Now of Word with its genesis members, along with its illusion in piety light supposedly outside of Word’s now. At the same time, this triggers Name’s vision of it into a single permeating, fluid vision story in Name with living music and a plot, requiring patience and focus for us to manifest with the mind of our heart in the world suneidesis.

All actions of the story occur simultaneously in the transparent permeations of Name’s pan-diamond room, identifiable separately as needed. Together, it displays the sublime magnitude of Name’s agapé light in and through the David and Abraham positions in the Now of Word, along with all other genesis positions. They are all discrete forms of Word interacting with himself, put on by names consciously yielding their self-luminations of Name to each other.

The Spiritual Story

Framing the spiritual story with the principle as its structural drama, the first boundary manifests us in our geneses as formless names of agapé light. The second manifests our bodily names of agapé light in our geneses within our formless presence (the visual groundwork), and the third manifests the light-pathways for Name’s agapé light to manifest itself in us in our formless presence and between us in our bodily presence.

Taking place simultaneously in one absolute position but on different permeational levels of our house of knowledge, in pandirectional agapé light with inner and outer vision fields, we, in Word’s now, according to the first boundary of genesis names, manifest in the five actions as follows: somewhat like sound, without form, we bend the national light, see its jasper illusion, partake, plan and form it translated in Name’s orchestrated permeational waves in Word.

At the same time, according to the second boundary, we are doing so with form within ourselves without form, and in the third, in the pathways in and between us in Name’s waves of light-folds. We translate each other to give Name all our agapé light through each other in the pan-diamond waves. Under the illusion of Word’s piety light, we also appear to be forming two agapé names as antichrists of jasper light in the foyer but transparently. They both appear to be unable to give Name any of their agapé.

While this part of the story is extraordinarily short, all of The Spiritual Story of Democracy is seen through it in the Now of Word. The story oneness between agapé and piety light allows us to see this part of the story in the unresolved sub-stories of our geneses—in the light of Name’s pan-diamond reality and, simultaneously, in the piety illusion of spiritual blindness in the foyer. This stops the nonliving opaque images of David and Abraham’s stories from being used to form illusory boundaries void of our inner and outer field vision around the absolute suspended position of our house of knowledge.

And this reveals all personage forms of Word in our geneses, moving in and between the permeational levels of both Grand Symphonies of the Story, while interacting with each other through all variations of their four pandirections inwardly and outwardly. Nothing unresolved can stay unresolved in sight of this, starting with the two principle actors in the foyer, suddenly being able to give Name all their agapé through each other. The spiritual plot brings life-changing resolution.

The Bridal Light of Word’s Genesis

On all four levels of our agapé names in Word’s singularity, we identify with Name’s golden agapé light in Word’s genesis and stopped identifying with the illusion of it in Word’s piety light within. Living in The Spiritual Story, we are watching the illusion of the genesis past wrestle the agapé light of Name that we are in the Genesis Now of Word. Only by taking in the panview of the full spectrum of all houses permeationally conjoined can we see that the jasper illusion perpetually appears to be putting boundaries around the bridal light of the City of Agapé Light, known as the democracy light in the world suneidesis.

As the words of life and spirit that Word is speaking, we are story visions, declaring that “everyone who looks at a woman [and does not see the democracy light of the bride in and through her does so] in order to desire her [in the image of the universe because he is unwilling to envision her according to the boundaries of the structural drama and, unaware that his own bodily form in these boundaries are permeating this image within him anyway,] has already committed adultery with her in his heart [against Bridegroom Name in the City of Agapé Light].” (Matthew 5:28)

Therefore, with understanding of the spiritual screenplay in the eternal power and divine nature of Name, we know how Name speaks to us in story vision. And we know how to respond in story vision, declaring that the same is true of everyone who looks at a man without seeing Bridegroom Name in and through him. Unwilling to envision him in the same boundaries of bodily agapé light, she has already committed adultery with him in her heart.

Therefore, we can now resolve all unresolved stories behind our spiritual adultery. Resolving them together opens up the story light of our collective agapé eyes to the structural drama of our light-folds as the Genesis-Bride of Name’s Bodily Agapé Light, two eternities in the Grand Eternity Name .

We are spiritual stories manifest in but not of our world life stories, the latter with their own word stories of fiction and nonfiction.

Suggested Articles:

The Eyes of Democracy (Introduction and Index of Articles)

 

1. Suneidesis, pronounced soon-eye-day-sis, is a Greek word that joins our natural awareness with our sense of conscience. Click on the link for a detailed explanation. It is central to this teaching. Using this foreign word regularly in discussions helps us get accustomed to experiencing something new and positive working in our awareness itself. When the word conscience is used, it will refer to the aspect of suneidesis that involves right and wrong, but this aspect cannot be separated from our co-conscientious awareness of all things.

If I understand that my awareness of something as simple as a cup includes co-conscientiousness, I do not allow myself to get blinded by the cup alone but know it as part of all creation at the hands of the Creator or the universe, depending on one’s beliefs. Spiritual maturity does this naturally.

2. The repetition of suneidesis is meant to challenge you to consider this dimension in your awareness. Apologies, but it will only be a necessary annoyance until it becomes natural.

3. Used only some 50 times, the Hebrew word khaza is normally translated "see”, but it is the main root for all the Hebrew words translated "vision". Used some 1,300 times, the Hebrew word raah is not used as the root for vision, so its many occurrences are best translated “see”. Khaza, therefore, is better translated “mentally perceive” or “envision”, but it is not due to their meaning in English carrying ideas such as “it is all in your head”. But nothing can be further from the truth in Hebrew usage. “I envisioned (khaza)You (Name) in the sanctuary [of names] to see (raah) Your power and Your glory.” “You [Name] spoke in vision (khazone, from khaza) to Your be­loved ones.”

4. Among the four main Greek verbs translated “see”, only horaó forms nouns translated “vision”, which, like khaza in Hebrew (see footnote 3), qualifies it to be trans­lated “mentally see” or “envision” also. Unlike khaza and its counterparts though, horaó is used more often than the other three Greek verbs combined. For one of the primary reasons that Word came was to teach us how to envision (horaó) Name in order to see (blepo, main Greek word for see) Him—through envisioning Word, taking David’s teaching to the next level.

Word said, “For judgment I came into this world, that those who do not see (blepo) might see (blepo) [if we learn his teach­ing, for this is not foremost physical healing of sight but a renewing of the mind and training of the senses], and that those who see might become blind.” (John 9:39) To the leaders of his time, Word said, “And the Father [Name] who sent me [Word], that One has borne wit­ness concerning me. You have neither heard His voice at any time nor have you envisioned (horaó) His form.” (John 5:37)

We know that when he (Word) manifests, we will be like him because we will envision (horaó) him just as he is.” (1 John 3:2)

5. Diermeneutes (dee-air-main-yoo-tace) is a Greek noun that comes from a verb that requires two English words to translate, meaning ‘to translate’ and ‘to interpret’. As a noun, it is both translator and interpreter. This action of translating works from one’s original language, which, ultimately, is everyone’s spiritual language, used by Name to speak to us in vision. Name’s visions though need to translated for us, even though we both use the same language, and they are simultaneously interpreted for us in the Now of Word. Simply put, Name speaks to us in visions we can understand through Word. Word is our diermeneutes, essential for us to understand The Spiritual Story of Democracy.

Knowledge of Word states: “And beginning from Moses and from all the prophets, he (Word) was translating/interpreting (diermeneuo, verb form) for them the [things] concerning himself in the Scriptures.” Luke 24:27

6. For Name gives us all its agapé through others only. What greater way is there to show us agapé than to love us by loving those around us, the seeing and the blind?