The Spiritual Drama of Democracy

Resolving unresolved stories spiritually with the principle

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

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Next in our journey for knowledge to build our house of knowledge, we need to understand how the structural drama works in our lives. It helps us see through things in ourselves that block out the true treasures within us all. It thus helps us see through the things blocking out the light in our democracy—so that we can bless the light we all partake of.

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Inner Vision

This article is about how to use our inner vision spiritually, removing the fear and anxiety associated with uncontrolled images that can afflict our mind. Inner vision handles living light, whose essence is unconditional love, agapé, and nothing else. Images that can afflict us are formed from the nonliving light of 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 agapé.

Choosing agapé does not require us to “lower our defenses”. It requires us to replace the nonliving images working in them, as concerns our well-being, with the living images of agapé. They form the strongest defense. Do not continue if you feel that you are not ready to learn this.

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 rooted in grammar. It is not the moral law Moses taught that Word was talking about. It was rule-based thinking able to communicate words that are spirit and life—by understanding how Name speaks to us in vision, as knowledge of Word reveals.

“You [Name] spoke in vision to Your be­loved ones.” Psalm 89:19

Some 2,000 years later, we are finally comprehending what Word was talking about. But what needed to come first? Movie grammar, not story grammar, but specifically screenplay grammar. —If this sounds irrelevant to you, consider the qualities of matter needed for the technological processes of television and movies to even exist.

“Since the creation of the world [respecting the scientific view also], His [Name’s] invisible qualities, both His eternal power and divine nature, have been clearly perceived in [things] that have been 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 that our mind turns into fluid visual story action with words that has story meaning. Again, screenplay grammar 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 spoke, we need to learn the boundaries of rule-based thinking found in envisioning in story form. They form the boundaries of the structural drama. 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.

Boundaries of the Structural Drama

The primary rule-based boundary is the principle of suneidesis² operating as the structural drama of our house of knowledge. Simply put, making others more important without being against ourselves is the underlying theme of all of life’s stories. The failure to do so is blindness to the real story. Visually put, making others more important in vision makes their light visible through our own, doubling the magnitude.

As with everything in our house, this boundary works within the timeframe of the Now of Word. It is alluded to in Chapter Two of The Spiritual Story of Democracy —“Using the principle this way (making the story of others outside our house more important than our own story inside) luminates its structural drama throughout both sides of their drama.”

The primary boundary is demonstrated in Paul’s actions, who said, “Your temptation [was] in my flesh.” He bore the spiritual dramas that enslaved others to temptation in order to help them, saying, “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 allows past unresolved stories to be recognized and resolved spiritually with the principle.

The second rule-based boundary requires sole usage of the symbolic light-forms of Name, us as names, and Word as the diermeneutes,³ the translator/interpreter of these forms between us. This is to exclude depicting spiritual life in any forms 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. A line in Chapter Four reads, “With both realms in each other, we can see that the oneness of these words is not one in the same, but is an in-each-other oneness.”

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 when exposing past unresolved stories shows our unchanging nature as names of light in every relationship, described as light-folds. This is despite our changing levels of blindness to our light-folds in unresolved stories.

Past stories can be resolved by understanding how the appearances of our physical experience work in but not of the form and visual patterns of our bodily agapé names and words. Visually put, with the principle the structural drama of our house, resolving past stories brings back the ability to make others in those stories, specifically their bodily agapé names and words, more important in our vision, which increases our vision magnitude exponentially.

The third rule-based boundary establishes the pathways for us to give all our agapé light to Name through everyone else, particularly the blindest bodily names of light among us. This is the purpose of our vision magnitude, brought to sublime levels by seeing it retrace the pathways used by Name to give us all its agapé light. A line in Chapter Three reads, “As an expression of our true feelings for them, they are who, as some of the worst of humankind in their blindness, we give Name all our agapé light through.”

The three rule-based boundaries of the structural drama empower us to give Name all our agapé even through the blindest, which includes ourselves sometimes in past stories. It cannot include us in present stories if we have chosen agapé and are learning how to see with it. Recognizing the three levels of such stories, on which we have all wrestled Name, makes this evident.

The Spiritual Screenplay

To understand the action of spiritual and nonspiritual screenplays, let’s examine the following passage from Chapter Two - Mirrored. With such understanding, we can train the story light of our agapé eyes to use the structural drama of our house of knowledge. Remember to keep both levels of the screenplay distinct, the reality and the illusion. This passage focuses on the illusion. For focus on the reality, see the updated edition of Discussion 5, to be published 6.25.25. All illusion is due to misuse of our awareness of the aspects of Name’s light, explained in The Practical Guide, and made possible by Word forming the illusion of the misuse out of its piety light. Once it is formed, we “put it on” and use it to wrestle Name in the spiritual story.

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 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 play God, d) plans for using it to enslave others, and e) each forming an image of the other as the antichrist to hide the fact that they are playing God.

In a 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. Watching it, our mind turns it into one fluid visual sequence of actions with accompanying words, which, translated and interpreted according to time working in the illusion, turns it into a vision story of nonliving light in our mind.

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—by using the rule-based boundaries of our structural drama. Then, as Word translates and interprets Name’s vision of it for us, according to the reality of the story in the Now of Word, it gets triggered into a single permeating vision story, requiring patience and focus for us to manifest.

All actions occur simultaneously in the transparent permeations of our house of knowledge, identifiable separately as needed. Together, it displays the sublime magnitude of Name’s agapé light in and through us throughout the structural drama’s boundaries and pathways—appearing differently in each of the actions’ forms while simultaneously being the same.

The Spiritual Story

Framing the spiritual story with the principle as its structural drama, the first boundary manifests us in it as formless names of light. The second manifests our bodily names of light 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, according to the first boundary, manifest in the five actions as follows: somewhat like sound, without form, we bend the national light, see its illusion, partake, plan and form it. At the same, according to the second boundary, we are doing so with form, and in the third, doing so in the pathways in and between us. Under the illusion of the piety light, we end up forming each other as the antichrist or whatever our beliefs dictate.

Under the reality of agapé light in the story, according to the same boundaries of our structural drama but used correctly, we transparentize our perception of the national light, see its agapé light, partake of it consciously again, plan and form its singularity in our perception with everyone’s bodily agapé names, through which we give Name all our agapé light.

In the Now of Word, the story oneness between agapé and piety light allows us to see unresolved life stories of the past in the light of reality and the illusion simultaneously. It stops nonliving images from being used in the aspects of Name’s agapé light to form illusory boundaries around the absolute position of our house of knowledge. This is what appears to veil the agapé eyes of our inner vision. The nature of unconditional love cannot be limited, but the number of people using it can, through the different appearances that nonliving images can take to bind us in groups and confine our awareness of Name’s agapé light.

Now, on all levels of our agapé names, we can again identify with Name’s unlimited agapé light in Word and stop identifying with the illusion of limited agapé in the piety light of Word. The illusion wrestles the agapé light of Name by perpetually appearing to put boundaries around it in the Spiritual Story of Democracy. Such illusory wrestling with thoughts of forming others dishonorably in such boundaries is the ultimate betrayal of Word’s singularity. For its singularity consists of our bodily agapé names forming democracy, which serves as the spiritual bride of Name.

“Everyone who looks at a woman [looks at another name of light] in order to desire her [to form an illusory light-fold outside the unlimited agapé light of our singularity] has already committed adultery with her in his heart [for in the singularity of Word’s world democracy, all of us are the bride of Name’s agapé light].” Matthew 5:28

Therefore, with understanding of the spiritual screenplay, we know how Name speaks to us in vision and how to respond in vision. First, we need to focus our part of the conversation on resolving past unresolved stories behind spiritual adultery. For it opens our agapé eyes to more of the sublime magnitude of our light-folds as the bride of Name’s light—emanating in all the actions of unlimited agapé between us in the spiritual story across the generations of this eternity, all occurring simultaneously in the Now of Word.

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. Diermeneutes (dee-air-main-yoo-tace) is a Greek noun that comes from a verb that requires two English words to translate, ‘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