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This is Previous-Essay <== This-Essay ==> Following-Essay Click HERE on this line to find essays via Your-Key-Words. {Most frequent wordstarts of each essay will be put here.} ========================================================== %DRAMA PLAY SALVATION RESCUE GOOD LOVE EVIL FATE 890420 Many people are actors in the drama of salvation. How they play their parts depends upon their conceptions of salvation, good, evil, and love. Often people act as if salvation were a matter of rescue from the forces of evil and fate. Some play the roles of victims of the forces of evil and fate. They provide the opportunity for others to play the role of good rescuer. In their play they dramatize their conceptions of the nature of the universe and the nature of salvation in the universe of their conception. They do not realize the extent to which they are creating the universe of their dramatic play. The kind of universe which people create and live in depends critically upon their conceptions of the nature of good, evil, love, fate, and the possibilities of salvation through rescue. The universe to which they give birth through their play depends upon what they believe to be the possibilities of the universe of which they are participant actors. Through their beliefs they act out the possibilities which they believe can be realized. They do not know the extent to which those possibilities are born/die in their perceptions. People who believe that all possibilities are determined by objective realities contribute deterministic elements to the plot of the play. People who believe that salvation resides in rescue contribute to the addictive/codependent dynamics of the play. People who believe the uni-verse to be fundamentally split between the forces of good and evil contribute to the conflicting acts of the good and evil actors of the play. Each actor contributes to the conception of the play according to their beliefs about the nature of the stage and drama which they are creating. Many people cannot dream that it might be possible for the actors to decide what kind of play to write. They can not imagine in their wildest fantasy that they might be playwrights who set out the drama in their imagination before they act it out on their stage of life. Many people believe that the play which they are acting out has been written by fate and the forces of good and evil before they were cast to be actors in the drama. They do not believe that they are playwrights themselves, with the power of decision and with the opportunity to enjoy the consequences of their decisions, or to suffer the consequences of their decisions. People often do not regard their habits of mind and heart to be the consequences of their decisions and vice versa. People do not recognize the ways in which their attitudes lead to their communal circumstances. Often they do not recognize that by changing their ways they might change their communal circumstances, because such behavior requires a different conception of the possible character of the play which they are cooperating in acting out. Often people think that the only possible kind of cooperation is cooperation in acting out a drama of conflict according to mutually agreed upon rules of conflict. They do not recognize that it would be far more fulfilling to conceive cooperative ventures in which all people come out ahead, rather than cooperative conflicts in which only some people appear to come out ahead. Protracted conflicts are possible only because people on each side of the conflicts cooperate with each other as to the nature of the conflict and as to how it is to be acted out. If people on one side of the conflict decided not to cooperate in acting out the assumptions of the conflict, it would not be possible for people on the other side to continue the conflict in its traditional dramatic way. The nature of their relationships would change for lack of conflicting cooperation. (c) 2005 by Paul A. Smith in (On Being Yourself, Whole and Healthy) ==========================================================