Drama: The Tie That Binds
(The stage upon which we play our games)

Drama, at least on planet Earth, is the tie that binds each individual to the need for their deeds. It is not the presence of a deed that is the source of drama in an individual's life, it is the interaction with the deeds in question that is the source from which all drama comes (Drama, needless to say is the slate upon which our emotions play). It can be said that it [drama] is a series of events that take place, each within its own time, but connected in such a way as to serve a single purpose; such as, the moment to moment interaction of Games. It has been said that drama is a special mechanism that was created to remind Man of forgotten laws when Man, the individual, forgets himself; it has been said that drama is the stuff from which all religions come; and, more important, from which all spiritual feelings come.

The most important part of Drama is the music that carries the emotions along. Therefore, a few words on drama's music will bring a greater light for all who wish to understand. Firstly, as all things must be dual in its nature, so too, is the music of drama. On the first level, it can be said that music is a magic window that looks out over the soul of the species that plays it. From another point of view... the individual's level of understanding, music is the soul's cry for want to be freed... for want to be forgiven.

Man only needs a collection of behaviors (the behaviors need not be observable) and an interaction of roles to create A Happening (the interaction of the roles need not be observable. Also, the interaction of roles do not cause drama. For drama to exist, the interaction must be between one or more individuals and a deed, not between the different roles individuals must play).

A possible source for confusion is thinking that drama and the A Happening [and its A Situation] which gives rise to the drama are the same. This is not true. The event(s) of the A Happening is a collection of interactions which are a necessary element for drama, but a collection of interactions, in and of itself, is not sufficient for the creation of drama. The drama aspect of the situation that is on-going within the A Happening is limited to the values placed upon the interactions of the A Happening; in other words, drama is always caused by the emotionality that is attached to the changing needs of the situation. Without the presence of sentimentality, drama does not exist.

The combining of the emotions [the sentimentality] and the playing of the roles (roles which serve the needs of a specific game) during the creation of A Happening does not have to be created instantaneously. All the different parts of the drama in question do not, necessarily, need to come from the same time frame, the same space, the same cause & effect tie, or from the same level of awareness, much less, the same level of experience. For example, consider an individual who is caught in a battle-bond, and who is also caught in the cycle of reincarnation because of his need to do battle. Karma may demand that this individual take care of a certain aspect of his need to do battle, such as the level of hate that he carries with him always. It might be that the tie that binds him to his need to do battle is how the hate that he carries modifies everything that he is, in his current SoJourn [his current life]. If the original Karmic bond that has the first claim on him during his present life [during his 4th SoJourn] were created during his 2nd SoJourn of the Cycle of Lives, the seed for the drama of the A Happening in this life would not be from the same time frame; it would be from a time in the individual's past; it would be from the individual's second life of his cycle of seven lives; it would be from a past life, and chances are, he would not have this information. All he would have is the presence of his hate, which would require much of his attention.

A drama is not the same as a scenario. For understanding's sake, we can say that a scenario is the script, or outline of a cycle of life [not to be confused with a cycle of lives. A cycle of life is the repeating aspect of deeds that occur within a single life. The cycle of lives has to do with the laws of reincarnation]. The cycle in question, the deeds that are in the process of being repeated, extend to the moment to moment interactions that are designed to pursue the satisfaction of very specific needs, very specific acquired needs, and very specific fantasies, with the details of the A situation [the props that one must deal with during the equalization of a karmic bond; such as a collection of people, places, and things that serve the needs of the drama in question], and all their implied ramifications, both in the past, in the presence, and in the future.

The drama is the actual tie that binds the people with their deeds, that binds the people with their cause, that binds the place with the happenings in time, that binds the things with the source for the drama, that binds the feelings which were created during the playing of, or the reciting of the happening's script to the karmic bond. It is the drama of the whole situation which gives the entire affair an air of reality to the A happening. It is also the drama of the goings-on which man calls, or recognizes, as the source of beauty that, more or less, governs the species' ability to appreciate the games within which the species is involved.

It is not an accident that the graphic symbol for drama is two masks--one laughing, the other crying. It seems that there is a level of awareness in Man that knows the truth of his dreams; and, it seems that Man seeks to hide that truth from himself by burying it in his symbols.

Drama denotes acting and acting is what humans do. It is the only way humans have to express their inner world. In fact, it could be said that the Muses have cursed Man, holding him captive in the arena of Theatre. Transforming emotions, hopes, and dreams into action is the fine art of drama. For those who have a greater degree of control over this process of transforming one's joys and one's griefs into seemingly great drama, great power can be wielded--in the dramatic, the melodramatic and the business sense.

Unfortunately, those who have not managed a degree of control over the process of transforming their joys and grief in great drama lose a valuable outlet for their pent-up emotions--great despair will usually be their reward. Fortunate are those who can dramatize their outward joys and grief via acceptable dramatic behavior without being unacceptably dramatic within. Drama belongs to the individual's outer-world. It should never be allowed to take hold in the inner-world. Once drama affects the internal state, in most cases, control and reasoning is lost.

However, there is still a third side to the benefits of drama; and, it is extremely positive. It is the kind of drama that moves an individual toward achieving cosmic consciousness. Things felt, things thought, things done for Man as a whole, out of love for the all can collectively build within an individual's inner-world, creating an aura that could conceivably affect the individual's state of mobility--by bringing a greater attention to the affairs of the emotions, and how these emotions intensify the inner-world's spirituality-type feelings. When this state of heightened spirituality occurs, the mental process which has the power to open new doors to the Universe also intensifies as the heightened spiritual feelings swell. The pairing of the two [heightened feelings of spirituality--the fleeting, shallow feelings and the permanent feelings--and the mental process which has the power to open doors to the Universe] can become an important tool for the beginning traveler. Again, it is almost as though the Muses accept Man's drama as a form of worship.

Drama is the key to what heightens behavior negatively or positively. Those who bring to bear the internal drama needed to ascend, will ascend. Those who bring to bear internal drama needed to serve oneself, will only serve oneself. That is one of very few choices that is always presented to the species Man; not surprisingly, it is weighted only by karmic conditions.

Perhaps Shakespeare said it best: "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. His acts being seven ages. At first the infant, mewling and puking in the nurse's arms. Then the whining school boy with his satchel and shining morning face, creeping like snail unwillingly to school. And then the lover, sighing like furnace, with a woeful ballad made to his mistress' eyebrow. Then a soldier, full of strange oaths and bearded like pard, jealous in honor, sudden and quick in quarrel, seeking the bubble reputation e'en in the cannon's mouth. And then the justice, in fair round belly with good capon lin'd, with eyes severe and beard of formal cut, full of wise saws and modern instances; and so he plays his part. The sixth age shifts into the lean and slippered pantaloon, with spectacles on nose and pouch on side; his youthful hose well saved, a world too wide for his shrunk shank; and his big manly voice, turning again toward childish treble, pipes and whistles in his sound. Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion-sans teeth, sans eyes, sans taste, sans everything."

What better prayer could there be to the Muse of Drama? When the great curtain of life falls, we are left with the only sound that really matter to mortals--the sound of silence, the sound of absolute truth in the making!

It is said that I shall be judged by the Muses, not for my deeds that offend the peace of others, not for my deeds that offend the very wind that blows upon the backs of all men, but for my deeds that offend my own concept of right and wrong. It is said that cursed am I to stand before myself in the days of final judgment. It is said that the Drama of my life will be weighed against the white feather of my Maat, for wail or for woe. It is said that during the affairs of life, Man has but the drama of his days to guide him away from inner turmoil. It is said that when absolute Truth speaks its name, men tremble with fear. It is said that he who has Drama for a friend has the Muses in the palm of his hands. By the will of the Muses, woe unto the man who has not Drama for a friend--for he has himself as an enemy. It is said that upon the final day of judgment, each will judge himself, using the Truth of his Drama to balance the scales of Justice. It is written that Could Have holds little weight upon the scale of I Am, That I Am. It is written that Should have will mark an omission tally against the traveler who falters, for the sake of serving himself. It is written that Might Have, Instead will mark a commission tally against the traveler who, for the sake of himself, for the sake of his dreams, for the sake of his hopes, chooses to serve himself against the needs of his Charge, both great and small. Continuum of the Life-Force is, very much, connected with the judgment called The Oblivion. When the judgment of Oblivion has been visited upon a life-form, that life-form descends, for the lack of a better term, to a lower point along the continuum of life. However, while the level of the quality of life is different, the patterns which govern all levels of life are the same. Are the Muses right to visit Drama upon such a creation as Man?