The Correspondent Relation between the Story and the Spirit

The spectrum plane, the pictorial model of the gospel is, as we have examined, the norm of the integration of the impulse of life. The purpose of the gospel is to redeem our mind by showing us how to integrate our mind towards the good. And if the gospel expresses our mind in analogy, we can expect that the structure of the gospel is aligned with the spectrum plane. Mediating the spectrum plane allows us to see the structural meaning, which remains hidden without use of a proper structural model. A good model always includes the function of discovery.
We will examine concretely, on the structural level of the story, the symbols of the gospel linked with the spectrum plane. Mediating the spectrum plane, the basic components of the gospel correspond to the basic components of the mind, and therefore the structure of the story represents the structure of the spirit.

the analysis of the characters

a At first, we examine how the characters of the gospel systematically depict the archetypes of the mind. Following the dual nature of light which we have discussed in chapter 2 as form and matter, we will distinguish characters as follows. In relation to formal division and synthesis, we will distinguish the characters that belong to formal division and those which belong to formal synthesis. As for the synthetic characters, later on, we deal with such symbols of totality as Christ, disciples, and John the Baptist. First of all, we look at three symbols that represent the three areas, where light is clearly divided into three elements, namely blue, red, and yellow. The three characters that express these typical and partial characteristics in personality are "the scribes and the Pharisees" as blue, "the tax collectors and the harlots" as red, and "the children" as yellow. These characters express not the external situation of the story but the partial characteristics of personality. We have to admit that within us there exist such characteristics. "The scribes and the Pharisees" connote to pride and intellect. Therefore the symbol belongs to the active side of the self-conscious area. "The tax collectors and the harlots" connote to greed and sensuality. Therefore it belongs to the passive side of the self-conscious area. Finally "the children " connote to innocence and humbleness. Therefore it belongs to the passive side of the unconscious area.
These three symbols virtually represent the spectrum's blue, red, and yellow and remind us of Jung's animus, anima, and the child archetype. While Jungian archetypes are generalized forms from various myths, the archetypes of the gospel intend to depict more clearly the mind's framework so that the readers can understand the structural idea of the mind.
Among these three, the description of the scribes and the Pharisees is much more detailed than the other two symbols. The gospel discerns that perverted pride is the cause of evil. Only if we know those patterns of the perversion can we prevent the emergence of evil. Good can be realized only through its contrast with evil.

aThe symbol that corresponds to the formal synthesis is the major character, Jesus Christ. This symbol is the totality of the spirit that includes the totality of the unconscious. It is the totality of the double spectrum plane. Before the stage of the kingdom of God, it exists as a potentiality in the unconscious. After the disciples meet the second coming of Christ, it comes to consciousness, first, as the concept of life, and then gradually as the totality of the spirit.
Among the character symbols, the major characters such as Jesus, the disciples, and John the Baptist express the totality of life in its different phases.
The disciples as fishermen aim to bring up fish from the unconscious. Therefore the disciples indicate the totality of the ego which aims to uncover the unconscious content of the spirit.
John the Baptist gave people baptism for their repentance by immersing their bodies underneath the water. Metaphorically speaking, it indicates the sinking of the ego from the unstable self-conscious to the stable unconscious. It demonstrates the transformation of the spirit from the self-conscious to the unconscious.
aThe relation between Christ, disciples, and John the Baptist is similar to the relation between Odysseus, Penelope, and Telemakos in Homeric epic. If we take a Jungian view, this context becomes clear. They are respectively express the Self, the ego and a transformation factor between the ego and the Self.
On the side of material dissolution and synthesis (the relationship between darkness and light), we, at first, distinguish the cause and the effect of the material dissolution. The symbols that express the cause of material dissolution (the force of the world) are the Jewish royal family, King Herod, his wife Herodias, and Salome. They, as the force of the world, represent the totality of the darkness. For example, after hearing of the birth of Christ who would be the king of Israel, King Herod killed innocent babies. After the first conversion experience, the state of innocence in our spirit must be broken by the force of egoism in us, because a new awareness has not yet enough power to support itself. Hence Jesus escapes to Egypt which geographically indicated the depth of the unconscious.
The effects of the material dissolution are the diseased, the lame, the blind, the leper, and the evil spirit. These are the various forms of the state of dissolution of energy: an abnormal and unstable state of the spirit. Such an ugly state of being can also be a kind of archetype which indicates negative patterns of the mind. In Plato's Parmenides, what Plato referred to as the idea of filth was probably a reference to such a reality of the psyche.
In this context, John the Baptist is the symbol of material synthesis. This tentative synthesis is destined to be broken by the force that bring it to the material dissolution. Hence John the Baptist is killed by the wish of Herodias, following the dance of Salome.
The topics of material synthesis and dissolution naturally come in the early stages of the story. The birth of Jesus and John the Baptist relate to the material context of the light, because of its fragility in the integration. Both are damaged by Herod.
When we polarize spirit between matter and form, five senses belong to matter, and reason to form. And mythical context often places, analogously, female to matter and male to form. Therefore we examine the possibility of the women in the gospel representing the five senses. The woman who washes Jesus' feet represents the sense of touch. The woman who pours the oil represents the sense of smell. Martha who prepares meals represents the sense of taste. Mary who listens to the words of Jesus, the sense of hearing. And finally the women who see the empty tomb and see the resurrected Christ represent the sense of sight. Obviously these women manifest the five senses of our spirit. These senses can respectively correspond to darkness, the spectrum, and light. The sense of touch relates to black, the sense of smell and the sense of taste to red, the sense of hearing to blue, and the sense of sight to yellow and white. Senses are, in their divided patterns, still 'forms' on the level of 'matter'.


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