The Genealogy

sBefore we examine the structural analyses of the Gospel, we must demonstrate the semiotic code that governs the Gospel's symbolic system. Our research so far has clarified that there is a foundation of a semiotic system in which the double spectrum planes become the spatial syntax.
If the Gospel, as a semiotic system, is based on the spatial syntax of the human spirit, we may assume that this very syntax must be mentioned at the beginning of the Gospel. It is natural to suppose that the introduction of the book gives readers the general idea of what comes later, namely, the outline of the contents.
As a metaphorical system, every document in the Gospel is written figuratively rather than literally. We regard the genealogy as something more than merely a literal list of the names of Jesus' ancestors. As a matter of fact, if we count those generations from Abraham to Jesus, there is a discrepancy of about a thousand years in relation to actual history.
When we simply look at the genealogy, it shows the skeletal structure of a house of Israel. Naturally we can assume that the genealogy indicates a framework of the human spirit, as the theme of the Gospel is redemption of the human spirit, that is to say, to actualize the integration of the human spirit. Strictly speaking, there is yet another condition. The genealogy is that of a Jewish house. We must remark that it is not only a framework of a human spirit, but, in particular, a Jewish spirit. We will discuss the meaning of the metaphorical Jew later.
Let us then examine the contents of the genealogy. One distinctive feature of this genealogy is that,on three separate occasions, 14 generations are rather artificially grouped up together. Since the genealogy does not follow actual historical facts, the number 14 must be based on numericalsymbolism. It necessarily relates to a perfect number that expresses a unit of being.In the New Testament, often the numbers 3 and 7 represent the perfection of being. The perfect number that relates to 14 is 7, as 7 times 2 =14.It indicates that the seven generations make up one unitof being and this unit of being is doubled.The genealogy as a whole is constituted by ( 7 * 2 ) * 3. What is the most natural outcome when we look at the combination of these numbers? If we regard this combination of numbers as a framework, it can be seen as a three dimensional coordinate axis.The Gospel at first implies that the framework of the spirit can be expressed along the three dimensional coordinate axis. Based on the coordinate axis, the genealogy expresses the concrete characteristics of the outline of the spirit, taking advantage of various figures in the Old Testament.
sWe will then deliver the concrete contents of the genealogy to the appropriate places in the coordinate axis. For example, when males occur in a generation, we put them on the right side of the picture. When females occur, they are placed on the left side of the picture. By placing them in this way, we gradually see the relationship between the genealogy and the paradigm.
Juda and his brothers of Israel could correspond to the towns of Galilee. By adding plural members in the third of the vertical connections of genealogy, it suggests the area dominated by male impulse. In the eleventh generation, Ruth is added. Ruth who humbly gathered ears of fallen grain after the reapers, corresponds to the characteristics of the lower left of the Paradigm, 'meekness'. The first 14 generations mean the vertical line of the Paradigm. The second 14 generations guide us to draw the horizontal line from left to right by adding the wife of David, the femaleness. In this genealogy, strangely enough, King David is counted twice. This probably means that the next 14 generations remain on the same plane. At the end of the second 14 generations and the beginning of the third 14 generations, we are guided to the top of the picture of the Paradigm, by the phrase 'the deportation to Babylon'. The deportation to Babylon clearly indicates the characteristics of the self-conscious pole: the area of stagnation and fetters.



complete and incomplete systems
It is necessary for us, at this point, to understand the relation between symbolic systems and the structure of the stories, so that we can make clear the standpoint of our structural analysis. Metaphorical narratives, such as myths, legends, allegories, and symbolic poems are constituted of various levels of metaphorical expressions. Some of these narratives are not yet systematic in the use of metaphors. On this unsystematic level each metaphor is independently used, as in most short poems. To express human spirit, symbols can be used systematically. For example, characters in the story often represent, through the relation between the major character and other characters, archetypal patterns of spirit. As the purpose of myths is to liberate human spirit, well organized mythical narratives necessarily become systematic and inform us of the real nature of human spirit so that we may learn from them to control ourselves.
On the systematic level, we must distinguish complete and incomplete systems. By complete system we mean the system which depicts human spirit and covers the frame of the story. In doing so, the system metaphorically expresses the structure of the spirit. In other words the fundamental frame of the story, which is constructed by the characters, the setting, and the story line, constitutes the frame of the spirit. In an incomplete system, on the contrary, although human spirit is depicted, the system does not cover the frame of the story. The parables of Buddhism, Hinduism, and Taoism are, although systematic to some extent, not yet complete. They do not hold the systematic unity to represent the structure of the spirit. The Gospel belongs to a complete system, as does the Homeric Odyssey as we will briefly mention later. On this level, however, there is still a difference. In the Odyssey, although we have a picture of the spirit, this picture is still ambiguous. It does not clearly indicate the concept of the spirit through the system. This type of myth can be called 'complete imperfect'. Finally, the gospel is the only narrative that depicts precisely the concept of the spirit through the frame of the story. The Gospel, in this way, becomes the metaphor of the spirit. This can be called 'complete perfect'.
The Gospel is called the book of revelations. It is expected that through gradual revelation, we will understand ourselves and actualize our spirit from potentiality to actuality with the guide of structural metaphors. In the course of our spiritual development, the universal meaning of human spirit is gradually revealed in the Book of Revelation. In other words, such a revelation helps us achieve self-understanding. In this sense the most complete revelation is nothing less than the illumination of the spirit and its process through the whole scripture's systematic metaphors. Within the frame of the story, the revelation must indicate the frame of the spirit. With temporality of the story, it lets us understand the ultimate process of our spirit. In short, the revelation lets us know how to actualize the purpose of life, by indicating the direction of the integration of life.
So far our perception of the homologous relation between the light, human nature and the structure of myth has been ambiguous. Although it has been expected, in one way or another, that there would be a profound systematic connection between the story of Jesus Christ and human nature, it has been difficult to clearly elucidate its context because of the intricate metaphorical structure of the Gospel.
But once the intricate system is clearly arranged through the Paradigm, along the frame of the story, and with the explicit connection to the homologous structure of the light and the spirit, this context is always available to us.
According to our premise, the Gospel is a structural metaphor of a human spirit on the level of the frame of the story. The basic components of the story (characters, the setting, and the story line) express the outline of human spirit. Such components are both archetypal symbols and archetypal metaphors.
Archetypes, according to Jungian psychology, are basic factors in human spirit. These are considered to be universal factors of human nature. While Jungian archetypes are generalized forms developed through the examination of various myths, the archetypes in the Gospel aim, instead, to depict the outline of human spirit. Jungian archetypes still lack the order for the integration of the spirit, while the Gospel has a clear intention to integrate our spirit by giving the pictorial form. It is dominated by the homologous function of light and life, being the spectrum's division and synthesis in 'form', and being the light and the darkness or the concentration of energy and the loss of the energy in 'matter'. The structure of the Gospel appears as a picture of the concept of life. It is the state of affairs that the characters, the setting, and the story line, form the archetypes, the field, and the movement of life. These symbols express the picture of the spirit.

 
 

 




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