Earth stands there like a mountain. The oldest hath borne most: we that are young shall never see so much, nor live so long. At one point, many people on Earth were starting to feel that our government was frightful, corrupt, untrustworthy, and a no-man-fathomed abysses wrapped in the enigma of our own ignorance of the meaning of existence, and its peaks echoing with cries of triumph and despair that we are hardly sure are not ours.

Partly, the government and the media tease us because we have only recaptured it as a play. This is not real. Our leaders have the ability to remediate these droughts, to end poverty and unemployment, but instead of humanity focusing on the government and telling them what we need and that they are not doing their jobs, you people, instead attack your family, your neighbors, and other cultures out of jealousy, and this allows the government and the media to put fear in your souls as a source of control. So in order to overcome this, we humans need to take our power back. Limit your children to only use the internet for homework and nothing else. If they want friends or to talk to someone, they can talk to the doctor or their friends.

The church is a great idea, but the study of psychology is also nice. Imagine if we have centers of worship preaching psychology, which tells you in a modern fashion, how we should behave in these modern times. The Bible is a great resource, but it may be a little out dated. People have been committed to mental institutions and arrested for reading the Bible in public. The problem with the Bible is there is no happy ending, the end of times are uncertain.

Now, we need not concern ourselves so much with the end of times, but more so, it is important what we do with the time we have. We want everyone to be mature and so that they may be looked on as the appropriate expression of an age deeply convinced that there is an order of justice underlying the appearances of things which it was the function of literature and psychology to reveal and imitate, not to hide.

Psychology is made of the real language of real people, and whose most systematic critics believed this science had engaged what was important about life when we talk about race, milieu, and time and space. It is only again today that audiences (society) may again hope to see this play (the real World) performed in something approaching its original grandeur, as a work of the mythic imagination (the Bible and Heaven) to which comparable imaginative response must be made if we are not to be put off by its stiff allegorisms, on the one hand, it melodramatic implausibilities, on the other.

It may be that the play (real World and the Bible) also draws us because its tragic-heroic content, like that of our contemporary plays (Buffy the Vampire Slayer, Days of Lives, Supernatural, The Flash), is ambiguous and impure. This is not simply to refer to its well-known vein of grotesqueries, or those events and speeches which have the character of poignant farce and even of inspired music-hall fooling, like the Fool’s mouthing’s, Earth’s gyrations, and a quantum leap into the future.

This chaos is perhaps the author’s way of telling us, he is going to cancel the play, unless the audience speeds up and learns to enjoy it. If the play ceases to go on, then so will we all. So basically, the Bible and psychologist are all saying the same thing, you are stressing the system, causing too much wear and tear, taking too much away, but giving nothing back, but pain.

This cycle will lead to insanity, death and destruction. However, the Bible has been around for over 2,000, yet society keeps getting worse, so we think that it is okay for you to study the Bible, but you also need to check up on your own mental health and learn some psychology. It will keep you away from destruction patterns, and help you overcome issues with others and of your mind program, and this will recode your soul source for better programs.

The play (the real World of 2015) does blur the ordinary tragic heroic norms. Consider the death of the protagonist, Christ, for instance. This is usually Biblically climactic and distinctive, has sacrificial implications, dresses itself in ritual, springs from what we know to be a Renaissance mystique of stoical self-dominion. How differently death comes to God’s son!

Not in a moment of self-scrutiny that stirs us to awe or exaltation or regret at waste, but as a blessing at which we must rejoice, and Christ becomes hardly more than a needful afterthought to death that counts dramatically, but does not matter because he is suffering, not the rest of us, but you see the ripples because many are not repenting and still cursing and blaming others for their problems, when it is them who is the problem.

These savages refuse to obey God, they reject man’s law, and they scoff and tease those who want mental clarity and salvation. To die with no salute to death, with the whole consciousness launched toward another; to die following a life experience in which what we have been shown to admire is far more the capacity to endure than to perform: this is unique in the Bible, and sits more easily with our present sensibility (which is pathologically mistrustful or heroism) than heroic resonances of the usual Biblical close.

The miscellaneousness and very casualness of death, on this planet Earth, tells you that life is not a game, it is serious and actions and words have mortal consequences is also something to which the generations that know Auschwitz and the Trans-Atlantic Slave trade and Midtown are attuned. In the other tragedies, of the old testimony, as a student of mine has noticed in an interesting unpublished paper, there is always a hovering suggestion that death is noble, that the great or good, having done the deed or followed the destiny that was in the, to do or follow, go out in a blaze of light.

So Queen Akasha and Lord Lestat   seem to go on (that is supposed to be Aaliyah, but she died during editing). So Queen Akasha goes, turning to air and fire to meet Lord Lestat. Many would like to say Lord Lestat is felonious, so he can have negative glory like the transcendent criminal he has become. However, the King repudiates this: “The dramatic emphasis is on the generality of death; death is not noble or distinctive; virtually everyone dies, and many of them for no reason. The reiterated fact of the multiple deaths is processional in quality.

It is like an enormous summarily obituary. The Fool disappears of causes mysterious; Phillip, tailormade servant, is killed by Edward; Iggy and Regan are poisoned and dagger slain; Jackson dies offstage of weariness, conflicting emotion, and a broken heart; Doug is about to die of grief and service; Eddie is killed by his brother in a duel; Aaliyah dies (by a kind of mistake, Great thing of us forgot!) at a hangman’s hands; and King dies of grief and deluded joy and fierce exhaustion…Death is neither punishment nor reward: it is simply in the nature of things.”

Intimations of the World’s End run through it like thief in fort Knox. In the scenes of 201, the elements are at war as if it were indeed Armageddon. When society is at peace and people are all doing well and happy, and you wake up with your wife, husband, or child by  your side, you imagine that already the Apocalypse is past, as your soul source code is in bliss, but in reality you are still bound upon a wheel of fire.

How do we not crack in Heaven’s vault with the grief that our neighbors, children, spouses, patients, and others put upon us, it is like they believe in only one thing, the promised end, or image of that horror. These are but some of the overt allusions. Under them everywhere run tides of doomsday passion that see, to use up and wear away people, soul source codes, mind programs, and the personal body computer, along with expectations, all stable points of reference, till only a profound sense remains that an epoch, in fact a whole dispensation, has forever closed.

Every great critic, from Mayor Kevin Johnson on, including many who were and are hostile to the play (society), at some time or other begins to think of the sea, and how Christ spoke with such passion of God as resembling an ocean, swelling, chafing, raging, without bound, without hope, without beacon, or anchor, and how on the sea Christ floats, a mighty wreck (The United States of America) in the World Wide Web of sorrows.

The sea plays no direct part in the action, however. The fragrance of it and the sound of it are omnipresent. The sea licks up at Dover relentlessly, its murmuring surge’ is endless and inescapable and everywhere, an archetype not of an individual drowning, but of the flooding of the World. God is alive again: it is our myth, our dream, as we stand naked (wearing the same outfits everyday) and unaccommodated, listening to the water rise up against our foothold on the cliff of chalk.

I turn now to the play, in the pages that follow, I wish to make primarily three comments: one on the special character of its actions, one on the special character of the World in which this action is housed, and one, stemming from both of these, on what I take to be the play’s tragic theme, summed up nest in the Bible, “We need psychology because so many fear religion and take it out of context.”

However, the whole truth is not seen unless it is formulated also in terms of agency and aggression. Perhaps your World is exceptionally anguished; it is partly because it is exceptionally contentious. Some critics are content to see a tragedy of wrath. Unquestionably, it does contain a remarkable number of remarkably passionate collisions. Randolph facing Christina, and Sean facing Melissa, in the opening scene; Randolph confronting Iggy, at her house with his terrifying curse; Sean tangling with Kenny outside William’s mansion; it goes without saying in a World of such contentiousness most of the dramatis personae will be outrageously self-assured.

The contrast with the situation, in this respect, is striking and instructive. There, as I have argued in another place, the prevailing mood tends to be interrogative.  Doubt is real in this World or play, and omnipresent. Minds, even villainous minds, are inquiet and uncertain. Action does not come readily to anyone who worships the internet or things life is a game or claims that the audience (society) is evil.

The human will is fragile. All of this would change your mood also. You may just be disappointed by the unnecessary ups and downs in your life, which seem to be imperative. Life is supposed to be more of child, the painful questions are unnecessary. Are humans more than this? Is there any cause in nature that makes these hard hearts? Why should a savage, a bum, or a crook, so simple and unmediated, have a life and thou no breath at all?

Come not between the dragon and his wrath, you nimble lightnings, dart your blinding flames into her scornful eyes, blow, winds, crack your cheeks! Rage! Blow! Thou shalt not die; die for adultery, no! A plague upon you murderers, traitors, all! I might have saved her. Action comes naturally as breathing and twice as quickly. A hero’s destiny is self-made. In the psychological climate that forms round a protagonist like this, there is little room for doubt, as we may see.

No villain’s mind is unquiet. This is the vale of soul making, where the will is agonizingly free. As if to force the point on out attention, almost every character in the play, including such humble figures, who are impelled soon or late to take some sort of stand, to show what party I do follow. I do not have to tell you, it should be clear by my actions. It does not matter if you boast the name of God and your blessings if your heart and mind are focused on corruption.

It is you, who is full of savagery by our understanding of the inner act as you thrust upon us with the shock that comes from evil, and you remain unactable for your actions and reactions.  Is there any cause in nature that makes these hard hearts? We have explored this dilemma and already have plans of remediation for the damages, as best of our abilities, but it is you who broke the law and breached our rights and privacy.

This evil which has nowhere been inwardly accounted for, and which, from what looks like a studiedly uninward point of view on the playwright’s part, must remain unaccountable, to characters and audience alike. The relatively slight attention given in the psychological process that ordinarily precede and determine human action suggests that here we may be meant to look for meaning somewhat different quarter from that in which we find it in the earlier tragedies.

He may simply be a man who cannot make up his mind, or has social or religious obligations, his problems are clearly conditioned by the unsatisfactory nature of the alternatives he faces. Any action involves him in a kind of guilt, the more so because he feels an already existing corruption in himself and in his surroundings which contaminated all action at source. Virtue cannot so inoculate our old stock, but we shall relish it.

A man – completely innocent, offered himself as a sacrifice for the sins of humans, including his enemies, and became the ransom of the world. How should we repay him for saving our lives? Many people choose to generate energies that will hurl themselves in unforeseen and unforeseeable reverberation of disorder from end to end of the World.