Avatar 22, p. [10-13]

The Structure of Structure

by AMPEX 602

CAST OF
CHARACTERS

MEL LYMANAries
DAVID GUDEAries
JIM KWESKINCancer
JOEY GOLDFARBGemini
SCENE:This story begins in Mel Lyman's living room. Seated about him are his close friends Jim Kweskin, David Gude, and Joey Goldfarb. The tape recorder is running and as the scene opens we find Mel in his most comfortable chair with the worlds Almanac in his lap:

ACT I

Mel:This almanac reminds me of a funny story, an experience I had one time with an almanac. Would you like to hear it?
Jim:Yes.
Mel: (Changing the subject) It says here that 1,450 people were drowned on a steamboat in the Mississippi River in 1857. The boiler blew up. Wow. I didn't think people were doing things like that to themselves that long ago. Imagine all those people sinking on a raft on the Mississippi River.
Jim:Yeah. What do you call those kind of rafts?
Mel:Paddle wheel rafts, with the big rubber bands. Imagine all those people going down at once. That's a lot of pain to be having all at once. I mean they MUST have drowned all at once. It's not like an accident on the ocean where people can bob for weeks and most of them will eventually get saved. If that many people drowned in the Mississippi River there must have been no way to save them, they must have died all at once or they would surely have been saved. They must have all drowned IMMEDIATELY. I wonder if they were nailed to the deck or something. (Laughter) 14,000, all nailed to the deck. I wonder if it was an accident, sounds to me like it was planned.
(Here the free flow of the conversation is interrupted. Jim and David get involved in a serious talk about editing tape and Mel gets bored, he wants a change.)
Mel:You know what's wrong?
Jim:(Thinking Mel is referring to their talk on editing) David's going to teach me how to edit.
Mel:That's it. (Meaning their insistence in talking about the same thing) That's it.
(Bewildered pause)
Mel:You don't know what I mean do you?
David: I do, yeah, I just saw it.
Mel:See how limiting it is.
David: I mean I saw SOMETHING. What you said just now doesn't make sense though.
Mel:I said, "You know what's wrong?".
David: With the way this editing's done?
Mel:Now YOU blew it that time. It has nothing to DO with the editing but that's what's wrong, that you think it DOES.
(Another bewildered pause)
Mel:(Reacting to a puzzled expression on Jim's face) Are you stuck?
Jim:I guess I MUST be.
Mel:Then let GO of it.
David: One thing that's been happening, I've been editing for years...
Mel:(Interrupting) Oh you're still talking about THAT.
David: Yeah.
Mel:INCREDIBLE! WHAT PERSISTENCE!
David: Well I was getting into another story. What're YOU talking about?
Mel:(Laughing uproariously) ....
(Long pause)
.... What were we saying?
David: I think it would be a gas if Jim starts editing tapes.
Mel:Isn't that amazing how you keep DOING that to me.
David: Uh huh. But I'm lost. I have to go back to that cause I lost you somehow.
Mel:Why don't you just pass on THAT. On the fact that you've LOST me. Why don't you let that go someplace else like it WANTS to. Instead of keeping going BACK to it like that.
David: I was trying to clarify something.
Mel:Yeah but there was something GREATER that was trying to happen.
David: I wanted to explain it to my mind, to really get it down so l could remember it, cause it seemed so beautiful that I wanted to remember it.
Mel:But don't you see how that constrains me, holding onto that little morsel and trying to remember it so you can tuck it away for yourself keeps me from getting us on to MORE beautiful images. You have to FEEL how much that limits me, for yourself, before you'll know what I'm talking about.
David: I don't know what you'd do without that limitation.
Mel:I'd do MORE.
David: But I don't know what I would do, WITH you, so I don't want to LOSE you. So I try and hang on to my understanding, because that's what I'm SEEKING.
Mel:But to reFIND me again, in another PLACE, all of a SUDDEN. To let GO of the place you're holding is the only way that you can ever possibly meet me in a new place. See what I mean. Jessie's like that. She's learned to let go of what she thinks I am, old goals, only to joyfully rediscover that I am GREATER than that and in this way SHE gets to be greater than that.
David: I've learned that that's TRUE. I wish I could do it, consciously, all the time. I remember that that's happened to me.
Jim:I do it consciously a LITTLE of the time.
Mel:Did you notice a little while ago, when I started to tell you a story that happened to me one time. I sat down with the almanac, about ready to tell you the story, and the next thing I said was, "March 21st? 1857? 67 people DROWNED?". Do you remember that? I was ready to tell that story, man, I could of told that story like I've never TOLD it before, but something NEW wanted to happen, and THAT worked out even better, that whole airplane Mississippi River thing was much better, probably, than the story. I mean I really ENJOYED it. See I didn't lose anything, I dropped even what I'd SAID I was going to do and what I thought I WANTED to do just because something ELSE opened up in front of me, so I went right into it, do you see what I mean? I do that most when I'm playing music, I have to do that every single note....
(Long pause)
.... it's not happening right this MOMENT, something new hasn't come up yet, but if it DOES begin to want to happen I'll KNOW it, and you're liable NOT to know it.
David: Right. That's what I was just thinking, but I didn't want to say it because I didn't want to dwell on the old subject for fear I'd miss the NEW one.
Mel:Now you've just proven me right, you're stuck on what I just said, you're stuck on that kind of concept. ALREADY you're stuck.
David: Cause I had a concept?
Mel: You didn't want to DWELL on it cause I'd just said that wasn't the way to do it.
David: Oh yeah.
Mel: And now you're stuck in THAT one. It might change the next moment.
David: I'M ready for it. (Mel laughs uproariously.) I might be a little slow but...
Mel: (Interrupting) THAT was pretty good. Did you follow that Jim?
Jim:A hundred percent.
Mel: Great.
David: What happens when all of a sudden you feel nothing, when you come to a void?
Mel: You wait, you just wait.
David: That's hard for an aries.
Mel: That's why it's so worthwhile.
David: Don't you try and start something?
Mel: No I wait. If I try and START something I feel very guilty immediately, because there's no spirit, there's no life in what I'm saying.
Jim:And it invariably doesn't work anyway.
Mel: Uh huh. But I've learned to just plain STOP. I start telling you a story, what happened to me once, and suddenly start talking about accidents in 1857, just like that. Instead of even telling you the first LINE of that story, which was all ready to come forth.
David: What do you do if the waiting becomes unbearable? Unbearably long?
Mel: I structure my way back.
David: Where do you START?
Mel: Something I know, something I know I can DO, something I'm familiar with. If I have nothing else and I'm tired of waiting I take something I know I can DO. It's like in music, when the inspiration goes away, when the spirit leaves you and you still want to continue playing you grab a set of chords and you start building your way back to the point of inspiration again, you grab a melody line, you hit a keynote, you phrase, you do something familiar to work yourself back up to that point again.
David: How do you get somebody like Rita started though? How do you get her to start structuring her way back? Man she can't MOVE. She's just paralyzed.
Mel: Shock. By shock. That's when you've waited too long, and you haven't structured NUTHIN. You've built one structure and it's a prison, that's it, and it takes a SHOCK to break that down. You see I build a structure as a STAIRWAY, as a way to ASCEND, but not as a comfortable place to STAY. You follow that Jim?
Jim:Yes.
Mel: Not a hundred percent?
Jim:No.
Mel: (Hollering out to the kitchen) How's that coffee coming Joey?
Joey: I'm pouring it now.
Mel: It's an enjoyable conversation isn't it?
Jim:Yes.
Mel: That's all that matters. That's REALLY all that matters to ME.
Jim:That was all that was mattering to ME too.
Mel: Right. That's good, that's good.
David: And that answers the question I ASKED. (Laughter) I guess that's why Rita's in my house, cause to SHOCK somebody is something I've always...
Mel: (Interrupting) Hated to do.
David: Right. I've always hated to do that, I KNOW there's a better way.
Mel: Right. It's a last resort, when all other attempts at breaking down the structures that people are locked in have failed, it's war.
David: I mean I don't dare DO that to somebody but I can see that I might end up HAVING to and at least that would establish a STARTING point. So far we've just been going round and round and not getting anywhere. But it's such a responsibility.
Mel: You have to be able to FEEL when that is the only solution and then have the courage to follow it through. I mean she is stuck in the very first structure she ever built. She has built one structure and STAYED there, it's the first one she built when she was a kid. And she is still three or four years old. She found the first stage of learning how to RELATE to people, how to live in the world amongst people, the first STEP, and never went beyond it. So when you break down that structure of hers, that stubborn, selfish exterior, and you find what's inside, it's three or four years old. Only the outside of her has aged, the inside hasn't changed, and that outside has become hard and firm, and there's no soft, gentle, reasonable way to get through all that external crystallization, it takes a shock. Why do you think nut houses use shock treatment, to pry people out of their prisons, to FORCE them to move. When I first met Rita she looked a lot older than she was, the outside had aged, it had grown separate from the inside and it was dying, STARVING to death, she acted like an old lady, but when I found the INSIDE, MY GOD, it was THREE YEARS OLD! When I broke her down man she didn't even know how to TALK, she talked baby talk, she couldn't READ, she called me Mister Man, she didn't even know who I WAS, she hung on the banister and played on the stairs like a little kid, she wanted to put together a jig saw puzzle. That was the time I was supposed to show up for the Jug Band photograph for the album cover, remember, and I had to stay home with my little DAUGHTER, who had just been my old LADY the day before. But that's true of a lot of people. That's why people take LSD and break down their structure and they're 3 or 4, 5, 6, 7, 8, 9, or 10, somewhere in there, y'know. You rarely find an adult, someone who is an adult emotionally, all the way to the core. As soon as a child learns to turn himself off, avoid being hurt by people, his parents etc., he ceases to develop, he works out a system, a structure designed to hide his true feelings and that is the end of life, he will have to go BACK there and start FROM there to ever get BEYOND. there. People get old and die without ever growing up. That's why people, when they get really OLD and their structure starts breaking down physically, just from age, and the undeveloped inside starts seeping through the cracks why they act like little kids again, they show their true age.
David: They get senile.
Mel: They finally go back to the WOMB again, on every level, even physically. I mean their hair falls out, their teeth fall out, they get round and chubby, man, and start shitting all over themselves, they even lose the ability to WALK, so what was their life all about? They got from the womb to three years old in 75 years, and that's about it. Remember when I ended that essay, I said, "most people are about three years old." I truly MEANT that. That's why it's such a rare thing to see a graceful old person, it's just the most beautiful creation, a graceful old person, somebody truly fifty, sixty, seventy years old, truly, all the way through. That's a great man, and they're really rare....
(Long pause)
.... Isn't this a great talk we're having. Are you enjoying it Jim?
Jim:I've been saying some pretty wild things.
Mel: Have YOU been talking?
Jim:No.
Mel: (Laughter) Am I doing all the talking? (More laughter) This reminds me of the talks I used to have when I got together with friends and smoked reefer, it's all I could do, it was the only time I got to have a mind. I'd get to think.
David: Did you enjoy it?
Mel: Oh sure. Of course. I wouldn't of wanted to be that way all the TIME, it was like a vacation, it was like going back and playing in the sand box just for a little while, but it sure was good to grow UP again.
Jim:Isn't it funny how when you FIRST smoke pot it like shows you where you're GOING, and after you've SMOKED it for awhile it begins to only show you where you've BEEN.
Mel: Pot has a definite PLACE, it has a definite AGE, a definite maturity, a definite level, like a certain grade in school, and you aspire TO it and then you LIVE on just that level for awhile, and then you grow BEYOND it, but IT stays the same. Pot is like an absolute. (Laughter)
David: It's like right in the middle.
Mel: Uh huh, like the mind, right in the middle.
David: Yeah it really is the mind isn't it?
Mel: It's from the creation to the creator, it's right in the center, which is the MIND. The creator is the soul, the creation is man, and the link is mind, the bridge, that's what it's SUPPOSED to be. And the Father, Son, and Holy Ghost are all three. The Holy Ghost is the creation, man, the Son is the link, mind, and..... what was I talking about...... oh yeah, and the Father is the creator.
David: So He made a mind first? So a mind was created FIRST?
Mel: No, don't you know what a mind is like? You know how in a camera lens the image comes in and crosses at the point of infinity, that's the MIND. The image is the creator and the picture is the creation and the mind would be that point in the lens, the point of perfect balance.
David: The FOCAL point.
Mel: Also that's the part you have to FOCUS, in order to get the creator and the created, the image and the photograph, to be duplicates, the same thing. That's in my book, I was into that in my book, that's why I used to tell you that Mercury, the planet that represents the LINK, doesn't really exist, cause I used to call Jupiter, the ABSTRACT mind, the creator, and Saturn, the CONCRETE mind, the created, at that level, but you can expand that out from there on and on and on. In fact that's what HAPPENS. (Laughter) And right now that's really what I am, I'm the mind. I'm not the creator or the created right now, I'm the bridge, it's going from me to you.
David: You are the mind for this generation really.
Mel: But see usually I'm the CREATOR and YOU all are the mind. That's what we're setting up, so I can do nothing but CREATE and you can FOCUS and send to the CREATED, like with your machines and all that, you will communicate my essence to PEOPLE. That's really what the camera is to ME too, it's the mind, the part that has to be in focus in order for me to create THROUGH it and create a world on film, the camera is the mind. And that's the difference between me and MOST creators. Most people who create are the mind and the INSTRUMENT is the created, so they can't truly CREATE because they are the instrument itself, but I PLAY the instrument, and you all, the hill, is becoming the INSTRUMENT. When we play music, I'll be at the center and I'll be singing and you all will-pick up on that, color it, give it form...
Joey:Focusing.
Mel: Yeah, adding TO, shaping, and bringing to the world. What's wrong Jim? Are you following the conversation ?
Jim:Yes.
Mel: You are. Are you taping it?
David: Yeah. The tape's about to run out.
Mel: Yeah, why don't you change the tape.
(As the tape is being changed Mel notices that Jim has his head down between his legs and asks him if something is wrong. Jim goes on to explain that he was straining to understand and that whenever he misses a point it hurts him all over because he feels so close to what Mel is saying. A t this point the tape starts up again.)
Jim:... and like all of a sudden this sharp.... I mean I had to stretch, y'know, because every muscle in my body tightened, and I just sat there waiting to UNDERSTAND it, and then you REPHRASED it and I got it.
Mel: Yeah, I felt you lose the flow and so that's why I went back and rephrased it. I FEEL that. When I TALK to people I feel exactly how they're thinking, that's what determines what I say and how I SAY it. When I talk to a gemini like Bob I just structure, beautifully, all his confusion. I give it direction. I give it direction by giving it a goal, and every time he finally reaches that goal I give that a GREATER goal, which makes him channel all his confusion in one direction. Geminis have all the answers but they're not connected and so they can't put them into practice.
Jim:I find that as I understand astrology better and as I know the people's signs around me I'm better able to TALK to them in a way that I will say what they want to hear, what they NEED to hear.
Mel:THAT'S structuring. That's a structure that I depend on sometimes when there's no Inspiration and when I'm tired of waiting.
Jim:Astrology?
Mel: Yeah. I'll talk to somebody just by knowing their sign and using a few key words until I get back into a language that they're familiar with, even though I'm not FEELING it yet, but once I make a connection, using astrology, then it starts to flow again and I can drop the astrology structure. That's what I was talking about awhile ago, when you were asking me, "what about when you wait and it still doesn't happen," and I said, "then I use chords to build my way back."
Jim:You can be pretty certain that when you start talking astrology the person you're talking to is gonna start talking about themselves and that's all you need.
Mel: Oh yeah, exactly. It's a dependable structure, like a chord. That's when you're really using structures and they're not using YOU, when you're using structures as an instrument, to GET to inspiration instead of a good safe place to live and stay with.
Jim:That's what so many people ACCUSE you of too, of being a prisoner of your structure. They seem to think that you make your decisions BASED on the structure.
Mel: That's true, but they don't realize that they are my ONLY structure, my greatest limitation, they are too unformed to EXPRESS me yet, too young, all the other structures I work with only serve to REFLECT me, their structure is a wall that REPELS me That's why I wrote that time, "I am imprisoned by all men". And so all I do is seek to EXPAND that structure, so l can have room to breathe. In my book I said it's like a cosmic asthma, living amongst men is like cosmic asthma, it's hard to breathe, and I want to BREATHE. So I have to expand the structure of man, the mind.
Jim:That's what creation IS.
Mel: Right. There just is NOT ENOUGH LIFE on the planet EARTH for me. And I don't have any other choice, I've got to LIVE here.
David: What do you mean by "life"?
Mel:I mean that the life within is not without, the world is a dead shell on the outside and a volcano on the INSIDE. I want all that feeling OUT, I want it all AROUND me, I want it so thick I can SWIM in it, I like it THAT STRONG. Now for most people that is sheer agony, for ME it's joy. It CANNOT GET too strong. And the more structures I break down the more life there IS. That's what most people are AFRAID of, to have their structures broken down, because it HURTS. Breaking down structures is PAIN, but there is no other way to make room for more life, and I FEEL that pain, more than ANYBODY, because I am capable of so MUCH life, I KNOW that life, I FEEL it; it is ME, so I feel the limitations more than anybody does, which is why I'm gonna DO something about it, I don't have any choice.
Jim:(Laughing) It will ALWAYS be so.
Mel: I know, but already I've cleared a LITTLE space, I've broken down the structures of the people on the hill, almost to the point of being comfortable. I'll never STOP doing it, because I can't IMAGINE too much life.
Jim:That's what I mean.
Mel: But at least I'm getting FAIRLY comfortable with the people around me, they allow me more freedom than anywhere ELSE on this planet, so that's why I live AMONGST them. Alone would be even worse. I TRIED that once. I went up to the top of a mountain and sat in a cave, and I would have STAYED there, I needed nothing, I was FULL of life, it was like being a sun, but a sun is of no value if it has no planets to nourish, I had much too much to just keep it for myself, I had to GIVE IT AWAY. And do you know what my limitation was THEN? The walls of the cave. That's why I want my house to be beautiful. I want people to come in here and give me ROOM. And I want to expand the walls of my house, and I hope eventually that the whole PLANET will be my house. Can you IMAGINE THAT, if I could go ANYWHERE and be FREE with people. That would be heaven, earth would be heaven, on earth as it is in heaven. But I've got a good start, this house and the people IN it, and then the hill and the people ON it. And now the people ON it are imprisoned by the people AROUND it, and they've got to DO something about it. See I can't do it directly, I've got to play the instrument, and the people on this hill are becoming an instrument. I can't go all around the world, personally, and make it my home. I can do that through INSTRUMENTS, like people and films and books and newspapers and music, but only HERE am I free enough to PLAY those instruments, and that's what a home IS, the place a man has built for himself so that in that place he can BE himself, and so I will do it from here, start at home. Do you understand that?
Jim:Yep.
Mel: Like if I go out to the west coast I turn to stone. I am so imprisoned THERE that I can't even function, my body actually gets NUMB. On this hill I can get my body alive, I can get my house alive and the people AROUND me alive, I can get THAT FAR, so I can get something done, I've got an INSTRUMENT. But out THERE I don't even have my BODY for an instrument, I just cannot be born.
David: It's not too clear exactly WHY. I know it's true, and I can almost SEE it.
Mel: Well because, again, it's as much room as you GIVE me, that's what determines how much I can function.
Jim:No, there's NO room out there.
Mel: There's room for THEM, they're like first graders in the first grade, but I've already graduated from COLLEGE. What I call "room" is pretty large understanding.
Jim:There's no room. Even when I go out of here I find, I can't... all the movement I do, all the action is TOTALLY without feeling.
David: That like means there's nobody OUT there that you could get together with.
Jim:That's right, there isn't.
David: That's amazing, that's really amazing.
Mel:Christ only HAD twelve disciples, twelve immediate disciples, people he could teach directly, and he was capable, again, of a lot more than they were able to RECEIVE, but he kept INCREASING their receptivity and giving them more and more, that's why he was TEACHING them.
David: And he travelled a lot.
Mel: And I travelled a lot, I preached for years, all over this country, until I FOUND my people, the few who could UNDERSTAND me, and now THEY will have to do the travelling, YOU, until you find YOUR people, and this is how the Word will spread, and always HAS spread. I mean LOOK how long I had to put up with your ignorance, your mistrust, your pride, and now you KNOW me, and YOU must learn to do the same. Everything I teach you you are obligated to teach to others, and I will never STOP teaching you because I will never run out of things to TEACH you. I mean somebody who is tuned in to the Creator, to spirit, to God, like me and like Jesus, there's no LIMIT to how much they can give, absolutely no limit. It TOTALLY depends on who they're GIVING it to, on how much THEY can RECEIVE, and in order to get people to receive more and more you break down their structures. That's why ALL saviours have the same TEACHINGS. All great men say the SAME THINGS. The variations in what they say are determined by the LISTENERS, but the essence of what they say is always the SAME, it's always the TRUTH and that's an absolute, the essence of the truth is always the same, but the FORM that that essence takes is always DIFFERENT, but it's the same essence. And the form is always the shape HUMANITY is in, the people AROUND the truth at the TIME.
Jim:That's what grows.
Mel: Right, that's all that CAN grow. TRUTH can't grow, the essence is the same, it's an absolute, it can't grow, it can only conquer more space, it can only expand... You know this talk we're having will go in AVATAR.
David: I know. I realized that a little while ago.
Mel: It's good material because it's fairly coherent.
David: It's good too because you're not writing anymore so now you will appear in the dialogues we capture, focus.
Joey: (To Mel) And that's exactly what you were saying.
Mel: Exactly.
David: I saw too, when you said that, how beautiful like how the spoken word or sound puts things in harmony. Sound actually moves matter and makes it do things, makes it duplicate itself.
Mel: Sound is the closest form to the essence, to Truth, to spirit. Sound is the first veil, the first form around spirit. That's why music is the highest art, if you can truly feel the highest music then you are as close to the Truth as you can get without actually BECOMING the Truth itself. I told you that before, remember I used to say that sound created sight.
David: "And first there was the Word".
Mel: Like in occult science, they would call that the "causal plane". Sound would be the causal plane, the first form that spirit took. Do you know what the LAST form is?
David: Minerals.
Mel: The physical world. That's why I say, "every day I come into this world of sight and sound". In my deepest sleep I am God, and then in order to create, I must expand to sound, and then thought, and then sight, and then I am a human being, and it's the furthest I can get from home, and I have to bring "home" all the way to this world of sight and sound in order to be HERE and home at the same time. The sound becomes the music I play, the thought emerges as my writing, and the sight I will create as films. So that's all I'm doing and I MUST do it in order to be whole, in order to be God on EARTH. I have to work with this actual physical matter and bring spirit all the way TO it, which is what a movie IS, film, sight and sound, the world of sight and sound. Films will transform the physical world, the SURFACE of the earth, because it will bring that spirit all the way to people, they will SEE it and they will HEAR it and then people will have to transform THEIR CREATION, which is the Earth. And I'm gonna do it from HERE, which is the CENTER I have actually BROUGHT SPIRIT from the CENTER OF CREATION all the way to this hill. So here on this hill I'm one with God. But now there's the rest of the PLANET that I have to create, that I have to bring spirit to, and that's what television and all THAT'S for, that's why it's all connected with WIRES, right on the furthest out physical level, WIRES, wires that will carry spirit to all corners of the earth. When people see my movies they will have to FEEL, and when they feel they will have to COMMUNICATE their feelings. You can't stop it.
David: Unless you live in a cave.
Mel: Right. And you can try and hold it back for awhile but finally you will have to cry, or write poetry. But it finally comes through, it finally comes through, people can hold feeling down for awhile, and then it breaks down their structure and it's communicated. And what happens when it's communicated? The inside is on the OUTSIDE, and that's the whole purpose of creation. That's why musicians play music, to get their INSIDES on the OUTSIDE, in the world of sound, so they can HEAR them, and OTHER people can hear them, it's all the same, it's HEARING.
David: Hmm. That's true. You don't HEAR it till it's done, till it's OUT.
Mel: Right.
Jim:It's the only time I feel good.
Mel: Uh huh. Cause you are PARTICIPATING in the act of creation, which is the highest thing man can do, AND what he's ultimately FOR.
Jim:And all the REST of the time there's nothing but agony and straining and trying and doing everything your body and mind can do to GET to that point....
Mel: Uh huh.
Jim:And when you GET to that point...
Mel:(Interrupting) Cause that is the purpose of LIFE....
Jim:That's the sheer JOY of life.
Mel: Right. That's fulfilling the purpose of LIFE What could that be but JOY! GOOD GOD, it's the ONLY joy! That's why there's so little joy in LIFE, people so seldom are FULFILLED, do what they are CAPABLE of. And when they DO they're ALWAYS world saviours or great artists or some kind of leader, like Lincoln. They always ARE man.
David: (Jokingly) They're always in the NEWS.
Mel: They're GOD!
David: Right. That's IT.
Mel: They're bringing heaven to EARTH. And everybody hates to see the structures GO. Like during Lincoln's time, that was the CAUSE of the war, cause everybody wanted to hold on to their STRUCTURE, the north wanted ITS structure and the south wanted ITS structure and the two structures only served to break down each others structure and create the Union. Structures ALWAYS create complimentary structures and the two struggle against each other to form a NEW one, a GREATER one, which includes the best of it's predecessors. You can see that on the HIGHEST level, heaven and earth creating mankind, or in terms of nations and war, and all the way down to man and wife, it's the very law of evolution itself. That's why, when the structure has outlived its purpose and the occupant refuses to budge he has an ACCIDENT, just to break down his most surface structure. That's what I meant earlier when I said shock is the last resort if you won't learn gracefully then you will learn by force, if you won't change when it's time to change then you will FORCE yourself to change and on the lowest level that is physical violence. Go to war, start a fight, get somebody to beat you up, smash your car into something, break a leg so that you can lay in a hospital bed for a few months and finally get some time to think about what you've been DOING, and what you've been NEGLECTING.
David: Gets you away from your little rut for awhile.
Mel: Lose a leg, you have to learn a new way of walking, that's gonna make you have new experiences and in the end you'll be a better man for it, it's BREAKING DOWN A STRUCTURE.
Jim:Structure is all in the mind.
Mel: There's nothing wrong with STRUCTURE.
Jim:As long as you use IT instead of it using YOU, it CONFINING you.
Mel: As long as it's a stairway to the stars.
Jim:"A window and not a wall".
Mel: Uh huh, a window and not a wall. I WROTE that, right?
Jim:Yes.
Mel: Exactly. And that's the joy of expansion, to use a structure until it no longer is USEFUL and to feel it go, and to find yourself like in a whole new place, and then to structure THAT chaos, and find the order THERE, and as soon as you've got all THAT in place then that's a step to a HIGHER place, you see? It's the only way to eternally seek out Gods plan.
Jim:And when that's happening it's not even you that's CREATING it.
Mel: Depends on what you mean by YOU.
(The whole room breaks up into joyous laughter and the curtain falls)

* * * * * * * * * *

END OF ACT I


(see also Michael Kindman's comments on Avatar 22)