Article - Laura Knight-Jadczyk
"Our lives are merely strange, dark interludes in the electrical display of God the Father," or so wrote the playwright, Eugene O'Neill.
In its time, Strange Interlude achieved a success no other American play had ever equaled. The published play became a national best seller - the first time a drama had attained that honor - and O'Neill received his third Pulitzer Prize for the work.
The reviewers of 1928 weren't crazy about it, calling it "naïve" in its use of psychological theory in an attempt to represent the point made in the title line, delivered by the heroine of the play, Nina. But to the public, it was clear that a deep chord of resonance had been struck, and they responded to this exploration of reality with enthusiasm.
Strange Interlude appeared as a work which dealt seriously with facets of human nature not yet fully explored. It attempted to establish a kind of primer of new ways of understanding human drives and motivations. O'Neill himself, in his "Memoranda on Masks" wrote of using masks to "express those profound hidden conflicts of the mind which the probings of psychology continue to disclose to us." At the same time, he spoke of masks as providing "a chance for eloquent presentation, a new form of drama projected from a fresh insight into the inner forces motivating the actions and reactions of men and women - a drama of souls."
In the context of what we have presented on these pages, and in this present series of "behind the scenes" views of the dynamics of channeling and the necessary human interactions, there is an echo of the ideas of Strange Interlude which O'Neill was never quite able to sufficiently delineate. In the present series, the reader will note that a tension is suggested between that which is purely "psychological" and that which is "mystical and abstract." The astute reader will perceive a theologically oriented "drama of souls." In this sense, we come to the realization that the human masks are just the surfaces of the dramas of higher levels of being, and that the psychological layer is merely the immediate subsurface. We hope that the reader will be able to see even deeper, and discover what it is that the Cassiopaeans have tried to convey to us and through us about the nature of the Matrix reality in which we live.
In fact, the movie, The Matrix, is the next level of revelations beyond that approached by O'Neill in Strange Interlude. It is also an excellent metaphor for the drama we have lived, are living, and which others live, though often unbeknownst to themselves. It is our hope that the experiences we will be describing here, our learning to "see the unseen," in terms of penetrating not only beyond the masks of the physical symbols of reality to the psychological substrate, but even deeper to the theological "drama of souls," will be useful to others in terms of navigating the Matrix Reality in which we live.
The Matrix comparison is not only useful in describing our global reality, the story of the group who are working to circumvent the Matrix, to wake people up, is entirely synchronous with our own experiences, right down to each and every character! In the case of Frank, we find the classic role of Cypher in action. In his repeated claims that his very birth was a "mistake," we hear Cypher saying: "You know, I know what you're thinking 'cause right now I'm thinking the same thing. Actually, to tell you the truth, I've been thinking the same thing ever since I got here. Why, oh why, didn't I take that blue pill!?"
We next see Cypher in a fancy restaurant sawing a steak while the voice of Agent Smith asks: "Do we have a deal, Mr. Reagan?" And Cypher tells us even more:
And Agent Smith tells him: "Whatever you want, Mr. Reagan."
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