Chapter 4: DARKNESS; BRIGHTNESS AND CONTRAST
DARKNESS; BRIGHTNESS AND CONTRAST
Contrast is an ideal rooted in Balance. It is the foundation of both good Humour and Epic Legends. However, contrary to what many may believe, contrast is not necessarily about 'conflict'. Rather, it is an expression of the connection that two objects may share, in that one object becomes the measure of the other.
EXAMPLE 1; LEGENDS
In every good legend, there is a Protagonist/Hero and an Antagonist/Villain. Good tales often begin with the Antagonist having an unfair advantage and the Protagonist being in a situation of disadvantage. The Antagonist then becomes a challenge, obstacle or Wall that the Protagonist must overcome in order to find his destiny. In that sense, the Antagonist becomes a kind of 'Measure' of the value of the Protagonist. To put it in a humorous way, if all were sinners, none would be righteous and if all were righteous, there would be no sinner. The concept of righteousness vs sin can only exist due to the variations in the 'severity of a crime/sin' hence the saying 'a man is measured by the quality of his enemies'.
The Antagonist is a kind of 'Examination' the Protagonist must overcome. For as long as the Protagonist falls short, the Antagonist maintains the Advantage. Only when the Protagonist finds all he needs to complete 'himself' be it in the form of relationships, tools, self acknowledgement or status does he then gain the required strength needed to defeat the Antagonist.
THE ANTAGONIST'S STRATEGIES
The Bible refers to the Devil who is the Archenemy of Mankind as a Thief, a Murderer and a Destroyer when it says 'the Devil comes to steal, kill and destroy'. That statement provides a hint as to the motivations of the Antagonist. The commonality between these three things is that 'something has to be taken away from the Protagonist in order to give the Antagonist an advantage'. 'To Steal' is to take away possessions. 'To kill' is to take away life'. 'To destroy is to do both' basically, the Antagonist must compel the Protagonist into experiencing 'loss' in order to gain his advantage. He does this to ensure that the Protagonist remains 'incomplete' and this is why the Book of Genesis begins the Story of The Fall Of Mankind with a 'Theft'. When the Man and Woman attempt to 'steal' from God, they have their own 'Dominion Over Creation' stolen from them by the 'Serpent' as well as their 'Immortal Life'.
Next, they are put on 'Trial'. From then on the 'Devil' begins to act as a kind of 'Prosecutor' for Mankind, in other words, he becomes their 'Measuring Line'.
Contrast in this sense is then the 'Measure of Mankind in relation to the Devil'.
EXAMPLE 2; CARTOGRAPHY
CARTOGRAPHIC SCALES
Now we all know what a Map is. It is a Tool needed for Navigation. To be able to navigate a particular Terrain via a Map, the Map needs two things. The first is a 'Scale'. The second is a 'Legend'. The 'Scale' is a 'Dimensional Measure' Of The Two Dimensional 'Atlas' in relation to the Three Dimensional Terrain, meaning, the 'Scale' is basically an approximation. Without it, the Map would have to be the Actual Size of The Terrain to be used for Navigation and that would just be ridiculous. The reason a Map can exist is due also to 'Contrast', the kind of Contrast that allows one to understand the very large by taking a look at the very small. By understanding the difference between the 'Small Dimensional Measure' and the 'Large Dimensional Measure', one can Navigate the 3D Plane by staring at a 2D representation of that Plane which is basically the essence of a Map.
CARTOGRAPHIC LEGENDS
Legends are iconic approximations of Key Features within a particular Terrain. Basically, they are iconic representations of very real Truths. They are similar to the icons on the Desktop Of A PC that allow one to run certain Apps. The icons as you will note are not actually the Apps themselves and this is why they are usually referred to as 'Shortcuts'. The Actual Application contains numerous codes that allow it to run. The 'icon' is merely a 'trigger' that kickstarts that process.
EXAMPLE 3; COLOUR, BRIGHTNESS AND DARKNESS
What then are 'Brightness' and 'Darkness'. Brightness is an expression of the Measure Of One Wavelength Of Light to another, a Wavelength that is of a 'higher vibration' so to speak to one that is of a 'lower vibration'. 'Darkness' is the reverse of this, the measure of a 'Lower Wavelength' to that of a 'Higher Wavelength'. Simply put 'Brightness' and 'Darkness' are an expression of the relationship that exists between 'colours of a higher shade' and those of a 'lower shade'. Thus one could say, the 'essence' or 'purpose' of 'Darkness' is to separate 'two or more objects' from one another via the 'Unique Characteristics' of the objects. This is why we have 'multiple colours'. Though 'Brightness' and 'Darkness' may work around similar principles, the 'concept of Brightness' revolves around 'Harmony', 'Amplification' or 'Constructive Wavelength Interference' whilst that of Darkness operates around 'Dissonance', 'Disharmony', 'Nullification' or 'Destructive Wavelength Interference'. Darkness then is the 'measure' of the 'Degree of Separation' between two Wavelengths of Light.
CONCLUSION;
The 'essence of Contrast' is not necessarily about 'Enmity' or 'Conflict'. 'Enmity' or 'Conflict' is just one expression of 'Contrast'. The 'essence of contrast' is rather about 'the measure of one thing in relation to another'.
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