Question: According to Kabbalah, all structures are built according to the four stages of the development of desire. Does this apply even to works of fiction and movie scripts?
Answer: If we want to fill a desire, we must treat it the way the light that created it treats it, according to the same four stages of development.
Any literary work develops in four stages. I am sure that all playwrights, writers, and even journalists who seek to attract the reader’s attention, understand that their work must be built on four stages, including the climax and the ending.
Otherwise, if it does not correspond to the structure of our desire, then a person simply will not understand what they want to sell to him, what they want to fill him with. Therefore, all writers should create in the same way as the Creator, according to the four stages of direct light.
There is such a formula when pleasure, in order to create a desire for itself that would feel it precisely as pleasure, must contact this desire for four consecutive and opposite stages, when intention and desire, pleasure and hunger, play with each other until they become completely opposite and at the same time can be together.
People instinctively understood that it should be built in this way, because they themselves consist of four stages of the development of desire. Psychologists subconsciously felt this when they saw such states in human relationships.
Let’s say I’m with a child when I am teaching him something, and see how I play with him and beat him so that he has a desire to be for or against so he will understand his mistake. He must identify all the erroneous states and only then agree with me. In principle, this is a natural thing that does not relate to Kabbalah at all.
Question: How can a Kabbalistic touch be added inside any work of art?
Answer: This is a completely different action when Malchut becomes Keter, and the Keter of direct light becomes Malchut. That is how the reverse light works! That is, the giver and the recipient switch roles when the recipient initially turns around in such a way that proves to the giver how by receiving from him, he actually gives to him. This is the whole trick between us and the Creator. In other words, the recipient, the object, the goal wants to compensate themselves in some way in relation to their Creator.
This exists even in human relationships. Only everything depends on what kind of relationship there is between them, and then receiving and giving are purely conditional. For example, between a mother and a child, between friends, between spouses, between any events in the world, the main thing is that behind them there are feeling, understanding people who are in some kind of state of connection with each other.
Another example is that they bring me a lot of gifts and sometimes fill me up with all sorts of nonsense. And I have to accept all this and thank them because the giver feels that he is giving. He is pleased with this, because in fact he receives.
Therefore, I act out how much I need it, how pleasant it is, and so on; that is, I increase the action itself many, many times. A gift can cost a few shekels, but I make it feel like it is worth millions and that it is exactly what I wanted.
We see that neither the amount nor anything else matters here, but only the relationship between people, when the giver feels fulfilled, receives, and enjoys it. This exists around us at every moment, only it is a very small fraction of receiving and giving.
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From KabTV’s “I Got a Call. The Mystery of Art” 1/16/12
Related Material:
The Tower Of Babel As The Essence Of Relationships Between People
The Four Stages Of The Development Of The Desire
Building Trust In A Relationship
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The Shechina is the receiving Kelim, which a person transforms into bestowing Kelim.
