When life bears witness to life!

The Death of Lazarus
11 Now a man named Lazarus was sick. He was from Bethany, the village of Mary and her sister Martha. 2 (This Mary, whose brother Lazarus now lay sick, was the same one who poured perfume on the Lord and wiped his feet with her hair.) 3 So the sisters sent word to Jesus, “Lord, the one you love is sick.”

4 When he heard this, Jesus said, “This sickness will not end in death. No, it is for God’s glory so that God’s Son may be glorified through it.” 5 Now Jesus loved Martha and her sister and Lazarus. 6 So when he heard that Lazarus was sick, he stayed where he was two more days, 7 and then he said to his disciples, “Let us go back to Judea.”

8 “But Rabbi,” they said, “a short while ago the Jews there tried to stone you, and yet you are going back?”

9 Jesus answered, “Are there not twelve hours of daylight? Anyone who walks in the daytime will not stumble, for they see by this world’s light. 10 It is when a person walks at night that they stumble, for they have no light.”

11 After he had said this, he went on to tell them, “Our friend Lazarus has fallen a-;- but I am going there to wake him up.”

12 His disciples replied, “Lord, if he s, he will get better.” 13 Jesus had been speaking of his death, but his disciples thought he meant natural .

14 So then he told them plainly, “Lazarus is dead, 15 and for your sake I am glad I was not there, so that you may believe. But let us go to him.”

16 Then Thomas (also known as Didymus[a]) said to the rest of the disciples, “Let us also go, that we may die with him.”
Beyond the names of the characters, spirituality had to be embodied through the conquest of divine thoughts that confront the corruption of language sometimes in order to gird its loins and prepare for the real battle between the imaginary that belongs to the literary domain and the spiritual life that exercises absolute power over literary characters animated by writers with the aim of making them personalities that make potentates and that are repeated through the centuries in the theatre of the "political life" of the killer "saints" and despots whose reflection resolves itself to seek a good cover that cleans up their merry-go-round in which "the angels" make the the centuries in the theatre of the "political life" of the "holy" killers and despots whose reflection resolves itself in seeking a good cover that cleans up their merry-go-round in which "the angels" race in order to climb the angelic hierarchy of the primitive spirits who abandon themselves to those confused and murky roads that lead straight to the legends of the cherubim" "angels belonging to the second choir of the first of the nine hierarchies of angels, coming immediately after the seraphim and preceding the thrones and whose specific attributes are knowledge and wisdom"!
From where spirituality must be sovereign which reigns supreme over the imagination of a literary order in order to cancel with a stroke of the pen the metaphorical manu-script-s, which although they enlighten the deeply literary spirit crowned with the glory of the divinely inspired poems, it is essential not to allow captions to dwell in substantially spiritual -script-ures in order to testify to the grace of truth which is far beyond the literary style illuminated by metaphor.
whence the metaphor in the sphere of spirituality weighs down the meaning which inflicts on theological manu-script-s the punishment of theatrical reproduction which makes the theologians despotic theoreticians who have only served to weigh down the heads of the peoples the yoke of the spiritual misery and to put on the puppets of the political sphere with the mantle of the tyrant potentate that they knew was popular in order to open the dark paths of the thorns that shaded the virtue of existence and took away from the path of divine thought its spiritual aspect in the image of a person called pope who is inspired by biblical manu-script-s as one is inspired by the Homeric epics which tell "the exploits of superhuman characters called the heroes" who, through imaginary wars, they marked of a bucket the act of corrupting the virtue of spiritual ethics in order to assimilate oneself to heroes who were supposed to have existed centuries before and who never existed except in epic poetry.
from which to launch a pamphlet against spirituality, the heart of human genius, in order to guard the honour of a "Christianity" tormented by the cruel injustice of the cross is the heavy subject of the dark shadow of a religion that wants to be opposed to the cult while it is its tumultuous noise sponsored by the mafia in order to create a pathological solitude of the notion isolating it from any possibility of existence like a heavy burden to be carried that crushes the old habits of talking about a notion and doing the opposite .
The misfortune of the hypocritical potentate who borrows the said notions from the human memory falls upon the pope and his puppets who occupy a -function- that amounts to playing macabre roles: They are theatrical men and women who struggle to find the role of their lives and so they weave the web of obscure terms such as religion and sect to maintain always the same role that of the religious´-or-sectarian leader, as synonyms on the level of practice that marks the repudiation of the notion in its theoretical sphere, to whom one has entrusted! the symbolic mission of keeping the emotional secrets of the relics which, like the holy tear of Vendôme, allegory of sadness "for life", represent "the tears that Christ would have shed at the time of the death of Lazarus. It was collected by an angel who then entrusted it to Mary Magdalene”.
the notion of "Christian religion" is therefore a funeral chamber in which the finite spirit mourns the allegories of an infinite spirit while the terms of the gospel indicate the existence of life which testifies to life by means of the resurrection, hence even on the theatrical level, the only possible plan in religious´-or-sectarian practice in the same sense approved by practice, the actors hardly respected the cinema -script- by attributing to the character chosen by the writers a single facet that suffers under the yoke of a dusty cross from which my pain, as a theolegian, lies in the impossibility of falling on a single talent that can be entrusted! to these actors mutilated of all soul, whose respect for the cinema -script- called the -script-ures is the fragment of truth, hence the questions that arise are: is the pushy cross the tear sought by the religious´-or-the sectarians of this world in order to finally find the small talent which consists in illustrating real tears and real lamentations through allegories?
Is it the search for tears immortalized by relics and museums is the sacred libation paid as an offering to a being supposed to witness the resurrection?

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