Introduction

Gatekeeper: In the name of God, "Where is the Friend's Home?" is the title of our fresh program; the fifth program of the third chapter. I am glad to be at your service again. I must say during this time I have pondered these titles many times to find a pretext for connection with the teachers, a pretext by which I can invite them to be placed beside us; a very difficult task, or better to say, it has become more difficult. Nevertheless, I am glad to give the news of this fresh program; I make speech short so that our teacher may appear and tell us where the friend's home is.

The Teacher's Discourse

My friend, greetings. Your invitation is very valuable to me and I am glad to speak about this with you. I know that according to the program you have had in this chapter, once again you have made a film a pretext; this time the film "Where is the Friend's Home?". In the space of this film, you are confronted with a basic and simple subject; a simple encounter with a subject that is itself very wide and expansive: loving. You see a boy in this film who offers this concept in the simplest possible shape. In the entire film, you do not see that in the conventional way they show that two or three people have many comings and goings with each other and highlight a close connection to say these individuals have friendship and companionship; the interesting point is that the film narrates a very simple one-sided connection.

I want you to pay attention to this point that this boy's perception of loving is very simple, not complex, does not need a big pretext; he loves so that his classmate does not face a problem, for example, the teacher does not punish him, does not expel him from the school and class. Seeing the crying of his classmate sitting behind the same desk is unbearable for him; you see? The sentences are simple sentences, not complex. All the effort he employs in this story is loyalty to simplicity and purity; he does not need a complex reason to want to prevent his friend from being punished. He traverses the distance between his village and the neighbor village many times, searches for a home for which he has no precise address, there are no surrounding people who help him effectively, and no one encourages him either.

Rather, you see that those who are in connection with him prevent this work in various forms, but he stands and with the same usual simplicity is in pursuit of delivering his friend's notebook to him so that he can perform the night's homework. At the end of the story too, you see he chooses the simplest possible way: he himself writes two homeworks, stays awake, and bears this difficulty; and tomorrow, precisely at the moment when that painful event must happen, his presence prevents it, and you see that smile and satisfaction that sits on the faces of both.

Do you want to say that this boy studied and pondered many times about the concept of loving? Do you want to say those around him had taught him? On the contrary, in the film we see no special education was given to him; even in the scene where he is confronted with his grandfather, you see a concept against moderation and against nurturing. Pay attention: the space is not the space of teaching loving; as if it is something so simple and pre-industrial (obvious) that no one pays special precision to it, but this boy, without having seen any special research or nurturing in this door (topic), possesses it and acts based on it; and you see concepts such as pursuit, effort, not losing hope, struggle, and reaching the goal in the film.

What do I want to extract from this film? We must return to the concepts we examined previously. According to those lessons, humans live in the part of the "Illusory Mind" (Mental Space of Illusion / Zehn-e Tavahhumi) and beside them, with a meaningful distance, exists the "Formless/Shapeless Space" (Abstract/Content Space / Zehn-e Bi-shekl). From the side of the Formless Space, Revelation and Inspiration occur; from childhood, without anyone teaching us any special point, we are acquainted with these concepts in a very simple shape; things like loving, aesthetics, and affection-offering. From the side of the Formless Space toward what we call the illusory mind or shaped mind, inspirational breezes continuously blow. Why have we forgotten that this Inspiration is the same for all of us? Why does this boy possess this Inspiration and live based on it? Once again I emphasize that no one pressures him, no one advises him; therefore, this is the very Inspiration and the very Revelation that is continuously in occurrence; only its pretexts differ.

His pretext is a homework notebook, a very simple pretext. I want to emphasize that the mechanism of Inspiration that reaches our illusory mind from the Formless Space is very simple; everyone possesses it, there is no one who says I do not possess it. But what happens to us that these Inspirations do not reach us and their reception stops? The answer is that we possess these Inspirations, but because gradually our shaped mind expands, a distance is created. Some say a gap is created; this very distance does not let those clouds rich in concepts—if I want to use a metaphor—rain on this gray ground of ours; as if they come, but due to this distance, they do not reach us and return.

In childhood, we have a series of basic materials in the part of the shaped mind that we gradually forget, are lost from memory, because we do not repeat them; we forget that very simple subjects were given to us and stored in us previously. We become prisoners of the shaped world and caught in habits. Look at the film; what do you see in that space? You see habits, you see repetition; everyone is busy with repetitive works without any concept being in their work. This boy is a symbol of performing a simple and meaningful work and wants to remind us that we too can establish a connection with the same simplicity; if this distance does not decrease, we must proceed as soon as possible to its reduction. We must allow these breezes, these concepts that are in movement from the Formless Space toward us, to reach us. We too should possess, we too should become alive; because we become alive by concepts and with concepts we can have a high-quality life.

I tried to bring up once again, on the pretext of this film, those cases I said previously: if you are forgetful, if you mistake something for another thing, this is due to that very distance between the shaped mind and the Formless Space. I had prepared an article previously to put at your disposal and place in your collection of articles, but there was no opportunity. Now, from this very opportunity, on the pretext of this film, I benefit and read what I said in the mold of the same article for you; its text remains here for you so that later you also have the opportunity to read it.

I have named this article "Allegory of Revelation" (Tamsīl-e Vahy):

Text of the Article

*Water, wind, sky, earth, sun, moon, and stars; let us cast an allegorical glance at the link among these. Look at the sky, from which water falls and sits on the soil of the earth, and the earth becomes alive and takes shape. The sky must be shapeless/formless; there is the space of the Formless Mind (Formless Space). From that Formless Space, in the mold of cloud, or better to say, water, it falls. Do you see this allegory? Water, the liquid of life, the liquid of vitality, is that very meaning. Then water rises again, by the command of light; meaning we have received these concepts, but they must return to the sky, and light issues this very command and they ascend to the sky. Therefore, during the time they are with us, we must benefit from them. But another point: water can remain here, how? Or be compressed in darkness and seemingly die.*

*We are speaking of this very water again; the very concept you took but imprisoned in darkness. That concept, which must be generative and transformative, performs no work. Thoughts too, in this example, fall from the sky of the mind onto the shaped ground of human illusion; from the Unconscious Mind (Formless Space) to the shaped Conscious Mind. But the shaped* Conscious Mind freezes and solidifies revelatory thoughts in the darkness of the shaped space, until one day an observer comes and returns the thoughts imprisoned in shape, by the help of the light of reason, to the Formless Space of the mind. This is the very thing we want from you; that same observer whose identity is clear, the one who came and tells you that these frozen, solidified, and dysfunctional concepts must be taken out of this prison, by the help of what? By the help of the light of reason.*

*We commanded the wind to compress the clouds and scatter the seeds and give the glad-tiding of rain; Revelation is a command issued to direct mental concepts toward the shaped mind. Let me say it in another way: we made the sky seven layers; the sun is the source of light and the moon is the reflector of light. The individual established on the earth who has a shaped mind, if they look at the sky of the mind, will see the guide like the sun; and the moon and stars are the companions of the guide who, due to neighboring with him, take charge of the orientation of the individual's mind in the future and in the migration/departure of the guide.*

The Teacher's Discourse (Continued)

These were all allegories to which I like you to pay attention, and from their heart, draw a very simple conclusion: we are all full of these concepts, because from the Formless Space toward the shaped space, these breezes have always continued; but from childhood a distance has been created, raining has stopped, clouds do not come toward us, and the earth has remained deprived. We must activate the shaped mind; therefore, we must request rain, request clouds, seek the blowing of the wind. Along with whom do these requests come? They come along with the Guide (Pathfinder); the Guide is as if he has all of these with him and like a sun, directs the light of reason toward us; meaning we must analyze our life and free the concepts imprisoned in the dark house of our shaped mind.

Then you see subjects are very simple; like this boy of our reference film, who easily and simply performs works that are interesting, those around him accept with difficulty, but from his own perspective are very simple, obvious, and conceptual. I think I recounted for you what I had in view. You yourselves will watch the film too and will benefit from its various parts; but I hope the effect of watching this film is a simple-mindedness and simple-viewing of purity, not like that complexity that exists in our illusory shaped mind. Goodbye.