BI THIRTY TEACHING AND PREACHING
THE PROCESS OMEGA CHURCH OF THE FINAL JUDGEMENT Friday 14th May 1971
Brethren, As it is,
1. 1 We are being invited more and more now to talk to groups of people. Here are some points which will help you to conduct these talks.
2 1. Set out to TEACH or to PREACH TO your audience, rather than trying to explain to them what The Process is all about.
3 2. Don't TELL people what the Process is; SHOW them.
4 3. There are three ways of showing people what The Process is.
5 One; teaching its principles, ("We can accurately judge what we give by what we receive." "Good control is good contact." "Acceptance of responsibility is the awareness of choice." "What- ever you demand, expect the opposite." "Faith is an innate know- ledge of the fundamental rightness of all things, whether positive or negative." "Whoever we are looking at, we are looking at our- selves." "Blame is at the core of strife and discord." "The surest way to become susceptible to the power of evil is to resist it." "The only block to love is ignorance." "To love what hates you is to disarm the hatred and make it powerless." "The aware- ness of a fundamental unity preserves harmony in a duality. ")
6 Two; preaching its message. ("The tide is now destruction by GOD's will." "Where there is love, respond to it. Where there is no love, give it." "The fulfillment is the elimination of all blame. Therein lies the conquest of death." "Only the person who knows and accepts the darkness of the world of men, sees the Light of GOD." "He that endures to the End shall be part of the New Beginning." "He that hath an ear, Iet him hear. He that hath not, let him not." "Tne only road to Life passes through the Valley of the Shadow of Death." "The End is now. The New Beginning is to come.")
7 And three; living by its principles.
8 4. A talk situation should be one or other of the first two of these, whichever is appropriate, or it may be a combination of both. (The third goes without saying, at all times!)
9 5. In order to teach or preach, do not begin with The Process; begin with the audience and bring them, by a route which is real and meaningful to them, TO The Process.
10 6. Begin with a concept which is already real, meaningful, signif- icant and charged for the audience. With a new audience, that excludes The Process, Processeans, the structure of The Process, the beliefs, the principles, the activities and the history of The Process. It probably excludes the End of the world, and it almost certainly excludes the Gods and Christ, as WE know Them.
11 What else is there?
12 There are the every day lives of your audience; their thougnts, their feellngs, their problems. their desires, their fears, their aversions, their uncertainties, their unanswered - and often masked - questions, their patterns of behaviour. their worries and anxieties, their hopes, their loves, their hates, their conflicts, their guilts, their ambitions, their joys, their opinions, their interests, their prejudices, their pre-occupations, and all the things which they blame for their dissatisfactions.
13 THAT, somewhere in THAT strata, is where you begin. You begin with THEM. Like all of us they are looking glasses reflecting a kaleidoscopic jumble of mental and spiritual values and agreements. And in order to make contact with them, you must step, like Alice, through the looking glass and into THEIR domain. You must enter THEIR world. You must take one of THEIR points of reality, and from that you can lead them towards the Process principle or the Process message which you intend to convey, i.e. the Processean approach to that point of reality. That will show them one small aspect of what The Process is about.
14 For example, you may begin with 'giving', a point of reality for them, and you may lead them from there to the principle that 'we may accurately judge what we give by what we receive'. You may begin with 'control' and lead them to 'good control is good con- tact'. 'Responsibilty' to 'acceptance of responsibility is the awareness of choice'. 'Demand' to 'whatever you demand expect the opposite'. 'Faith' to 'faith is an innate knowledge etc.'. 'Judging one another' to 'whoever we are looking at we are looking at ourselves'. 'Strlfe and discord' to 'blame is at the core of strife and discord'. 'Evil' to 'the surest way to become sus~ ceptible to evil is to resist it'. And so on.
15 Lead them from their world into your world. But lead them care- fully, gently and with understanding. They cannot jump too sud- denly from a concept which is real to them to one that, as yet, has been beyond both their experience and their awareness.
16 For example, their conflicts may be real to them as painful di- lemmas, but you cannot take them immediately from that point to the conflict between Jehovah and Lucifer - unless they have con- siderable background knowledge of those two Beings. A sense of choice may be real to them, but you cannot plunge them from that straiqht into the paradox of choice and choicelessness. Their own instinct to blame may be real to them, but that's several steps away from any appreciation of the cycle of blame and demand. Pollution, population explosion, famine, disease, H-bombs and chemical warfare, may all be real to them, but that's some way from the reality of the End.
17 Lead them from their world through territory which they already know - but didn't know that YOU knew! Make their confessions for them. ("Sometimes you wish your husband were dead." "You're afraid to express your love in case it is rejected." "you have fantasies which you could never dream of telling anyone about.") But at the same time convey your complete acceptance of them and their 'confession'. This is done chiefly through projection. If you FEEL acceptance, then you will communicate it. But in- cluding yourself in the confession also helps. ("The things we express with most conviction, are often the things about which we feel least convinced." "We have difficulty in respecting people's vIrtues, but we are usually very grateful for their vlces." "We all of us regret things which we have done." "We are all complete cowards in one area or another." "We feel more hatred for those whom we love than anyone else." "Although we hate to admit it, we actually enjoy our dislike of certain people." "We all of us tell lies more or less frequently. We'd be GOD if we didn't!" "We're ali afraid of something. And sometimes we're so ashamed because the thing we're afraid of must seem so trivial to other people." "There's so much about ourselves that we prefer to keep hidden. ")
18 Then lead them into territory which is only part known to them. ("This is the conflict between Christ and Satan being expressed within YOU.") These are familiar concepts - Christ and Satan - put together in a new and different way, seen in a new and different light. ("We only blame people when we feel that WE have done something bad.") 'Blame' is real to them, 'feeling they've done something bad' is real to them, but it's unlikely that they have ever properly connected the two concepts. ("We make ourselves suffer in order to expiate for our sins." "We feel responsible for the evil and destruction in the world." "War is the mass express- ion of our own personal and individual hatreds." "Our lives are a patchwork of burdens and blessings." "The only evil is a sense of failure." "All blame and therefore destructive intent springs from a sense of failure." "The harder we resist something, the more power it has over us.") Explanations will be required to make this half-old half-new territory safe for your audience to enter. But it's a step from their world into yours. It's a link which has a contact and a reality in both worlds.
19 7. When you lead someone from old familiar territory, which is to some extent painful or mysterious or incomplete or unsatisfying into new territory, which through its revelations helps to make that old territory less painful, less mysterious, more complete and more satisfying, YOU HAVE SHOWN THEM SOMETHING OF MAJOR IMPORT- ANCE ABOUT THE PROCESS AND PROCESSEANS.
20 Never attempt to show an audience at any one time, more than one or two aspects of what The Process is. That would be like a Christian minister trying to explain the entire concept of Christianity in one sermon.
21 8. Now if a man ASKS: "What is The Process?", then you have your answer. It does not have to be as lengthy as it has been recorded, but that gives you the basis of it. It's no explanation of the workings or the structure or even the philosophy of The Process. (That CANNOT be given in answer to such a question.) It's simply a flash of light over the whole concept.
22 But in a talk situation, whether teaching or preaching, there IS another way of answering that question, along the lines of point 6. In fact there are a hundred and one other ways.
23 Take a simple but basic human concept which you know is real to your questioner in a personal and immediate way, or you might ask him what is most important to him or takes up most of his attention. (His profession, his marriage. his political standpoint; death, sex, youth, old age; violence, love, crime; his own fears, his feelings of inadequacy, his ambitions, his image, his personal philo- sophy, his religion.) Share that concept with him; join him in it; understand him within it. Then lead him into a Processean approach to that concept. Lead him to an awareness of its mean- ing and significance in Process terms; in other words a wider view and a greater understanding of it, together with a greater degree of detachment from it. You yourselves have learned, through The Process, how to attain that degree of detachment from all of those and slmilar concepts; teach him how to attain it from just one of them.
24 When you have done that, explain to him that THAT is The Process, making it clear that it is only one aspect. If he asks for an- other, do the same again with another simple basic human concept. You have a pupil.
25 9. Whether you are teaching or preaching or doing a little of both at the same time, will depend on a) your own function as a Processean and b) the nature of your audience. There is a dis- tinction between teaching and preaching, but also there are points where the two overlap and merge. Teachlng tends to involve facts, logical sequences, inevitable consequences, causes and effects. Preaching tends to involve prophecies, appeals, exhort- ations, inspirations and directions. Sometimes the two categories are quite separate; sometimes they come together and become two parts of one message. But your feelings will tell you what is most appropriate in a specific situation.
26 10. Whatever the situation, your technique in both teaching and preaching will be personal for YOU. There is no set pattern. But there are some basic guidelines. Whether you use a question technique or a statement technique, whether you project strong emotion or a calm placidity, whether you are loud or soft, whether you stand and gesticulate or remain seated and unmoving; and whether your audience is a large crowd, a small group or just one individual, whether it's receptive or sceptical, educated or il- literate, emotional or lntellectual, begin, wherever possible, WITH THEM. Follow Logic Four; Reality and Acceptance. Begin with them and their world, and lead them step by step to you and your world. Whether they choose to remain there with you or to return to their own world, is up to them. Your function is not to per- suade but simply to show. Until you appear on their scene, most people have seen only one world. You are offering them an alter- native; exposing It to them aspect by aspect. The decision - on this level - of whether or not they accept the alternative, is theirs.
27 11. There ARE audiences and individuals who will come uninvited - except by your projections - into your world of their own accord. Whether they stay after you have shown them around is another matter. But they do come, and this will happen for you more and more as time goes on. They WANT the Processean approach. im- mediately and without prelimlnary. Give it to them.
28 Still remain within one or two aspects. Don't try to give them everything at once. However eaqer and willing a tourist might be, he cannot be shown an entire city all at once. He can be given an overall distant view from the air (as in IF A MAN ASKS), but in order for him really to dlscover the city, he must be led from street to street and from house to house, and sometimes from room to room in one particularly important house.
29 And the person who specifically ASKS to be allowed into your world, of all people is not requesting an immediate and comprehenslve run down on Process structures, beliefs, philosophies or antecedants. He is seeking the contact of a Processean, within a Processean's world.
30 All the same principles apply, exceot some of the earlier steps can be omitted. You can BEGIN with the half-new half-old thresh- old to which the average audience has to be led. And then you can move from there as your own sensitivity guides you.
So be it.
14 May 1971 ROBERT DE GRlMSTON
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