Chapter Fifty Two: The Seed of Hope

Hope is probably the theological virtue that gives meaning to all the confusion offered by life, and all its accompanying tragedies, because when hope is alive, all the other virtues seem to follow the chance that something may still come true. Hope is what keeps everything in motion.

Love is the major motion of the universe, the greatest of all virtues, and faith in all things allow humans to interpret the phenomena of the natural world. It is in hope, however, that allows man to take the risk, dream, and follow a path not commonly taken. Hope is the outside force that attracts the good things, creates a new path, and, as long as the dream is fueled by faith, then the dream will be realized in the most noble way possible, especially if done by hard work, coupled with the pure passion that made all means possible, while everything, in this way, becoming so beautiful.

It is probably by virtue of the same effect of faith that created The Village and The North Pole, and it is love that created the domain of Elihu which powers everything. In all other ways possible, then, there is nothing to account but to attribute hope in the presence of Williamshire in this particular narration.

The fact still remains that hope is what makes dreams possible, although the process is very much uncertain and the volatility it entails allows it to account to the supermajority of all failures experienced by most of the humankind. Because to hope is like the gamble of life, taking only within itself a certain dream that only fate and destiny will answer to the results of its effort, whatever the motion of life might create out of a courageous effort at its wake.

Passion is what they equate with love, and it is the intensity of such passion that the world will move, and everything else conspiring to make the dreams happen. Hope is the start of everything, keep the passion burning, or so it seems. However, nothing else will matter if the false hope has been painstakingly sustained in the end.

To attempt to dream, therefore, is to exercise a certain form of hope. For to dream a better circumstance other than the feeling of current experience is to hope for something more improved and beautiful. It is part of the dream to imagine the situation desired, which in the mind obeys a higher level of creativity. To create art requires creative juices to flow, so it follows that the artist is someone who has very hopeful view of the world. A complete resolute of character will be extensively involved.

Can an artist, then, become so pessimistic to the point of futility? What does an artist's message entails when he talks abundantly about misery? Can suffering be ever glorified by the literary?

Everything about Magic is attributed to something that is sinister and attached to a concept of dark matter, but nothing in this world can ever exist without the same content and substance of both good and evil. Misery is both good and evil. The human condition is also glorious in the middle of suffering, and it is only perspective that allows which of the two will eventually surface, a moral lesson, perhaps, and then manifested by the improvenent of character in the end.

The Magic of Christmas is hope itself, when thoroughly interpreted with the help of this alternative thought. The holidays are both a dream and a celebration. That is what Christmas is truly about; in the coldness of the winter of sins, the birth of a savior is commemorated. In this important way, love is celebrated in the most familial manner, albeit surrounded by the sadness of the cold, in the midst of all the frost that mimics the certainty of death.

Winter will turn into spring, and everything will be resurrected anew.

Christmas, indeed, is a seed of hope that all children must learn, a simple lesson that will never go away.

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This Chapter is sponsored by K Swiss.