Grace encompasses the character as gift—a closeness supremely labored liturgically: the method of reclamation that instigates the character to seep and stretch unto spousal completion. The completion is the image. It is also the instigation, encompassing time itself: the existential temporality sequenced among the potency of matter. Already instigated, already complete, the image advocates for the instigation that ascends to completion through the liturgy of the theatre.
The character passes into the liturgy, subjected to the need for the image outside itself to come to itself, laboring for the incarnate method. Yet, the character is already primordially subject to time. Among the finite plane, the character fractures and falls unto its limits deceived by its constricted, devolved, limitless choices. The liturgy of the theatre harnesses the image among the finite plane where the incarnation seeks the character with graced mercy, forgiving the subjection unto a new subjection, a strange freedom: the subjection unto the eternal plane. The primordial method reclaimed: the Character of Image reclaiming the passage into play.