A blessed division or distinguishability sets a stage for any play to come that goes beyond sitting in dark silence. Such a space of deep waste may have its moment of instruction but such will be in a context of what has gone before. It can be in medias res but not before.
Against a backdrop of “light” come its twin rhythms of Day and Night. Each encloses the other in a way known as yin-yang.
The boundaries are set within which direction can be discerned.
With a duality of Day and Night we begin to enumerate an unordered set—Day One—not 1st day among others. Cardinal numbered days play back and forth as unique experiences. In this way we continually engage the fundamental of “light” within every subsequent day.
It is the intersection of day (and) night that is a marker of Day One having come to identifiability. The writer moves us from dark to light with an ordering of an on-going sequence—from evening to morning. When joined we turn this fact to poetry— “…it was evening and it was morning, Day One….”
The goodness of light becomes formalized, ritualized into a good process of evening and morning. Evening has broken like a new day to dream all that is needed for awakening into morning. The desert of night is found to be an oasis of day and prepared to welcome day back for deconstruction in anticipation of going further in a next day.