To be clear about this topic, understand that nonduality is a concept represented by a word. The concept is not the experience. No matter how much effort you put into thinking about and analyzing the concept, you will never touch its essence. It is like trying to tell someone who has never eaten an orange what the experience of eating an orange is like. Description can never replace experience. What I will try to do here is use a metaphor to perhaps paint a somewhat more communicative word picture of nonduality. In the end, though, if one really wants to know nonduality directly, one must eat the orange, so to speak. I’ll end this with a quote from a Zen Master when asked about nonduality, who said, “Not two, not one.” I would suggest that his intent was to convey that both are numerical concepts.
The metaphor I will use is that of an orchestra, which will represent the entirety of all physically manifest reality. As the orchestra begins playing, the harmony of all the instruments creates music. The members of the orchestra are individuals and their instruments are separate objects. The relative relationships between these musicians, their instruments and their output represent duality or the world of separate things. The music, which is the single harmonious integration of all the separate contributions into a singular whole, represents nonduality. However, this is an idealized metaphor, so let’s back it up.
Imagine that this orchestra consists of 1000 people, of which you are one, each with a musical instrument. The level of musical competence of the players ranges from novice to expert. Some can read music and some can’t. Now imagine that his group sets out to play a symphony. Also, add into this image the lack of a musical director. In this scenario all of the players begin playing their instruments. A few know the symphony, some can read music and have sheet music for guidance, and most of the group neither know the symphony nor can read music. The effort begins, but the output is not nearly as pleasing as in the initial description above. Nevertheless, the relative relationships between these musicians and their instruments’ output represent duality or the world of separate, relative things. The sound output is still the product of all the separate pieces representing a singular whole or nonduality. This is probably somewhat more like the way of the world. A somewhat chaotic state that is slowly organizing itself into greater and greater coherence, albeit with both forward and backward steps.
Now as a participant in this process, ask yourself what you should do to facilitate the evolution of coherence and the production of a recognizable symphony, allowing that a perfect rendition of the symphony is unlikely. You have at least two options: 1) You could listen carefully and identify the players who are contributing the greatest amount of disorder into the effort and go take away their instruments and eject them from the orchestra. Considering that there likely would be resistance to this, you might find other members who see the situation the same way that you do and organize them into a cadre of music police. 2) You could ignore the disharmony and attempt to narrow your focus down on the members who are producing the best musical output and follow their lead. In this case, you are both attempting to contribute to coherence by coming into harmony with the output of the better players and contributing to coherence by serving as an example to the players in need of guidance. Perhaps you can think of other options but you get the general idea.
The point is you can either become absorbed in the inharmonious output of some of the individual players and contribute little or nothing, or you can focus on a strand of harmony running like a smooth eddy in a turbulent stream and strengthen it. In short, come into harmony with the dynamic process that is the evolving whole or focus on the separate pieces.
This brings up the issue of “evil,” which is a relative concept. What you think is evil may not be viewed as evil by someone else. Perhaps there is a definition of “evil” that could be universally agreed to, but I’m not sure what it is. The closest that I can come up with is “actions arising from ignorance brought about by a highly egocentric view of one’s life circumstance.” However, one can still recognize that ignorance is also masking the divinity that lies within the “evil” doer. This does not mean that you can’t act in self-defense or defend others. The advantage that arises from recognizing ignorance as merely a mask for dormant divinity is that if one is compelled to respond, the response will be no more than is necessary and will not be fueled by strong emotions such as anger, hate, revulsion, etc. I have an entire essay devoted to this view on my website, so I won’t expand on it any further here.
Let’s look at the idea of evil relative to the orchestra metaphor. Think of the incoherent players as “ignorant” and their disharmonious output as “evil.” You can get angry with these players and decide they need to be stopped and ejected from the orchestra, which will no doubt be resisted and could lead to actions on your part that might be viewed as “evil” by some of the other players. You could also recognize these players as simply ignorant of the musical ability that they have dormant within themselves and try to be a model for them or even offer them guidance. What the experience of nonduality brings is a perspective that sees all the players connected through the divinity that resides within them whether they are aware of it or not. Each and every one of the players is an implicit strand within the holistic, dynamic process that emerges as the symphony.
I hope that this was useful but do keep in mind that it is just an imperfect pointer for nonduality, which is only truly known through a transcendent experience, never through concepts and ideas. Peel the orange and eat.