Intimacy, and Christ and Christmas by Mary Baker Eddy - presented by Rolf A. F. Witzsche

1

Fast circling on, from zone to zone
Bright, blest, afar, - 
O'er the grim night of chaos shone 
One lone, brave star.

 


Star of Bethlehem

 

O'er the grim night of chaos shone 
One lone, brave star.

The Universe is a universe of power. From a physical standpoint all the countless suns in the Universe are nodes of inflowing streams of power governed by electric principles. In these nodes, one of which is our Sun (one of 200-400 billion stars in our galaxy that we've named the Milky Way), and also in the central 'sun' of the galaxy itself, all the atoms for all the elements for all the worlds are formed, and are formed primarily by this electric power and its intelligently designed principles. The galaxies themselves are formed at nodal junctions in the network of great power streams that pervade the cosmos, forming a vast interconnected whole that we call the Universe. The cosmic power streams are visible by the filamentary lines, along which the galaxies are typically aligned, as in picture of The Capodimonte Deep Field, a picture of 35,000 galaxies which add up to but a tiny speck of the countless billions of galaxies that evidently exist. (See more in the appendix at the end this page)

Within the billions of galaxies, exist most likely trillions of worlds that are teeming with life, perhaps life as we see it on Earth, unfolding with vastly higher complexities of organization and expression than anything that exists in the non-living sphere. In these living worlds, at least here on Earth, we, mankind, stand on a taller platform than all other forms of life that we know. On this higher-level platform, which enables in us higher forms of expression, living unfolds in spiritual qualities, quality of cognition, scientific perception, and creative and productive powers that no other species shares with us to any significant extent or none at all. 

Thus, along this road of progress, which is increasingly spiritual, the more we unfold our 'wings' as the human species, the more we find our structures, powers, and qualities rooted in spiritual expressions as we are  expressing ever-higher forms of the spiritual dimension of the Universe. Here we enter the domains of Mind, Spirit, Love, Truth, Soul, Principle, and of course Life -  which far supercede what can be understood in physical terms. Mary Baker Eddy chose these seven, higher-level terms, to define the nature of God. This seven-fold spiritual dimension is symbolically expressed throughout her illustrated poem, Christ and Christmas, in the form of a seven-pointed star, combining the concept of universal physical power that illumines the stars of the Universe, and the concept of spiritual power as the light of the living world.

Here the scene becomes interesting as old notions tend to become overturned. It is generally assumed that the sensory-based world is the most real, which comprise our physical bodily experiences and feelings; our pains and pleasures, including sexual pleasures, while we regard our higher level experiences, such as love, joy, creativity, cognition, and understanding, as esoteric and far removed from tangible reality. This kind of perception has persisted for centuries and dominated the dark ages. But as scientific sense expands, the opposite comes to light, by which the sensory dimension reveals itself as the most mythological, and spiritual dimension the most real.

This paradox is easily explained, because the lower-level experiences, like sexual pleasures, cannot be communicated in a manner that enables another to replicate the same feelings and experiences as the result of communication. They are too 'small,' too limited, too corporeal to be experienced by another though the medium of communication, even sexual communication. In contrast, a profound idea is easily communicated, and can be passed on to another so completely that it can be replicated, understood, applied to living, and be expanded on. This powerful manner in which an idea, which is spiritual in nature, can be transmitted and be applied to change the world, proves the spiritual dimension to be more tangibly real than the sensory dimension is, which thereby appears evermore mythological. By this train of reasoning, the most spiritual (the most incorporeal) becomes the most real, with the divine idea, being the most absolutely real and tangible, which in fact is a power that one cannot escape from. Christ Jesus healed with this communicatable power.

On the ascending scale from the crudest sensory perception to the absolute, many steps unfold along the way. Some unfold in an upward pointing manner in which the physical becomes symbolic of higher level principles. In the processes of sexual intimacy, for example, which is an extremely small, limited and almost mythological process, conditions unfold by which the spiritual idea of intimacy comes to light that invariably communicates itself whereby it becomes reflected as social intimacy, economic intimacy, national intimacy, and so on. The end result becomes thereby more tangible than the small corporeal, sensory process is that symbolized it and modeled the spiritual idea of intimacy.

This does not imply that the less complex forms of the universe, as botanic life, are not modeled by the spiritual dimension. To the contrary, all nature expresses God, the spiritual core of the Universe, and does so in countless dimensions of spiritual qualities that manifest immensely intelligent forms of organization. The principle of sex is here too, a useful example to illustrate the point. All higher forms of life, including botanic life, unfold on a sexual basis that assures genetic diversity for the advancing development and strength in the process of propagation. In the botanic world, countless species of insects become involved as vital partners in the vast sexual enterprise of life, that also incorporate amazing aspects of intimacy in their highly intelligent designs, as we find some most lavishly arrayed in the blossoms of plants. In this case a long list of lower aspects cooperate together to express a higher idea

That point is that all what is really of substance is rooted in the spiritual dimension. This principle can be applied to any extreme, which thereby becomes the most substantial expression in spiritual direction, and the most mythological in the corporeal direction.

Life as Spirit, unfolds with an amazing power and cooperative organization wherever we care to look, with an intelligence reflected in its spiritual expressions that we can only marvel at, which even now, in our advanced age, we've barely scratched the surface in our gaining an understanding of it, including of our place in it all where we find ourselves as creators and producers with the capacity to uplift the entire world around us with our own rich and amazing expressions, such as expressions in music, art, literature, engineering, science, flight, even space fight. Evidently the human dimension as the highest expression of the divine, has amazing potentials for tangible creations that we've barely touched the surface of as we lift ourselves off the ground like butterflies with colored wings to bring the lower aspects that are typically symbolic, into the ever-expanding higher dimensions.

 

"God is Love." More than this we cannot ask, higher we cannot
look, farther we cannot go.
(S&H 6:7)

There a dark clouds on the horizon when out focus is set to low. In the modern world, some of the dark clouds, ironically, are still getting darker, even while patches of clear sky now appear. The darkening of history coincides with with the loss of the spiritual idea of mother as a profound, substantial, spiritual idea that is richly incorporated in the female identity. 

The early deities in civilization were primarily female in nature, if not exclusively so. The goddess ideology is evidently a bodily recognized divine idea reflected in mankind as woman, who was after all the bearer of the human offspring. She symbolized life, fertility, abundance,. It also appears that women were the natural spiritual healers in society and the care-giver for the infant, manifest as a natural function of mother-love. 

Mary Baker Eddy acknowledge this link when she states in the opening chapter in the textbook on Christian Science (Prayer), that: "God is Love," adding, "more than this we cannot ask, higher we cannot look, farther we cannot go." p.6 Indeed, nothing can be more substantial than the highest spiritual aspect,  divine Love. Thus, Mart Baker Eddy adds in another chapter: "In divine Science, we have not as much authority for considering God masculine, as we have for considering Him feminine, for Love imparts the clearest (and most substantial) idea of Deity." p.517 (item in brackets added.)

Mary Baker Eddy even stated back in 1884 in the glossary definition for the term man, adding to the statement, that man "is the generic term for all that reflects God's image and likeness," the profound and scientifically correct statement that "woman is the highest term for man." (9th Edition p.197) The statement that "woman is the highest term for man," which scientifically reflects the clearest and most substantial face of man, was later dropped, perhaps under protest. It was removed with several other items when the definition for "man" was condensed into a single sentence, as we have it is today.

What Mary Baker Eddy has stated scientifically in modern times had evidently been naturally recognized in primordial times when society's deity was seen in the female nature, function, and form. Even in Jewish religion, the original deity was female, named Astoreth, or Astarte - the name of the primitive Semitic mother-goddess out of which the most important of the Semitic deities were developed. Astarte was female, and wherever she was worshiped, she was worshiped as a goddess of fertility and sexual love. 

The America artist Judy Chicago, and her team of researcher, suggests that the Jewish people, like all early people, were matriarchal as a society and had worshiped a goddess rather than a god, and that it took the span of six centuries for the male-god concept, Yahweh or Jehovah, to be developed, which then replaced the goddess.

The overturning of the natural power of mother-love - or in its highest form, divine Love - as the primal feature of deity, into a perversion of a deity that became a man of war or tribal god, coincided with the near universal shift in society towards a patriarchal power base. This is also the point in development where the biblical narrative of Genesis 2 begins, the creation myth, a corporeally centered myth, as if all prior spiritual perception in history did not exist. 

The myth begins with a corporeal Lord-God concept, later named Jehovah. Only a few researchers took the trouble to look into mankind's early spiritual self-recognition, beginning in primordial times, where the female, the divine mother, and love, merged into one focus that had been central in society's self-recognition for a long period that predated the patriarchal system that became essentially mythological and centered on corporeal aspects. 

Judy Chicago organized a team of researchers in the mid-1970s to look past the veil of small-minded thinking, to explore the status of woman from the primordial all the way to the modern time. On this basis, Judy Chicago and her teem of hundreds of supporters, workers, and fellow artists, created what may be largest and most intricate art installation ever produced to honor the nature, achievements, and experiences of mankind's women. 

The team created a heritage floor composed of over 2,300 hand-cast porcelain tiles on which they painted the names of 999 women of Western civilization, chosen for their outstanding achievements, their life-situations, origin, and experiences. Judy Chicago commented, that if so much was discovered about the nature and achievements of woman, in so short a time as the project allowed, and focusing only on Western culture, how much still remains unseen and unheard. Of course, the loss caused by the obscurity is a loss to civilization in general, a loss that was most strongly incurred in the growing darkness of patriarchic society that quickly became imperial in nature and left the bright age of the mother-love principle, not to mention the Principle of divine Love, far behind as though they never existed. Women were rendered small, because the perception shifted from the spiritual that is substantial, to the corporeal that is mythical, whereby the entire society became small and increasing divided and uncertain of itself, as is typical for mythologies. 

The art project of Judy Chicago, designed to honor women of all ages, focuses on three general timeframes, the first beginning with the bright age of the female goddesses and the later age of societies where women still stood in equality with men, or to at least in a significant degree, as in later times. The second timeframe covers the dark ages of absolute patriarchic despotism. It includes much of the biblical timeframe and the worst periods in history typified by the age of the witch trials and other types of brutal persecutions. The third timeframe covers the modern period of women reclaiming their divine right for equality, self-expression, and self-determination, in the still dark world of patriarchic and imperial tendencies. Mary Baker Eddy's time falls within this last timeframe, which is itself a reflection of all that came before. Some of the dark had remained standing as monumental shadows, though with a few stars shining through between the clouds with a bright promise.

For the art installation that honors the worth and achievements of women in all three timeframes, Judy Chicago placed a triangular dinner table within the space covered by the 2,300 tiles that have the 999 names of the historic women painted on them.  The triangular table is laid out with 39 place settings, arranged in three groups of 13, for the 39 women which were chosen to represent the 999 at "The Dinner Party" as she named her art piece. 

The runners for the place settings were meticulously embroidered by the team, and the representative plates for each of the woman , all large 14-inch plates, were intricately painted to represent her uniqueness, with many of the images sculpted so that the images would rise from the plate, some deeply sculpted. The images were motives representing both the butterfly, but also the woman's vulva. 

She wrote, as the project developed: "I want to make butterfly images that are hard, strong, soft, passive, opaque, transparent - all different states - and I want them to have vaginas so that they'll be female butterflies and at the same time be shells, flowers, flesh, forest - all kinds of things simultaneously." June 2, 1974. (see images of The Dinner Party)

The primordial age is represented at the Dinner Party by the Primordial Goddess that represents in embodied form the universal creative power of Life manifest through the mothering function  expressed in the women of mankind. 

Her plate represents "female creative energy," as Judy Chicago has put it. It has the female core embedded at the center of the butterfly image - the butterfly that lifts the core idea off the ground and takes it upwards to higher perceptions of loveliness where physical form comes to light in forms of grand spiritual purpose such as is expressed in human civilization - built on far-reaching intimacies of cooperation in every sphere of the human dimension - by which the human dimension reflects the divine and thereby the nature of the all-harmonizing principles of the Universe, without which the universe and civilization would not exist. 


image for the Primordial Goddess
the cover image of the historic book on The Dinner Party 

In my perception, Judy Chicago's image for the Primordial Goddess represents the dawning recognition of the mother-principle, representative of divine Love, manifest in the creative abundance that unfolds mankind as the offspring of God. Throughout the book, every image for the plates of The Dinner Party, represents an individual recognition by women of the abundance within that stands behind their achievements as they lift themselves above the background of the times for which the woman are honored. Thus, what began to be recognized, though incomplete in ancient times, has not faded into oblivion, but remained a light, faint as it may be, to shine through the ages.

In primordial times the goddess was impersonal, representing the divine Life-flow and mothering-Principle that is born out by women. This primordial perception has a profound spiritual foundation that needs yet to be acknowledged in the modern world, for even in the biological sense, the procreation of mankind is essentially impersonal in nature. Individually, we have very little to do with the creative process. The sexual impulses that assure that the process is happening are built into the human system. We merely respond to them. Indeed, our role in the entire procreation is more in the nature of observing bystanders than as originators. The sex act is more an act compliance. Its fundamental functioning is beyond our control, for once the sex act is done, the entire creative process unfolds by its own power - by the power of countless reflections of principles that we don't even understand, much less control, which are greater than ourselves - aspects of divine Principle. We literally are the offspring of divine Principle instead of a personal creation. In the divine process, the real process, woman facilitates the all-harmonizing mothering function of divine Principle. Thus, she was historically honored for her role in expressing this profound divine aspect. 

And even after the human birth is complete, the sexual intimacies that continue, remain as a natural force that creates strong cooperative bonds in society that assure the caring that an infant requires, and which society as whole requires for cooperative functioning, which are beyond that reflected in ever-wider circles of cooperation all the way to the modern national level when the basic principle of intimacy becomes reflected as the Principle of the General Welfare. The design of the human civilization from beginning to end is largely impersonal, is cooperative in nature at every step without which civilization cannot exist, and is powered by divine Principle. All of these profound spiritual qualities, responses, and resulting processes, are built into the human nature which defines us as spiritual beings - and this has at its heart a profound truth that we are still in the process of recognizing, though the dawn this recognition is as primordial as the dawn of mankind itself.

Judy Chicago puts it this way. "The human race, awed by this nameless force, watched plants grow from the body of the Earth and life spring from the body of Woman, and could only venerate this magical power possessed by the feminine spirit." She adds, referring to the Primordial Goddess and her plate for her, "I originally named her Gaea, after the Greek goddess who embodied the idea of this universal female principle or Earth Mother, but changed the name when I realized that the image on the plate actually refers to a concept that existed before there were words."

In spiritual terms, before there were words to define anything, it is said in spiritual language, "there was the Word. And the Word was God."

Mary Baker Eddy labeled the first column of the foursquare structure that she dealt with, appropriately, "The Word (the North Star... the polar magnet of Revelation)" and the uppermost row of it, relating to the lateral domain of the divine, she defined correspondingly, "The Word of Life, Truth, and Love." - p.575/577 - The concept of The Word represents the primordial and eternal; the creative self-existent that pervades all time and times and history; the unchanging; the light, power, and purpose of the Universe; that which has no form, but includes all form.

In human history, as the 'primordial' age was lost by mankind's detour into countless mythologies, the spiritual sense drifted into the background and out of sight, by which civilization gradually lost its light. In the rising shadow a deep darkness ensued. The dark ages are represented by the second group of plates on Judy Chicago's table of The Dinner Party. The second group comprises all women trapped into the dark ages of patriarchy - the ages of female repression, and the repression of the female mothering-principle - and their struggle to rise above the shadow. The repressing subjugation is built on a political force that adds up to a sweeping denial of the divine nature and universal worth of mankind as a whole, as offspring of God.

However, even in the physical sense, black is not a color. It results from the absence of all colors. Darkness is not a quality, but a void. The dark ages were not ages of human power in which empires rose and fell, but were ages of imperial insanity. Insanity is not a power, not even a power that one can fight against. One cannot fight against the darkness in a dark room. And why would one? The darkness vanishes when one brings light into a room, when one lights a candle, a miniature sun. Many of the woman of achievement in the dark ages stood as a miniature 'sun.' The metaphor of the Sun also reflects essentially the process by which the dark ages of history were brought to a close. Here, in the larger sense, the mothering-principle that is primordially expressed in women, stood in the foreground, mothering a trend that became the Golden Renaissance in Europe.

 At Judy Chicago's art project "The Dinner Party" the historic woman, Hrosvitha (935-1002 AD), represents quite a few women who started this trend - of women who lifted themselves above the dark background of the times. Her plate is painted in only one single color, a yellow golden color, the color of the rising sun that is a star in its own right. Judy Chicago describes Hrosvitha as one of the earliest German poets and dramatists who was unfolding her creative power in a closed-minded world of general female subjugation, and she changed that world. She even changed the church that stood in the forefront of the subjugation of woman, which, ironically then came to her aid. 

In this sense, Judy Chicago's presentation of the status of women in the dark ages of deep female subjugation - represented by Hrosvitha lifting herself above the 'ground' and standing tall as a human being - is likely representative of many similar struggles and achievements by individual women throughout the world during the dark ages, which were also dark ages for men and civilization for similar reasons. 

Judy Chicago describes Hrosvitha as having lived during the beginning of the forced 'christianization' of Western society against the background to intensifying feudalism. At this time many self-respecting women, rather than submitting to the politically mandated rule of men, resorted to forming religious convents, aided by the church, in which they retained the freedom and dignity to live without subjugation by men. The convents became places of refuge for them, and training schools for girls of the community. Some girls came there just to be educated. Others, came to devote themselves to learning and to the arts, many without taking religious vows in the process. Some of them stayed until they became married and frequently revisited afterwards. 

Judy Chicago points out in her book about The Dinner Party that the religious women in those days became renowned for their 'mothering' care and were treated with great general respect. 

Thus, the convents seemed to have kept civilization alive during the dark ages as centers for intellectual, moral, and emotional stability in an otherwise bleak landscape for women. It was also through these institutions, which later included monasteries, that the intellectual achievements of the earlier ages were brought back to the foreground, like the scientific methods of Plato and Socrates that had been kept alive in the Islamic Renaissance leading up to this time. 

In the convents and monasteries, some of the historic intellectual manuscripts, especially of Plato, were copied by boys and girls taught in these institutions, who thereby became independent thinkers in their own right. Out of it developed the formal educational institution called the Brotherhood of the Common Life, which ultimately furnished the intellectual leaders who powered the dawn of the Golden Renaissance that broke the chokehold of the dark ages. 

Hrosvitha is representative of a movement by women who were committed to lifting themselves above the background to higher ground, uplifting their world in the process, which formed the start of a cultural development that expanded and eventually, long after her time, overturned the dark ages. The image on her plate is deeply reliefed and "combines the ivory carvings of Ottonian art with the praying hands and nun's cap typically associated with religious women." The vulva symbol on the plate is widely spread and covers 80% of the width of the plate with many labia side by side like so many prison bars, with the upper portion of it being covered over with the nun's cap that has above it a dark space that narrows to a point, a cathedral-like point, at the very edge of the plate. The four butterfly wings are symbolized on this plate by the two arms with praying hands that surround the vulva image and join at the bottom, while the upper wings, narrow as they are, join at the fine point of the cathedral top.

The actual art image on the plate has been omitted, and likewise on all the pages following, because the dark ages have not ended. Small-size photographic reproductions of the respective images of the plates that are described in these pages, have been created from the book images and with sufficient quality to do justice to the art. But they are not presented, and not for technical reasons. They are omitted, because the dark ages have not ended. In the modern world, all artistic creations have been reduced to the status of being the "private intellectual property" of the creator or owner of the property, rather than being the natural result of the creative genius of mankind that represents the universal quality of mankind as a whole and its culture. Culture has thereby been reduced to property, a financial asset with a profit value, for which its essence is blocked from sight, just as the genius of women has been blocked from sight for the countless centuries of the dark ages. By this blocking effect culture itself has become diminished. For example, the music of the great classical composers of the past has thereby been reduced to the private property of the performer, even in cases when the performance is publicly funded, as in many cases they are for classical music, whereby the composer literally becomes disowned. In a few rare cases generous individual performers have placed a number of samples of their work into the public domain, which may be the start of a trend, but in the vast majority of cases, the gems of culture, the spiritual image of mankind, are locked away into the financial strong box as hidden property, just as the spiritual image of woman had been hidden by subjugation of a similar kind. In other words, the dark ages have not ended. In this context, the struggles of women to break out of the box prepared for them places valuable examples before society for gaining its freedom from the world-engulfing monetarism that is fast destroying civilization.

While Judy Chicago focused for her examples only on the Western World, it needs to be recognized that the darkness of the scene of female subjugation was not limited to the western world, or even to world of Christianity that carried the subjugation of women to great extremes, as in the times of the witch hunts. Similar types of repressions can be found in almost all cultures, nor did the dark ages of repression begin with the dawn of Christianity, which merely became drawn into the repressive process by the all-overbearing weight of the numerous types of the system of empire, the rising monster and ruler of the dark ages. The brutal repression of woman actually preceded Christianity by many centuries with the perversion of numerous religions, as in the case of the Arian invasion of India and the resulting dark ages there, in which scores of millions of women were sacrificed. Proof that the perversion of religion for the subjugation of women preceded Christianity is found in the fact that Christ Jesus had become engaged in healing society of its ghastly tradition, as in his defense of the 'adulterous woman' that is presented in John 8:1-11. The target in this case was the woman, who was condemned to die for having participated in an unauthorized sexual act. In this case, as was likely typical, the male wasn't on trial, only the woman was, while it takes two to tango, which proves the underlying hypocrisy of it all. Jesus defended the woman successfully by exposing the even deeper underlying hypocrisy on which the ghastly law itself was built.

While a lot of the horrors of the dark ages are history now, some form remain yet to be healed, especially the repression by bias and the self-diminishment of the victim of bias. One of the women who managed to snap out of this trap, who is honored for it by Judy Chicago at The Dinner Party, is the American artist Georgia O'Keeffe. Her plate is the final plate of the series.

Georgia O'Keeffe was born in 1887 and became a renowned, outspoken, and strongly expressive artist, expressing the female quality in her art, which became widely accepted, probably for this very reason, as it speaks of an aspect that is lodged in the heart of all mankind. I reserved the details in describing her plate for a later stage in the flow of this exploration. For here, it is sufficient to note that the plate for Georgia O'Keeffe is deeply sculpted and is the most anatomically expressive one of them all, which is symbolic of her art. 

Judy Chicago relates, that one day, early in her career, Georgia O'Keeffe had destroyed all of her paintings, as she felt her work had been derived from other artists. So she made a new start by producing a series of drawings out of the depth of herself and sent them to a friend in New York who, though requested no to do so, took them to a famous art gallery. The owner of the gallery, Alfred Stiegliz, a photographer, looked at the drawings intently and said, "Finally a woman on paper." He is quoted to have commented that the work was not only by a woman, but by one who "gives something of a 'woman'-feeling;  and a woman isn't a man." This recognition started her career that became a power that changed the landscape of female art.

Judy Chicago said of her, "I - like many other women artists - see O'Keeffe as 'the mother of us all.' Her work provides a foundation upon which we can build a universal language to express our own point of view as women."

I find Judy Chicago's comment regarding Georgia O'Keeffee significant in the context of the illustrative painting (top of the page) that Mary Baker Eddy had commissioned for her poem, Christ and Christmas. It features the seven-pointed star, the star that breaks the rule of the dark ages. 

There obviously exists no such thing in astrophysics as a seven-pointed star, but as a symbol, the seven-pointed star is profound in the spiritual context where it represents the full spectrum of the divine nature expressed in the sphere of humanity. If a single aspect is lacking, this significant star is not seen and the divine nature is therefore not expressed, whereby civilization suffers deep dark ages and disintegrates if the light is not brought back.  

The breakthrough in scientific mental healing that Mary Baker Eddy has but on the plate of society in 1866 flows from what might be described as the deepest intimacy with the divine that unfolds humanly when the whole field of the seven-fold spectrum of God comes to light - which she later described with the terms Life, Love, Principle, Mind, Truth, Spirit, and Soul, which all men and women are designed to express in their varied individuality. 

This full spectrum was not achieved in the age of the goddess, much less in the dark ages, and not even in the convents that took some of the repression out of the dark ages and eventually brought light back into the Earth. The full spectrum is only now, slowly, coming to the surface, spastically, but accompanied by great achievements. 

Of course, the fullness of mankind's intimacy with the divine cannot be accomplished by pushing a vital portion of the spectrum into the background through sexual division and isolation, or marriage isolation of any kind. The intimate zero-distance unity with the divine is not possible in human experience unless it encompasses the whole 'family of God,' which the mothering principle signifies. In this context, the term "The Mother Church" that Mary Baker Eddy has chosen as the spiritual name for her church, gains a profound significance. 

The seven-pointed star represents the divine fullness expressed humanly, that enables us onward to a full expression of the divine as we leave nothing out of sight that is an aspect of the divine, especially the quality related to sex, by which sadly, much of mankind is currently divided and isolated.

Mary Baker Eddy has placed the seven-pointed star onto the crown of her seal.

And she also placed this seal into the window of Mother's Room in the original edifice of The Mother Church, where the seal is facing the world.

She is saying in essence to mankind, in a still largely dark world, This is The Mother Church. It is signified by the seven-pointed star, designed to brighten the spiritual light in the world - the very star that incorporates what is already rooted in the hearts of men and woman for each in its own way, of which the mothering principle remains a key aspect in the modern world, which is the 'butterfly' that lifts all that is vital off the ground of mythology to Truth.


Associated elements:

Lord's Prayer: - Our Father which art in heaven

Textbook: Chapter 1 - Prayer

Manual: Segement 1 - Church Officers


Appendix:

The lead-in paragraph on this page reflects the leading edge concept in cosmology - the Electric Cosmology - rather than the counter-culture concept of the gravity-only cosmology that denies the existence of the major forces in the Universe. The gravity-only cosmology is an imperial construct projecting an entropic Universe that begins with the Big Bang chaotic explosion out of which the Universe was born, which is now winding down towards an inevitable death by energy exhaustion, such as the burn-out of our Sun and every other sun, and so on. 

Since the visible evidence contradicts the gravity-only theories, numerous fudge factors have been created by its disciples to save the theory, which the masters of empire cannot let go for reasons that the underlying axioms of entropy in a primitive universe, by which everything is winding down so that everything good and beautiful that is being sacrificed under the thumb of empire can be deemed the result of natural regression rather than intentional destruction. 

The resulting false model that is totally artificial and is not supported by any real evidence, but has a political imperative, contradicts the Electric Cosmology that is universally supported by all known available evidence, but which is subjugated to silence in that halls of science. For this reason the lead-in paragraph of an actively and universally powered expanding universe may seem strange, as it does not accord with the fairy tales that pervade mainstream science diversion and projects for science regression. Nevertheless what is presented on this page represents the leading-edge perception to the best of my knowledge. (see more on The Electric Universe)

Next part


lead-in: A Shine of Butterflies - Christ and Christmas Index

related articles:
"A Shine of Rainbows"  
- Symbol of Our Heritage
-
Sex, Brain,  Intimacy, Spirituality
-
The singly powered universe
- What is God that Man is an Expression of?

- Sublime Science
- The Taj Mahal  
- Temples of India
- The Power of 56
- Morning Prayer Hymns

 - related copyrights

 

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