In the above verses
the Master of Christianity remarks on the lack of spiritual
understanding in general society, where the wise and noble are so chock
full of self-limiting perceptions, so that they cannot see what unfolds before
their very eyes. And with it the Master celebrates that the perception of
Truth naturally asserts itself in those whose heart has not been
might have referred to Mary Magdalene, for she is mentioned by name
relatively early in the Gospel of Luke (Luke 8) as being with his disciples.
And it came to
pass afterward, that he went throughout every city and village,
preaching and shewing the glad tidings of the kingdom of God: and the
twelve were with him, and certain women, which had been healed of evil
spirits and infirmities, Mary called Magdalene, out of whom went seven
devils, and Joanna the wife of Chuza Herod's steward, and Susanna, and
many others, which ministered unto him of their substance.
And when much people were gathered together, and were come to him out of
every city, he spake by a parable:
A sower went out to sow his seed: and as he sowed, some fell by the way
side; and it was trodden down, and the fowls of the air devoured it. And
some fell upon a rock; and as soon as it was sprung up, it withered
away, because it lacked moisture. And some fell among thorns; and the
thorns sprang up with it, and choked it. And other fell on good ground,
and sprang up, and bare fruit an hundredfold...
The really 'poor' in the
world of discrimination are always those who discriminate. The loss they
create, is towards themselves. The roadblocks they erect, makes them poor.
Some latch on to this poverty and make it their own. Other's protest and
step away from it and fight it for the greater riches of themselves and of
mankind. One of these who stood up to fight is the musical genius Ethel Smyth who refused to let
her worth be trampled under foot by those who were too blind to see it.
treated her in a unique manner. The
plate for Ethel Smyth (1858-1944) is the only plate for The Dinner Party which
has not a trace
of the "vaginal core" found on it, with which she put symbolically
at the center to be representative of
women in a fundamental way, reflecting the female mothering quality. The
plate for Ethel Smyth is a exception in this regard. Also it is the only
plate that does not incorporate in its symbolism the four wings of the
butterfly. Instead it shows a grand piano in the top-down view with its
Ethel Smyth represents
symbolically all the women in the field of classical music in the modern world.
The piano on the plate is as black as the place of women the field of
classical composers and conductors. It is black,
perhaps, because black is not a color but a void of color. In her context it
a void in human civilization, caused by the exclusion of the female of
this void in music has had a long historic trend. The exclusion has become a lid placed over
all the color of the female potential,
to hide it, as if out of fear that its unfolding might expose a certain
poverty that has been falsely accepted as the crown of riches.
Judy Chicago writes
about this general scene of the female exclusion in the field of major
classical music - to which there are
exceptions of course - and she celebrates those rare few exceptions that
have paved the
way to greater freedoms and expanded expressions in music, symbolized by
Ethel Smyth who stands with Clara Schumann and few others whom she also celebrates in this context.
Ethel Smyth, "Literature was one
of the first creative fields women were able to penetrate. If a woman was
sufficiently motivated and personally strong enough to withstand
isolation, lack of support, and social censure, she could - with
sufficient time and privacy - find the means to write. Only the publisher
then stood between her and the public, and if that publisher was
sympathetic, a woman's voice might be heard. But in music it was
different... Despite the fact that a number of women have proven
themselves capable of composing and conducting, most have encountered a
solid wall of resistance based on the continuing prejudice holding that
major music is the property of men."
Ethel Smyth is a
perfect example. Judy Chicago presents her story. "Ethel Smyth, a
gifted young composer raised in an upper-class English family, arrived in
Leipzig in 1877 and quickly became involved in its lively musical world...
by 1889 her compositions were being performed in Germany and receiving
glowing reviews. Upon her return to England, however, she discovered that
few conductors would perform her compositions. - Smyth struggled
desperately to establish herself, but even when she was able to arrange a
concert, something would immediately go wrong. The orchestra would be inadequately
prepared or the conductor unable to attend. If she was invited to
participate in a program, male composers would complain. If her work was
included anyway, there would rarely be any critical response in the musical
journals. Or if she was mentioned by a critic, he would accuse her of plagiarizing
a male composer's work... - While Smyth's early work consisted of
orchestral and chamber music, she later became interested on operas and
and large choral works. She wanted to compose on a scale previously
reserved for men and wrote her 'Mass in D,' one of the most ambitious
pieces ever undertaken by a female composer. Its production was made
possible only because of the support of two influential women; the audience was wildly
enthusiastic, but the work was attacked by critics and eclipsed for thirty
years... - Angry and frustrated at the obstacles she encountered, Smyth
became involved in the struggle for women's rights."
The problem in
perception that currently divides the world in countless ways and tears it
apart, cannot be healed on the platform on which the problem has been
created, which is rooted in to so many mythologies. The problem can only
be resolved by raising civilization above the ground to higher levels of
reality than the mythological. This implies the healing of 'Christianity.'
We are still far from this happening, or even being attempted in any serious
way. In this sense the field of classical music remains still a largely
barren land with half of mankind 'amputated' from it.
Much of the same
can also be said about the social landscape in the face of the sexual
'amputation' of the female world from the male world, and the male world
from the female world, except in the smallest domain of 'privatized'
living and 'authorized' unions. This scene too, needs to be pulled up to a
higher level. For this, the symbolism in Christ and Christmas
It interesting to
note that the patient in the third column is always a male. But is it only
the male of society who has isolated itself into its own desert, and is
thereby in need of healing in this column that is focused on the healing
of 'Christianity?' This is evidently not the case. The sex of the patient
is symbolic for a specific reason. The reason becomes evident when we look
at the face of the patients in the lower three elements in this column,
beginning with the lowest.
The first face is
that which has become symbolic for general society. The second face
represents theology. And the third face is that of Adam. We have seen
those faces before in previous paintings, specific to these three
What is interesting
here is the progression in which the sexual mythology is progressively
cleared out of the way towards the biblical Adam standing alone at the
core as the real patient with a lot of the mythology peeled away. Isn't
that what Mary Magdalene had addressed scientifically in her days, which
Jesus' help, who has been called by Mary Baker Eddy "the most
scientific man who ever trod the globe," (S&H 313)? Didn't she
cut boldly through the Adam separation, the Adam myth, the Adam nakedness,
the modern Adam arrogance, the new near universal Adam fascism; including
the Adam theologian to whom the Scriptures are a closed book, and the
cynical in society who claims that woman is nothing more than a bit of
flesh and rib taken from man to fashion a help-maid and toy thing for him,
as the Adam mythology proclaims?
Mary Baker Eddy
defined 26 such 'names' for Adam in her glossary of the textbook. The 26
definitions for the name Adam stand in opposition to the 26 topics covered
in her "class book" that she had developed for her class
teaching, which later added to the textbook as the chapter,
Recapitulation. These 26 topics fundamentally invalidate the 26 'names'
for Adam. They also stand in conjunction with the 26 topics of the
Christian Science Bible Lesson sermons that Mary Baker Eddy has
instituted. Adam, thus, is the universal patient throughout this column,
focused on the healing of 'Christianity.'
Of the three faces
above, we deal with the center one on this page, the face of theology that
is steeped in the Adam mythology and is intellectually crippled by it so
that it cannot scientifically move to higher ground. Mary Baker Eddy
provided a length textbook chapter to deal with this subject. The title
is: Science of Being. In this chapter the she pulls the entire
human scene up to higher ground, way beyond the theological context, to
the context of divine Science, and at the end of the chapter she presents
a 32-part platform, which is often referred to as the Christian Science
Platform, which totally overturns the Adam-bound mortal-mind
And yes, we do see
Mary Magdalene here, who historically stepped away from the Adam-mythology
concept that divides and smothers the whole of mankind, and stepped into
The historic Mary
Magdalene studied with Jesus of Nazareth. In the modern world the budding
representative of Mary Magdalene, so distant from Adam, studies with Mary
Baker Eddy. Here a puzzle seems to unfold, for Mary Baker Eddy associated
the painting with Christ Jesus' words:
I thank thee O Father, Lord of heaven and
Thou hast hid these things from the wise and prudent, and hast
revealed them unto babes.
- Christ Jesus - (Matthew 11)
The general perception
of the above verse is likely backwards, for Christ Jesus would likely have
I thank thee O Father, Lord of heaven and
That thou hast revealed these things unto babes, for they would surely never
be gleamed from theology,
from the wise and prudent, and if it wasn't for the babes, the
divine Science would remain forever hidden.
Speaking of John
the Baptist, the greatest theologian of his time, Jesus said, that none
greater than John had been born, but that, nevertheless, even the least in
the kingdom of God was greater than he. Evidently, science, which opens
the channels of perception to the greatest intimacy with the divine that
is achievable, affords the greatest health and makes the best men. The
book of life that theology and philosophy had kept closed, divine Science
has laid bare before mankind.
The clock in the
background of the above painting shows the time as 5 after 5. In
Revelation 5:5 we read: "Weep not: behold, the Lion of the tribe of
Juda, the Root of David, hath prevailed to open the book, and to loose the
seven seals thereof."
Mary Baker Eddy may have found this comment true in her own
experience as a woman challenging the masters of traditional religion to
open their eyes to the scientific dimension of the spiritual Universe,
thereby challenging their poverty, but this, coming from a woman, they
regarded as infantile. Thus, the religions cheated themselves. One wonders
in this context how great Mary Magdalene might have stood among all those who followed Christ Jesus.
dared to offer what many had sought, but which theology could not
acknowledge in those highly-schooled empty hearts that it created. Thus
her story remains hidden under many cloaks, except to admit that she was
there with at the cross, in the hour of his greatest trial when all of his
disciples, but one, had disserted him. How many, like Mary Magdalene, who
by his standard were giants among men, have remained hidden?
tradition and knowledge is evidently hard to unlearn, staging a hopeless
scene without the aid of science.
Mary Baker Eddy became
the modern "Lion of the tribe of Judah." She pried open the
scene. She did change the world. The 44 years of her
unyielding building of the Mother Church on the foundation of her
discovery in 1866 of the intimate unity of God and man, coincided with the
only major period of peace and humanity that history records to
have occurred during the last several hundred years. All the wars suddenly
ended in the light of her discovery. Even the bestial Spanish Inquisition that had ruled for centuries
had ended just a few years prior. Later, after her death, the train to hell started
moving again and has been switched to the fast track.
Of course, the
historic coincidence of her healing work with the period of peace doesn't prove anything by itself, and much less so
since The Mother Church is fast collapsing and the world is
collapsing into terrorism, war, ever-greater fascism and inhumanity, and
an ever-deeper economic collapse, poverty and chaos. While none of this was
visible on the horizon in 1893 when the above painting was created, she
appears to have understood from the experiences of her own struggles that
the advancing idea and the freedom of mankind cannot be extinguished. Thus
she provided a place for it in her college without a teacher where the
development of mankind's scientific self-perception could continue,
nourished by those who work unseen, but are giants.
That challenge that
theology is faced with, is that it allows itself to be uplifted from its
own rigid 'coffin' and be inspired by the achievements of those it
considers "the least in the kingdom of God," whereby
ecclesiastical faith and despotism is left behind in the demonstration of
the divine idea that has itself no infancy as a reflection of God in man's
intimacy with God. The rocking chair in the painting is symbolic of
movement. It is symbolic of moving with divine Truth, which invariably
translates into Christ-movements in thought, or thought moving with the
The rocking chair
that symbolizes forms of spiritual movement, flowing with the Truth, appears in three different
places in Christ and Christmas. In the scene applicable to this element,
theology is symbolically placed in the rocking chair, representing also
ideology in its countless forms, whenever there is a movement with divine
Truth happening, even to some degree. One of these forms where movement is
Judy Chicago's art work, The Dinner Party.
faith's pale star now blends
In seven-hued white!
Life, without birth and without end,
My perception of
Judy Chicago's The Dinner Party is that its greatest value in not in its
profound commitment to honor the achievements of women,
which the art has accomplished, especially those women who have for far
too long been obscured, but that its greatest value lies in its contribution to
the healing of the learned poverty in society, especially that towards the
spiritual core of the mother-principle - thereby contributing to the healing
of mankind and
civilization. She took the soul of women from all ages and attached
butterfly wings - their wings - and challenged society to fly with them to
higher ground that is more real, more beautiful, and more powerful to
behold and to experience.
Lord's Prayer: - Give us grace
for to-day; feed the famished affections;
10a - Science of Being
- Platform of Christian Science
The Church Manual: Segment
10 - The Christian Science
Shine of Butterflies - Christ
and Christmas Index
Shine of Rainbows"
- Symbol of Our Heritage
Brain, Intimacy, Spirituality
singly powered universe
is God that Man is an Expression of?
- The Taj Mahal
- Temples of India
Power of 56
- related copyrights