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

15

No blight, no broken wing, no moan, 
Truth's fane can dim; 
Eternal swells Christ's music-tone, 
In heaven's hymn.

 


The Way

 

Eternal swells Christ's music-tone, 
In heaven's hymn.

 


 

 

Mary baker Eddy puts a tremendous challenge before mankind in the above painting. She presents an immese sexual challenge here. The challenge is represented by the nine dark birds surrounding the central cross. She selected nine names from the ancient biblical story of Jacob. Jacob ended up becoming married to two women. The names that the nine birds represent are related to the struggles of Jacob's two wives in their efforts for gaining and controlling Jacob's love. The nine dark birds represent the names of nine of the 12 children of Jacob that Mary Baker Eddy had defined in the glossary of her textbook, in the portion named Key to the Scriptures. The entire story is situated in a sexually circumcised world were deep intimacies are rare, but where deceit and violence are not, as Jacob's story illustrates. 

According to the story, Jacob had lived in a sexually circumcised culture where doctrine requires the 'surgical' removal of a male's foreskin of the penis whereby up to 80% of the sexual sensitivity of a man becomes 'amputated.' One person who chose the circumcision later in life, commented that the result is like living in a world without color. The resulting loss, such as living in a world without color, that diminishes sexual intimacy and thereby deep social intimacy, sets the stage for Jacob's story and the environment for the struggles of his two wives to gain his love.
(for details see: The Science of Joy 
The individual names of Jacob and his children and the 10 birds in Christ and Christmas)

Jacob's story is also includes the story of the attempted murder of one of his sons by his brothers, who ended up merely being sold as a slave, and includes later the massacre of the males of entire 'city' by some of his sons, in the shadow of deceit and being directly motivated by the circumcision that dominated the social stage (Genesis 34). There, the world without color became a dark world indeed, represented by the nine dark birds.

Jacob's story is significant, because it is still reflected in today's world where over 700 million men are afflicted by the same fate of the circumcision, and 140 million woman likewise, who are subjected to similar cutting up to the point of having their clitoris extracted and their labia sowed together.

The way Jacob's story is told, suggests that it was likely not a historic account, as the suggested timeframe of its occurrence preceded the age in which a written language came into common use. The story is likely a satire written in later years about the tragedies flowing from a society's sexual self-denial and self-mutilation. The background for the story might have been drawn from fireside stories told and retold for centuries until written languages were developed and came into use in the first millennium B.C. and slightly earlier. 

The Abraham legend, for example, that signals the dawn of patriarchy, which is also cited as the dawn of the circumcision, appears to be linked to a major seismic event in the Jordan Rift valley in early history that likely predates the use of written languages probably by one or more millennia. 

So, we really don't know where the darkness that descended over mankind come from. The earliest petroglyph of the circumcision being performed on a man was found in a cave near the Nile and has been dated to about 2,500 B.C., where it was performed on a person of low status, possibly a slave, to judge by the headdress. Nevertheless, the circumcision may have originated still farther back in time. 


app. 2420 B.C.

The Jacob story might have been created to illustrate the nature of the debilitating consequences of the circumcision process, socially, spiritually, and politically (See more on the circumcision - male and female).

Jacob was indeed a circumcised man in the spiritual sense, in short, a rat. He conspired with his mother, deceived his father, and betrayed his brother so deeply that he had to flee for his life to escape his brother's revenge. 

He escaped to his mother's brother in a distant land where he was accepted but deceived and betrayed in return. He worked seven years there to obtain the younger daughter Rachel for his wife, but when the wedding came he was given Leah instead, the older daughter, with the excuse that according to custom the older daughter has to be married first. Thus Jacob worked for another seven years to obtain Rachel also, whom he had fallen in love with at first sight. However, Rachel was barren and gave him no children, while Leah did. Out of desperation Rachel gave her maid to Jacob, to wife with him, in order to bare children of her behalf, which she did. Later, when Leah stopped bearing, she did so likewise and gave her maid Zilpah to Jacob to have children with him. Mary Baker Eddy defined the names of the children that emerged from these episodes according to their mother's mental background surrounding their conception. 

Jacob's story is a long one and involves many factors, but in the context of this page three definitions are especially significant. One is for the name Gad, the other for the name Asher, and the third for the name Dan.

Gad is the name of the first son by Leah's maid Zilpah, born to Jacob. In the story about it, Leah's comment is that a troop is coming, which is reflected in the name Gad. Mary Baker Eddy's definition for the significance of Gad is astounding. 

Gad (Jacob's son). Science; spiritual being understood; haste towards harmony.

It is hard to imagine a wife in today's world giving her best friend to her husband to 'wife' with, to not only have an intimate sexual relationship with her, but to also have children, and to not only allow all this, but to suggest it. What woman would go this far? Leah certainly had no need for this to raise her status with Jacob. She had given Jacob four sons already. Still, she didn't close the door to Jacob's needs. Instead of closing the door on him in this regard, she open a new door to facilitate the meeting of his needs, with the full intention to keep the door open. Hence the name Gad, meaning "a troop is coming." 

When Zilpah gave Jacob her second child, Leah rejoiced for the outcome, and said, "happy am I, for the daughters shall call me blessed." Evidently she hit on something that worked, as the process made everybody happy. The name Asher is derived from this background, meaning, "blessed." Mary Baker Eddy defined name Asher accordingly.

Asher (Jacob's son). Hope and faith; spiritual compensation; the ills of the flesh rebuked.

In contrast with these two names, Mary Baker Eddy defines the name, Dan, the son of Rachel's maid born to Jacob, in harsh terms.

Dan (Jacob's son). Animal magnetism; so-called mortal mind controlling mortal mind; error, working out the designs of error; one belief preying upon another.

The differences in definition reflect the differences in purpose and motivation, rather than the act itself that resulted. With this contrast Mary Baker Eddy highlights one of the deepest questions of sexual motivation, and the evidently built in design for it in human nature. With the motivation for Gad, Leah had stood aside and let the human dynamics unfold and meet the human need without her standing in the way, but rather facilitated the meeting of it, while Rachel, with the birth of Dan, had exploited the human need for her own purpose by the manipulation of Jacob that was designed to gain herself an advantage, and to profit from it. The end-result in both cases was the same, with the two maids bearing children, but the mental environment behind the scene was radically different, which the original writer of the story had evidently intended in order to raise the scientific sensitivity in society. 

The environment surrounding the birth of Gad and Asher was motivated by the intention to bless Jacob and thereby the family. Leah seemed to have discovered that this works, and that the outcome is harmonizing and enriching. And why shouldn't Jacob's need for intimacy be fulfilled as much as this was possible in the circumcised environment. The desire for intimacy appears to be built into the human sexual system, because the human civilization, by design, functions on a platform of intimate cooperation, socially, economically, politically, and so on. Leah, not being circumcised herself, was evidently sensitive to this principle and acted accordingly.

The high-level civilization that humanity requires to exist, is not possible on a lesser platform. When the intimate platform decays, civilization disintegrates into dark ages and large numbers of people perish. The spiritual quality of sexual intimacy appears to be designed to assure that the essential platform of universal intimacy becomes established. Leah seems to have discovered to some degree the power of this principle and experienced its unfolding in the environment surrounding Gad and Asher.

Sexual awareness and attraction appears to be a deeply built-in quality of the human system. An anecdote comes to mind here that a lady school teacher had related a long time ago, who had taken her first year class on a discovery trip to the library. She said that when they talked in class about their discoveries the next day, it became apparent that some of the boys had discovered the pornographic magazines section. One of the boys face lit up when he told her about it, and with his hands shaking with excitement, exclaiming, "Oh, Miss Lisa, you should have seen those pictures, Miss Lisa...!" Did the boy's response reflect the effect of general sexual brainwashing? Or did his response reflect a natural response that he hadn't yet learned to deny by becoming a proficient liar as society seems to expect?

The environment of the Dan-type motivation where conflicts abound, is typically built on lies, while Leah's unfolding matriarchy that she had established for herself, unfolds the Gad-type rich and free environment where nothing is manipulated, and where, what is natural, is celebrated. The distinction is significant. 

The Dan-type motivation centered on manipulative scheming for personal advantages is not only reflected in dysfunctional sexual practices in the modern world, and in the motivation for the continued circumcision, but is also reflected in the related motivation that drives the modern world's vast manipulative financial profiteering mania that is on the fast track of destroying the world and civilization with it, economically, culturally, and civilly, portending a new dark age, darker than any previously experienced. 

The Dan- type motivation is further reflected in the sexual identity in society, manifest in the drive for female equality with men, when female art and achievements are focused onto primarily for the purpose of advancing the status of woman, rather than advancing the status of humanity as a whole. There is evidently a huge difference between the two types of motivations. The same can be said of the male manipulative focus in the practice of subjugating women, in which the male world aims to profit by tearing the female world down, rather than by profiting from the enriched scene of universal civilization. 

It is unknown why Mary Baker Eddy focused so prominently on the story of Jacob and on the nine types of children in that story and their collective place surrounding the central cross as nine dark birds. When one explores this question, larger questions come into view for which the final definition is yet outstanding, because Jacob's story is an unresolved story.

The unresolved portion begins as a sexual story (Genesis 34). Jacob had one daughter, Dinah, the last child born by Leah, who fell in love in love with the prince of the area where Jacob and his family came to dwell after their return to his home country. On having fallen in love the daughter and the prince had sex together, and since he loved her, desired her to become his wife. Her brothers were outraged that she had sex with an uncircumcised man and would not consent to marriage, but suggested deceitfully that they could all intermarry if all the males in their city would become circumcised as they were, which the men agreed to. But while they were all in pain from the circumcision, a few of Dinah brothers came with sword into the city and murdered all the men and spoiled the city. When Jacob heard of it he scolded them, "Ye have troubled me to make me stink among the inhabitants of the land... and they shall gather themselves together against me, and slay me; and I shall be destroyed, I and my house." 

This is the most troubling part of the Jacob story, because the words of his outcry have echoed through the pages of history into modern times. No other people or cultures than the circumcised cultures, have to my knowledge, made their name 'stink' so intensively by their deeds that they became many times in history subjected to mass-expulsions from many places and subjected to related holocausts. When the Jacob story was written in ancient times the link between the circumcision and great social tragedies must have been strongly apparent even then, for which it was included in the story as an element that was recognized as requiring urgent healing. Indeed, no other cultures than the circumcised cultures disown their children sexually almost at birth, without recourse, and without a possibility for their consent or dissent. Thereby, no other culture than the circumcised culture, has so deeply disowned itself of a natural key-element, the element of intimacy, that stands central in civilization, with consequences that are not even now full understood, but which are increasingly acknowledged to be many, affecting numerous social dimensions, apart from the train of atrocities that are widely apparent on the political and economic scene but are rarely associated with the circumcision. In biblical times the cause was more openly recognized as the circumcision, and was promptly attached to the Jacob story in case anybody missed the point behind the story.

But the Jacob story also points to the path for healing, and this path was identified with the name Israel, a new name with a profound spiritual significance, unfolding for a higher sense of mankind. In the story Jacob earned the 'title' of the new name as the result of a deeply intimate struggle with the divine idea of man, with the deepest spiritual sense of what a human being is. He was in a crisis. On his way home he had burned all the bridges behind him, there was no going back possible, while on the road ahead he faced his brother approaching with 400 men, whom he had cheated and fled from in the first place. He had no choice but to dig deep to discover what human existence is all about at the very core. He found his renewal by stepping above the shallow convention of circumcised living in its countless forms. By the process of scientific renewal his nature was changed, and his name to Israel, so that when he met his brother face to face later on, he was able to kiss him and say to him "I have seen they face as though I had seen the face of God." (Genesis 33)

Jacob's inner renewal as a human being, in the Jacob story, occurred before the episode of his sons murdering all the males of a city for reasons enraged by the circumcision. From his elevated spiritual sense of mankind that he gained with is renewal at Peniel, he rebuked his sons with an honest sense of disgust, which seemed to surprise them, who had not elevated themselves to a higher sense in their own renewal. They tried to justify their actions as being quite normal for the circumstances as they saw them, perceived with their circumcised sense of themselves.

The Jacob story also renders the Bible as one of the most tragic books ever written, that is in the sense of a classical tragedy, because the promise that Jacob's new name, the title Israel, represents, has not yet been fulfilled in society to the very day in spite of all the momentous spiritual developments that the Bible presents through its many pages culminating with dawn of Christianity. None of the development that is presented there had been sufficient to date to break the ice in the spiritual landscape, so that mankind would face one-another and say with honest hearts to each other, "I have seen they face as though I had seen the face of God." 

We are still far from this stage, in a world steeped in war, economic deprivation, financial thievery, globalized looting, unrestrained terror, torture, inhumanity, and indifference, and so on. However, one can also see the dawn on the horizon that promises a sunrise. The image of woman is rising, and with it the image of man and mankind as one single image, an honored image, a spiritual image that is becoming understood as the image reflecting divine Life, Truth, Love, Soul, Spirit, Mind, and Principle.

In the painting we see the unfolding fulfillment symbolically contained in the scroll carried by the dove - a message from the crown that is destined to be worn by mankind universally and fully and consciously, proudly by all sexes, honored not merely as equals but as one, society honoring themselves and one-another as offspring of a common humanity, above mere corporeality and what goes with it, as precious gems reflecting God in all that is human as a manifest of the divine.

The way I read Judy Chicago's description of the modern American female artist, Georgia O'Keeffe (1887-1989), and her own comments about her work, and also the symbolism that Judy Chicago has created for her plate, I see the dawn of the acknowledged gem of the divine being reflected in her individual nature and sex, which self-acknowledged by her, and reflected in her, which in her case not only enriched her life and her art, but also the whole of mankind by her being a part of it in her rich and giving unique female way, to the point of her being regarded by many as the "mother" of modern female art.

As Judy Chicago had written about Georgia O'Keeffe in her book about The Dinner Party, the renowned photographer Stiglitz, upon seeing some drawings by Georgia O'Keeffe, he had commented that, there, finally, was a woman on paper, who "gives something of a woman's feeling; and a woman isn't a man."

Judy Chicago wrote further, "Stiglitz decided that O'Keeffe's work should be given a chance and be exhibited. In addition, he offered to do for her what he had done numerous times for men of talent - support her financially while she painted. This brought her to New York and made her part of the art scene that centered around Stiglitz and his gallery. His support allowed her to work freely for the first time; he also gave her work exposure, as he exhibited it regularly for over twenty years. In 1924 O'Keeffe and Stiglitz were married, but O'Keeffe kept her name. - "Why should I  take on someone else's famous name?" she asked.

When Stiglitz died O'Keeffe moved permanently to New Mexico, where she had gone for some part of every year since 1929 - drawn by the landscape, which she painted again and again. He life became increasingly centered on painting, and she refused to allow anything to distract her from her well-ordered pattern of existence. In the late 1960s people developed great interest of her work, although her style had not really changed. "It is just that what I do seems to move people today in a way that I don't understand at all."

Judy Chicago comments, "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. Her work provides a foundation upon which we can built a universal language to express our own points of view women. Her plate is derived from one of her paintings and is a sculptural translation in which her forms merge with mine. Built on a dome whose center is punctured to become a mysterious, inner space,  O'Keeffe's image rises higher than any other on the table. Though it tries to force itself further upward, it is prevented from doing so by its firm connection with the plate. Thus, despite of their heroic efforts, all the women presented are still contained within their place setting at The Dinner Party table."

-
O'Keeffe, photo by Stiglitz -- art by O'Keeffe, Blue-Green 

In Mary Baker Eddy's illustrative painting, the black cross in the foreground appears to stand as a warning not to discount the Principle of  the Universe and its harmonizing and productive and creative Spirit that one may term Love. The basic design of the Universe reflects a vast array of harmonizing aspects of principle with a design of incredible Intelligence standing behind it. If a single basic principle would not exist, we would not no Universe. The cosmos would be an empty black void. That is what I see reflected in the black cross. 

Of course the cosmos is not an empty void. It is teeming with power and powerful processes and amazing constructs of Principle that we don't know the origin of, through we see a great intelligence in their design, as indeed we see the same more and more, and more intensely so, reflected in the design of the human being. 

We create ourselves an unutterable tragedy therefore when we so carelessly throw away some of the most amazing aspects of the design of our humanity by small-minded perceptions, and create thereby the black cross in our experiences, which in reality does not exist in the design of the Universe.

At the central cross where the immensely wide field of the sexual dimension is being dealt with, we are half-way home. One day we will wear the crown, the crown of rejoicing - the crown of our acceptance of the fullness of the human design and our letting it be what its - and allow it to still the human needs and aspirations. By this process, the as yet unresolved central cross that stands in the way of it all, will be resolved, and the black cross that stands like its shadow will vanish.

As we then wear this crown, the crown that Leah wore for a brief period, empires will vanish and wars will thereby cease, and the universal marriage of humanity as human beings will become established. So it is up to us, individually and collectively to determine our place in the universal divine order.

Georgia O'Keeffe wore that crown successfully in her own way. Ironically, Leah, in the ancient story about Jacob story did not continue on her path. In the story, Leah became trapped into the treadmill box of self-denial and mental manipulation, and ended up by this tragedy in the same desperate state where she started from, that she had worked herself out of, towards Gad. 

Mankind has gone through such advancing and regressing cycles many a time, building great periods of renaissance only be dragged back into the mud by a careless lack of attention to the schemes of the masters of empire singing their sweet songs of golden promises, while the real-promises, those built into the nature of mankind are denied, amputated, and banished.

There are presently three circumcised cultures at war in the Middle east, each denying the other's humanity and thereby their own. These three are the Jewish culture, the Islamic culture, and the modern American culture that is now 70% to 80% circumcised. What we see there tells its own story. For decades the blood has been flowing in this region. The black cross of a deep void has become its emblem. Still, the path out of this mess lays mapped out before us. It is the path that Leah in the Jacob story has discovered, and has clung onto for a season. She became the butterfly that had lifted herself off the ground and above it, who had found a new and higher dimension in which there is peace, and the old is no more. 

The apparently undeniable fact, that now more and more people are beginning to discover Leah's path, gives us hope towards a new renaissance that has the power to transform the world, in spite of the circumcision still ruling the scene. In Mary Baker Eddy's painting of the Jacob story, symbolized by nine dark birds, we see a brilliantly white dove descending from the crown. She represents the science that is needed to clear up the entire sexual mess of circumcised relationships. She represents 'Sojourner Truth' in flight. She is bearing a scroll towards the dark birds, perhaps the scroll bears the title, Divine Science, in the form of a certificate that no school can ever award, but which can be taken by the highest dedicated effort, carried by the soft dove that is signified by Leah's Dan and Asher, and that of Mary Magdalene in the Christ Jesus context - all of them representing the Christ-spirit of mankind's ever-greater intimacy with the divine reality that defines our humanity.

Next part


 


Associated elements:

Lord's Prayer: - For Thine is the kingdom, and the power, and the glory, forever.

Textbook: Chapter 15 - Genesis

Manual: Segment 15 - Church-Building


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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