If Truth is truth,
it has to be communicatable, or else it is a myth. If by communication it
can be replicated in individual experience, its substance is coming to
light. If Truth is divine, healing follows, for the divine Truth has its
own manifest reflecting its all-harmonizing Spirit that is termed Love.
Thus the communication of Truth is really God's own communication, so far
as we are able to seek it out for its substance, and take hold of it and
move with it. It thereby becomes a communication from the highest level,
unfolding the highest concepts of Truth, and presenting the most
substancial reality that language can convey.
scene is presented in the window of
Mother's Room located in the original edifice of the Mother Church. This
is what the public sees from the outside. As you may have noticed, the
scene in the window does
not accord with the original scene in Christ and Christmas, which predates
the scene in the window by a year (the edifice was built in 1894 and
Christ and Christmas was first published in 1893).
It may be that the
scene in Christ and Christmas was changed by Mary Baker Eddy when Christ
and Christmas was
republished 1897 and thereafter. But why was the scene changed?
For one thing, the
sides are reversed, so that the correct perspective can only be seen from
inside of Mother's Room. However, even if this is considered, the scene in the
window does not match the original. For one thing, the clock is left
blank, and the hands of the woman are placed totally differently, and the
serpent behind the woman in the modern scene is not included at all in
It appears that the
window shows the public aims to see and is willing to accept. With
the clock being blank, the metaphor is blanked out as if to say to the
public of conventional thought, don't look for anything profound in this
scene, because you'll never find it as the truth is not intellectual but
scientific and intimately spiritual. "Look the clock is blank,
and my hands are on the table. I am writing a
book. My gaze is fixed onto the above. I am writing the divine words that
God sends me."
In the higher-level
scene a profoundly different dynamics is unfolding, but one
that is challenging to look at. Here the clock is
not blank. The clock is shown at, 5 min. after 12.
The metaphor points to Revelation 12:5
5 And she brought
forth a man child,
who was to rule all nations with a
rod of iron: and her child was caught
up unto God, and to his throne.
Science is a
man-child, - a living creation brought forth from a
profound human experience involving deep intimacy in the process. Mary Baker
Eddy brought forth this child. She is the author of the textbook and the
founder of its science, but the truth in it belongs to God, and she knows
it. In the scene in Christ and Christmas her right hand is under the table,
drawing intimately from her mothering sex reflecting the mothering divine
Principle, while her left hand is at her head representing divine Mind, with
her gaze fixed onto the Scriptures, the book of our spiritual heritage.
The woman in the
painting is coincident with Mary Baker Eddy as the discoverer and founder
of Christian Science, and the author of its textbook, but she is not the
originator of them. The originator of Truth and its expression, is God,
the mothering Principle and Mind. Her role is that of one who conveys what
is real, who puts Truth on the plate of humanity, and invites society to
eat of it - saying in Christ Jesus' name in essence: Come all, eat ye of
it - it doesn't get better than this, different may be, but not better or
The physical writing
of the textbook appears to be secondary,
because there is no writing happening in the corresponding scene in Christ and Christmas
as we have it today. Far more profound processes are happening in this
scene. She is shown touching
intimately, both the human and the divine. Her candle is burning brightly.
The human aspect is not circumcised in this scene, or shunned, but is
celebrated with "fierce heart-beats" as a reflection of a spiritual
idea that bears a bright promise.
There is also a
halo shown around her head. If sex represents symbolically the principle of
deep-reaching intimacy, then its promise projects the divine unfolding
from the same deep intimacy, opening the door to the most divine image
ever seen. In the body it rouses fierce heart-beats, and it makes her head
aglow with a light that is brighter than the candle on the table that is
actually redundant in the scene, except as a secondary light. Its the
spiritual process, powered by her, that lights the candle.
And in the
background we find the serpent. She is not the talking, lying snake of
Genesis that deceived Eve. Such a symbolisms would not match the spiritual
environment for a scene in the topmost level in the foursquare structure reflecting the
lateral reality where God and man are one in truth, where all is good, as
God's expression. Thus a different symbolism appears to stand behind the woman.
ancient time the snake had not symbolized a lie, but had symbolized spiritual power, intuition, wisdom,
and had represented as a symbol woman's 'magical' powers. The snake was venerated
in those times as also the
protector of the household. Snakes have been seen on statues of Mother
Goddesses, and later, when the male role in procreation became known, the
snake came to symbolize also the male aspect of the creative principle. Judy Chicago
created a plate to honor "the snake goddess" as a positive influence in
early culture, representing the element of a primordial wisdom reflected
in humanity - "be wise as serpents and harmless as doves."
The Snake Goddess
that Judy Chicago 'invited' to The Dinner Party "incorporates the
colors and the symbols of its historic antecedent: Outstretched arms of
pale yellow grow from a center for whose egg-like shapes the regenerative
force of the Goddess..." The wings of the butterfly here present the
same inner rich 'fertility' than the open ended core, with the wings
growing from the core of the vulva. The snake may have been seen as an
animated correlative of botanical abundance - of stalks of plants bursting
from the ground among which they dwell.
However, it is
suggested that in later mystic cults the snake's venom might have been
used to induce hallucination for psychic vision and oracular divination,
or the faking of them for profit and for political manipulations in power
games that even the rulers of empire have become trapped into. Thus the biblical
narrative of a lying snake in Genesis 3 is evidently not so far-fetched as it may
seem. Also this seductive game of distorting the primordial concepts has been
expanded in modern times. In the modern area, the banner reads: in lies we trust.
Thus the fate of entire nations now hangs in the balance by monstrous
snakes of political lies. In this context the symbolism is well taken that the snake is linked
to what became the "great red dragon" that stood before the
woman to devour her child as soon as it was born, as the metaphor of the
clock in the above painting indicates. (Rev. 12)
While the great red
dragon's imposition has
become the general monster in our as yet unhealed world, the symbolism
of terror, no matter how much it may be justified, has no place in the
lateral sphere of the divine, where God is good, and is All in all. The
concept of a lying serpent is therefore not possible in the context of the
painting that reflects the reality of the divine, becoming increasing
recognized as the absolute. In the painting above, the snake
(primordial wisdom) stands alert and poised as the protector against the
dragon, to guard the woman's back.
Thus the snake in the
painting, rather than representing a threat, represents a divine idea that
guards, supports, nurtures, and protects. The serpents in ancient times
may have been honored as protectors of households against dangerous
rodents. In the divine economy all ideas are harmonizing by the spirit of
its Principle. We should banish
the concept of the lying snake as having any place in the human equation,
and subsequently banish all the banners strung across the world, "in lies we trust"
including the lies of mankind's feeble material
corporeality, and the even deeper lies that mankind is a danger to the
planet that needs to be depopulated to very low levels, which imperial
'snakes' that are purely mythological in nature. The above scene is a
productive one. It is a civilization-building scene. The beauty if eternal
Truth is dawning in consciousness in many different way. But the power in
the sceane is not in the candle, nor in the star above, but is the power
that powers the star, which is reflected in its light that illomines
everything related to Truth.
Lord's Prayer: 4-
Textbook: Chapter 4 - Christian Science versus Spiritualism
Manual Segment: 4 - Meetings
image, the mythological image, the image of the lying snake, does appear
prominently in the Christ and
Christmas series. It just doesn't not pertain here. It appears disguised in personified form, in the first scene of the next
painting. It appears under the contradictory title, "Christmas Eve."
combination of the metaphors Christmas and Eve, referring to the Adam and
Eve mythology, is impossible in the divine domain. It is impossible, because the
combination of the Eve myth standing together with the Christmas
event in human consciousness, the dawn of the Truth, is not a possibility. One excludes the
other. The dawning of the Christ in its highest form, excludes the lies. The combination shown in the painting
below is a fairy tale, just as the Adam mythology centered on a snake lying
to Eve, is a fairy tale. The
lie has no power to propagate itself and deceive mankind with its cleverly
orchestrated 'magnetism.' Wherever we see this happening, such as the fruits of
lies being passed on to children, we have the authority of divine Science
to intervene and set the record straight.
Nor is woman, the representative of the mothering
principle, naturally receptive of lies as the Adam and Eve myth
suggests. The intimacy that we see in the scene below, of Adam and Eve
hand gifts to little children, is
possible only in a myth, not in the real world.
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