Judge Hanna’s Christ and Christmas – Part 2

by MJSmith

MRS. EDDY’S EXPLANATION OF THE ILLUSTRATED POEM “CHRIST AND CHRISTMAS”  AS GIVEN BY JUDGE SEPTIMUS J. HANNA    Part 2

 

We are ready to move up the pyramid matrix to the point of Spirit and absolute Christian Science.  My comments are once again in bold.

THE SIDE OF LIFE – THE TONE OF SPIRIT with

CHRIST HEALING – Illustration 2

Christ Healing

Christ Healing

In tender mercy, Spirit sped
          A loyal ray
To rouse the living, wake the dead,
          And point the Way –

The Christ-idea, God anoints –
          Of Truth and Life;
The Way in Science He appoints,
          That stills all strife.

Verily, verily, I say unto you, The hour is coming, and now is, when the dead shall hear the voice of the Son of God:  and they that hear shall live.  Christ Jesus.

The people that walked in darkness have seen a great light; they that dwell in the land of the shadow of death, upon them hath the light shined.  Isaiah.

     “The Christ-idea is motivated by Spirit alone.  The healing work rouses the living, wakes the dead, and points the right Way.  Heeding the words of the Master, we live and cannot die.  God anoints the Christ-idea that is understood because it is His own.  Through this understanding, we have Science that stills all strife.  Mankind sees the great light of Truth because Mary Baker Eddy overcame its Sting, and gave us this precious Science.  The Way is now pointed out.
     “The prophecy in Genesis 3:15 explains why the ‘strife’ has been stilled.  Mrs. Eddy says of this prophecy ‘The serpent, material sense, will bite the heal of the woman – will struggle to destroy the spiritual idea of Love; and woman, this idea, will bruise the head of lust [one of the red dragon’s beasts].  The spiritual idea has given the understanding a foothold in Christian Science.’ (Science and Health 534)”[1]
     Once again the serpent, the red dragon, malicious animal magnetism attempts to make the woman fall and become destroyed when Mary Baker Eddy had her “water fall” in Lynn,[2] Massachusetts in February 1866.  However, the serpent wound up being destroyed because “the fall in Lynn signaled the destruction of all error, and this too through the woman.  Prophecy was being fulfilled.”[3]  (See Genesis 3:15, 16)
     The second illustration points to this particular time in Mary Baker Eddy’s life (being that this illustration is located on the Side of Life).  Not only did Mary Baker Eddy experience “Christ Healing” at this same time she also conceived her babe, thus her work for humanity began.  She tells us, “St. Paul writes:  ‘For to be carnally minded is death; but to be spiritually minded is life and peace.’  This knowledge came to me in an hour of great need; and I give it to you as death-bed testimony to the daystar that dawned on the night of material sense.’ (Miscellaneous Writings p.24)”[4]
     Mary Baker Eddy had great love for Jesus Christ and for God.  She was a most studious woman of the Bible.  This all opened up her consciousness to the reception of God’s Truth which was manifested in her healing of dislocated bones of her spine (making her able to walk again) and dyspepsia (which she had suffered from since being a child).  “She saw clearly that, following his [Christ Jesus’] commands faithfully, we live and cannot die.  It was the child-like purity of her consciousness that enabled her to witness this ‘Christ Healing.’  The healing Christ was understood sufficiently to heal her, but as yet the Science of this healing had not been revealed, thus the picture is titled ‘Christ Healing.’  You will notice that in a later picture [the sixth one, which is the capstone illustration] the title ‘Christian Science Healing.’”[5]
     There is a woman standing next to the coffin, she represents the expression of womanhood.  It is accepted that this woman is Mary Baker Eddy’s own sense of womanhood at the time of her healing.  “The great love for Jesus that Mrs. Eddy entertained, is indicated by the personal touch.  Notice his hand touching hers as she is lifting herself up through enlarged understanding.”[6]
     The section of poem for this illustration “amply describes” Mary Baker Eddy’s “healing and its results.  The first four lines speak of a ‘loyal ray.’  Who is the ‘loyal ray’?”[7]  The second four lines speak of Science itself.  Her “healing experience brought forth the ‘loyal ray’ – the Christ-idea or Christian Science.  Again we have the coincidence of the human and divine, the relative and the absolute.”[8]
     At the top of the picture, above Jesus, is the star – the light of Truth, the Christ.  This light is seen and felt.  “It is most fitting that Christian Scientists memorize the nativity of Jesus.  To him who brought a great light to all ages, and named his burdens light, homage is indeed due, – but is bankrupt.  I never looked on my ideal of the face of the Nazarene Prophet; but the one illustrating my poem approximates it.” (Miscellaneous Writings p. 374)
     The author again notes that the shape of the “oblong” illustration denotes that there is “much human to be worked out.”  From 1866 to 1910 Mary Baker Eddy would work and continue to work for the Cause of Christian Science.
     Animal magnetism tried to kill Mary Baker Eddy by making her slip on the ice and crack her back on the sidewalk’s curb.  Even though the coffin is black on the outside (the First Degree) it has a white interior (the Third Degree).  It was her spiritual understanding that helped her understand that death was nothing more than an illusion.  She comprehended that she was always in the arms of her precious Father-Mother God.
     The nameplate symbolizes Adam, for Adam is assigned the duty of naming all animals (animal magnetism – death).  “This picture describes the unfoldment of Mrs. Eddy’s human consciousness at that time.  Her own sense of womanhood stood in awe and rapture at what was taking place; it is a face of anticipation.”[9]  However, aggressive mental suggestion, which was at work within her own doubting thoughts, is seen objecting to the “Christ Healing.”  This feeling would have taken root within her consciousness before her birth, her mother felt unworthy to admit her feelings of the Holy Ghost that she felt one day while in the attic in Bow.  This was the ecclesiastical despotism of Calvinism, the religion she grew up in.  I feel that the man who is objecting to “Christ Healing” Mary represents all the scholastic theological thoughts that her own father presented to her during her lifetime.  He was the root of her arguing thoughts that was asking her, “Who do you think you are? …This cannot be so!”  Yet, her higher self, her womanhood, lifted her up from that doubting manhood.  “You will notice that womanhood is nearer the light of divine Science than manhood.  Notice that the robe the Master wears is the same robe of false manhood.  False manhood named pharisaical beliefs, old theology, ecclesiastical despotism, materia medica, cause the crucifixion of the Master, and will attempt to destroy the Christ-idea in any age.  This black robe that the Master wore, represents the cross, the cross of false manhood that we all must bear.  Notice it is off his shoulders in the picture ‘Christian Unity,’ because the sense of false manhood has been dissolved, and true manhood has been lifted up by womanhood through Mary Baker Eddy.”[10]  The black, representing the cross, the First Degree, is death, the Adam dream.
     I also feel that the man standing in the darkness represents the devil – animal magnetism.  His beard has the shape of a serpent.  He is objecting to the healing taking place.  Also, as I wrote above, I feel that he represents the negative thoughts that Mary’s father presented to her over the years, that this man also represents two other men.  One of the men is the doctor that was taking care of Mary after the fall.  The other man is the minister or preacher that came to call upon her at that time.  The doctor told her that she would die, there was nothing he could do for her accept ease her pain.  The religious man also told her that she should expect to die.
     “Mrs. Eddy is being lifted out of the sense of death through a greater awareness and understanding of the Master’s work.  Remember, the first thing that she saw was that she could not die.  The eyes of the woman in the coffin are opening, showing spiritual discernment beginning to open up.  From that moment of healing, her spiritual discernment could not be darkened.”[11]
     Jesus is not looking at the material body of Mary.  He is placed in the center of the illustration because he is the center of her life’s work.  “She never forgot Jesus; we must not forget her.”[12]  Jesus’ robe is seamless and white (for the Third Degree).  The two dresses for womanhood and the inside of the coffin are also white.  The coffin has no foundation to it so it is nothing more than the false belief that death is real.
     Jesus, the ideal man, overcame the claims of false manhood and Mary Baker Eddy, the ideal woman, overcame the claims of false womanhood.  Mary Baker Eddy revealed true womanhood – the woman God-crowned.
     Because none of the figures touch the ground of matter shows that these figures represent types of thought instead of persons.  However, as mentioned above, I do believe that the male figure was representative of the types of men in Mary’s own experience during that time period.  It is Mary Baker Eddy’s subjective experience at the time of her healing in 1866.
     “Jesus’ left hand, held up, is a sign of authority, the theology of Jesus, over-coming the arguments of the serpent, named Old Theology, materia medica and false science.  The hand of false manhood is false authority, or Old Theology, trying to halt the advancing idea of what it can comprehend little or nothing.  Jesus’ hand is over his head into the realm of revelation, Spirit; false manhood’s hand is below the seat of reason, the head, into the reaction of mortal mind opinion.  Mrs. Eddy’s right hand is inactive [not yet writing] signifying unused power…”[13]  Her left hand “is active and reaching.  Jesus’ ear is covered signifying that the Christ-idea hears no false claims.  He is not looking at, nor listening to, the claims of evil, but is handling them with the consciousness of the Christ.”[14]
     This ends the Hanna portion for the second illustration.  It is of importance to understand that the correlating Keystone window from Window of the Open Book for this illustration happens to be the Woman God-crowned Keystone.  This enables us to understand that Mary Baker Eddy is the woman God-crowned and the woman found in “Truth versus Error” is the same woman God-crowned.  This fact also ties this second illustration to the third illustration on the next step up for Soul.  Because illustrations 2, 3, 10, and 9 are tied together we must understand that the woman in the coffin is the same woman sitting at the table – one Mary Baker Glover Patterson (in “Seeking and Finding), the woman knocking on the door (in Truth versus Error), and the woman standing next to Jesus (in “Christian Unity”).  But before we can take the next step up we must first proceed to the Side of Light.

THE SIDE OF LIGHT – THE TONE OF ABSOLUTE CHRISTIAN SCIENCE with

TRUTH versus ERROR – Illustration 10

Truth versus Error

Truth versus Error

Today, as oft, away from sin
          Christ summons thee:
Truth pleads to-night:  Just take Me in!
          No mass for Me!

Behold I stand at the door, and knock; if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me.  Christ Jesus.

     “After false manhood has been overcome in the picture ‘Christ Healing,’ the next step that is revealed is for womanhood to begin to knock at the door of humanity.  This is revealed in ‘Truth versus Error.’
     “This day the final appearing, womanhood, repeats the earnest, insistent call to you, ‘Get away from sin.’  ‘Leave its grasp.’  In this dark hour, true womanhood pleads to be taken into the hearts of mankind.  Womanhood wants no ceremony, no dead words.  It wants a practical life changed by the touch of Love.  This will happen if only we take this divine Love, Truth, in.  False manhood can no longer hold humanity captive through false pharisaical beliefs, if we take the divine idea into consciousness.”[15]
     We now see the woman God-crowned (womanhood) holding a scroll of Truth (the scroll spoken of in the Bible) in her right hand (in her writing hand).  This Truth is absolute Christian Science.  Prophecy is fulfilled.  Her revelation that presents the impersonal Christ is being given to the world, however she must “plead with mankind to just let this Truth in”[16] to their conscious thought (their mansion of mortal mindedness).  Malicious animal magnetism in its specific claims opposes this absolute Truth about Mary Baker Eddy, that she is the fulfillment of Bible prophecy, that she is the second coming of Christ, that she is the woman God-crowned.
     Because this illustration is placed on Sharon’s Rose Matrix in the spot that correlates with the Concord Grapevine Keystone, I see the mansion as a representation of her gift to the world, the First Church of Concord in New Hampshire.  This church was built upon the idea of home (heaven), not upon business.
     From James F. Gilman’s book Recollections of Mary Baker Eddy speaking about this picture he says, “But one in particular she appeared to emphasize, which called for the representation of Love and Truth’s spiritual idea in the most perfect form of feminine youthful beauty that I could conceive, carrying the message of Christian Science Truth and knocking at the door of a palatial mansion to represent the abode of material sense.”
     The “Allegory” found in Miscellaneous Writings (p. 324) speaks of this palatial mansion.  Mary Baker Eddy uses male pronouns to speak of the Stranger knocking on the door, but this is just how St. John describes the angel of Revelation 10 with male pronouns.  She writes:  “Pausing at the threshold of a palatial dwelling, he knocks and waits.  The door is shut.  He hears the sounds of festivity and mirth; youth, manhood, and age gaily tread the gorgeously tapestried parlors, dancing-halls, and banquet-rooms.  But a little while, and the music is dull, the wine is unsipped, the footfalls abate, the laughter ceases.  Then from the window of this dwelling a face looks out, anxiously surveying him who waiteth at the door.  [In “Truth versus Error” this face is depicted as the two faces of the girl and boy.  This means that we are to see the two children “as two individual natures in one”. (S&H 577:6-7)  The one who is alone (all-one) is presented in the illustration as the girl-boy (for the womanhood of the one inside embraces her own manhood).]  Within the mortal mansion are adulterers, fornicators, idolaters; drunkenness, witchcraft, variance, envy, emulation, hatred, wrath, murder.  Appetites and passions have so dimmed their sight that he alone who looks from that dwelling, through the clearer pane of his own heart tired of sin, can see the [ALL-one] Stranger.”
     Mary Baker Eddy and James F. Gilman “looked through an old photograph album and looked at pictures in other parts of the house that resembled Mrs. Eddy ‘as I used to look,’ she said.”  The fact that Gilman eventually captured the right idea is quite obvious.  He writes in his book, “As soon as Mrs. Eddy’s eyes rested upon the picture, she was very still for a moment and then she said, ‘Laura, look here!  look at that picture!’  I began to fear that it looked dreadful to her on account of the exposed shoulder and breast, especially when Laura began to say, ‘Oh!  Why, Mother, Mother,’ but adding, ‘Isn’t that beautiful!’  Beautiful reassured me, and Mrs. Eddy echoed her words, and they both were in that joyousness that finds expression in tears and Mrs. Eddy was saying, ‘It is the perfect representation of the idea I had in thought, but could not exactly describe.’… After this I went up to her room where she was ready – her sitting-room chamber, where she writes and attends to her daily work – and sketched her foot for this same picture.”
     “The Revelator of Truth to this age is the spiritual idea.  The four square mat on which this spiritual idea stands, has foundation; it is the city four square.  The right foot is out and symbolizes dominion over latent error and its claims, the source of all error’s visible forms.  Notice that the ear is uncovered.  She is listening for the call that needs help.  There is no [seven-pointed] star in this picture because there is no symbol of the light needed, for the woman is the light.  She is clothed in the third degree; she is the spiritual idea – generic man.  Notice the halo around her head, the light of the Christ understanding, fulfilling ‘Christ Healing.’  Christ and Christmas reveals the Woman’s progressive mission.  There is no dingy drab outer robe, because this is the generic idea, the absolute Truth – the spiritual concept of Woman.”[17]
            Now, I would like to tell you the exact words from “The Apocalypse” chapter in dealing with the woman God-crowned and generic man.  As I feel that many Christian Scientists misinterpret this paragraph with the heading of Spiritual sunlightThe woman in the Apocalypse symbolizes generic man, the spiritual idea of God [Notice that Mary Baker Eddy does not say that the woman in the Apocalypse is generic man, but that she symbolizes generic man.  She does not say that the woman in the Apocalypse is a symbol of generic man or a symbol for generic man either.]; she illustrates the coincidence of God and man as the divine Principle and divine idea.  The Revelator symbolizes Spirit by the sun [Is this why there is no star seen in this illustration?].  The spiritual idea is clad with the radiance of spiritual Truth [absolute Christian Science], and matter [in Revelation 12 this is symbolized by the moon] is put under her feet [I feel that the ground beneath the rug represents matter in the illustration, and that the rug, as the city foursquare, is what handles this matter, proves its nothingness, for the city foursquare is divine Science.].  The light portrayed is really neither solar nor lunar, but spiritual Life, which is ‘the light of men.’  In the first chapter of the Fourth Gospel it is written, ‘There was a man sent from God…to bear witness of that Light.’” (S&H 561:22 – infuses added)  If there was “a man [John the Baptist] sent from God” to bear witness of that Light which was Jesus Christ then there must also be a woman “sent from God…to bear witness of that Light.”  However, that woman “sent from God” would appear after Mary Baker Eddy’s mission was over because many of her followers have forgotten her and they deny her, so there must be someone new to “bear witness of” Mary Baker Eddy’s “Light.”  Is not this witness the one looking out the window in “Truth versus Error”?
     “The child-like thought perceives this love of Womanhood that has been sent from God, but their surroundings will never let them go to Truth.  [I am not sure that this is true.]  As the child thought grows, it too will lose that child-likeness and become insensitive to the pleas of Womanhood, as their elders are in this picture [again, I sort of disagree with the author on this point].  The world resists the day of the Woman.”[18]
     I think what the boy and girl symbolizes the fact that our inner child is drawn to Truth, to the Christ-ideal.  We must become childlike, in other words, even as adults we must “Trust in the Lord with all our heart.”  “The little girl has her arms around the little boy protecting him.  The children naturally understand that womanhood includes manhood within itself.”[19]
     “What is the foundation of all this gaiety and frivolity [seen inside]?  [Remember how there are two illustrations for “The Way?”  There are also two illustrations for “Truth versus Error”.  I feel that the first, without black and white tiles, is the way it is because it came out before the Boston Edifice was finished.  I think that the black and white tiles were added after the building of the Edifice was completed.  Perhaps they were to aid as a warning to all Christian Scientists against ecclesiastical despotism ruling via a Board of Directors?]  The black and white tiles [found in the later editions] symbolize hypocrisy, and indicate the same two-faced Romanism that was in the first picture trying to appear divine (white) but is really depravity (black).  It is Romanism that would keep tired humanity from seeing the truth of womanhood and Mary Baker Eddy’s place [in Bible prophecy].  They are actively at work to be just that.  The room is mortal mind consciousness manipulated by Romanism.  The drapes that are pulled aside are error’s ways of influencing the world to evil.  It says, ‘See what fun we are having, come and join us.’”[20]
     “The signs of these times portend a long and strong determination of mankind to cleave to the world, the flesh, and evil, causing great obscuration of Spirit.  When we remember that God is just, and admit the total depravity of mortals, alias mortal mind, – and that this Adam legacy must first be seen, and then must be subdued and recompensed by justice, the eternal attribute of Truth, – the outlook demands labor, and the laborers seem few.” (Miscellaneous Writings, p. 2)
     The woman in the illustration is knocking on ten stripes – which are the Ten Commandments (the Ark of the Covenant – the Letter of the Law).  The woman herself represents the Arch of the Covenant – the Spirit of the Law.  What good is it for those who are members of some material organized church to obey the law if they have no Spirit of the Law within their hearts?  Below the knocker is a plate that reads (in some editions) “mortal mind.”  This signifies “the power of the Ten Commandments over evil.  There is no doubt that each of the Ten Commandments is being broken on the inside of this palatial mansion.  Materialistic mankind, a kind of depraved man, is not awake to the call of womanhood.  Truth knocks at the portal of humanity.”[21]
     The words palatial mansion can be defined as “magnificent house of the Lord.” (From Webster’s New Collegiate Dictionary)  If we take this definition as being what is meant by “palatial mansion” then we can actually say that this is an illustration of a church group.  This magnified house of the Lord is full of adult couples (dualistic adulterers).  “The place of womanhood has been established; it needs only to be taken in.  The claims of malicious animal magnetism would keep this from being done.  The results of lust and hatred represented in the house [the church] would keep Truth hidden so its own claims of evil might be maintained and extended.  Ignorant thinking is clothed in dark materiality.  Notice the blank faces.  Lust and sensual pleasure do not hear the voice and call of Truth.”[22]  “Isn’t it funny to see mortal mind spending so much time dressing up and getting ready to deceive itself?”[23]  What this author does not take into account is that the women are dressed in light dresses.  I take this to mean that it is the men of the church, specifically The First Church of Christ Scientist, in Boston, that refuse to listen to the woman God-crowned and refuse to accept her as their Leader, and the women follow the lead of the men’s dance.

Wine.  Error; fornication; temptation; passion.” (S&H 598)  The adults (the man and woman between the dancers and the children) may appear to be drinking Christ’s blood, however, when the wine is not spiritually inspired then those drinking it become intoxicated.  Or to put it another way, perhaps they become drunk with power?  The seating of this couple is the opposite as found in a later illustration – “Christian Unity.”  The ninth illustration “Christian Unity” depicts true manhood with Jesus and true womanhood with Mary Baker Eddy.  The woman in this present illustration should be up and active as depicted in “Christian Science Healing,” and not sitting as in “Treating the Sick.”  In this illustration womanhood is being manipulated.

     The lights are artificial therefore they are lights of electricity – animal magnetism.  Lights that are just like these are depicted in “Christmas Eve.”
     “Our precious Leader conquered every one of these lies about man.  Will you follow?”[24]

 

            This is the end of this portion of the Hanna manuscript on the tenth illustration.  As mentioned before, there are two different drawings for “Truth versus Error.”  Above is the second one, below is the first one.

C&C-C.S. TvE (A)

     I feel that the change from the squares on the door to the grapevine design designates this place as the Concord (grapevine) Church in New Hampshire.  And even if it was not meant to be Concord, for sure it is meant to be the Christ Vine of the Christian Church.  You will also note, if you look closely at the illustrations, that the nameplate no longer is readable with the Christ Vine Door.
     Although Gilman’s book does not speak about it, I am sure that the second illustration for “Truth versus Error” was probably done in 1897.
     Mary Baker Eddy insisted that the printers make the word versus in italics because it was a Latin word.  About the printer’s error she said, “Now, why couldn’t this book have been gotten out without this mistake?”  Mr. Frye said, “That should have been corrected in the proof.”  Mrs. Eddy said, “It was; I underlined the word, indicating that it should be in italics.  Now, I want you to go right down in the morning and have that rectified.  Mr. Frye said the books were all printed now.  “Well, you can have it corrected for the next edition anyway.”  (From James F. Gilman’s book, on page 78, Recollections of Mary Baker Eddy.)


[1] MRS. EDDY’S EXPLANATION OF THE ILLUSTRATED POEM “CHRIST AND CHRISTMAS” as given by Judge Septimus J. Hanna; author unknown, published by The Bookmark; page 7

[2] Lynn means “river, waterfall.”

[3] MRS. EDDY’S EXPLANATION OF THE ILLUSTRATED POEM “CHRIST AND CHRISTMAS” as given by Judge Septimus J. Hanna; author unknown, published by The Bookmark; page 7

[4] Ibid, p. 8

[5] Ibid

[6] Ibid

[7] Ibid

[8] Ibid

[9] Ibid, p. 9

[10] Ibid

[11] Ibid

[12] Ibid

[13] Ibid

[14] Ibid

[15] Ibid, p. 43

[16] Ibid

[17] Ibid, p. 44

[18] Ibid

[19] Ibid, p. 45

[20] Ibid

[21] Ibid

[22] Ibid

[23] Ibid

[24] Ibid