Text and images transcript of the video Mother's Academy part 2a - The Christly Adam by Rolf Witzsche 

Mother's Academy part 2a - The Christly Adam

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Mother's Academy, part 2: The Christly Biblical Adam




The Adam allegory in the Bible, has been highly underrated. If one looks closely, it comes to light as one of the most-deeply engineered stories in the Bible. It unfolds at numerous different levels. Most of the levels have been lost sight off over the years. 




When seen at the surface, the Adam and Eve allegory presents itself as a creation myth produced in distant time. 

In the story, the Lord God has created a paradise, and created man to live in it. He fashioned man out of the dust of the ground, that he breathed life into. He then took a rib from the man and formed a woman from it, which he gave to the man. 




The Lord God placed them both into his 'paradise' that was filled with enough food growing throughout the garden to satisfy all their needs. But there was one tree in the midst of the garden that he made known to his creation that they must not eat from it, lest they would die.




Now there was also evil lurking in paradise, in the form of a talking snake that suggested to Eve that the fruit of the tree at the center of the garden was actually the most desirable, as it would enable the knowledge of good an evil. It would make them godlike if they did eat thereof. 

Intrigued, Eve took some of the fruit and gave some also to Adam. But as they ate of it, they both discovered that they were naked. 




As soon as the Lord God had discovered their mischief, Adam and Eve were expelled from the garden with a curse. But this wasn't the end of it. The Lord God pursued them outside the garden and later instigated division between their children, to the point that one would kill the other, for which another curse was issued.  

What a rotten mess this creation had become in just two generations. 

The story is a story of failures compounded. Or is it?

There is something so deeply rotten at the very core of the story, that one can smell an intention behind the scene that should inspire a deeper look. 




The tree in the middle of the garden, a tree of mental poison that started the entire tragedy, doesn't fit the logical parameters for a divine creation. 

The real God that all nature reflects as Principle and Love, doesn't forge a destructive poison, nor a platform for temptations that end in tragedy, to be placed at the very center of the divine landscape.




This evident paradox suggests that the Adam and Eve allegory is about something else. 

It is a story about a different type of creation, which is not a narrative of divine creation. The creation concept of divine Spirit precedes the Adam and Eve allegory. It ends with a profound acknowledgement of perfection in good, and completion. The Adam and Eve allegory makes a mockery of it, It presents us a detailed narrative of the destructive dynamics of the system of the lye. The lye inspires humanity to question the divine creation and the wisdom and reality of universal good.




The entire Adam and Eve story is a lye. It develops the myth of a great evil that twists the divine creation into knots. It boasts itself to be vastly superior to good, while it is unreal for the simple reason that it is a lye. It unfolds as the story of a dream that is a lye. But the story has a purpose. The lye has a purpose. The story narrates the creation of oligarchic power, and defines its nature - a mythical creation that stands in denial of God, that promotes itself as wisdom standing in opposition to universal good. The story also narrates the dynamics of personal sense, the dynamics of the fundamental error that humanity is not the manifest reflection of divine Spirit. This conflict between the infinite sense of God's creation, reflected in man, and the terror that stands as a void of good, is threaded all the way through the Bible, and is played up once more in the book of Revelation as the conflict of the Great Red Dragon opposing the divine man, the God-Crowned Woman, the highest term for man, clothed with the Sun. 

In Revelation, the dragon is cast out.




At this level, the Adam and Eve allegory is the story of the most ancient cultural disease in civilization. It creates perpetual conflict. Real consciousness is aware of its divine nature, which the lye aims to defeat. In the allegory, the lye serves the Lord God. It serves the oligarchic system that has kept humanity in perpetual conflict with itself, in order to have power over it. The allegory also illustrates in metaphor the controlling influence of personal sense, the error derived from the belief of life in matter, instead of life reflecting divine Spirit and Life. Personal sense is an isolated, empty sense of existence, which is kept isolated from the divine center of all being.

The Adam and Eve allegory thereby unfolds as an invitation by a writer of antiquity to explore the myths that enshroud the divine creation and its reflection in the nature of man, of God's man endowed with the divine promise that dissolves personal sense as but a mythical dream. 




The allegory appears to be designed to inspire a ray of light by getting people to discover the emptiness of these deadly dreams, in order to inspire an awakening in which the shadows flee and reality comes to light.

The grossly illogical nature in which the Adam and Eve allegory was written, suggests that it was written as a paradox that is designed to inspire the resolution of the paradox. A paradox is typically resolved by correcting the errors that create the paradox. This means, displacing the Adam Dream images with the Real Adam and Eve image; with the divine idea, man, standing at the center; with the real humanity ruling the scene; with the God-Crowned Woman standing in acceptance of the divine promise.




About 2,500 years ago, an accomplished Greek poet of the literary art of tragedy appears to have attempted to resolve the paradox. He appears to have re-written the Adam story. He raised the torch of liberty, and in a drama, raised a tragedy with it. The play writer of antiquity had made a three-part play out of it. In the flow of time, only the center part of the trilogy had survived, which is the now famous play, "Prometheus Bound."

Among the 'academies' of philosophic explorers in antiquity, the Greek god Prometheus played a significant role. In the play, ascribed to Aeschylus, Prometheus gets himself into trouble with the gods of Olympus.

Prometheus is portrayed as a Titan, like all the other gods, but he stands out among them as one who defied the gods of Olympus by gifting humanity the ability to use fire and to employ technology. For his great sin against the gods of Olympus, Prometheus is punished. He is punished harshly for having dared to thwart the desire of the king of Olympus, the god Zeus, who had long wished to obliterate the human race. 

Prometheus had aided humanity instead. He had aided humanity by giving to it everything it needs or could desire, to not merely survive, but to also grow and prosper. He gave humanity the power of fire.




Of course, for Zeus to punish another god, posed somewhat of a technical challenge. Prometheus, being a god, could not die. Still, being the lord of the gods who ruled Olympus, Zeus had the power to inflict some punishment. The punishment was that Prometheus would live eternally chained to a rock. And to make the punishment worse, Zeus decreed that an eagle would daily peck the liver out of Prometheus 'living body, which, by his immortality was always self-regenerating to perpetuate the pain. 

The play unfolds entirely in dialog. Prometheus lays in chains, immovable. 

In one of the dialogs, in an act of defiance, Prometheus reveals to a chorus that his bestowing the gift of fire on mankind was just a small part of his sins against Zeus. He reveals that he also taught humanity all of the civilizing arts, such as writing, medicine, mathematics, astronomy, metallurgy, architecture, and of course, agriculture. 

As the play unfolds, Prometheus also reveals that he can foresee the overthrowing of Zeus' power. This was evidently not a difficult prediction for him to make. Every oligarchy is inherently doomed by the progressive self-development of humanity. The doom is built into the oligarchic system. Zeus, of course, is too deeply mentally blind to realize that.






Furiously, Zeus demands that Prometheus reveal to him who it would be, who threatens to overthrow his power. Zeus even offer to set Prometheus free if he reveals the secret. As Prometheus continues to refuse him, as he must out of his love for humanity, Zeus, in a burst of anger strikes him down with a thunderbolt that blasts him into an abyss.

The Prometheus play is a literary tragedy that illustrates the nature of the oligarchic system, which is full of tragedies. 

The oligarchic system has tragic effects on humanity. For this reason, the self-development of humanity dooms the oligarchic system, for the simple reason that a highly developed humanity will not allow itself to be ruled over by some self-appointed oligarchic overlords. The oligarchy knows this. It knows that humanity cannot accept its rule, as humanity's very existence depends on its freedom to develop.




It appears that the naming of the players is important in the play. Prometheus represents in metaphor, the divine promise to humanity. He is not a god. He represents in Spirit humanity's divine right to experience the fullness of creation by it being understood, and acknowledged, and thereby coming to light.




This dynamic interplay can be recognized in art. It was recognized by an artist that the power of humanity, its power of reason, is so great in itself that no other conclusion seemed rational than to see it as a God bestowed quality. In the painting the divine God is Athena, the Greek Mother God, with Prometheus observing the unfolding power of reason.  

Thus, Prometheus, symbolically embodies our growing awareness of our God-crowned humanity in which we begin to see the ongoing fulfillment of the grand divine promise. The term Prometheus, evidently, simply means, promise. 




Thus, the promiscuous nature of humanity in reaching higher and higher, in discovering evermore of its divine promise, its capacity for art, poetry, writing, medicine, mathematics, astronomy, metallurgy, architecture, and agriculture, opens up a whole new and rich world to humanity that doesn't exist naturally. The discovered capacities and elevated self-perception is the power that makes us human. It makes us as powerful, as the term "sons of God" implies.




Of course, Zeus, the lord of oligarchy, who wants to keep humanity in chains forever, is furious at humanity's promiscuity, its striving to fulfil evermore of the divine promise. The Lords' God system has always fought to destroy the dawning divine sense in humanity, the unfolding Christ, the spiritual idea of God. This war still continues. This is what wars are instigated for.

As in the Prometheus play, so today, the oligarchy of the world throws its thunderbolts on humanity; its wars; its fascism; its slavery; its terror; and the like. It blast the promiscuity of humanity, its clinging to the divine promise, to oblivion. It blasts it with its firestorms of destruction. This is what an oligarchy must do to save itself. 




The war of the Lords' God is still ongoing. Humanity has not yet asserted its promiscuity strongly enough to reach its full self-development under the divine promise. Instead, it has grown worse. Today, humanity no longer dares to stand up against the Zeus of its age. Society cowers in fear, in its smallness, still bound in chains by Zeus, which society tragically accepts. 

In the Greek play, Prometheus becomes unbound, though the test of this portion of the play did not survive.




Now let's look at the Adam allegory again. Let us see it as a similar story with a similar intention. When we do this, the allegory begins to make sense.

The tree of knowledge at the center of the divine landscape suddenly becomes profoundly beautiful. The center is Spirit unfolding its promise. It is the ultimate. It bears out the highest promises. It is the infinite center. 

It is not God who commands the inhabitants of the world not to eat of it. This would be unnatural. It would be the opposite of the divine intention, the intention of Love. 




The one who forbids the inhabitants of the world its divine promise, is the Lords' God, the God of the Lords, the god of the oligarchy - a god-king, or puppet-president, or thieving emperor, perhaps, or in individual living the term for it would be, personal sense, the isolating lye of a mortal existence . 

The god of the oligarchic system, and of personal sense, says to humanity, "Don't you dare to reach for your divine promise. When you break this prohibition, we will die - we the oligarchy, the powers of war, will die. We will die as surely as a morning dawns. But beware, before we die, we'll blast you to oblivion to save ourselves.




Actually, the God of the Lords doesn't really say this in the allegory, nor would the Lords' God say this in modern time. 

In the Adam and Eve allegory, the Lord God, as he is called there, hires the snake to do the talking for him. The lye always requires a spokesperson, because, as a lie, it has no voice itself. Are you the spokesperson that speaks the lies of personal sense?

In the allegory the serpent is staged as the spokesperson talking to Adam. The serpent symbolizes deception. It aims to defeat humanity with deception, with a false sense that hides reality.




The snake says to Adam, "you must never eat of the tree of knowledge, the tree of wisdom, of science, and of spiritual understanding, and so forth. You must not do this! Not once! Not ever! The God of the Lords demands of you to bow to this prohibition. Remember, you owe him. 




Remember, the Lord God made you what you are. You were dirt on the ground, before he made you into what you became. He picked you up off the ground. He gave you a life. He owns you. And you own your woman, that he gave to you, which he made from a part of you. You own that woman, like the God of the Lords owns you. She is born subservient to you, as you are born to be subservient to the God of the Lords. Neither are you allowed to have a mind of your own. So you both better obey, and not touch the tree of knowledge. He'll blast you with his fascism if you do not obey. He'll blast you both to hell if you rebel and refuse to live docile and compliant.




The real Eve, the Christ idea manifest in all creation, wouldn't comply. She would break the prohibition. She would freely take of the tree, and not just for herself, but to nourish the world with it. And Adam would spontaneously do the same.

The real Eve of humanity would probably have found the oligarchic garden too boring, and life in it too dull, a state of stagnation, dark, devoid of progressive spiritual development. She would have been intrigued by the very promise that she was warned about by the snake. She would have been far too promiscuous in her reaching for the divine promise, to cower in fear demanded by the prohibition. 

Thus, she did eat, and Adam likewise. She ate of the tree of spiritual, scientific promise, and developed it and shared the resulting humanist power. 




As Adam and Eve, representing humanity, began to realize the divine promise to them, they began to find the oligarchic landscape empty, bleak, without happiness, without joy. From that 'moment' on as they got a taste of the divine promise, their eyes began to open, they did not find themselves naked as the oligarchic deception would suggest. Instead, they found the entire oligarchic system itself, to be empty and naked, behind its facade of power that is no power.

What the writer of the allegory may have seen in small beginnings, come to light more profoundly in the Golden Renaissance and the realization of its promise in the distant land of America, far from the old world smothered by the Lords' God.




So it wasn't that the divine humanity was blasted out of the garden of the Lords' God as the result of breaking an impossible prohibition. The real reaction by Adam and Eve had been instead to leave by their own accord, to leave the nightmarish oligarchic zoo out of disgust, to be able to breathe the free air again, and thereby be able to live up to their divine promise that comes to light profoundly in their self-development.  

They escaped. Nor did they escape out of fear, knowing that the fake Lords' God had ultimately no power over them. They braved great dangers crossing the oceans, on their journey of escaping the oligarchic trap, but they did so gladly out of love for the divine promise. They built a new world with this promise, which was becoming evermore fully realized, the more they developed it. They built a city on a hill with it, that the eyes of the world were drawn unto, with celebration.




In reaching for the divine promise, the humanity of God would have also discovered that the center of the divine garden is within them, that it is ever near. They would have further discovered that the more they embraced this center, and reached higher and higher in the realization of the divine promise, which is the heart of civilization, the more powerful they became in building their civilization. 

The symbolic offspring of Adam and Eve, which the allegory named Cain and Abel and has placed under the spell of the Lords' God, has become progressively free of oligarchic intervention that pits humanity at war against one-another. Wars will cease by the progressive escape from oligarchism, from a false sense of humanity and divinity. 

The universal brotherhood of humanity invariably gives rise to the universal kiss that is the inevitable response of humanity to one-another in the land of the Divine Principle of Universal Love that is the heart and soul of humanity.




This might have been the natural dynamics between God and man. That's what the original writer of the Adam allegory may have hoped to inspire humanity to discover. If this was the case, the writer's concept of Adam would have been Christ-like. 

The uplifting of Adam to the state of the natural man, the real man, the divine man, is what Christ Jesus had evidently accomplished, symbolized by the woman clothed with the Sun, having the moon under her feet, and on her head a crown of twelve stars. This is the reality of man that likewise, Mary Baker Eddy had accepted for all humanity, nearly two millennia after Christ Jesus. 




In this scene, Christ Jesus had discovered, perhaps most fully, the divine promise that is open to all. The realization of the divine promise that he achieved, was not a special gift inherited at birth, but was evidently the result of his 30 years of work at developing the center of the spiritual landscape that is open to all, which appears to be placed in prohibition by small-minded thinking that humanity is constantly demanded to accept for its mental and universal self-imprisonment. 

It took Christ Jesus 30 years to break out of the prohibition of small-minded thinking in the shadow of the Lords' God of the world, and make a full and clean brake from it. It took Mary Baker Eddy 45 years to accomplish the same. She evidently discovered far more than anyone is yet aware of, just like the writer of the Adam allegory had. Mary Baker Eddy may have been the first person in history who understood what the writer of the allegory had aimed to heal. She provided the scientific translation that heals the Adam concept of the key element of the allegory. 




The key element in the allegory is what Mary Baker Eddy termed 'personal sense', an aspect of mortal mind and its auditor, the serpent. The writer of the Adam allegory had called the ruling force over humanity, the "Lord God." In spiritual science the term 'Lord God' translates into 'personal sense.' the offspring of "mortal mind" that stands in opposition to infinite Mind. Personal sense, stands in opposition to infinite sense, the Promethean sense, the divine sense of God being All, reflected in all, coming to light in boundless human development. 




The Lord God, or personal sense, which has countless faces of lies and limits, is the terrifying prohibitor of the realization of the divine promise of infinite good. It denies everything that is divine, as if the divine, infinite Spirit that is the heart of man, didn't exist. With the denial it demands slavish obedience to its emptiness, with boasts of lies. It thereby blocks everything that is divine,, universal, and infinite. It inhibits everything. It slanders humanity's divine sense that has no limits, and is therefore infinite. By clinging to personal sense, humanity is self-condemned on every front. The writer of the Adam allegory has illustrated the tragedy well. The allegory presents the dynamics of personal sense. The allegory literally shouts at society, awake people! Do not allow yourself to be imprisoned by personal sense.

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Published by Cygni Communications Ltd. North Vancouver, BC, Canada - (C) in public domain - producer Rolf A. F. Witzsche