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Word Gems 

exploring self-realization, sacred personhood, and full humanity


 


Soulmate, Myself:
The Wedding Song

an Earthrise restatement

 


 

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"Earthrise"

NASA: "Apollo 8, the first manned mission to the Moon, entered lunar orbit on Christmas Eve, December 24, 1968. That evening, the astronauts - Commander Frank Borman, Command Module Pilot Jim Lovell, and Lunar Module Pilot William Anders - held a live broadcast from lunar orbit, in which they showed pictures of the Earth and Moon as seen from their spacecraft. Said Lovell, 'The vast loneliness is awe-inspiring and it makes you realize just what you have back there on Earth.' They ended the broadcast with the crew taking turns reading from the book of Genesis."

 

“Earthrise” has been called “the most influential photo ever taken.”

Perceiving something in its totality can offer jarringly new perspective to what we thought we knew.

So it is with my studies of The Wedding Song. Certain aspects of its meaning, I’ve found, can be appreciated only after the word-by-word analysis has been completed.

Let’s take an “Earthrise” view of it.

 

Editor's note:

Great literature discusses the important issues of life. Further, great literature, of which the channeled poetry of The Wedding Song is an example, will offer more than one meaning.

And some of this meaning resides in one's own deeper person. It’s brought to the surface of awareness almost with every reading, with each consideration of the important issues.

The following is one more exegesis of The Wedding Song.

 

 

I am now to be among you at the calling of your hearts
Rest assured this troubadour is acting on My part.
The union of your spirits, here, has caused Me to remain
For whenever two or more of you are gathered in My name
There am I, there is Love.

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.
As it was in the beginning is now and til the end
Woman draws her life from man and gives it back again.
And there is Love, there is Love.

Well then what’s to be the reason for becoming man and wife?
Is it love that brings you here or love that brings you life?
And if loving is the answer, then who’s the giving for?
Do you believe in something that you’ve never seen before?
Oh there is Love, there is Love.

Oh the marriage of your spirits here has caused Me to remain
For whenever two or more of you are gathered in My name
There am I, there is Love.

 

Now that’s really interesting – Genesis 2:24 is the center of both The Wedding Song and the biblical creation story.

We couldn’t have known this without an “Earthrise” perspective. What does this double centering signify?

Editor’s note: It’s oddly coincidental that the Apollo 8 crewmen also referenced Genesis on that 1968 Christmas Eve.

Genesis 2:24, in its original biblical context, is a “cut, freeze-frame, stop the action” verse

We talked about this on the “verse two, part one” page of The Wedding Song, and you might want to refresh yourself on this.

However, to briefly recap:

Genesis 2:24: Therefore a man shall leave his father and
mother and be joined to his wife, and they shall become one
flesh.
(NKJV)

Prior to Genesis 2:24, we’re offered a certain “what’s next?” narrative flow: we see Adam and the tree of the knowledge of good and evil, his naming of the animals, the death-trance, and the coming of Eve; and, before these items, we’re offered front-row seats to the creation of the universe and the world.

However, with verse 24 the sequential story-line is abruptly halted. How do we know this? According to the story, Adam had no “father and mother,” no parents for him to “leave” that he might be with Eve; therefore, with verse 24, we find a universal statement made to all humankind; more specifically, a message to all future Twin Souls.

The psychic-shaman author, with Genesis 2:24, virtually shouts, “cut,
freeze-frame,” and now, so to speak, walks out on center stage. Under a spotlight, he will address the audience directly. In effect, the message is this:

“Ladies and Gentlemen, thank you for your kind attention. I
must apologize for interrupting the Adam and Eve story, but
I thought you would want to know this. Everything that has
happened to this point, from Genesis 1:1 to 2:23, was meant
to prepare us for this moment, for something supremely important. I’d like you to think of it this way: the creation of the universe, the Earth,
the animals, and especially the coming of Man and Woman, all focus upon a single purpose in the mind of God. All was designed that these Cosmic Two might travel on and adventure together, enter a process of becoming the super-intimate One Person, of becoming more and more like God, as they evolve toward their unlimited destiny and potential of having been ‘made in the image’.”

 

Editor's note:

Genesis 2:24, in its original biblical context, is an “Earthrise” verse. It takes us to a very high mountain, well beyond the ordinary, mythical narrative, and presents to us a pressingly real, non-temporal, universal principle for all humankind.

 

 

a second look at 'as it was in the beginning is now and til the end'

When I first began to study “The Wedding Song (TWS),” I assumed that this statement referred to an "arrow of time," a forward momentum with concrete start and finish: past, present, and future, toward some terminal event.

The mistake I made was forgetting that I was reading poetry.

The phrase “as it was in the beginning is now and til the end” is not meant to express mathematical precision; it’s not a rigorously defined precept of science. TWS is poetry, not didactic prose, and literary license becomes de rigueur fashion.

Why this reference to “the beginning” at all? It’s not vital to the overall message of TWS. But the reason should be clear. TWS is constructed around several allusions to biblical scripture; especially, the book of Genesis. “Beginning” is a very important term in the creation story – we see it in the very first verse of the Bible: “In the beginning” - and therefore TWS is inclined to reference this famous word and to frame its teaching within the well-known elements of Genesis.

And the expression “til the end” is also poetry. In other words, we should not look for mathematical or precisely-defined meaning in “til the end.” “End” usually means “end,” that is, some terminal point, finished, the curtain falls, done, over – but this is not the meaning of “end” in TWS.

When TWS employs “beginning” and “end,” it refers to an eternal process. Good things in the next dimensions do not come to an “end” but go on and on. Actually, the truly good things have no “beginning,” either. All virtues of God exist in a realm of timeless “singular pervasive reality.” There is nothing else. We discussed this in the plenary commentary of TWS.

Let’s notice the context in which the phrase is used:

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.
As it was in the beginning is now and til the end
Woman draws her life from man and gives it back again.
And there is Love, there is Love.

TWS informs us that the process of Twins coming together in order to experience sacred oneness is part of a plan that has always lived in the mind of God. This ideal was there in God’s heart, right from the “beginning,” from the creation of universe.

TWS emphasizes process rather than a one-time event (see more discussion below). And when it speaks of “beginning,” “now,” and “til the end,” TWS means to put forward the concept, “it’s always been this way, it’s a present reality, and it’s never going to change.”

 

 

Genesis 2:24 presents the philosophical center of The Wedding Song

The Wedding Song offers it this way:

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.

 

It is a culmination of the opening remarks of The Wedding Song's verse one, with subsequent lines of the poem debating and enhancing the meaning of this central theme.

In the Genesis creation story we find Eve coming alive, drawing her life from Adam; in reciprocity, she returns it to him.

The Genesis narrative suggests that Eve was imbued with biological life. But a different order of “life” is in view in the Song. There, lovers have left mother and father, purveyors of biological life, in favor of something more. The receipt of animal life is a “one and done” event, but The Wedding Song speaks of a form of life which arrives via process. We’ll discuss this much more below; however…

We are puzzled by the assertion of lovers “drawing life” from each other. We might have expected them to be “drawing love” or comfort, or pleasure, or happiness. This would have made sense to us.

What is this drawn “life”? In the plenary commentary we said it was a higher level of consciousness, and this is true. But what does higher level of consciousness mean for romantic lovers? And why is it called “life”?

A phrase from Aristotle comes to mind:

It could be said that this difference of death versus life also characterizes the common John-and-Mary love as opposed to that of eternal Twin Souls. Again, the “life” in view is not of the biological sort; one’s existence is not in question as we are creatures destined to live forever.

But this borderless longevity is not necessarily a blessing per se. In the writing, “Will You Survive the Terror of Eternal Life?” I posited that unless we come to know sacred meaning, purpose, and destiny, our lives will suffer attack by what I called “existential crisis.” The “500 tape-recorded messages from the other side” reveal an entire class of individuals over there, in their many millions, who are suffering in just this way.

The Wedding Song would have us know that the love experienced by Twin Souls is of such exquisite and empyreal quality that it’s “something never seen before,” and so the metaphor of “death versus life” is not an overstatement.

What is it like?

eclipsed by a larger sun

It’s more, much more, than a Niko-Tinbergen “supernormal stimulus,” it's not ordinary libido found everywhere on “Animal Planet.” It includes that, all of the pleasures of the body, but authentic romance offers something so very far in advance of bio-thrill that oftentimes it's eclipsed by a larger sun.

The burgeoning, ever-increasing, “life” known to Twins is one that makes them want to shout from the rooftops. It’s an elation professed by Emily in Our Town, “Oh, I just can’t look at everything hard enough! It's all so wonderful!” It’s a sense of thriving and expanding vitality leading one to love all creation, almost like being Saint Francis. It’s a glowing joie de vivre, an exultation of simply being alive. It brings out all of one's secret wishes, it makes one want to improve, to study, to build, to grow, to become more, to achieve, to soar.

 

Editor’s note: In the article “How is it possible for Twin Soul romantic love to endure for eternity?” we discussed the difference between chemical fire and nuclear fire. John-and-Mary love is like a chemical fire, just a candle flame, or maybe a quickly-burning grass fire; it’s over before you know it. But nuclear fire stokes the furnaces of stars and galaxies and burns on and on. Twin love taps into a consciousness-based potency not of this world. It's not a "grass fire" infatuation that cools so easily, but an inner "glowing cauldron" of abiding energy that never altogether subsides; sometimes it flares into white-hot fervency, and sometimes it's more calm, but it's always there, and you know it's always there.

 

Now just imagine – although it’s really hard because we’re not used to living life on this level – but let us try to imagine all this zest and inner life-force touching every aspect of one’s existence.

But wait, we haven’t even begun to describe this joy in its fullest essence! Imagine embracing all of life in this open-hearted, open-spirited way –not just alone, not just all by oneself, but – with that one special person, a Darling Companion, made just for you, who means more to you than life itself. Truly, all this becomes Aristotle’s “death versus life.”

How does it happen?

The true mate does not create this kind of buoyancy and blossoming; it was there all the time as part of the “hidden riches” of the soul. But she will "draw" it from you, she will unlock the long-barred doors of the inner person, sequestered in a dungeon of aloneness. She holds the key; as you do, for her.

Why is Genesis 2:24 modified in The Wedding Song?

The answer here, it seems to me, unravels the entire mystery of this poem. Allow me to reference some of the earlier plenary commentary:

Genesis 2:24 Therefore a man shall leave his father and mother
and be joined to his wife, and they shall become one flesh
.(NKJV)

The artful Troubadours play with this Genesis verse by deleting and adding new words. The concept of leaving father and mother in order to be joined to one’s wife is replaced by “they shall travel on.”

The following quotations are from Jewish scholars, Shokek and Leavitt, in their Kabbalah and The Art of Being: The Smithsonian Lectures:

“According to the Hebrew Bible, beginning with the first chapter
of Genesis, the creation of the world signifies a unique
process. It signifies a ‘breaking’ of the One into the Two: In
the beginning God created the Heaven and the Earth... and
God divided the Light from Darkness... and God called the
light, Day, and the darkness he called Night...

“This formula of the creation, i.e., the ‘breaking of the One
into the Two, established from the dawn of history the ‘opposite
couples’ of every existent thing... it also established the duality of the human being... God created Man in His own image, in the image of God He created him; Male and Female He created them (Genesis 1: 27).”

Shokek and Leavitt offer brilliant insights regarding the philosophical
basis for a system of duality that we see everywhere in the universe.
Allow me to add that, in addition to Male and Female, halves in a generic sense, the dualistic subdivision runs deeper, with halves in a specific sense: Male-Twin and Female-Twin; as we have discussed, Man and Woman are synonyms for these latter terms.

The authors point out a Hebrew word that literally means "gluing."  

Genesis 2:24: For this reason a man shall leave his father and his mother, and be joined [i.e., glued] to his wife; and they shall become One [Person].

 

Editor's note:

The entire creation, metaphorically speaking, is in a state of “halves,” a state of separation. The term "halves" suggests an original wholeness, the recapturing of which is longed for. The Hebrew terminology “gluing” indicates a remedy of halves coming together to once again make a whole. In other words, Genesis presents a universal mandate toward oneness, harmony, cooperation, union. And the highest and greatest expression of this directive toward oneness is that of Twin Souls finding each other. And this is why Genesis 1:1 to 2:23 serves as prelude to an announcement in 2:24.

But why the modification of Genesis 2: 24?

“Traveling on” indicates an on-going process, an evolution, a progression toward higher levels of oneness and intimacy.

The poem could have left the Genesis verse as it is and would have retained the idea of oneness as a goal, but it appears that The Wedding Song goes out of its way, with "travel on," to emphasize the enduring and lasting nature of the process of Twin Souls growing into greater levels of romantic love.

Why the emphasis on the unending process or journey of love?

 

Notice, too, how this focus on process – not just the goal of oneness, but the enduring process of oneness – is amplified in the next line:

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.

As it was in the beginning is now and til the end

 

In other words, a desire for oneness, our happiness, is the way it’s always been in the mind of God - since 'the beginning'. It’s not going to change. This process of leading us toward more love and joy, as exemplified in the lives of romantic Twins, is the way it will always be - 'til the end'. Why would there ever be an end to growing into more love and joy?

Accepting all this, why does The Wedding Song feel the need to emphasize this idea of process so much? Who is it speaking to?  Is there someone resisting this message of eternal romantic love?

Let’s keep these questions in mind as we look at other aspects of the poem.

Kairissi. You and I have looked at this subject for a long time, but, I have to admit, I'm suddenly feeling sort of breathless – it’s like a new subject all of a sudden, and I’m overwhelmed by the force of it all.

Elenchus. (sighing) It’s incredible.

K. It's really something. Both the biblical creation story and The Wedding Song have commandeered Genesis 2:24 as a spot-on central theme!

E. Obviously, we're looking at carefully crafted literary design. This couldn't have happened by accident.

 

The ancient Gnostics had something like 50 different interpretations of the creation story; as The Wedding Song incorporates part of Genesis, we might conjure as many versions of TWS, as well.

Almost every time I read “The Wedding Song” I see new meaning. I could write several “restatements,” each one somewhat different, but as valid as the others. As we’ve said, a rich and diverse hot-bed of interpretation is the mark of great literature.

There are certain themes, however, that press upon my spirit more than others. We’ve already seen a focus on “authority” and “witness to authority.” These, I feel, were not emphasized enough in the plenary exegesis. We know that Love Personified’s message is wholly ignored in this world as it’s viewed to be impractical and naïve. However, strange to say, it’s not just this world that’s doubting. In “Epilogue, Part II” I referred you to the article, “500 tape-recorded messages from the other side.” Over there, we find many millions of seemingly normal and psychologically put-together individuals who do not believe in the future of romantic love and marriage. "The 500" see it as something to grow out of once we become “mature enough” to forego the pleasures of the body. This assessment, however, altogether miscategorizes the nature of authentic marriage.

The Wedding Song as polemic

And as I review “The Wedding Song” one more time, I begin to see that the Troubadour authors of “The Wedding Song” were also addressing this misinformed next-world group. We might even say that TWS becomes a kind of polemic against the propaganda of the errant teachings of "the 500."

With this in view, let’s look at the lyrics anew.

I am now to be among you at the calling of your hearts
Rest assured this troubadour is acting on My part.
The union of your spirits, here, has caused Me to remain
For whenever two or more of you are gathered in My name
There am I, there is Love.

A man shall leave his mother and a woman leave her home
And they shall travel on to where the two shall be as one.
As it was in the beginning is now and til the end
Woman draws her life from man and gives it back again.
And there is Love, there is Love.

Well then what’s to be the reason for becoming man and wife?
Is it love that brings you here or love that brings you life?
And if loving is the answer, then who’s the giving for?
Do you believe in something that you’ve never seen before?
Oh there is Love, there is Love.

Oh the marriage of your spirits here has caused Me to remain
For whenever two or more of you are gathered in My name
There am I, there is Love.

Genesis 2:24 offers an 'Earthrise' perspective on true love and marriage. It’s not “one and done,” not “been there, done that, what's next.” Sacred marriage is part of a larger cosmic evolutionary process that’s been unfolding since 'the beginning'.

What is being unfolded?

It is an unfolding of the plan and purpose of God to unite all disparate "halves" of creation in an exquisite union of harmony, love, and joy. And the capstone of this blossoming, this manifestation of God’s own nature as reflected in the creation, is the romantic love and oneness of Twin Souls. The phrase "as it was in the beginning" suggests to us that this has always been God's desire.

And now we begin to perceive why the Song insists on emphasizing, not just the fact of true love’s existence, but its process, its continual unfolding, its evolution.

It does this within a somewhat hostile philosophical environment of millions who deny just that. "The 500" say that love and marriage is for the Earth, just an early developmental stage of humanity’s path toward advancement, but “we’re all done now, got the t-shirt and video, and we’re moving on to the really spiritual things.”

Not so fast, say the Troubadour Guides in The Wedding Song. The real love and marriage is not “one time and good night” but an unending process of “traveling on” toward greater expressions of love, joy, and intimacy.

with this understanding in place, we see other clues in the Song which speak to counteracting a false view

Notice the term “the answer,” of the phrase “if loving is the answer.” Does authentic love offer “the answer,” a final “one and done” answer? or is true marital love part of an unfolding process of greater and more sacred intimacy?

Because if love can be construed as “the answer,” then its benefits, while possibly substantial, will also be finite and limited. How could this even work for an immortal being? But the Spirit Guides inform us that true love derives from the very mind of God and, therefore, cannot be fixed with boundaries. How could it as the very essence of God issues as "singular pervasive reality"?

The Song goes on: If loving is the answer, then who’s the giving for?” The word “giving" needs to be linked to a previous line, “Woman draws her life from man, and gives it back again.” The “life” referred to here, as we’ve seen, is not biological life but that of a higher order, the life of expanded and awakened consciousness, of meaning, purpose, and the simple desire of wanting to live, which is not a given.

Editor's note: See the plenary commentary for the expanded significance of "who's the giving for." The "mashal" principle suggests a meaning of "giving" in the sense of "giving and receiving," of "buying and selling" and 50-50 negotiation. All this becomes apposite to "loving as the answer."

Consider the contrast. If loving might be pared down to “the answer,” something manageable with fenced borders, how do you fit that into a definition of love which is linked to a borderless consciousness, derived from Universal Consciousness?

The contrast continues: This notion of love as final “one and done” answer is set against a grand open-endedness: “Do you believe in something never seen before?” This “something” never before known is the growing and expanding sense of romantic love, joy, and intimacy to be gained by “traveling on” Twins.

The statement “if loving is the answer” becomes a rephrasing of “is it love that brings you here.” In other words, did you come here for “the answer”? Do you see marriage as a “one and done” solution to the problem of “make me happy”?

Or do you see marriage as the “love that brings you life”? This is the life of augmented consciousness, of expanded spiritual sensibilities, of continually growing into more love and joy. Stated differently, is it possible to reduce the spiritual benefit of marriage into a “one time” experience, a finite "answer," or passing phase of existence? Can you learn all that you need or want to learn of the mind of God via limited encounter?

the Wedding Song asks 'what is the purpose of marriage,' but this is just a rephrasing of Genesis 2:24

All these questions relate to a primary question at the beginning of the verse: “what’s to be the reason for becoming man and wife?” But this is just a restating of Genesis 2:24, which offers a purpose of marriage, “A man shall leave his mother and a woman leave her home, And they shall travel on to where the two shall be as one.”

See the linkage among all these thoughts and phrases. The important question is asked, “What’s the purpose of marriage?” And this question is being asked with reference to the central Genesis 2:24 verse, concerning the role of marriage within the context of the creation of the universe.

The creation story, and TWS, too, as it references the same, poetically speaks of the entire universe constructed as a system of halves! Why? - for the purpose of striving toward putting it all back together again; of which the greatest expression of this reassembly is the uniting of Twins! All was made that these sacred two might come together and thereby experience and portray the ultimate oneness known by Mother-Father God.

Editor's note: Adrian offered a poignant description of this capstone re-uniting of Twins, "the healing of a great wound of separation, the healing of which is the discovery of that other half which was lost."

Two opposing philosophies come into view. We have “the 500” who see marriage as a “good time while it lasts, but fizzles quickly, and so we dispose of it”; and then we have the Troubadour Guides who view Twin marriage as part of a grand unfolding of the purpose and plan of God, that of, re-uniting all of creation in a cosmic network of harmony, love, and joy.

‘the 500’ would say, ‘there’s no need to travel on because we’ve already arrived’ - arrived at ‘the answer’ - been there already, same old same old; but the Troubadour Guides say, ‘you gotta look harder, there’s something you've never seen before just ahead’

 

Kairissi. I am deeply moved by the insight of Genesis 2:24 as central theme of the two works of literature.

Elenchus. There's much to consider here.

K. But... Elenchus... do you believe in synchronicities?

E. I guess so... what do you mean?

K. It's very strange... the Genesis verse on love and marriage... and then the 1968 Christmas Eve message from the astronauts... I mean, you remember... what you said about that 1968 Christmas...

E. (sighing) Synchronicities are another form of "creative discontinuity" by which Universal Intelligence teaches us.

 

 

a ‘total field’ perception

In his lectures, Krishnamurti often makes reference to glimpsing the “total field’ of truth.

"I say, you will never find truth through the gradual change of [experience] - only through immediate perception, immediate discernment, lies the whole of wisdom.”

Why is this "immediacy," this "totality" important? Adrian reminded me of the following:

There’s a well known Sufi story from the 12th century about a group of blind people trying to figure out what an elephant is. One person would feel the ear and say it’s like a velvet carpet; another would feel the trunk and say no, it’s a hollow pipe; yet another would feel the leg and say it’s a pillar - but no one has the vantage point to see the whole elephant. The totality of experience is never accessible. In the words of the apostle Paul, “we know in part” (I Cor 13:9). Somewhere there exists a whole elephant, but even the rigorously applied scientific method, the burdens and standards of proof in law and the rules of evidence in court, are limited by human fallibility.

A “total field” perception is important because, even at our best perspicacity, we never see more than a tiny fraction of the Sufi elephant. This is a problem because the greatest truths cannot be discerned in a piecemeal, gradualistic manner. We need to catch a glimpse of the “total field.” This is an “Earthrise perspective.” Mystical experiences offer this, and it’s why they’re so valuable. 

Editor's note: As a side issue, we find here the real reason why the so-called perfection available via reincarnation will always disappoint us. There is no coming to truth gradually, there is no piecemeal spiritual evolvement - only a momentary cosmic clarity can accomplish that.

 

 

 

Editor’s postscript: After completing the above writing, much of my time was spent finishing both the “Evolution” report and the “Omega Point” book. As I did, certain elements of “The Wedding Song” enjoyed a much sharper focus. Here’s what I learned.

The universe and the Earth are subject to entropy, a general running down of all systems. This is well known in physics. However, Universal Intelligence, at least four times in the last 15 billion years, to effect its goals and purposes, has defied entropy with an injection of complexity and order: these four "creative discontinuities" are

(1) the coming of matter and energy (“the Big Bang”),

(2) the coming of biological life expressed in numerous body types (“the Cambrian Explosion”),

(3) the coming of sentient life, human beings, and

(4) the coming of advanced "Omega Point" spiritualized humanity, Twin Souls, reflecting Mother-Father God.

All of these represent "something never seen before." All of these, as bursts of "creative discontinuity," occurred with no prelude, no incremental gradualism, no warning. See the "Evolution" report for much discussion here.

how sane would you like to become: can we say 'this much, no more, I'm fine now, thanks anyway'

“The Wedding Song” focuses on level (4) of this momentous evolutionary progression. And this is why the Song emphasizes process so much because there is no end to perfecting human beings in terms of becoming more godlike, more sentient, more sane, with greater joy, love, peace, and happiness.

Yes, how sane would we like to become? - "more tea?" shrieked the Mad Hatter.

oh what is the hatter with you

The "life" that Twins offer each other, that is, draw from each other's sacred inner being, represents our Omega-Point destiny, living on the "level of the gods," Universal Intelligence's grand "creative discontinuity." 

(4) It's a final-stage "life," reserved for advanced beings who begin to reflect ultimate reality, the unlimited mind and loving nature of the "Mother-Father" Creator. There's no end to this.