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I looked at Tatsuhiko when I said this. He simply smiled.
"And it gets better yet," I continued. "There are two visual references to sex in Mary's matrix; only two; for two positions out of sixteen. There are also two visual references to the basic shape and architecture of her matrix. Again, there are only two such references; associated with two elements out of sixteen. And guess what; as you may suspect by now, the two sets of references coincide. Wherever there is a reference to sex, and only there, there is also a reference contained to the architecture of the matrix, incorporated into the same image. It's as though she is saying, if you look at sex, or sexual intimacies, you've got to see it with the scientific eye. It is also as if she is saying, if you look at sex you've got to look at the basic architecture of the human being. And if we ask ourselves the question as to what this means, the first answer that we may come up with, is that we are not animals. It is like she is saying, if you think about sex, don't lower yourself to the status of an animal and the methodology of its actions. Look at yourself as a human being; a creature of love, care, generosity, honor, gentleness, compassion, beauty, creativity, spirituality, scientific understanding; stuff like that which defines us uniquely as a human being versus an animal. It may take a scientific approach to correlate all of these wonderful human qualities with sexual intimacies, but Mary appears to be saying that this effort is well justified, so that the further that one gets away from the physical, animal dimension of sex, the more profound will be the resulting joy. It is as if she is saying, if you look for sexual pleasures you are thinking to low; you are expecting too little; you are not thinking big enough; you are not even at the sunrise yet; you should be looking for the noon day sun in which the sexual dimension unfolds in a uniquely human, but spiritual way. It's like physics giving way to metaphysics."
"That's what the upper three elements represent in Mary's four element columns, which function like rivers of development," Sylvia explained to Tatsuhiko, Indira, and Olive. "The topmost element represents truth; the center, science; the bottom, humanity. In this structural flow science becomes mankind's gateway to the truth; or in our case, the gateway to the truth about our humanity. Mary seems to say that the more we find ourselves there, the richer, grander, and more profound our existence will become, and that sex falls into this category."
"That makes sex a completely separate issue that has nothing to do with the principles underlying marriage," Olive responded to Sylvia. "And that's what Mary is saying, too, isn't she? That is why she has associated sex and marriage with two separate rivers of development. There are evidently different types of dynamics involved. So, she is saying; don't mix the two together! And she is also saying; for heaven's sake's don't throw sex out the window. It is as important as marriage, but separate. It is equal with it and distinct. Both pertain to unique aspects of the reality of our being. We can't get away from either one of them, and why would we want to?"
Tatsuhiko evidently loved this explanation.
"I love it!" was Indira's comment. Both were ginning. "I am also puzzled," Indira added. "With sex being so totally unrelated to marriage, which makes a lot of sense to me, I cannot help but wonder what it is that Mary has associated with marriage."
"That's easy to answer, and also quite profound," I said. "Mary's matrix has two halves. Each has a river related to marriage. In the first half, the science for this river is the science of marriage. It deals with the concept of marriage in terms of universal marriage, bound by our universal humanity as children of a common Soul, so to speak. Helen calls this our universal kiss, the element of our peace. Mary defines the river in which this unfolds as the love of the good and beautiful and their immortality. Isn't that a beautiful concept to unite under?"
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