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Phineas Parkhurst Quimby: His Complete Writings and Beyond

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“Honeymoon, The” Spiritual Analysis of Man and Woman

Two principles show their practical working in the development of every individual and reveal the progress of wisdom in man. The only true way to show the operation of the higher and invisible intelligence that governs and controls the affairs of the world is by illustration, using natural facts, such as are real to the world, but revealing to the wise a higher development of truth not yet known as such or accounted for. To bring to light the higher and unseen intelligence that overrules the motives and actions of men and yet is unknown, I will use the illustration of a play. Not that the author had the slightest idea of the wisdom that governed him in writing the play, but seeing it, I take it to illustrate the higher truth whence it proceeds.

Every principle of truth and every error assumes a character. Error is generally master in the beginning but truth finally triumphs. Two characters are admitted in the play but only one principle, that of the natural man. The spiritual is so mingled with the natural that its separate existence is not recognized. For instance, love and passion are so interwoven that the world knows only one, while there is as decided a difference as between white and black. Every person is composed of these elements and I will introduce the characters of the play to bring them out. One represents progression, is a well educated, refined and intelligent gentleman. The other, a lady, is aristocratic and overbearing. These two characters are both in different degrees in the lady and gentleman and each is governed by the one which predominates. Therefore several characters are necessary to illustrate one individual. For every person is double, and to bring out the perspective it takes four, for two are only shadows and they change as I shall show.

All plays represent the various characters of one person. Therefore the two characters in the play are really the conflicting and opposite qualities of one individual. The gentleman is one whose finer feelings and intellectual culture overbalances the lower passions of man. The lady is aristocratic so that her higher qualities are subdued by an overbearing and haughty disposition. Money is an emblem of wealth, so they must both be rich. With one, money is riches, with the other, wisdom and virtue are riches and money is a secondary matter. Thus they both hold a high position in society. One uses it to elevate the intelligence, the other, the passions of the world. As these two minds meet, there is a sympathetic attraction towards each other, but with no understanding. For man does not know himself and there must be a discord when the time of life commences. These two typify the development of man into a higher state. In society, the man is superior to the woman, for she represents the scientific-spiritual character, while the man represents the animal. These two do not belong to one or the other exclusively, for man and woman are a compound of them. But in the world, man is the superior. Yet in the play, their wisdom is reversed, for the female in the man is the ruling wisdom, and the male in the woman. Therefore when they sympathize, the male in the woman comes in contact with the male in the man, and the female in the woman sympathizes with the female in the man and they do not understand each other. To make it plainer, I will call it animal and spiritual. The woman loves the man, that is, that part of the woman in subjection to man sympathizes with the higher element in man. The object is to subdue the male that governs the woman and bring it into subjection to the higher wisdom, the female. The spiritual element in man sympathizes also with the same in the woman. The two characters, (The Duke and Juliana) not standing in relation to each other as the world would have them, could sympathize but not harmonize, for their motives were different. At last they marry. Marriage is to agree to a contract in this world.

If I tell a person a story and court him till he believes it, this is a spiritual marriage. If I reason with a person till I convince him of a scientific truth, this is a scientific marriage, sanctioned in heaven where no worldly passions can mar. This is Christ's marriage and to this wedding every person is invited, yet some come without the wedding garment. The marriage of the earthly man is to opinions and that may change, but the great wedding of science is the true wedding, while the other is a contract.

So man is all the time marrying and giving in marriage and getting divorced. To return to the married couple, the man wished to develop his wife or subdue the earthly man. The woman wanted to subdue the scientific man. So when they began to act, they were like Paul when he said, When I would do good, evil is present with me. To develop a person, it is necessary that he should contend with an opposite. So the error in the woman made war with the science in the man. But the truth prevailed, error was subdued, harmony was restored and they became united in one living and true sympathy that knows no dictation.

Now as the female is superior to the male, this has all to be reversed by introducing two more characters that are contained in the play, Leonora and Rolando. Let the man or animal rule and the female is not known in his brutal acts but lies in the soil of the man as a servant, secretly destroying the natural man by her soft tones, speaking through the form of a man. The servant acted in the spiritual element of the man, fostered and fed it in the wilderness till it grew large enough to come forth. There it threw off the earthly garb and assumed the scientific woman. The brutal man cowed down and the spiritual man came forth, became wedded to the scientific woman and the natural man in both became subject to the spiritual man. This is what every person goes through to arrive at the spiritual world.

April 1865

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