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Church's Feminization:
Tool to Merge with the Revolution

Lyle J. Arnold, Jr.

Two articles posted on TIA website - one by Marian T. Horvat A Monumental de facto approval of altar girls and another under the responsibility of the Editor, Where did this show of legs take place? give us an overview of a scandalous, sensual tendency that is becoming increasingly common in the Conciliar Church: the tendency toward effeminacy.

Women are more frequently appearing on the altar

An ever-increasing presence of women on the altar
This tendency, which is manifest with the growing role given to women in the Church, took a doctrinal twist when Pope John Paul I declared: "God is Father, and even more, He is Mother"( see Is God Mother? Background of a Pontifical Statement). This statement brought the progressivist bent toward effeminacy into clear relief. By his words "even more," the feminine element of God eclipses that of God the Father. The feminine trumps the masculine.

In Teilhardian terms, the feminine is the "envelope of God," whereas feminine charm envelops the Trinity and attracts the Trinity to realize divine "movements," that is to say, "the Creation of the universe and the Incarnation of the Word. The three Trinitarian Persons would have had a romantic `weakness' and would have been charmed by the attributes of the eternal feminine."(ibid.)

One can discern from this reference by John Paul I to God as being our "Mother" how this general feminization exists at the very apex of the Church, in the Chair of Peter. And it did not end with John Paul I. In 1989 John Paul II gave his agreement by stating that he seeks "the eternal feminine," and again in 1999 he "praised God as Mother."(ibid.)

This tendency to effeminacy also manifests itself in the loss of the virile spirit that characterized the Catholic militancy. The emphasis of everything today is on tolerance, adaptation, renunciation, service - feminine characteristics - at the expense of intransigence, combativeness, spirit of conquest and command, which are masculine characteristics.

This general feminization of the Church corresponds to the ideal of the Secret Forces to impose into a single order on the world under the rule of one government.

In a feminine Church, heaven and hell ‘harmonize’

This ideal of a predominating feminine characteristic long ago found its way into poetry, philosophy and music. The German poet Goethe, in his second Faust, ends his work by exalting "the eternal feminine." To wit, the last words are, "It is the eternal feminine, always attracting us to the higher."(ibid.)

A close friend of Goethe was German poet and playwright Johann Friedrich von Schiller, a Freemason, and a follower of Kant. In his work Ode to Joy (1785), one of the most celebrated poems in literary history, he expressed his universalist belief. This had already been affirmed by Victor Hugo in his poem La Fin de Satan (The End of Satan), where the feminine angel (Angel Liberty) "the favorite daughter of Lucifer before his fall, asks permission from God to go to Hell to deal with Satan." This angel convinces the Demon to reconcile himself with God.' (ibid.)

Ludwig von Beethoven

Beethoven's music translates the ideal of the Revolution
Ludwig van Beethoven then set to music Schiller's Ode in his Ninth Symphony, especially in the forth and final movement (Presto). In a series of seismic instrumental, solo and choral scores, which lasts over 24 minutes, the listener is virtually overwhelmed. Beethoven's musical genius exhibits his ability to influence the audience with his own beliefs in universal salvation.

He believed, as did Goethe, Hugo and Schiller, in the ultimate reconciliation between God and Satan. The lyrics of the Ode to Joy reflect both theistic and pagan mythology. (1) Though Beethoven was nominally a Catholic, he never attended Sunday Mass and protested being given the last rites on his death-bed." His last words before dying were "Applaud my friends, the comedy is over." By this, he announced his life ended "with satisfaction and closure."(2) Hence, Beethoven's denouement effectively mirrors the last words of Schiller's Ode: "All sinners shall be forgiven, and hell shall be no more."

Unitarian John Pearce is effusive in his praise of the Ode:

"Beethoven's music for Schiller's Ode to Joy from his Ninth Symphony may well be the best tune of all time... The spirit of Schiller's poem resonates deeply with my spirituality. For me, the sacred needs bubbling, danceable joy, and it needs manifest connections to our natural world. The piece invokes these masterfully. It's immensely satisfying for me to sing 'Joy Thou Goddess,' and to know that my denomination has chosen it as an expression of its character." (3)

The doctrine in Pearce's Unitarianism is apropos to the Progressivism in the Conciliar Church. Many, if not most, of the new masses have the same qualities he voiced, a sacred that "needs bubbling, danceable joy." Unitarianism, like Progressivism, professes as its belief that "reason and conscience and complete religious toleration and universal salvation" are all that is desired by God. (4) This is what John Paul II did in his allocution on Hell.

The progressivist movement toward effeminacy in the Church is on course. To soften the Catholic sense of militancy it has incorporated the power of secular poetry, philosophy and music into its regime. Aggiornamento in the Church, in doctrines, laws and customs is running at full throttle. Through its ecumenism and dialogue, it has show-boated its eternal feminism and collaborated with false religions and temporal culture. Its goal to destroy the Church and construct a super, one-world republic is each day closer on the horizon.

May Our Lady of Good Success enroll more Catholic Militants into this epic war, and hasten the Reign of Mary.
1. 1. Wikipedia, Ludwig van Beethoven's Religious Views.
2. Ibid.
3. www.uuchurch.org, (University Unitarian Church).
4. The Columbia Encyclopedia, Columbia University Press, 1993, page 2825.


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Posted September 1, 2010

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