I have semi-privately believed just what you posted here for some time; I'm glad to know that I am not alone in my recognition of the Divine Feminine in Mary Poppins.
Further reading of the books will reveal even more godlike features; in the 2nd book, for instance, Jane and Michael somehow follow Mary to an unknown place above the stars where there is some kind of circus going on (I think the animals that populate the constellations take part in it, or something), and everyone bows down and pays obeisance to her Practically Perfect Presence.
Not seen in either the movie or the stage musical are the three younger siblings of Jane and Michael; the youngest, Annabel, is born during the course of the second book, and at birth she is shown (through conversations she has with a bird) to have a degree of self-awareness — omniscience, even — that harks back to the Mormons' concept of a pre-earthly existence which is forgotten by all babies at or soon after birth (which is what happens to Annabel within a day or so). I believe that the birds recognize Mary as one who somehow has never forgotten the things she knew at birth, the way the rest of us have. Or something like that.
The implication at the end of the stage musical is that Mary, having completed her mission at the Banks household, is off to parts unknown to save another family. This, I think, can be likened to the Mormon belief that after Jesus' resurrection and ascension he appeared and preached to "his other sheep" in America. (I'm not making this up.)
I'm sure that practitioners of other religions will be able to find Marian parallels in their own theology. She's not only practically perfect, she's endlessly flexible! Buddha would be jealous.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
no subject
Date: 2010-08-09 03:58 am (UTC)Further reading of the books will reveal even more godlike features; in the 2nd book, for instance, Jane and Michael somehow follow Mary to an unknown place above the stars where there is some kind of circus going on (I think the animals that populate the constellations take part in it, or something), and everyone bows down and pays obeisance to her Practically Perfect Presence.
Not seen in either the movie or the stage musical are the three younger siblings of Jane and Michael; the youngest, Annabel, is born during the course of the second book, and at birth she is shown (through conversations she has with a bird) to have a degree of self-awareness — omniscience, even — that harks back to the Mormons' concept of a pre-earthly existence which is forgotten by all babies at or soon after birth (which is what happens to Annabel within a day or so). I believe that the birds recognize Mary as one who somehow has never forgotten the things she knew at birth, the way the rest of us have. Or something like that.
The implication at the end of the stage musical is that Mary, having completed her mission at the Banks household, is off to parts unknown to save another family. This, I think, can be likened to the Mormon belief that after Jesus' resurrection and ascension he appeared and preached to "his other sheep" in America. (I'm not making this up.)
I'm sure that practitioners of other religions will be able to find Marian parallels in their own theology. She's not only practically perfect, she's endlessly flexible! Buddha would be jealous.