If, on the other hand the top row is left out of view, the crudely perceived rules are not superseded by a higher point of reference (which in this case is not recognized to exist) and as a consequence the dual definition is regarded as a description for defining the process for achieving burial (the elimination of all that is false).  This reversal put the whole definition into a different light.  When the definition is regarded to define a process to be enacted, rather than describing the manifestation of a higher process, we find that two distinct processes are defined which would therefore have to be related separately to the matrix.  In this perverted case, however, the entire matrix structure falls apart in several different ways.

The structure falls apart because the perverted concept gives us additional definitions to deal with, over and above the 144 building blocks that a foursquare matrix with a 9x16 dimension is designed to accommodate.  When this is accepted, unchallenged by further discoveries, the very symbolism would become meaningless that Mary Baker Eddy has incorporated into the Cross and Crown seal that she placed on the front cover of every one of her works.  As described in Volume 3, the Crown in Christ and Christmas represents in metaphor the dimension of 9 and 16, which describes the 9x16 dimension of the matrix for which 144 building blocks, or Glossary definitions, are needed to define it.  If we look at the dual definitions in such a manner that more definitions are recognized, the entire symbolism becomes meaningless.  This, of course, would be the case when the connecting link between the first and second row is not brought within the range of perception.  In this case the definition of "burial" would not be regarded as a description of the multifaceted outcome of a singularity that reflects a certain aspect of the absolute domain, but would be seen as descriptions of processes that get us there.  One would see multiple processes.  Now, if this erroneous perception were adapted, one would also fail to recognize one of the five unique types of dual definitions, the type which allows no separation of an apparent duality.  In this case, one would recognize only four types of dual definitions to exist in Mary Baker Eddy's Glossary, rather than the five that have been recognized.  Now, with fifth type thus being eliminated, a vital aspect of the symbolism of the crown in the Cross and Crown seal, has been made meaningless.  It appears that Mary Baker Eddy has recognized this possibility, for which she may have redesigned her seal in a manner that this vital feature becomes strongly emphasized.  If we look at the modern seal, we find a five pointed crown.

All this point to the important fact that the basic foursquare matrix incorporates two structures - one to be owned by humanity, and another that is owned by God - and that the two structures exist not in isolation from each other, but are strongly interlinked.  The Glossary definitions for the term, Burial, and likewise for the term, Euphrates, stand at the center of this linkage.  They are our link to the fourth dimension, of Spirit, by describing its effect upon human experience.  The dual definition of Euphrates indicates to us the multifaceted uplifting effect of the singularity of infinity or divine Spirit, manifest as Science in its highest form.

Mary Baker Eddy gives no hints anywhere in her writings that one can step forward to a still higher dimension than what she called the fourth dimension, of Spirit, nor can one find a logical reason for one wanting to do so.  The question becomes imperative, at this point: does this impose a limit upon the limitless?  Does the forth dimension, of Spirit, represent the ultimate limit beyond which one cannot go?  The answer must be in the negative.  It doesn't limit anything.  It represents in its design an open doorway to infinity itself.  It represents not a limit, but the end of all limits and limitations.  Nor is it alone in this.  Every aspect that is related to the matrix Foursquare structure opens thought to infinity.  This is built into the nature of the matrix structure.  In fact, the entire book series that this book is a part of has been designed to comply with the dynamics of this structure.  In Appendix i, Figure 2, the nine volumes of the book series on discovering infinity are brought into relationship with the basic nature of the matrix.  We have the four rows and the four columns represented, and a central focal point that everything leads towards.

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Stories about  Love from novels by Rolf A. F. Witzsche