The cult of the Virgin, Mariolatry, which by the gradual elevation of the divine element in the Virgin has led almost to her deification, answers merely to the feeling that God should be a perfect man, that God should include in his nature the feminine element. The progressive exaltation of the Virgin Mary, the work of Catholic piety, having its beginning in the expression Mother of God, ...has culminated in attributing to her the status of co-redeemer and in the dogmatic declaration of her conception without the stain of original sin. Hence she now occupies a position between Humanity and Divinity and nearer Divinity than Humanity. And it has been surmised that in course of time she may perhaps even come to be regarded as yet another personal manifestation of the Godhead.

She never had public favor; it was a bit like the Hillary Clinton thing. She did all the right things for her country, but she wasn't ultimately revered. So she had a conversation with her confidant-adviser. She asked him, when have they ever looked up to or idolized a woman? Only one, he told her, the Virgin Mary. So she said, Then I will become like the Virgin Mary, and she did. She created a facade for herself; she stopped having lovers; she became like a virgin. She became sexless, and painted her face in a white alabaster way, and turned herself into an icon that was untouchable and sexless, and then she had everybody's respect.

Marian devotion is very deeply embedded in Ultramontane papalist Catholicism, and has been for centuries. The Virgin in the nineteenth century, apparitions of the Virgin, play an enormous part in focusing Catholic loyalty, Catholic identity, and also in offering a dimension of Christianity... If you've got a very rigid, hierarchical, masculinely-dominated form of Christianity, the tender, nurturing, feminine element in Christianity can only be rescued by some sort of balancing act. This I think was an enormous strength in nineteenth century Catholicism over and against say nineteenth century Fundamentalist Evangelicalism - with which it has a great deal in common in some respects - but where I think it has an edge is in this feminine dimension.

Mary is the Great Mother. She is the Mother. That's what Mary is. Whether she existed or not is not the point. She exists at least as a hyper-reality. She exists as the Mother. What's the sacrifice of the Mother? That's easy: If you're a mother who's worth her salt, you offer your son to be destroyed by the world. That's what you do. And that's what's going to happen. He's going to be born, he's going to suffer, he's going to have his trouble in life, he's going to have his illnesses, he's going to face his failures and catastrophes, and he's going to die. That's what's going to happen, and if you're awake you know that, and then you say, "Well, perhaps he will live in a way that will justify that." And then you try to have that happen. And that's what makes you worthy of a statue like the Pieta.
"Is it right to bring a baby into this terrible world?" Well, every woman asks herself that question. Some say no, and they have their reasons. Mary answers 'yes' voluntarily. Mary is the archetype of the woman who answers yes to life voluntarily. Not because she is blind. She knows what's going to happen. So she's the archetypal representation of the woman who says yes to life knowing full well what life is.

On account of this personal union and communion of the natures, Mary, the most blessed virgin, did not conceive a mere, ordinary human being, but a human being who is truly the Son of the most high God, as the angel testifies. He demonstrated his divine majesty even in his mother's womb in that he was born of a virgin without violating her virginity. Therefore she is truly the mother of God and yet remained a virgin.

It is an article of faith that Mary is Mother of the Lord and still a Virgin.

she would become the general symbol at which the preacher and moralist might point, and in which they might vivify and embody their images of woman's frailty and sinful passion. Thus the young and pure would be taught to look at her, with the scarlet letter flaming on her breast — at her, the child of honourable parents — at her, the mother of a babe that would hereafter be a woman — at her, who had once been innocent — as the figure, the body, the reality of sin. And over her grave, the infamy that she must carry thither would be her only monument.

The Victorian woman became her ovaries, as today's woman has become her 'beauty.' Her reproductive value, as the 'aesthetic' value of her face and body today, 'came to be seen as a sacred trust, one that she must constantly guard in the interest of her race.'

In the early twelfth century century the Virgin had been the supreme protectress of civilisation. She had taught a race of tough and ruthless barbarians the virtues of tenderness and compassion. The great cathedrals of the Middle Ages were her dwelling places upon earth. In the Renaissance, while remaining the Queen of Heaven, she became also the human mother in whom everyone could recognise qualities of warmth and love and approachability...
The stabilising, comprehensive religions of the world, the religions which penetrate to every part of a man's being — in Egypt, India or China — gave the female principle of creation at least as much importance as the male, and wouldn't have taken seriously a philosophy that failed to include them both...It's a curious fact that the
all-male religions have produced no religious imagery — in most cases have positively forbidden it. The great religious art of the world is deeply involved with the female principle.

I will always be the virgin-prostitute, the perverse angel, the two-faced sinister and saintly woman.

The popular image of Mexican woman is as somber-clad, long-suffering females praying in dimly-lit colonial churches. Church teachings have directed women to identify with the emotional suffering of the pure, passive bystander: the Virgin Mary.

Since [in the Middle Ages] the psychic relation to woman was expressed in the collective worship of Mary, the image of woman lost a value to which human beings had a natural right. This value could find its natural expression only through individual choice, and it sank into the unconscious when the individual form of expression was replaced by a collective one. In the unconscious the image of woman received an energy charge that activated the archaic and infantile dominants. And since all unconscious contents, when activated by dissociated libido, are projected upon the external object, the devaluation of the real woman was compensated by daemonic features. She no longer appeared as an object of love, but as a persecutor or witch. The consequence of increasing Mariolatry was the witch hunt,.that indelible blot on the later Middle Ages.

Love a woman as a goddess, then love becomes worship.

Mary is a woman who loves. How could it be otherwise? As a believer who in faith thinks with God's thoughts and wills with God's will, she cannot fail to be a woman who loves. We sense this in her quiet gestures, as recounted by the infancy narratives in the Gospel. We see it in the delicacy with which she recognizes the need of the spouses at Cana and makes it known to Jesus. We see it in the humility with which she recedes into the background during Jesus' public life, knowing that the Son must establish a new family and that the Mother's hour will come only with the Cross, which will be Jesus' true hour (cf. Jn 2:4; 13:1). When the disciples flee, Mary will remain beneath the Cross (cf. Jn 19:25-27); later, at the hour of Pentecost, it will be they who gather around her as they wait for the Holy Spirit (cf. Acts 1:14).