Summaries and Reflections on Each Vision
In the first vision of The Poem of the Man-God, recorded on August 16 and 22, 1944, Maria Valtorta receives a dictation from Jesus emphasizing the supreme value of purity, exemplified by the Virgin Mary, whose spotless womb was capable of containing the infinite God. Jesus describes how the Most Holy Trinity—Father, Son, and Holy Spirit—dwelt within Mary without debasement, transforming her womb into a heavenly space through her love and God’s will. The Father created Mary as a perfect reflection of His image, second only to Jesus, the Firstborn; the Son, as her child, taught her divine wisdom; and the Holy Spirit manifested love, consolation, and sanctification through her divine maternity. Contrasting Mary with Eve, who fell into corruption, Jesus praises Mary’s unwavering purity in a sinful world, noting her role as the merciful Woman who prays for sinners’ redemption, setting the stage for further revelations in the work.
In the second vision of The Poem of the Man-God, dated August 22, 1944, Maria Valtorta describes a scene in the home of Joachim and Anne, an elderly Jewish couple longing for a child. Anne, a beautiful and stately woman of about fifty-five, is weaving when a neighbor borrows her amphora, leaving her young son Alphaeus with Anne, who lovingly plays with him, feeding him grapes and honey cakes, revealing her deep maternal yearning. Joachim, her kind and supportive husband, joins them, also doting on Alphaeus, and the couple admires the child’s features, expressing their unfulfilled desire for a child with similar traits. Anne’s sorrow over her barrenness surfaces, and Joachim comforts her, proposing they renew their prayers at the Temple, vowing to dedicate any child to God, inspired by biblical examples like Sarah and Hannah, and suggesting they bring Alphaeus to pray with them, hoping for a miracle. The vision, which Valtorta realizes depicts the prelude to Mary’s birth, ends with Anne’s poignant wish to be called “mamma,” comforted by a divine assurance from Mary herself.
In the third vision of The Poem of the Man-God, dated August 23, 1944, Maria Valtorta observes a serene encampment outside Jerusalem’s walls during a religious feast, likely the Feast of Tabernacles, where families, including Joachim, Anne, and young Alphaeus, dwell in tents made of branches and wool. Anne, still childless and heavy-hearted, interacts tenderly with Alphaeus and a poor mother of six, her longing for a child intensified by these encounters, while Joachim offers her hope through their shared faith. As night falls, Anne shares a dream of presenting a child to the Temple, and Joachim encourages her to trust in God’s promise, comparing their situation to biblical figures like Hannah, as they plan a final solemn offering on the last day of prayer. The vision concludes with Jesus’ dictation, praising Joachim and Anne’s wisdom and virtue, describing them as just and chaste, whose faithful love and hope were rewarded with the miraculous conception of Mary, the Mother of God, fulfilling their dreams beyond imagination.
In the fourth vision of The Poem of the Man-God, dated August 24, 1944, Maria Valtorta witnesses Anne, now radiant with joy, weaving linen and singing a heartfelt canticle in Joachim’s home, adorned with blooming branches, as she celebrates her miraculous pregnancy. Her song, inspired by a divine revelation in the Temple during the Feast of Lights, likens her barren womb to an old tree sprouting a new branch, bearing a “rose,” “apple,” and “star”—symbolizing the child she carries, whom she believes is a girl. When Joachim enters, Anne shares her song and joyfully announces her motherhood, confirmed by a mystical light and voice in the Temple, and they embrace chastely, deciding to name the child Mary, meaning “Star,” and vowing to offer her to God. Jesus’ subsequent dictation exalts Mary’s immaculate soul, created by the Trinity as a pure vessel for the Savior, emphasizing her role as the “first salvation” and a living Paradise, whose conception, free from original sin, brought divine love and wisdom to the world, fulfilling Anne and Joachim’s faithful hope.
In The Poem of the Man-God, Maria Valtorta’s visions, as articulated in the fourth vision, describe Mary’s soul as free from original sin due to a unique divine act at her conception, a doctrine known as the Immaculate Conception in Catholic theology. Jesus, in the dictation, explains that Mary’s soul was created by the Most Holy Trinity with an extraordinary infusion of grace, described as a “vital spark” derived from the “Threefold Love of the Trinity.” This divine act ensured that her soul, unlike those of other humans, was never tainted by the inherited guilt of original sin, which stems from Adam and Eve’s disobedience. The text portrays Mary’s conception as a moment where God’s “breath” descended, so powerful in its purity and ardor that “Guilt could not contaminate it,” preserving her soul in a state of pristine holiness. This immaculate state, according to the vision, allowed Mary to remain in constant communion with God, possessing light, love, and wisdom from the moment of her conception, making her a fitting vessel to become the Mother of God. While The Poem of the Man-God is a private revelation and not official Church doctrine, this depiction aligns with the Catholic dogma of the Immaculate Conception, defined by Pope Pius IX in 1854, which holds that Mary was preserved from original sin by a singular grace from God in anticipation of her role in the Redemption.
According to The Poem of the Man-God by Maria Valtorta, Mary was conceived through the Immaculate Conception, meaning her soul was preserved from original sin from the moment of her conception in Anne’s womb, but this is distinct from the manner of Jesus’ conception. The text describes Mary’s conception as a natural human act between Joachim and Anne, infused with divine grace to ensure her soul’s purity, as seen in the fourth vision where Jesus explains her soul was created free from “Guilt” by the Trinity’s unique act. In contrast, Jesus’ conception, as depicted later in the work, is the Virgin Birth, where Mary conceives Jesus by the power of the Holy Spirit without human intervention, as affirmed in the Annunciation narrative. Thus, while both Mary and Jesus are free from original sin in the Poem, Mary’s Immaculate Conception involves a human conception sanctified by divine grace, whereas Jesus’ conception is wholly divine, not involving a human father. The Poem aligns with Catholic theology in distinguishing these events: Mary’s preservation from sin prepares her to be the pure vessel for Jesus, who is both divine and human, conceived miraculously.
In the fifth vision of The Poem of the Man-God, dated August 26, 1944, Maria Valtorta witnesses the birth of the Virgin Mary in Joachim and Anne’s home during a sultry September day, marked by a violent storm. Anne, heavily pregnant and serene, feels a profound peace akin to her Temple experience, sensing her child’s divine destiny and likening her to the “Star” of a prophetic song, as she and Joachim anticipate the birth amidst a parched landscape awaiting rain. As the storm peaks, Anne painlessly gives birth to Mary, a tiny, perfect infant with fair features resembling Joachim, her arrival heralded by a rainbow, a star, and an early full moon, symbolizing divine favor. The women marvel at Mary’s delicate beauty—her rosebud hands, coral-shell feet, and immaculate heart—while Anne, overjoyed, names her Mary, meaning “Star” and “peace,” vowing to dedicate her to God. Jesus’ dictation on August 27 celebrates Mary’s Immaculate Conception, portraying her as God’s masterpiece, created to love Him and redeem humanity, her virginity a divine triumph over Satan, fulfilling God’s plan to create and sustain life despite human sin.
Relevant Passage and Context: In the dictation, Jesus reflects on why God created humanity despite knowing man would sin: God’s Foreknowledge of Sin: Jesus explains that the “Supreme Mind” knew man would “commit against himself the crime of killing Grace in himself and the theft of robbing himself of Heaven.” This refers to the Fall of Adam and Eve, whose disobedience introduced original sin, severing humanity’s original state of grace. Why Create Man?: Addressing the question many ask (“Why then did He create him?”), Jesus counters with, “Would you have preferred not to exist?” He argues that life itself is a gift worth living, even in a fallen world, because it allows humans to experience the beauty and goodness of God’s creation—stars, seas, plants, animals, and minerals—all made for man’s joy and sustenance. Purpose of Life: Jesus emphasizes that life “deserves, in itself, to be lived” to admire God’s infinite Beauty and to be grateful for existence. He suggests that even a single day of life, despite human wickedness, is valuable because it offers the opportunity to know God through His creation, which continually speaks His name (e.g., the stars’ “sidereal chorus” singing “God”). Redemption Through Mary: Despite humanity’s sin, God’s plan included redemption through Jesus, the Word, and Mary, the instrument. Mary’s creation as the Immaculate Virgin was God’s response to human failure, ensuring a pure vessel for the Savior and a model of perfect love for God. Her existence justifies God’s decision to create and sustain humanity, as she fulfills His desire for a creature who loves Him perfectly.
Theological Implications: Jesus’ message aligns with Catholic theology, which holds that God created humanity out of love, knowing sin was possible due to free will, but provided redemption through Christ. In The Poem, Mary’s Immaculate Conception is central to this plan, as her sinless life counters Satan’s corruption and restores hope. Jesus’ question about preferring non-existence challenges humans to value life as a divine gift, meant to be lived in gratitude and pursuit of holiness, as exemplified by Mary and her parents, Joachim and Anne.
In the sixth vision of The Poem of the Man-God, dated August 28, 1944, Maria Valtorta observes Joachim and Anne, accompanied by Zacharias and Elizabeth, as they journey to the Temple in Jerusalem for Anne’s purification after childbirth and to offer their newborn daughter, Mary, to God. Anne, radiant in her wedding dress, tenderly carries the swaddled Mary, while Joachim leads two lambs for the sacrifice, and Elizabeth carries offerings. At the Temple’s Nicanor Gate, Anne is purified with lustral water, and the family presents their gifts, with Zacharias informing a priest of their vow to dedicate Mary to God. Anna of Phanuel, a future teacher of Mary, is introduced, promising to guide her, and the group gazes into the Temple, where young girls sing, envisioning Mary’s future there. Anne expresses her joy and trust in God’s plan, knowing Mary belongs to Him, while Joachim vows to give even more in gratitude. Jesus’ dictation emphasizes Mary’s purity and divine calling, portraying her as the “Eternal Maiden” drawn to Wisdom, her innocent gaze a model of sanctity that remains untainted through all stages of her life, guiding souls to God with her unblemished love.
In the seventh vision of "The Poem of the Man-God," a young Mary, not yet three years old, displays extraordinary wisdom and piety while interacting with her mother Anne under a shady pergola. Dressed in white and resembling a little dove, Mary brings flowers from the fields, poetically describing them with biblical allusions—such as a blue flower symbolizing God's kiss, red poppies as remnants of King David's battles, and a white bloom evoking Solomon's robes during his joyful procession before the Ark. She expresses her desire to sing eternal praises to God like Solomon and requests the story of Gabriel's prophecy to Daniel about the coming Immanuel, yearning to hasten the Messiah's arrival through fervent prayer and vowing lifelong virginity to serve Him and His Virgin Mother in the Temple. Anne marvels at her daughter's knowledge, possibly whispered by angels, while Mary grapples with concepts of sin, redemption, and divine love, wishing to be saved by the Savior yet remaining pure. Joachim joins, reassuring her of God's preemptive love by comparing it to rescuing a sparrow before peril, affirming her path to the Temple where she will pray for the Promised One. The vision concludes with Jesus' commentary, defending Mary's precocious intellect as a divine gift of Wisdom from the Word, restrained to avoid drawing undue attention, and likening it to the grace bestowed on other holy children throughout history.
In the eighth vision from "The Poem of the Man-God," dated August 30, 1944, young Mary, dressed in pristine white like snow and adorned with a light mantle and blue ribbon, is solemnly presented at the Temple in Jerusalem by her sorrowful parents, Joachim and Anne, who walk with heavy hearts through the city streets, their tears hidden as they prepare to offer their beloved daughter to God. Accompanied by Elizabeth and Zacharias, they pause in a friendly house where Anne expresses her anguish over returning to childless solitude, yet affirms her willingness, and Zacharias assures them of Mary's care among the Temple virgins, noting her descent from David and potential ties to the coming Messiah. As they ascend the grand steps amid blazing sunlight and silver trumpets, the High Priest welcomes Mary, lays his hand on her head, and leads her inside after confirming her vow, declaring her to walk in his presence and be perfect; swallowed by the Temple's shadows, Mary departs from her weeping parents, who console each other in faith and glory to God. Jesus reflects on this, praising Mary's innate wisdom and purity, her humble anticipation of divine teaching, and urges spiritual perfection in love, generosity, and suffering, emphasizing that her lifelong sorrow, borne with heroic sensitivity, exemplifies true sacrifice for God.
The ninth vision from "The Poem of the Man-God," given on 31st August 1944, describes the peaceful deaths of Jesus' grandparents, Joachim and Anne, whose lives declined swiftly like a winter twilight after presenting their daughter Mary at the Temple. Jesus reflects on their embodiment of Wisdom as per Ecclesiasticus, portraying them as holy figures who endured numerous trials—including political persecution, poverty, delayed parenthood, the pain of separating from Mary, loneliness, illnesses, and material losses—yet remained faithful to God without succumbing to temptation. Their holiness granted them painless experiences in childbirth and death, with Anne's ecstasy in bearing the Faultless One and both passing gently, like stars fading at dawn, comforted by memories and divine assurance. Jesus was invisibly present, whispering sublime words, and their upright consciences ensured a serene transition to Heaven, highlighting that true love of Wisdom leads to eternal life, while emphasizing the priority of duty to God over personal consolation.
In the 10th vision, dated 2nd September 1944, a young Mary, approximately twelve years old, is depicted sewing in a small white room with a view of the Temple and the surrounding city, including the Mount of Olives. Her appearance has matured slightly, with her pale golden hair in braids and dressed in white. As she works, she sings a poetic canticle about a guiding light and song within her heart, originating from the Holy One, expressing her devotion and imploring God to send the Messiah while offering herself as his humble servant. After singing, she kneels in prayer, her face radiating an inner ecstasy that illuminates her surroundings like a blessing. Anna of Phanuel enters, observing Mary's transcendent state, and engages her in conversation, questioning if her prayers are ever sufficient.Mary explains her profound sense of God's presence within her heart, likening it to the Holy of Holies in the Temple, and affirms her destiny to remain a virgin, guided by a divine voice despite the expectations of marriage and motherhood under Jewish Law. She believes the Messiah's arrival is imminent, interpreting prophecies like Daniel's seventy weeks through lunar cycles, and expresses a fervent desire to serve the Messiah's mother, even as a beggar at her door, just to glimpse the Child. Anna suggests Mary might be the Mother of Christ due to her deep love, but Mary humbly rejects this, seeing herself as mere dust and emphasizing the need for purity to welcome the Savior. The vision concludes with Anna embracing the overwhelmed Mary in tears, followed by Jesus' commentary on Mary's grace-filled remembrance of God, her role as the true Ark of the Word, and the divine properties of intelligence shared with saints, underscoring that true knowledge comes through grace, not from falsehood or demonic sources.