Monastery of the Holy Cross

Articles under Music

Life in the Spirit

“For what person knows a man’s thoughts except the spirit of the man which is in him?” [1 Corinthians 2: 11]

When Beethoven was a young man, one of his principal patrons, Count Waldstein, predicted that he would inherit the spirit of Mozart. Music historians will often make statements to the effect that the first half of the nineteenth century in Europe was dominated by the spirit of Beethoven himself, and that the second half was strongly informed by the spirit of Wagner. The negative expression of this latter reality belongs to the iconoclastic composer Claude Debussy, who said that his task was the exorcism of the “ghost of old Klingsor, alias Richard Wagner.”

Beethoven’s spirit is often connected to the rise in democratic movements following the French Revolution. He famously erased Napoleon’s name from the manuscript of the Eroica symphony when he heard that Napoleon had  crowned himself as emperor.

To what does all of this refer? Two aspects come to light. The music of Mozart, Beethoven, and Wagner was experienced by many of their near-contemporaries (and many of us today) as touching on something profoundly true and beautiful. The crystalline perfection of Mozart’s symphonies and the heroic pulses of Beethoven’s symphonies inspired (in-spirited!) many young composers to take up the quill and try their own hand at composing. Musical composition is always a process of interior listening, testing to see how musical ideas imply other musical ideas, and how these in turn touch ineffably on the meaning of the human and divine. When one is immersed in the music of a Mozart, one learns from him how to listen and how to discern the true from the false, the profound from the trivial.

The first practical effect of this discernment is that early Beethoven sounds very much like Mozart’s music. Wagner’s earliest compositions sound eerily similar to Beethoven’s middle and late periods. Notice that Wagner’s music would almost never be mistaken for Mozart’s though. Something has changed with the appearance of Beethoven. This fact points us to the second important idea of the “spirit” of a man. However much Beethoven inherited Mozart’s spirit, as this spirit entered into another  unique individual, Beethoven’s own creativity was quickened into life, an unrepeatable life. Thus emerged Beethoven’s own spirit that he bequeathed to the varying compositions of Schubert, Schumann, Liszt, Brahms, and Wagner.

“God’s love has been poured into our hearts through the Holy Spirit who has been given to us.” [Romans 5: 5]

Wagner’s spirit led him to reconnect with a heroic past in mythology, a similar intuition to that of J.R.R. Tolkien in a later generation.

All the baptized partake of an analogous reality. But instead of inheriting the spirit of a fellow creature, we have received the Spirit of Christ, the Son of God. This is a true inheritance: “all who are led by the Spirit of God are sons of God.” Being led by the Spirit does not mean in any way that we become marionettes, any more than Wagner robotically reproduced Beethoven’s music. The Spirit quickens what is latent in us, and we develop into ourselves. This is why Scripture speaks of the Spirit as both our inheritance, and a pledge of a future inheritance into which we have yet to enter. “[You] were sealed with the guarantee of our inheritance until we acquire possession of it.” [Ephesians 1: 13-14] Led by the Spirit, we are already God’s children and yet something still greater awaits: “Beloved, we are God’s children now; it does not yet appear what we shall be.” [1 John 3: 2]

Who among us is as free as the saint of God?

Just as a composer infused with the spirit of Beethoven learns from studying the master’s work, we will grow in the Holy Spirit to the extent that we accompany Jesus Christ in our daily lives, make Him our model and learn from Him how to discern the true from the false. We do this by participation in His mysteries in the liturgy, by meditating on Holy Scripture, and by recognizing Christ’s presence in His Body the Church. Many of us resist this with a false understanding of what it means to take responsibility for our own lives. Critics of religion will claim that the Church’s morality deadens our individuality, infantilizes us by scripting our own lives for us. But as my examples of composers demonstrate, the spirit of Mozart did the opposite for Beethoven. It freed Beethoven to develop into the great light for so many who came after him. If this is so with the spirit of a man, how much more will the Spirit of the Creator God free us to mature into true individuals, as articulated members of Christ’s Body? As C.S. Lewis well expressed the freedom of those led by the Spirit, “How monotonously alike all the great tyrants and conquerors have been: how gloriously different are the saints.”

Come Holy Spirit!

Prior Peter Funk
Pentecost, A.D. 2021

New Year, New Life: All Hail the Mother of God!

Evergreen boughs abound during the Christmas season. Like the image of the Burning Bush, the evergreen points us toward a mysterious source of life, a current just beneath the surface of our world, bursting through like a hidden spring at certain moments. Amid the entropy of our deciduous (Latin cadere, to fall) world, this inexhaustible font is thus perceptible. The contrast between the autumnal coloring of leaves and the steady greenery of needles, like the contrast between the fixed firmament of constellations and haphazardness of plummeting meteors, speaks to us of a contrast between a permanent world, as yet only hinted-at, and the restless burgeoning and decay of the palpable.

(O wonderful exchange! The creator of the human race, taking a living body, deigned to be born of a virgin; and becoming man without man’s seed, enriched us with his divinity.)

The signs of permanence and stability, the evergreens, the stars, the Burning Bush, appear very much within our world of flux. This is itself significant, for it suggests that our salvation is not so much a separation from the material world as it is a rejuvenation of the very cosmos itself. So says Saint Paul:

“Creation was subjected to futility, not of its own will but by the will of him who subjected it in hope; because the creation itself will be set free from its bondage to decay and obtain the glorious liberty of the children of God.”

—Roman 8: 20-21

It is because of this link between our salvation and the liberation of creation that the prophecies of the Old Testament have retained their value. Even after the Fall, creation has borne traces of its lost transparency as well as its destined rebirth. This is to say that creation itself has continued to point toward God its boundless Source. “Ever since the creation of the world [God’s] invisible nature, namely, his eternal power and deity, has been clearly perceived in the things have been made [Romans 1: 20].”

Danger enters from the darkening of our intelligence that followed on the loss of trust in God. The Tree of the Knowledge of Good and Evil lost its sign value as a marker of God’s love and guardianship of Adam and Eve and became (falsely, by the trickery of the serpent) a counter-sign of a supposed arbitrary tyranny. Once faith has been broken by this kind of mistrust, creation ceases to speak lucidly. We ourselves are tempted to be entrapped by the disintegrative forces unleashed by sin, to try and hold on to creatures whose decay is meant to warn us to return to the source of life.

According the Wisdom of Solomon, our predicament can be thus summarized:

“From the greatness and beauty of created thing comes a corresponding perception of their Creator….as [the pagans] live among his works…they trust in what they see, because the things that are seen are beautiful….But [they are] miserable, with their hopes set on dead things.”
—Wisdom 13: 6-7; 10

Even the chosen people of Israel needed constant reminding of the invisible and immaterial God Who communicates through the visible and material. It is significant (another “sign-being-made”) that in Hebrew, the same word, dabar, means “word” and “thing”—a commingling of the spiritual and the perceptible. The prophets communicated not only by speaking, but by proto-sacramental actions and objects. All of these point to the mystery that we celebrate at the beginning of each calendar year. We see the sudden illumination, not of a lowly shrub on the side of Mount Horeb, but of the human race and all creation by the Motherhood of the Virgin Mary.

We can describe in minute detail how conception takes place, in terms of the mingling of genetic material and the implantation of an embryo in the tissue of its mother’s womb. But can we perceive how a human life, consciousness, the whole mystery of personhood is set in motion by these intricate biological events? Once more we are brought to the boundary between contingent materiality, and the mysterious Source of life itself. This Source has been at work since the beginning of time. Moses and the prophets, culminating in John the Baptist, pointed to its manifestations, celebrated in the antiphons chanted at the Divine Office (I’ve linked to polyphonic versions of these texts, with translation where they aren’t provided with the video on YouTube).

We the baptized have the joy of partaking in it:

“For in the mystery of the Word made flesh
a new light of your glory has shone upon the eyes of our mind,
so that, as we recognize in [Christ] God made visible,
we may be caught up through him in love of things invisible.”
—Preface I of the Nativity

May your New Year be filled with the illumination of the Son of God and His immaculate Mother! May we learn anew how to live sacramentally, pointing others to God’s manifestations in our world today.

Merry Christmastide!

—Fr. Peter Funk, OSB

 

Learning Contemplation With Debussy

After Vigils ends around 4:30 each morning, I make my way from the sacristy through the monastery courtyard toward the cloister. At that dark hour, it is an enchanted place, and the quality of the light changes with the phases of the moon and the cloud cover. Quiet rustlings betray the presence of cats and, sometimes, raccoons or possums. Most mornings, the birds are not yet awake. I enter the cloister, retire to my cell with a mug of black coffee (a caffeinated “sacrament” as a friend and fellow monk from Mexico once put it to me), and begin reading the Scriptures. All the while, I am aware of the slow dawning of the new day, as the morning star appears, the horizon begins to turn grey, and the birds begin their songs. An enterprising squirrel might scamper by on the mulberry tree outside my window.

God’s mysterious beauty is all around. We need not travel far to find it, even in an urban environment. It’s good to be reminded of this. Observing beauty is an urgent task in times of crisis, such as we have been experiencing here in Chicago. I propose this not as a distraction. Rather, as we respond to the pandemic and to violence, it is important to remind ourselves what our hopes are, and few things generate hope like an encounter with the beautiful. How we understand our situation depends on what we choose to occupy our attention. To the extent we delay our encounter with the beauty that God has built into His cosmos, we risk giving ourselves up to despair.

The contemplative life teaches us to notice beauty in places where others haven’t seen it yet. From our own attentiveness, we can learn to point beauty out to others. This is part of my hope in this series, that I can share with you some of the fruits of this attentiveness.

In the first set of reflections, I will enlist the skills of a great listener, Claude Debussy (1862-1918) to assist us. In 1909, he began composing a set of twelve piano preludes. They are masterful evocations, often of everyday settings. Each has a descriptive title, drawing our attention to the wind, evenings scents, footsteps in the snow, cathedral bells, and amateur musicians, busking in the park, serenading at windows.

Until recently, I had been reluctant to admit Debussy’s profound influence on my own musical sensibilities. His style can strike the new listener as intoxicating, perhaps hedonistic. Quotes from the composer himself seem to reinforce this initial impression:

“Some people wish above all to conform to the rules, I wish only to render what I can hear. There is no theory. You have only to listen. Pleasure is the law.”

It’s almost as if Debussy was intending to alienate someone like me, who is suspicious of decadence and who, as an aspiring composer, once spent hours learning theory. Yet, his music has attracted me again and again. And it’s grown profounder as I’ve learned to listen more closely.

“Water Lily Pond and Bridge” by Claude Monet, 1905. Monet’s visual techniques are often compared with Debussy’s musical effects.

Here is a more sympathetic reading of the above quote. When Debussy says that his goal is to “render what [he] can hear,” we should bear in mind that the man speaking is widely regarded as a musical genius, someone who is likely able to hear things that the rest of us cannot. His wish to render what he hears is akin to what a painter does for us visually. A great painting can make the familiar seem new and strange. Monet, a painter whose art is similar to Debussy’s in many ways, could make a haystack seem beautiful by his ability to capture the light around it in varying ways. In a similar way, Debussy will call our attention to nuances in our surroundings. His musician’s ear catches aspects of life that most of us would miss. He invites the listener to reflect on the beauty present in everyday experience.

The older I’ve gotten, the more sympathetic I am to Debussy’s critique of rules. I’ve learned through experience the importance of rules and also their insufficiency for many tasks in life. Wisdom discerns those moments when the rules can be dismissed.

As a young composer, Debussy demonstrated that he could work within the conventions of the time, but he was also willing to dispense with rules of musical theory in order to capture the unpredictable reality of life observed. He also was no dilettante. The Preludes especially are the work of a perfectionist. There are no notes out of place.

The variety and unfamiliarity of Debussy’s individual pieces are responses to the variety and unfamiliarity of life’s experiences. In the Preludes, we hear this strangeness refracted through Debussy’s highly refined ability to hear and notate what he hears. In other words, Debussy had cultivated a kind of contemplative approach to music-making. He is giving us the opportunity of seeing and hearing the world around us with greater precision and insight. 

Before diving into the Preludes, let me leave you with a much earlier and more famous piece, his youthful masterwork, Clair de Lune (moonlight). As you listen, see how the music uses different dynamics (volume levels), registers, and textures to suggest different facets of the moon’s appearance, and the dreamlike traits of moonlight. How do the different textures of music depict the moon’s movement through the night sky? When was the last time we carefully observed the moon, or familiar objects made mysterious by its diffuse illumination? Is Debussy also drawing our attention to clouds or wind or other celestial objects? What does the experience of moonlight say about God?

Form Focuses and Releases Energy

Today is Debbie Reynolds’s birthday. She is the most energetic woman I’ve ever seen on screen. What strikes me whenever I’ve watched her dance is this: her mastery of technique is what makes her energy so intense and infectious. Her poise and carriage are never tense nor slack; she is an icon of the (apparently) effortless channeling of the potential into the kinetic.

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Why Monks Sing

Yesterday, I received an email from Jon Elfner, a friend of mine.  The email read, in part:

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The Transfiguration

“He did not know what to say, for they were exceedingly afraid [Mark 9: 5].” With this little detail, Saint Mark reveals quite a bit about the character of Saint Peter and the human condition in general. Under normal circumstances, we are unprepared to behold the full glory of God, and when suddenly God’s grandeur “flame[s] out, like shining from shook foil,”  it can be a terrifying, disorienting experience.

We have many testimonies of this encounter. One early, telling encounter was that of the prophet Isaiah. Isaiah was a priest and probably had entered God’s temple countless times to offer sacrifice. One day, he suddenly saw in reality what he had been celebrating in shadowy, symbolic ways. “I saw the Lord sitting upon a throne, high and lifted up….And I said, “Woe is me! For I am lost; for I am a man of unclean lips…for my eyes have seen the King, the LORD of hosts [Isaiah 6: 1, 5]!” Isaiah is rendered voluntarily speechless until his lips are cleansed by a coal from the altar.

Similarly, Saint Thomas Aquinas, toward the end of his earthly life, was celebrating the Eucharist as he had many times before. This time was different. Like Isaiah, he glimpsed something of the reality that he had celebrated in the half-veil of sacramental mystery. The author of the Summa Theologica, perhaps the greatest intellectual achievement of all time, wrote no more after this, leaving the Summa unfinished. “All that I have written seems as so much straw,” he confided to a friend.

Saint Peter suffers no such scruples. Beholding Christ transfigured, he was properly afraid. Not knowing what to say, however, he said whatever came to mind. In this, he seems to be of a kindred mindset to modern man. Is it not the case that our incessant talking, the swarming proliferation of words, is so much nervous chatter to cover over our anxiety and alienation? We hardly know what to say, yet we can’t stop talking. In our case, I suspect that silence doesn’t occur to us because our fear is not the result of an encounter with the living God, but with the dreadful possibility of His utter absence.

I began by saying that we are not normally prepared to meet God in the unmitigated power of His limitless Being. What the Transfiguration begins to teach us is that, under the dispensation of grace, in the afterglow of the Resurrection and Pentecost, we live under a “new normal.” We live in the in-between time, the time of the holy Liturgy, after the shadows of animal sacrifice but not yet at the full consummation of the world. The Kingdom of God is breaking into the world that itself is passing away. The baptized, as God’s adopted children, are being trained to “see [God] as He is [1 John 3: 2].” The training of our senses and their elevation to the spiritual realm takes place in the liturgy.

This past June, we were blessed to be able to unveil our two newest icons, the Archangels Michael and Gabriel, flanking the Mother of God and John the Baptist. Gradually, our sanctuary is being populated with the communion of the saints. Icons are not mere representations of model believers. The iconographer truly receives the image from the inbreaking realm of heaven. Iconography is, therefore, an ascetical craft, a discipline of visual listening and receptivity, a training of the interior vision to see beyond the sacramental into the reality of God’s holy court. At the same time, icons train the worshipper to attune his or her senses to this new reality. The icons are a central part of the liturgical act, and as conduits of grace, help to elevate the sense of sight to its proper spiritual register.

Similarly, sacred music is much more than pleasing ornamentation of holy words. As Kevin Allen and I have discussed at various time in our decade of collaboration, the composer of sacred music must, like the iconographer, exercise a discipline of spiritual listening. The aim is, through purification of hearing, to catch something of the overwhelming beauty of the perpetual song of heaven. At Solemn Vespers this coming Saturday evening (August 5, 5:15 p.m.), the First Vespers of the feast of the Transfiguration, Kevin and I humbly offer two new motets in this spirit. We pray that our double motet will be a similar conduit of grace, to prepare our hearts to hear God’s Word in its fullest transformative power.

John the Baptist

The figure of John the Baptist loomed large in the imagination of the early Church. This is a challenge for most Christians today. Sure, no one born of woman was greater than John the Baptist, but wasn’t that under the old dispensation? Isn’t the least in the Kingdom of God greater even than John?

It is noteworthy that John maintains one of the two primary positions relative to Christ the Pantocrator in a traditional Deisis, the triptych of icons that you can see in our sanctuary. This places him, hierarchically, quite close to the Virgin Mary, Queen of Heaven. What are we to make of this?

This is a mystery worth spending time with, rather than a question that admits of one, simple answer. In this short post, I would point out the importance of John as the preeminent prophet, the crown of the great guild that included Moses, Samuel, Elijah, Isaiah, and Jeremiah. Indeed, it is John who goes before Jesus Christ in the very spirit of Elijah, the greatest of the Israelite prophets. John, then, is a crucial link to our Semitic cultural heritage. His testimony to Christ is the fulfillment of the longing of the preeminent representatives of the People of Israel, the longing to see God’s face. “Behold, the Lamb of God!” says John.

John, along with Our Lady, is the model disciple, the one who “must decrease” that Christ may become all in all. Saint Augustine playfully noted that John’s feast falls at the moment when the days start to become shorter, whereas Christmas, the entrance of the “light that enlightens everyone” into the world, corresponds to the lengthening daylight.

There is one other playful aspect of today’s feast, this one directed at anyone who has had to learn the “solfege” method of singing. The hymn for Vespers, Ut queant laxis (and not “Doe, a deer…” from the Sound of Music), is the source of the familiar syllables that name the notes of the musical scale. The first syllables of each line (in bold in the pages below) name the first six ascending notes of a major scale: Ut-re-mi-fa-sol-la. The seventh degree was formed by combining the first letters of Sancte Ioannes, the last line. Later, “ut” became the more common “do” and “si” morphed into “ti.” You will notice that each line of the hymn begins one step higher than the last. Musicologists suspect that the composer of this hymn was the great twelfth-century musical pedagogue (and Benedictine) Guido d’Arrezzo, who invented the solfege system.

Ut queant laxis
resonare fibris
mira gestorum
famuli tuorum,
solve polluti
labiis reatum,
Sancte Ioannes.

(Translation by J. M. Neale)

For thy spirit, holy John, to chasten Lips sin-polluted, fettered tongues to loosen;
So by thy children might thy deeds of wonder Meetly be chanted.

 

 

Pitch

At what point did hominids begin to recognize musical pitch? Rhythm seems much more obvious, since so many of our bodily functions are rhythmic. We breath, we walk, we chew…Most noises in nature are chaotic, when judged by musical pitch. Even birdsong, while beautiful, is not precisely pitched, nor does it often make use of one pitch held for any identifiable length of time. What was the experience of the first person who heard that a sound could be one note? And who discovered the possibility of adding one pitch to another, that two pitches, with a long enough duration for each, could be heard in relation to one another? I would like to imagine this discovery as a revolution in awareness. A pitch emerges as order out of chaos, hints at fundamentals. This primal recognition is so far from us for whom music is a cheap commodity. It is not so easy for us to engage profitably with ideas like the Music of the Spheres or the myth of Orpheus.

Pythagoras achieved an insight when he heard the relations of pitches in the blacksmith’s shop. For the Pythagoreans and for Plato after him, harmony was represented by an enacted by musical pitch. Today, we have discovered that all of the cosmos can be understood as waves in vibration. But we cannot perceive this fundamental order without an accompanying silence.

[The second movement of Beethoven’s Fourth Piano Concerto is often understood as a duel between Orpheus=the piano and the Underworld=the orchestra. Listen to how the piano tames the orchestra and brings the chaotic rhythms and angular pitches into harmony:]

 

Does Chant Style Matter? Part 1

Pray Tell Blog recently posted my review of Benedicta, a CD collection of Marian chants sung by the monks of Norcia. It’s really two reviews in one. One part of me admires the lovely singing, the warmth of tone, and the ringing intonation of the brothers’ voices. On this level, the recording stands up with the better chant recordings I’ve heard. The other part of me is uneasy, however, about some choices the monks made. Among these choices was their use of the “Solesmes method” of interpretation (which, as I understand, is no longer used even at Solesmes Abbey itself), which I identified as part and parcel of the larger problem of presenting the chants without context. The lone comment on the blog suggests that it shouldn’t matter whether the Solesmes method or some other approach is used. What matters is that the music is beautiful.

Even before reading the comment, I was puzzling over what I take to be the importance of getting past the Solesmes method. Is my position truly defensible? Or is it a personal preference? I believe that my position is rational, and therefore to be preferred to a ‘pre-rational’ assessment.

But defending my position will take some work. Let me give an example of the uphill battle we’re talking about here.

I was at a reception after Vespers recently, speaking with two members of our own Schola Laudis. I mentioned to them that one of the things driving my interest in chant and Renaissance music at the liturgy is that I was seeking a rational way to go forward with the composition of church music. I meant by this that we should have reasons for choosing one type of music over another. When it comes to church music, it seems that we are usually content with saying that we want music that is beautiful. Fair enough. Would it be too pedantic of me to ask why we consider some music to be beautiful and other music to be maudlin, ugly, or overly sentimental? Some people consider “Send in the Clowns” to be a beautiful song (me…not so much, though I get its appeal). I personally find the Prelude to Wagner’s opera Tristan und Isolde to be quite beautiful, in its way. These are not, and should not (I think) be models for church music. Many people, on the other hand, find Gregorian chant dull, elitist, hard to understand, difficult to sing with any connection to one’s emotions, etc. Yet church documents make very clear that this style is the basis of our sacred music tradition.

Much of what we take to be beautiful depends on our cultural upbringing and, one hesitates to point it out, on our level of achievement in virtues like moderation, chastity, and humility. Lacking such virtues might lead us to prefer ecstatic music to sober music, manipulative music to ordered music, or simply music that we liked as children to music that adults tell us we’re supposed to like when our tastes develop a bit more.

Therefore, simply saying that music ought to be beautiful is not specific enough. Church music needs to be beautiful to certain types of persons. And those of us who are not yet those sorts of persons need to be able to make an act of faith that the beauty of such music will become more apparent as we grow in virtue and knowledge. Furthermore, I think that it is reasonable, based on experience, to hope that exposure to “virtuous” music will actually assist us in growing in virtue (this argument goes back at least to Plato, though it is much contested). We have more likely been exposed to the opposite phenomenon, someone descending into vice accompanied by depressing, libidinous, or cruel music.

What remains, then, is for me to explain why the approach taken by the Norcia monks is delightful on one level, but, in my opinion, does not quite approximate the beautiful in the fullest sense. Furthermore, I should be able to show that their recording falls somewhat (not entirely, mind you) short of what it could have been because of specific choices that they made: the use of the Solesmes method, and the somewhat random manner in which the chants were selected (random with regard to liturgical rationales). These proofs will have to wait for a later post.

Bonus tracks: Prelude and Liebestod from Tristan und Isolde…music that is not quite chaste, deliberately eliding tonal boundaries in a manner uncomfortably parallel to the elision of marital boundaries in Wagner’s personal life at the time of its composition. He was falling in love with Mathilde Wesendonck, and perhaps carrying on an affair with her. Wagner’s indiscretions resulted in his separation from his wife Minna.

Here’s my example of ‘ecstatic’ music, “Giant Steps” by John Coltrane, a piece not without its own kind of beauty and order, yet clearly not in any way a model for church music.

And surely you didn’t think I’d leave you without “Send in the Clowns…”

 

 

The Experience of Emotivism, Virtue, and Rationality

What d’ya say? Let’s move the discussion about emotivism out of the abstract and into the concrete. What is it like being an emotivist? How do I know when I’m acting like one?

I decided to take up this topic once again because of three separate instances in the past week or so. The first one directly involves me. I was preparing to go to the sacrament of confession. During my examination of conscience, I came upon an old, all-too-familiar sin. I’m tired of battling against it, occasionally discouraged by my inability to make much apparent progress. But what happened next was interesting. I noticed that there was a very subtle stirring inside that suggested to me that what I needed to do was feel worse about this sin. And feeling really, really sorry, really upset with myself…well, I suppose the idea is that my behavior will magically change if I change my feelings.

Well, it doesn’t actually work for me. Does it work for you?

One of the looks of ritualized contrition.

One of the looks of ritualized contrition.

Once you start thinking about this meme, you find it all over. We try to convince each other of our sincerity (especially when we let each other down) by furrowing our brow, biting our lip, getting bleary-eyed. The template for this in my world will always be President Clinton. This is not a criticism of the ex-President. When he felt our pain and acknowledged “not feeling contrite enough,” he was doing what a leader should do–in an emotivist world. Media figures and fellow politicians wanted to make sure that he felt bad, and he needed to make sure that we knew that he felt bad. And it’s become something of a public ritual ever since. When a celebrity (Lance Armstrong, Tiger Woods, Paula Deen) messes up, he or she is expected to go on camera and exhibit signs of sorrow.

What other route might there be? Keep in mind that contrition is a condition of absolution in the sacrament of penance. So there is nothing wrong with the feeling itself. It can be a sign of a healthy conscience. The difficulty is that these feelings may or may not actually have an effect on future behavior. If you’ve ever dealt with (or are an) an alcoholic, you know this. Caught lying, the addict may well feel completely miserable and sorry. But the lure of alcohol and drugs typically overrides the feelings eventually. So generating correct feelings is insufficient for changing behavior.

What I recommend instead is truth and preparation. By truth, I mean what twelve-step programs mean by steps four and five: making a searching and fearless moral inventory of ourselves and stating the exact nature of our wrongs. By preparation, I mean that we learn what situations trigger our disobedience, and make a decision to act contrary to our inclinations when temptation presents itself.

Let me give another concrete example of emotivism.

A common complaint about liturgy is that those attending “don’t get anything out of it.” This sort of rhetoric tempts pastors to make the liturgy more interesting, to see it as a service that they provide to consumers whose desires need to be accounted for. And what are the consumers hoping “to get out of” the liturgy? I can’t say for certain in every instance, but I can speak from my own youthful experience. I thought that church ought to make me feel better about myself, others and the world, that it should inspire me to be a better person. I should walk away from the liturgy with different feelings. This is how many of us gauge the effectiveness of many, if not most, public and private encounters. Success means feeling good, and feeling crummy means that we are doing something wrong.

But does it? This is a highly questionable idea.

Marsalis with another consummate pro, Renee Fleming. There are many hours of dull, hard work behind their effortless musicality.

Marsalis with another consummate pro, Renee Fleming. There are many hours of dull, hard work behind their effortless musicality.

When I was studying to be a professional musician, I typically practiced three or four hours at the piano every day by myself. I did not enjoy this for the most part. Wynton Marsalis likes to refer to practice as The Monster. Every day, musicians have to get out of bed and confront the monster and slay it. The payoff comes when, after years of slaying monsters, one plays the trumpet like Wynton Marsalis or sings like Renee Fleming. In the meantime, though, one must act contrary to one’s feelings, rather than taking feelings as any kind of objective measure of one’s moral state.

Similarly, in a marriage, when a spouse becomes debilitatingly ill or a child develops a major behavioral issue, dealing with this situation will often require mastering one’s immediate feelings of disgust at sickness, resentment at having to set aside personal goals, and fear that things may spiral out of control. These feelings must be opposed because to give in to them would be to act wrongly, to fail in one’s duties and responsibilities to others. Nursing an ailing loved one can be exhausting, no fun at all. But it is beautiful. When we witness this kind of sacrifice, we recognize it as true and good as well. But to accomplish this sacrifice, we must be prepared to act contrary to our feelings, rather than having our feelings somehow demand of others some kind of compliance (as is the case when we want to “get something out of the liturgy”).

These kinds of routine decisions to act in accord with the truth, with the demands of beauty and goodness, change us into different persons. Our identities become completely wrapped up in the repeated good action, and we become virtuoso trumpeters or faithful spouses, beloved brothers. We have become virtuous, having the ability (Latin: virtus) to choose the truly good, the truly beautiful even when others can’t see it. Here’s the hitch. As we are changing, we are likely at times, perhaps often, to feel “inauthentic.” That is to say, we will miss our old selves. What it’s actually like to be a virtuoso or a faithful spouse is at first an unfamiliar experience and requires us to act in ways that feel insincere.

In an emotivist world, the great sins are inauthenticity and insincerity, the great virtues sincerity and authenticity. Thus, it is difficult for an emotivist to make any headway in any kind of human excellence. Let me end with a quote from Lionel Trilling on what this might mean [emphasis added]:

“At the behest of the criterion of authenticity, much that was once thought to make up the very fabric of culture has come to seem of little account, mere fantasy or ritual, or downright falsification. Conversely, much that culture traditionally condemned and sought to exclude is accorded a considerable moral authority by reason of the authenticity claimed for it, for example, disorder, violence, unreason.”