Monastery of the Holy Cross

Et Incarnatus Est – The Prior’s Blog

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

He Is Not Here! Homily for the Easter Vigil

On the seventh day of creation, God rested.

From a theological and philosophical standpoint, this is quite a statement: philosophers would say that God’s Being is interchangeable with His acting. There is no separation between the two, and for God to rest seems like a contradiction, in one sense. Jesus Himself said that His Father is always at work. But we see two meanings of it in tonight’s liturgy.

Come to me, all who labor and are heavy burdened. Enter into my rest.

The first is that it is on the seventh day of the week, that Christ, the Son of God—Who is God—rests in the tomb. And we see even more profoundly that this is the cost to God of creation. God’s willingness—His “permissive will”—to open a space for other creatures of reason and will to act, to be free—this is a great risk that God takes, inviting us to act freely, to act reasonably (one hopes). And the cost of this is shown exactly by Christ’s death. This is the price of giving us freedom.

God is not giving up on us, though: in Christ’s Resurrection, which we celebrate tonight, we see an “eighth day” opening up, a new creation. And we are “recapitulating” this action of God.

The liturgy is the manifest action of Jesus Christ in the world. In the document Sacrosanctum Concilium [par. 7], the first document issued by the fathers of Vatican II, it says that the liturgy is the action of Christ, the High Priest. So what are we doing, then?

Well, we the baptized are members of His Body In acting out the liturgy, we are making visible what Christ is doing. When we participate in the liturgy, by our actions and by our attentiveness, we are conformed, body, mind, and spirit, to Christ Himself, Who is acting through us, impressing the form of His own life upon our own, giving us a new life. In celebrating the mystery of His Passion, Death, descent into hell and Resurrection, we ourselves undergo this same experience, in a mysterious way. As Saint Paul says in tonight’s epistle: “if we have grown into union with him through a death like his, we shall also be united with him in the resurrection.”

These are lovely words of comfort and consolation in the midst of, and at the end of, an annus horribilis.

So, how much do we feel—experience—the effects of our resurrection?

Now before you think that I’m trying to give you a guilt trip, implying that we all need to try harder to feel good about our resurrection in Christ, let me assure that I mean no such thing. I’m not here to increase your burdens—I promise you!

For starters, we should never try to engineer our own salvation by works.  And that includes working up happy feelings to prove to ourselves that we are saved. Rather, our salvation mysteriously takes place in the realm of faith, and this may or may not be accompanied by corresponding feelings.

I want to emphasize this particularly because I suspect that many of us have experienced at least a year of ambiguous feelings at best. I imagine that most of us, on the earthly plane, have been feeling helpless, anxious, frustrated, even depressed. And if we associate how we feel with the objectivity of our salvation in Jesus Christ, we probably will end up feeling hopeless besides, judging ourselves unworthy of God’s attention, just at the moment we need God’s solicitude more than ever.

Christ healing the paralytic. Haven’t we all had the experience of feeling paralyzed in the last year?

Most of us have never had quite the opportunity to share in Christ’s death before this year, when we’ve experienced a cascade of sufferings, many of them unforeseen and unpredictable.  The sufferings associated with a pandemic, with quarantines, loss of contact with loved ones, loss of pastimes, travel, and cultural events that lighten our lives, have in turn made the normal sufferings that much harder to bear: the deaths of loved ones, illness, broken relationships, financial hardships, difficulties at work, and so on.

Now with that background, let me return to my central question:

How am I experiencing Resurrection in Christ?

We have been led into the darkened church by the inextinguishable light of Jesus Christ, our brother and our head. We have heard of the empty tomb, and Paul has confirmed what the young man in white told the women inside that empty tomb: He is alive: death is not the end. What will this mean for us when we go forth from this celebration tonight, the celebration of our own resurrection and illumination in faith?

Assuredly, we all have some immediate grasp of what it means to live. I don’t mean merely to be alive and not dead. Rather I mean the experiences of great joy, hope, great encounters with beauty and goodness and love

The best we can say about the life that God gives us after our resurrection is that it in some way fulfills all the best promises that these previous experiences betoken. But we don’t really know what this new life is like until we experience it. There is something incomprehensible—at least at first—about living a resurrected life. Because this is an eternal life, God’s own infinite life, there will always be something about it that is unfamiliar.

We’ll never exhaust the mystery of God. If we feel out of our depth, that might be a good sign—that we are open to God revealing to us a new way to think, to feel, and experience the world.

All praise to Christ our Light!

In the meantime, we continue to live in an in-between state, remaining in the flesh even as we strive to live according to the Spirit. This means that much of the Christian interior life depends on interpretation—we can interpret in one of two ways: the flesh or the Spirit. We can interpret every single event of our lives in these ways, events like we’ve been experiencing.

Two chapters after tonight epistle, Saint Paul tells us that we can set our minds on the flesh or on the Spirit. And that the effect of setting our minds on the Spirit is life and peace.

In this same eighth chapter of Romans, Saint Paul tells us something that should be very comforting. We are heirs with Christ, provided that we suffer with Him. Suffering is not meaningless if it done with Christ. This means that our suffering is not proof of God’s abandonment—far from it.

As the Easter candle went before us into the dark Church tonight, Christ has gone before us into the hell of suffering. He’s gone into the darkness of each of our hearts, and brought His light there. so that when we go into our hearts, and we feel all this difficulty, when we arrive there ourselves, He is there to accompany us, to comfort us, and…to show us the way out.

Christ leading Adam and Eve out of hell, and, in them, all of their children–including you.

Perhaps in years past, when life seemed to be going reasonably well compared to the last few years, we could confuse the good feelings about Easter, natural feelings, not bad in themselves, but still somewhat human and limited, with what a resurrected life of faith feels like. But this year, many of us have had a taste of what death feels like, and consequently, I would think that our experience of the resurrection can undergo two transformations as well.

First of all, it might not feel like previous feelings associated with Easter because we have been more closely conformed to Christ’s Passion. But if this is true, it is also true that we can be more confident this year that Christ has been walking with us through that shadow of death that has been threatening us.

What Pope Benedict XVI said about Christ’s death can be applied both to our deaths and to our suffering:

“Death, the illogical, the unspiritual and senseless…becomes [in Christ’s death] an active spiritual event. Death, the end of communication, becomes an act of communion of Jesus with everyone, and in him, of everyone with everyone.”

We all share the experience of suffering and death.

If we can discover in our recent suffering our communion with Christ’s suffering, we can discover our communion with each and every person who is our neighbor. We can be ambassadors of compassion. And, through suffering in communion with Christ, we can discover our communion with God, which is to say, mysteriously but truly, with our eternal life.  If we can re-enter those places of darkness and find in them waiting for us the lumen Christi, the light of Christ alive and life-giving.

How blessed we are to be together this night, the night of nights, when death was broken and God’s love was poured in our hearts. For the sake of the rest of the church, especially for those not able to be in an assembly tonight, let us welcome God’s love anew. And let us ask the Holy Spirit for to renew our minds, to help us think differently, with the mind of Christ, that we may know how to identify the signs of the resurrection in our lives, to become more and familiar with this inbreaking new life, and to live out of it.

[To listen to a podcast of this homily, click here.]

Monastic Life As an Essential Service

[The following is a slight edited version of a newsletter article from last summer. I am republishing it because of the positive response it generated at the time.]

I had just returned from a Provincial Council meeting a year ago on March 13 when alarms began pulsing through the media about the looming pandemic. We had Solemn Vespers scheduled for Saturday evening the 14th, but as I spoke to the pastor of the local parish and to the brothers, it became clear that we would need to close our doors for the time being and cancel public services. As local and state governments got up to speed with executive orders meant to regulate the quarantine, churches, mosques, and synagogues received the somewhat dismissive label of “non-essential services.”

Monastic life revels in essential tasks like cooking and clean-up–and prayer.

What this label obscured about our cloistered life is that, in fact, little changed in our day-to-day schedule, especially in that which is most essential about monastic life: our dedication to prayer, devout celebration of the Church’s liturgy, and the intensive search for God. If anything, these activities received greater prominence during this time when our guesthouse and Bed and Breakfast were closed, and we didn’t have to attend to the demands of hospitality [N.B. we’re back open!].

As I wrote on our website at the very beginning of the pandemic: “we are all members of the One Body of Christ by baptism, and the reception of Holy Communion by priests at their private Masses nourishes all the members of the Body by virtue of our unity. I have encouraged all of our monks to be aware of this, that our reception of Holy Communion during this time be done devoutly and worthily for the sake of the whole Church and the world.”

So while many Catholics were separated from Holy Communion, we monks had an especially essential service, to celebrate the Mass and be fed by Christ’s Body and Blood on behalf of the whole.

To outsiders then, it may have appeared that the monastery was just another one of the non-essential services shuttered to the public. But in fact, the monastery was the institution within the Church where business went on as usual, precisely because the monastic vocation is essential.

Shortly after entering the monastery, I read a classic book of pre-Vatican II spirituality, The Right to Be Merry, by Poor Clare author Mother Mary Frances. One idea that I found there that truly gripped me was that the powerful of this world often understand the Church better than we do. Proof of this is that hostile regimes typically go after the contemplative monasteries first. In recent times, we have seen examples of this in the Soviet Union and communist China.  The contemplative life is the foothold of the Church militant in our true homeland of heaven. When the contemplative vocation is stamped out, there’s a sense in which the Church can be properly subdued and channeled toward secular ends. As long as monasteries exist, they serve as a reminder that the state is never all-powerful, that we are all answerable to God, the Just Judge.

As we gradually reopen, it is a great blessing once again to be with our friends. I hope that the lockdown experience, though, will be a spiritual goad for us monks to tenaciously hold to the core of our calling, that persistent and uncompromising search for God, the radical desire to empty ourselves entirely that grace may illuminate the Church. Let us together pray for the whole Church, that our sufferings may strengthen the life of Christ in each of us, that we may be voices of consolation, peace, and mercy for all those laboring under the uncertainty of the present.

The “Crisis” of Candlemas

The month of February, despite its brevity, is full of critical liturgical celebrations. I use the word “critical” in a precise sense: “of, relating to, or being a turning point…” according to Webster’s. These turning points were somewhat more transparent in the old calendar, before the invention of “Ordinary Time.”

Giotto’s rendering of the Presentation

I invite you to consider the feast of the Presentation (or, as it is often traditionally called, “Candlemas”), which we just celebrated this past Tuesday. This celebration falls forty days after Christmas and is rich in symbolic associations. It is the Incarnate Word’s first visit to the temple—his temple. In the hymn at Lauds on February 2, we sang,

“Parentes Christum deferent,
in templo templum offerunt.”

”His parents carry the Christ;
in the temple, they offer the [true] Temple.

Aside from the obvious paradox in this poetic line, there is a quiet allusion to Christ’s Passion. Christ is brought to the temple as an offering, to be redeemed on the same mount where Abraham had nearly sacrificed Isaac to God. Not only that, but in referring to Christ as the Temple, the hymnist surely is reminding us of a different exchange. The new Temple of Christ’s Body is inaugurated and revealed through His death and resurrection [cf. John 2: 19-22].

The Magnificat antiphon at Vespers this evening (taken from the Benedictine lectionary for the office of Vigils) once again uses the word temple, but in yet a different sense. Here is the text in full, from 1 Corinthians 3: 16-17:

Do you not know that you are God’s temple and that God’s Spirit dwells in you? If any one destroys God’s temple, God will destroy him. For God’s temple is holy, and that temple you are.

According to the traditional four senses of Scripture, Herod’s temple is the “literal” temple, and Christ’s body is the temple in the “allegorical” or Christological sense. In this quotation, Saint Paul shows us the “tropological” or moral sense. “You are the temple of God! And the Holy Spirit dwells in you!” Thus, the procession on Candlemas, accompanying Christ to the temple, is, in a sense, a procession inward, to the temple that we are. We carry lighted candles, the illumination of the Holy Spirit, into our hearts where Christ wishes to abide.

Candlemas at the Monastery, February 2, 2020

Again, the beauty of this theological reality is accompanied by a serious challenge for us: that we strive to be more and more faithful to our baptismal vows. After all, in our baptisms, we died to ourselves, and we were conformed to Christ’s own Passion, that we might also be conformed to His Resurrection. If we are, with Christ, the temple of God, then we are also an offering to God. Let us, then, today, rededicate ourselves, to “present [our] bodies as a living sacrifice, holy and acceptable to God [Romans 12: 1].” In making this effort, we will undoubtedly discover various resistances to this spiritual renewal, and this in turn will help us to craft a realistic and effective ascetical plan for Lent, only eleven days away.

The world needs spiritual pioneers more than ever. Let us accept God’s invitation and join the saints’ procession to the final temple (the “anagogical” temple), the Church Triumphant in heaven.

Salvation Is Not From This World

[The following is the homily that I preached at the Solemn Profession of Br. Anthony Daum, OSB, on Sunday, January 17, 2021]

At the moment, in the midst of so much uncertainty, even turmoil, there would seem to be nothing more irrelevant than a solemn monastic profession in a small monastery. Of course, anyone who knew Abraham as he set off from the city of Ur [Genesis 12; first reading today] would have felt that his life was irrelevant to the fate of the superpowers of the day, Babylon and Egypt. For that matter, scarcely any first-century Roman of any importance would have seen a group of a dozen Jewish ex-fishermen being of any relevance to the future of the Roman Empire.

In the gospel of Luke, Jesus warns us not to judge events and persons by worldly standards: “What is exalted among men is an abomination in the sight of God [Luke 16: 15].”

So what might be the meaning of our Brother Anthony’s intention to abandon himself to God in the monastic life, and its relevance to us who are gathered here as witnesses?

God made us for Himself, and this means that we have a capacity for God, the capax Dei, as the Latin theologians would put it. This is an amazing, almost unbelievable reality. But it does correspond to our deepest longings. Saint Augustine says that because we are made for God, our hearts are restless until we rest in Him.

Our capacity for God means that our desire is potentially infinite. Any attempt to satisfy ourselves through material comfort, political power, or even good health will fail at some level. Not only that, but any finite thing or condition I obtain still leaves an infinite distance between my desire and its satisfaction.

The temptation for many of us today is to double down on our efforts to secure finite goods, or to fear their loss. This produces no small amount of anxiety; we encounter the interior abyss meant to be filled with divine life and try to fill it with perishing things. In our present world, we have no lack of perishable things dangled before us, promising a relief to our anxiety. And not only that; politicians promise safety, prosperity, and civility. Or, in our contemporary situation, it is perhaps just as likely that politicians warn us that we will lose safety, prosperity, and civility if we vote for the other side.

But whatever is promised to us as a salve for our infinite desire, this promise is ultimately vain. And so it is that our Lord, as well as His disciple Saint Paul, urge us to rethink, to reassess our priorities and desires, to be renewed in our minds and see as God sees.

Far from urging us to a safe and prosperous life, Jesus teaches us that we must lose our lives in order to gain them [Matthew 16: 24-27; today’s gospel]. Just before He gave this teaching, our Lord rebuked Saint Peter for clinging to a worldly mode of thought: “Get behind me, Satan!…you are not on the side of God, but of men [Matthew 16: 23].”

What had Peter done to deserve this rebuke? He expressed a sense of scandal in the idea that the Messiah must suffer many things from the authorities, and to be put to death. And are we not all tempted to think like Peter? We often don’t like to think about the renunciations that God asks of us. Sometimes they seem entirely too difficult.

And yet, from another perspective, is not this truly the gospel, a word of hope and renewal? After all, if we were to rely on our own efforts to solve our present political problems, would we not be on the brink of despair?

What the gospel proclaims is that our salvation, the fulfillment of our desires, comes entirely from outside the flailing pandemonium of our world. All that God asks of us is to live in accordance with the promises we made at baptism, that moment when God’s infinite life was poured into our hearts from outside the world. In today’s Collect, the opening prayer after the Gloria, the Church shows us that solemn monastic profession is a sign that the sanctifying grace of baptism has been and is flourishing mysteriously in the life of this man. His yes to God is a sign of God’s quiet power at work in the world, calling us out of the world.

We will symbolize this dramatically when Brother Anthony lies prostrate beneath a funeral pall as we sing together the litany, invoking the presence of God’s saints who have triumphed before us and are united with us as members of Christ’s Body.

But let me again quickly shift perspective, that this way to God through self-abandonment is only open because God first entered our world as one of us. God comes from outside of this world to reveal to us that our homeland, that yearned-for place of rest and peace, is not found in this world. And if we seek peace, we must turn our eyes again and again to Jesus Christ and His saints. And we must have men and women willing to leave everything behind to show us how this is done, and to lead the way.

Thus our celebration today will move each of us closer to this new and purified world, mysteriously replacing the old world that is passing away, that world to which we cling so desperately as to make life miserable! Freed from the compulsion to seek satisfaction in things of this world, we will be fortified against the temptations to sin that come from anxiety about the world, the temptation to skimp on justice, to give in to anger and sadness, to seek escape in pleasures of the flesh. And as we point others toward our true home, toward genuine rest and peace, may we learn to embrace the sufferings that come with being in this land of exile, that our faith may bring us joy and consolation, and may win many others to Christ.

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

 

A Summons to Encounter in Unhurried Beauty

Prelude 1: Danseuses de Delphes (Dancers of Delphi)

Imagine a healthy person moving slowly. How can you tell if such a person is hesitant, or dawdling, being sneaky, or being solemn? Where someone is attempting to move at a solemn pace, how might we distinguish between genuine piety, sanctimony, and lumbering?

In almost every wedding rehearsal I’ve attended, the priest or minister has had to instruct the bridal party to walk more slowly. We are not accustomed to the solemnity and dignity of well-executed ritual. What makes a hasty bride appear gauche? I suspect that it is related to what George Steiner called “ceremonials of encounter” in his important book Real Presences. As I suggested in an earlier post, all beauty promises an encounter. Do we miss this encounter because we have lost the feel for ceremony?

With these thoughts in mind, I suggest that you listen to this three-minute piece, which was inspired by the “Acanthus Column.” Debussy was familiar with a replica of this column, which depicts the ritual dance of worshippers of Apollo at the god’s shrine at Delphi. In my hearing, this dance also takes the form of a procession toward the shrine.

[image: by Ricardo André Frantz (User:Tetraktys), editing by User:Jastrow – cropped and colour-adjusted from Image:019MAD Room.jpg taken by Ricardo André Frantz, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=3370119]

Danseuses de Delphes is to be played slowly and seriously, and the opening measures are also marked “soft and sustained,” or, perhaps, “elevated.” The piece is an imagined accompaniment to a pagan liturgy. Debussy would have had no direct experience of pagan ritual, so it is safe to assume that he borrows from his experience of traditional Catholic liturgy, with its slow processions and deliberate gestures. He was an admirer of the restrained craft of Palestrina, considering it the true sacred music of the Church. This sense of a public liturgy is reinforced by an interesting performance direction at measure 11 (1:12 in the video), doux mais en dehors, which would indicate something like, “soft but outward,” meaning that the quiet dynamic is not a sign of privacy or introversion. It is a sacred hush, as the dancers move nearer the shrine.

The opening melody is played twice, at :02 and at :37. There is an important difference in the second version. After each of the slow notes of the ascending melody, an echo in the upper register is introduced, almost as if the god has heard the prayer of the dancers and is responding from a distance. At 1:12, a new theme is introduced. In this new section, the melody and echo have switched places, with the high carrying the melody, and the middle range responding. Notice too, that the two parts are now moving toward each other, toward an “encounter.” The high notes descend gently and the middle notes ascend in response. It is very much like the ascent of the Catholic priest to the altar, and his prayer that the Holy Spirit might descend upon the gifts presented there.

The arrival or encounter proper takes place at measures 15-17 (1:34-1:50). Such a beautiful moment! The mysterious music in measures 21-24 (2:13-2:38) perhaps represents the withdrawal of the god back into the sky. 

Let me compare this piece to two other “liturgical” pieces. In the work of Palestrina, the careful balance of dissonance and consonance gives the listener a sense of directionality. Whenever a dissonant interval is introduced, it awakens a desire that finds its temporary resolution in the following consonance. This practice develops within a religion that arises out of a certain “problematic,” the question of sin, alienation, and suffering, which have been overcome so as to point the way to a consummation in the Kingdom of Heaven.

Debussy’s style in the first Prelude abstains from functional dissonance. He uses clusters of notes, but often in such a way as to deepen musical color rather than to suggest an unfinished desire. This suggests a religion that is a mystical projection of simpler desires, not so obviously concerned with questions of justice and suffering.

The lack of any haste or drive in the piece suits the worship of Apollo. His cult was frequently contrasted in the 19th century (most famously by Nietzsche) with the Bacchic, frenetic, emotionally suffused worship of Dionysus. Three years after the publication of Debussy’s first book of Preludes, Stravinsky shocked the world with his very different depiction of pagan liturgy, the Dionysian Rite of Spring. 

The lack of haste suggests reverence and confident self-possession. How does our fast-paced society not only rob us of our personal dignity, but make it difficult for us to show reverence when it is time to pray? Does our rushing about constrain us by betraying a lack of confidence in God’s nearness? What can contemporary Catholic liturgy learn from Debussy’s imaginative scenario, which borrows from an earlier Catholic sensibility?

Might the addition of ceremony into more areas of life also introduce meaning? Many of my friends and family members who are tea drinkers attest to the importance of ceremony in brewing and drinking tea. Nearly everything in monastic life is ceremonialized. Is this a sign of a nervous, controlling culture? Or the expressed desire to encounter?

***

Note: I’ve linked Barenboim’s performance because his observance of Debussy’s instructions is the most scrupulous of the performances that I could find. However, it is always worthwhile to hear others’ interpretations. We should bear in mind that the performed piece is the best interpretation, and that my written comments are only meant to open the ear to the performers’ interpretations, and the eye to the world that inspired (in-spirited) both Debussy and his interpreters.

If you have the time, I recommend listening to each piece two or three times, perhaps in different versions.

 

Here is Palestrina’s most famous motet, on the text (apt, for this post) “As the hart desires after fountains, so my soul desires after You, O God.” The use of dissonance to suggest desire and resolution is clearest where the text anima mea (my soul) appears at 2:13. If you can read the music, you will see that the first syllable of anima is often tied over a barline. When the barline hits, a new note, dissonant with the one being held on anima, creating that sense of tension. Note that the resolution of anima is downward, creating a sense of rest and repose.

And here is Stravinsky’s “Dionysian” ritual. Notice how restraint is gone, and ceremony has been transformed into something fearsome, especially at 3:00. This ritual will end with human sacrifice:

 

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?

The Transfiguration as Divine Enchantment

“Charm is deceitful, and beauty is vain.”–Proverbs 31: 30a

“Through delight in the beauty of these things they assumed them to be gods.”–Wisdom 13: 3

His face shone like the sun.

As I develop the theme of beauty as a revelation of God, it is important to offer some clear theological foundations. Providentially, the Church has provided exactly the right Mystery for this task today, the Feast of the Transfiguration. Let me take this opportunity to name the themes I intend to convey in the coming posts, and how they are explained by the Transfiguration. As the two opening quotes attest, the Bible gives us an ambiguous presentation of beauty. Beauty seduces when misappropriated. The Church’s tradition also teaches that it conduces to holiness, under the right circumstances.

Beauty is Incarnate. God clothes Himself in a body, but this body is precisely what conveys to Peter, James, and John the splendid divinity of the wearer. God communicates through physical signs, and manifests Himself in the material world, as He did in the pillar of cloud and fire.

Beauty is both lucid and opaque. “A bright cloud overshadowed them [Matthew 17: 5].” This image is paradoxical; the cloud is apparently a bright shadow. It is parallel to the sign of God’s presence at the crucial moment of the Exodus: “the Lord in the pillar of fire and of cloud looked down upon the host of the Egyptians [Exodus 14: 24].” This paradox is connected to the “cascade of mysteries” to which I referred in my opening post. Just when a beautiful object seems crystal-clear, it can suddenly appear strange.

Beauty gives us hope by revealing God’s nearness and His ultimate triumph. In a seventh-century homily, Saint Anastasius of Sinai writes, “It was as if [the Lord] said to them, ‘As time goes by you may be in danger of losing your faith.’” To save us from this, the Lord revealed His glory on Mount Tabor. Through the gift of the Holy Spirit, we are now able to hear (or read) all languages–including the language of creation, the natural world–in our own vernacular. “The Lord is at hand! Have no anxiety about anything [Philippians 4: 5-6].”

Beauty gives us hope by revealing our destiny of glory. “Our commonwealth is in heaven, and from it we await a Savior, the Lord Jesus Christ, who will change our lowly body to be like his glorious body [Philippians 3: 20-21].” The Transfiguration is a foreshadowing of what will happen to our bodies, and the bodies of all creatures, when God becomes all in all [cf. 1 Corinthians 15: 21], and “the earth will be filled with the knowledge of the glory of the Lord, as the water covers the sea [Habakkuk 2: 14].”

Beauty demands a moral response. “Jesus came and touched them, saying, ‘Rise, and have no fear [Matthew 17: 7].’” The Apostles had fallen, death-like, on their faces, aware of their smallness beside God’s glory, but the Lord commands them to rise and to continue on their way with Him.

Saint John of the Cross, one of the great poets of the Spanish language, possessed a delicate sense of beauty. He grew in sanctity and earned that sense of beauty through an eight month ordeal of solitary confinement.

Our glorious destiny is by the Way of the Cross. Jesus commands them not to tell anyone what they have seen until the Son of Man is raised from the dead. The full realization of the Transfiguration is reserved for the Resurrection [N.B. Jesus’s appearance after the Resurrection is often “opaque”!]. Beauty is apt to be misunderstood and misappropriated if we desire it without renunciation.

We will recognize the true beauty in all creatures to the extent that our moral response to beauty is a cruciform renunciation. This summarizes the last few points, and it adds one last dimension. It is true that beauty can be seductive, and therefore poses a spiritual danger to us. We can combat this danger by renunciation. There are various ways of going about this. Saint John of the Cross gives us a rule of thumb: if we encounter something beautiful and immediately think of God, it’s safe. Otherwise, we probably need to grow in the virtue of temperance, and specifically in the subvirtue of chastity. By meditation on the Cross, we can learn to be detached from all creatures. The reward of this detachment is that we will come to see all creatures no longer as material for us to possess and manipulate, but as sacraments of God’s presence.

Remember Beauty: God Is Near

Beauty is an epiphany. Encountering someone or something beautiful opens a sudden abyss before me. The arrestingly beautiful object arrives as an answer to a question I had not thought to ask. And yet the answer is not the end, but the door into a cascade of mysteries. In other words, the right kind of aesthetic experience is theological.

Our first experiences of the beautiful are always embodied. They are encounters with real objects: sunsets, the Milky Way, Lake Michigan, forests, cardinals, orchids. Artists use their inspiration and ingenuity to craft beauty in artifacts: paintings, music, cathedrals, gardens, vestments. By a process of abstraction, we can think of ideas as beautiful. For example, I find a number of mathematical equations strikingly beautiful. But this “disembodied” version of beauty is always analogous to the embodied version of beauty.

So we are presented with an important paradox involving beauty. It is, on the one hand, theological and mysterious. At the same time, beauty is embodied and real. I opened by saying that beauty is an epiphany. An epiphany happens when a material object reveals a spiritual meaning. We see the object, and then we also see “beyond” it to significance. Beautiful objects are bridges between the material world and the infinite.

The Fibonacci sequence present in the interior of a sunflower.

For several reasons, I am planning a series of posts on beauty, particularly beautiful music. The goal is not to distract, but to model ways in which we can redirect our focus from the virtual to the real. This idea began with a request from a friend who was encouraging me to write more after my posts of April and May. Then, last week, a pastor from a non-denominational church addressed the brothers on various topics relating to his ministry in a neighborhood that faces challenges of poverty and violence. The two of us briefly discussed the role of anxiety in outbreaks of violence, and he urged me to write more on this topic. I will do that, and one way into this topic is through what the ancient monks called natural contemplation, and what I might call “beauty and the real.”

Beauty is often thought to be a luxury of a leisured wealthy class, irrelevant, say, to a community dealing with with poverty. To me, this sidelining of beauty is a major mistake. Beauty is a patrimony, even a right, of all human beings. More importantly, the loss of beauty produces anxiety and despair, the very ingredients that continue the cycle of violence and poverty.  

Now let me tie a few things together. The visiting pastor shared a number of very helpful insights. He noted that the uptick in violence in Chicago has been fueled, in no small part, by the increase in social media use during the coronavirus lockdown. A key source of harm of the lockdown has been the retreat by larger and larger groups from the real into the virtual.

The Garden of the Phoenix in Chicago’s Jackson Park, a gift of the people of Osaka, Japan.

Remembering beauty can help to bring us back to the real, to ground us. Moreover, beauty can reawaken in us a desire for a genuine life of the spirit. Beauty reminds us that we are made for a life that transcends insipid materiality. Beauty awakens hope, a very important theological virtue for us to cultivate at the moment.

In follow-up posts, I am going to be speaking more about “natural contemplation.” This practice, seemingly forgotten in recent centuries, consists in the habit of seeing things as God intended them to be seen. Since all things were created through God’s Word, all things reveal God, if we learn to view them properly. This would further imply that all things that exist are beautiful at some level, and that the experience of beauty can be a reliable indicator of God’s nearness and the soundness of our best intuitions. Once again, the created world needn’t be reduced to pedestrian materiality, but should instead, through faith and hope, be elevated and “sacramentalized.”

For today, I would invite each of my readers to take time to notice beautiful things around us. Take a few moments to contemplate the beautiful persons you’ve known and the beautiful experiences that you have had. Perhaps you could go further and think about the eternal beauty that the faithful believe awaits us in heaven, a beauty that breaks through even now when we gather to pray and celebrate God in the holy liturgy.

Jesus first manifested His glory by the gift of fine wine at Cana.

Blog Topics

Blog Archives

In This Section