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Articles tagged with culture

A Summons to Encounter in Unhurried Beauty

August 23, 2020

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:

 

Can Faith Be Argued?

February 24, 2019

“We begin from faith, not reason. ‘Credo ut intelligam.’ But how does one argue faith?”

A friend recently asked me this question on a Facebook thread. The thread was about the degenerating relationship between the sexes, though the problem is clearly a more general one. That problem is one inherent in human nature and one that the institution of culture address: how do we resolve disagreements? I suspect that most of us, without reflecting on the problem, assume that we reason toward agreement. This would be terrific were it so; but this requires that we share premises and that we are skilled at drawing logical inferences from premises and applying them to particular cases. In other words, it requires that we be virtuous, using charity with our fellows and cultivating prudence.

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Hitchcock and the Power of Anti-Expertise

September 19, 2018

We have the custom of watching one movie a month in the monastery. I pick out the movie, which is to say, we watch a lot of Alfred Hitchcock.

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On Precursors and Crumbling Walls

June 11, 2018

A few weeks ago, I compared Jordan Peterson with the medieval theologian Peter Lombard. I didn’t go into great detail on my own intuition in this matter. After some ill feelings about the analogy, I’ve come to reaffirm it in my own mind.

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Cutting to the Chase Re: Jordan Peterson

May 28, 2018

Internet chatter about Jordan Peterson continues unabated. I was hoping to write a slow and leisurely commentary on the phenomenon of his appearance, but I’m not sure one has that luxury. So I am going to jump in a say what I find hopeful about his ideas and the response to those ideas, and then offer some critiques of the same. Afterward, I may take the time to unpack the different themes in his writing and lecturing, particularly in the ways in which his approach and startling insights can help those of us tasked with spreading the Gospel.

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Why Monks Sing

May 26, 2018

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

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Jordan Peterson and the Life of Faith, Part 2

May 20, 2018

A less-than-favorable review of Dr. Peterson’s recent book Twelve Rules for Life called it a “self-help book from a culture warrior.” Were this an accurate summary, I doubt that I would have finished chapter one, much less the entire book. This description is inaccurate in two ways, both of which expose the corrosive cultural narrative (one that, I think, the Right and Left hold, for the most part, in common) that distorts what Peterson is saying. Let me deal with the idea of a “culture war” first. I propose to do this by comparing Dr. Peterson to one of the West’s most influential authors whom you’ve (probably) never read, Peter Lombard. This comparison will illuminate the reasons why I consider Dr. Peterson’s appearance on the scene to be mainly a hopeful development.

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Liturgy as Everyday Life

May 13, 2018

[The following is from the program notes from our last celebration of Solemn Vespers.]

The Sixth Sunday of Easter is not the flashiest of liturgical events. We’re a good ways out from the euphoria of Easter, but not quite at the Ascension yet. It seems like a good time to step back at think about the liturgy in general.

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Come, Holy Spirit!

May 8, 2018

“With great power the apostles gave their testimony to the resurrection of the Lord Jesus [Acts 4: 33].”

This power that the apostles had was the gift of the Holy Spirit. Just before the Ascension, our Lord instructed them, “You shall receive power when the Holy Spirit has come upon you; and you shall be my witnesses…to the end of the earth [Acts 1: 8].”

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Who “Owns” the (English) Augustine?

October 14, 2017

Fresh takes on towering historical icons like Saint Paul and Saint Augustine are rarer than book publishers would like to claim. This is in part because of the stubborn presence of actual words that any interpreter must confront. Many moons ago, I discovered all of this to my dismay as I labored over a thesis on the Letter to the Romans. I felt decidedly less clever at the end of it all than at the outset. The text of Paul’s epistle had this funny way of funneling my fresh insights back into the common stew of Pauline studies. In other writers, I have sometimes discovered apparently novel interpretations, only to find later on the very same interpretation lodged in a patristic tome of old.

Eventually, one finds this general sense of agreement a comfort, at least if one believes in and is searching for Truth. It would disconcerting, to say the least, to find that the Church has been misreading Saint Paul for nearly twenty centuries, even if one were himself or herself the Vessel of Correction. Most new ideas about the Bible or the Church Fathers have in common a willingness to ignore counter-evidence from those same stubborn texts that rerouted my barque back into harbor.

So it was with no small delight that I read Sarah Ruden’s Paul Among the People some years ago. Amidst teaching assignments at Harvard, Yale, and the University of Cape Town, Ruden has been a prolific author and translator for nearly a decade. What makes her work on Saint Paul so compelling is her awareness of classical culture and her sympathy for the earthy realities of life in antiquity. She is able to depict Paul as a great champion of love and freedom by stripping away the anachronisms accumulated over five centuries of interdenominational debate. She writes with a light touch, an assurance that avoids the preachy or polemic tone.

The reader can imagine how excited I was to see that, after tackling Virgil’s Aeneid and Apuleius’s The Golden Ass, she turned her Latin skills to a Christian classic, Saint Augustine’s Confessions. I’ve begun making my way through it, and so far Ruden’s quirky but compelling take has won me over. I’ve read chunks of Confessions in the original Latin, and I’ve read four or five different translations. Most translations tend to err in the direction of pious seriousness. In my opinion, this is a disservice to Augustine, whose poignant observations on boyhood games and love of puns have slowly charmed me away from the early impression I had of him as a dour, mitered scold. Being not much more of a Latinist than I am an expert in Saint Paul’s Greek, I had been keeping my arriviste opinion to myself. Then I was emboldened by the endorsement of the “unsurpassed biographer of Augustine,” Peter Brown.

Brown’s NYRB review of Ruden’s translation focuses not so much on the changed tone of Augustine himself, but on the effect that this change of tone has on the depiction of God. Since the 1981 publication of previously unknown letters of Augustine by Austrian scholar Johannes Divjak, Brown has made a point of softening the adamantine image of the bishop of Hippo. If you read Brown’s biography (you should!), be sure to read the revised edition that contains Brown’s reappraisal. Browns’ influence is such that scholarly opinion has been following his lead. I want to emphasize here that the interpretation of Augustine as a proto-Puritan with Jansenist scruples is, like the Saint Paul of Luther’s imagination, a modern production. Anyone familiar with Saint Augustine’s “afterlife” in the Western Middle Ages will quickly become aware of the love that both monks and schoolmen shared for Augustine’s prodigious output, and for the man himself. As was the case with Saint Paul, Ruden’s new translation of Confessions is a vindication of the bulk of Catholic testimony regarding Saint Augustine, a genuinely fresh take that succeeds in restoring, in a modern idiom, an older appreciation for his humanity as well as his genius.

Calvin College’s James K. A. Smith will have none of it. I found it a bit disheartening when an intellectual of his status and caliber gave up on Ruden literally after one line. He claims to have been chastised by Brown’s review into questioning himself. This probing self-doubt seems to have lasted about two minutes before he’s back trying to burnish the statuesque, seriously pious Augustine. His big beef? Ruden’s decision to translate dominus as “Master” rather than as the (supposedly) traditional “Lord.” Smith seems to concede that “master” is a legitimate option–for a classicist. But the rest of us, he believes, want not accuracy but a “devotional classic.” It is telling that Smith begins his review openly admitting that when it comes to translations his preferences are nostalgiac and emotional and not rational. And, frankly, it is irrational to insist that Augustine say what Smith thinks he ought to say, based on his queasiness with the (modern, American, contextual) connotations of the word “master.”

Smith does ask two important questions: “which afterlife of words is most germane to the project that Augustine himself is engaged in?  Which history of connotation overlaps with Augustine’s endeavor?” This gets at the heart of my difference from Smith on a number of related issues. Different confessional traditions will answer these questions differently. I would like to think that Benedictines, whose Rule of Life is deeply influenced by Saint Augustine’s own experience as a monk, who read large portions of Augustine’s work–ranging across the different genres of treatise, Biblical commentary, homiletic, and personal letters–at the daily liturgy, and whose institutional history includes at least two centuries of direct engagement with international politics, have as good a claim as anyone to bearing the standard of Augustine’s project/endeavor. From my (Catholic, monastic) perspective, Jean Calvin’s interpretations of Saint Augustine are just those sorts of “new” interpretations that can only exist by suppressing counter-evidence and dissenting voices.

And, in fact, English-speaking Catholics readily use the word “Master” to address God, for example, in the misattributed “Prayer of Saint Francis.” “O Divine Master, grant that I may not so much seek to be consoled as to console…” English-speaking Orthodox will be familiar with this translation of the prayer of Saint Ephraim, “O Lord and Master of my life, take from me the spirit of sloth…”

But more to the point, we are arguing about a word choice in a modern language. Before the Reformation, and for plenty of Catholics since, God is Dominus. It is understood, at some level, that whether we use Lord or Master, what we mean is Dominus or Kyrios (perhaps even Adonai). Whatever connotations have attached themselves to Lord or Master in the past five hundred years, a span in which the English language has largely developed apart from direct influence by Rome or Constantinople, they may well be part of the shared distortion that has afflicted the memories of Saint Paul and Saint Augustine. More power to Sarah Ruden for inviting us to step back from our allegiances and question ourselves.

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