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Please to read and share.
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Canonization of Cardinal Newman coming on Sunday – more on him from me here.
Images from Praying with the Pivotal Players and Be Saints!
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Yah, by the time you read this, El Camino will either be ready for viewing on Netflix, or close to it. I’m staying away from SpoilerLand all day and seeing it Friday night in the theater (unless I look at the traffic in the afternoon and it’s a mess around Talladega – it’s the big racing weekend, and I-20 goes right by the track. A couple of times over the past few years, I’ve forgotten that it was race weekend, and gone either to or from Atlanta, and gotten stuck. )
So, in any case, if you are interested, come back here late Friday night for my thoughts. I’ll have them, I’m sure.
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Heroes of the Fourth Turning is a play I would very much like to see – and if I did, indeed live in Atlanta and could hop Spirit Airlines to NYC for a hundred bucks, I’d probably do it. But since I don’t and life is fairly busy here, I’ll have to pass and read about it instead. From Chad Pecknold:
The play often works around internal conservative disputes — Bannonist, Benedict Option, Traditionalist — but the deeper undercurrents are those ‘dark and complicated’ mysteries of Catholicism. It is a strength of the play that the conservative and Catholic themes intermingle but never merge into one.
Theologically, the play is ambitious, covering everything from the nature of evil — inexplicable and meaningless disruptions which deprive us of goodness — to the Virgin Mary, to the Eucharist, to pulling human suffering into Christ’s sacrifice. Emily, a character racked by the pain of Lyme Disease, speaks about how each of us is a gift, akin to Christ himself who was “begotten not made.” And in a very important monologue in the play Teresa the young Bannonist tells her friend Kevin that he doesn’t understand the Virgin Mary because he’s “afraid of the scandal of particularity.”
“This is the thing about God. He makes us work out our salvation through other people.”
“We’re not meant to structure our society according to every freakish chosen ‘right.’ We’re supposed to strive for the good,” Teresa fervently implores in her Marian speech, “The particular, written, incarnate, natural Christian good. Otherwise, what are we? A throbbing mass of genderless narcissists. There’s no ‘thisness’ in the liberal future. There’s no there there. It’s empty. What’s really radical is sacrifice.”
Teresa’s political speeches are always theological, and her speech about the scandal of particularity above is precisely in the place of the deer’s blood, which Justin occasionally wipes down throughout the play to remind the audience of the presence of a sacrifice. For Teresa, however, “thisness” seems to keep her on the surface of things. It takes Emily, the Lyme Disease suffering woman whose body she describes as a “prairie of pain,” who breaks into the substance of things, who near the end of the play drags herself across a figure of Christ’s sacrifice, brings her suffering into contact with something real.
The play is remarkable for managing to make progressives and conservatives think about the parts we are playing in history – less Plato’s historical determinism and more Augustine’s “we are the times”. Fundamentally it’s a play which asks about the moral thinness of our present crisis, our “fourth turning,” and asks the audience to break into a bigger conversation about a “terrible beauty which sustains us.”
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One of the long blog posts I have up my sleeve is, of course, about gender. Yes, another one. To tide you over, here’s a philosophical primer from Public Discourse.
Notwithstanding all the talk of people being “born that way,” the gender construct means to release us precisely from the way we were born. This is particularly evident in the most prominent representative of gender theory, Judith Butler, who adamantly rejects the need for any justification for being at variance with one’s bodily sex. For Butler, “gender” is not something we observe in ourselves, whether in our bodies or in our “deep-seated feelings.” It is something we do to ourselves. It is a groundless deed “performed” on ourselves, a sort of self-creation ex nihilo.
Indeed, it is noteworthy that despite the many “naturalistic” references to the lifelong deep-seated feelings of the respondent in the Harris Homes case, they are not used in the Sixth Circuit decision in his favor. On the contrary, there, only the most voluntarist definition of “gender” is used: something “fluid, variable, and difficult to define . . . [having] . . . a deeply personal, internal genesis that lacks a fixed external referent.” What in the end does it matter if someone has a “deep-seated feeling”? Why can it not be just a choice? It is enough that the employee has declared himself to be a woman for him to be one and to be treated as such. “Gender” has effectively vaporized the “fixed external referent,” all the evidence of our birth.
Benedict XVI summed up this final stage of the new philosophy of sex, saying:
Man and woman as created realities, as the nature of the human being, no longer exist. Man calls his nature into question. From now on he is merely spirit and will. The manipulation of nature, which we deplore today where our environment is concerned, now becomes man’s fundamental choice where he himself is concerned. From now on there is only the abstract human being, who chooses for himself what his nature is to be.
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This might interest you. I’m just tossing it out here and will do a deeper dive later.
The Experience of Worship Project – an fascinating project to recreate various medieval liturgies in situ.
What was it like to be in a church in the Middle Ages? What did you see around you? What did you hear, sense and feel? At one level at least, these are unanswerable questions, because the lost past is irrecoverable. But imagination has always been a crucial tool for historians seeking to understand the past – imagination combined with the evidence that can be garnered from what does survive. That is what this research project is about. But in asking these questions, and in combining imagination with evidence in seeking to answer them, it goes beyond the written narrative of historical study: it seeks to address the questions directly by active participation in the processes of making and enacting: enriching a medieval space with the furnishings, artefacts, vestments and books; filling it with the sights, sounds and sensory experience of medieval worship; and populating it by being the people performing and attending medieval liturgies.
A thorough exploration, complete with video, glossaries and explanations of artifacts. As I said – meriting a deeper look.
Pragmatism and practicality had inevitably to be exercised. This was particularly true in the preparation of texts and ritual directions for both clergy and singers. Apart from limited time for rehearsal, there was no hope of achieving the accumulated memory, mores, habits and conventions that medieval clergy and singers took for granted in their recitation of 60 or more liturgies each week. Recitation and singing in Latin may have been attainable, but rubrics had to be adapted and in English. In the Mass, a medieval priest or singer was used to turning to at least three parts of the Missal or Gradual to find the necessary texts; these needed to be placed in sequence. Even so, the three clergy, the four assisting servers, and the singers all have their own ritual narrative to follow; and only the priest and the singers have constant access to a text. Furthermore, up to five different actions may be taking place simultaneously.
In all, three liturgies took place in Salisbury Cathedral, including a major procession around the cathedral and cloisters; and nine in St Teilo’s Church at St Fagans. The audio-visual recordings provide a record not of polished performances but of a fluent working through of these rituals. The procession and two Masses were enacted in both buildings, and revealed some of the challenges faced by local parish clergy, who lacked both the space and human resources of Salisbury Cathedral. The ritual of Salisbury (the so-called Use of Sarum) was used in over 7,000 churches by the end of the Middle Ages, all varying from the cathedral and from one another to a greater or lesser extent in configuration and resources. St Teilo’s is about an eighth of the length of Salisbury Cathedral, yet the same texts and ritual directions were to be followed in both buildings. Where did the priest of St Teilo’s go in procession in a church without the choir aisles and cloisters that are part of the directed route on great feast days? Where, on days when the Gospel was to be recited from the pulpitum above the choir screen, did the two clergy and three servers specified undertake this ritual when the only access to the top of the screen was a ladder – bearing in mind that they were processing formally, wearing vestments and carrying either book, candlestick or thurible? The texts recited and the chants sung may have been identical, but, notwithstanding the directions of the rubrics, the ritual had to be adapted.
Clergy, singers and the furniture, vestments and artefacts they required, formed one dimension of medieval worship at the east end of the church. The people formed the other dimension, unspecified in number, and largely unscripted, in the nave. Most of the participants in the enactments were either engaged in master’s or higher degrees or were research-active staff, and most were practising Christians, Newly constructed great lectern in use, with the 15th-century Ranworth Antiphonal. Photo: Mark Cator. 65 British Academy Review Spring 2019 though from a variety of denominations, traditions and spiritualities. Freed from expectations to follow a book text or to participate actively, they found themselves alert to a richer mix of the sensory, emotional, spiritual and intellectual qualities of worship, including long periods of silence during the Canon of the Mass; to use images or memorised devotional text as a focus, and to be enveloped by the whole experience of worship, thereby discovering new means of participation. Certain moments of engagement proved especially significant, like the kissing of the Pax Board by each person present, often the nearest that medieval laity came to contact with the consecrated bread and wine of the priest’s sacrifice. These were experiences of 21st-century individuals, but they have offered new insights on the artefacts, decorative elements, and devotional texts of late medieval religion
Are you in parish/school or diocesan ministry? Advent is coming! Consider these resources – for Advent 2019, a family devotional I wrote for Creative Communications
Also this pamphlet on St. Nicholas, from Creative Communications as well:
Note: None of those links go to Amazon. Also, these were each written for a stipend, paid and delivered, in some cases (the Nicholas pamphlet), years ago. No royalties come to me from their sales. I’m just happy to share them and hope they help.
For more Quick Takes, visit This Ain’t the Lyceum!
Charlotte was Both 