Judgement
This fragment of ‘The Last Judgement’ by a follower of Hieronymus Bosch was painted some 200 years after Dante wrote his Divine Comedy. It is striking that both artists, evoking the reality of hell, as a matter of course put several mitred prelates in it – indeed, there is even a cardinal’s hat in evidence here in this picture. I don’t think such representation necessarily suggests that high clerics were or are more hellishly inclined than others (although in some cases this may be the case); it is rather an uncompromising reminder of the principle, ‘Every one to whom much is given, of him will much be required’ (Luke 12:48). If one happens to be a bishop photographing this painting, able subsequently to espy, albeit faintly, one’s own reflection in the glass, there among the reprobates, one prays spontaneously for mercy and the gift of fidelity, recalling with gratitude another line of Scripture: ‘The one who calls you is faithful, and he will do it’ (1 Thessalonians 5:24).
As a Child
At first sight, this angel seated in the cemetery outside the Münster of Frauenwörth seems a charming, innocent example of Bavarian Baroque. Only on closer inspection does one notice that he rests his left elbow cavalierly on a skull. Is this a sinister manifestation of the principle, ‘Et in Arcadia ego’? An example of Christians’ obsession with mortality? A superficial observer might think so. I don’t. No, the monument makes me mindful of this lovely reflection by Dom Porion (in Écoles de silence):
‘If instead of being frightened of God we really trusted him, we should fear neither the world nor the flesh nor pain, neither the past nor the future, neither others nor ourselves. We should consider this world as a child considers a ball in his toybox, and a ball of bad quality at that, a ha’penny ball; and we should play with death as with an elderly nursemaid. As long as we trust in God we are agile and strong. The day we lose our trust in God we languish, even if no real danger is in sight.’
Hope
Easter stands for the rebirth of hope. When, as Christians, we say to someone who has lived through terrible things, ‘Don’t lose hope!’, the statement is no vague moral boost, but a pointer to something, someone substantial. To hope for myself is also to have hope for others. Benedict XVI stated this magisterially at the end (§48) of Spe salvi, affirming that ‘no man is an island, entire of itself. Our lives are involved with one another, through innumerable interactions they are linked together. No one lives alone. No one sins alone. No one is saved alone. The lives of others continually spill over into mine: in what I think, say, do and achieve. And conversely, my life spills over into that of others: for better and for worse. So my prayer for another is not something extraneous to that person, something external, not even after death. […] Our hope is always essentially also hope for others; only thus is it truly hope for me too. As Christians we should never limit ourselves to asking: how can I save myself? We should also ask: what can I do in order that others may be saved and that for them too the star of hope may rise?’ This is profound and beautiful theology. It is also (should also be) the foundation of Christian politics.
Mysterium Magnum
When I recently discovered Hugo Rahner’s great work about the Symbols of the Church (with which I once spent much time) in a secondhand bookshop, I rejoiced as if I’d met an old friend. I spontaneously felt like taking the book out to lunch.
Published in 1964, full of hope for the realisation in the present of ancient plenitude, it is a book to re-read now. Its very first sentence is apposite:
‘Since Paul in Ephesians 5:32 wrote the inspired word about the mysterium magnum which obtains between Christ and the Church, we can ever again, in the course of the history of dogma, deduce the Christian integrity and intellectual profundity of a theological system from the way in which, within the construction of the whole, the chapter on the Church is integrated.’
Rising
This icon by the Ukrainian iconographer Lyuba Yatskiv renders with grace the message of a Kanon for Easter Sunday composed by Cosmas of Maiouma (floruit ca. 730).
‘You came down to the depths of the earth to accomplish all your glory; my presence in Adam was not hidden from you; through your burial, compassionate Lord, you have brought new life to me when I was dead. You have opened your arms and joined together what before was parted. You released those who were held fettered in linen shrouds and under gravestones, and they cried out: There is no one holy but you, O Lord!’
Gaudia paschalia! May Christ’s holy Resurrection bring healing and peace to our weeping world!
Rest
The passage from the Letter to the Hebrews which the Church gives us today in the Office of Readings speaks of God’s rest, which evokes the whole atmosphere of Holy Saturday. The profundity of the rest may be gauged from the fierceness of the battle that preceded it. In this interview, Patrick Pullicino – a priest and professor of neurology – proposes a physiological reflection on Christ’s Passion inspired by a careful examination of the Shroud of Turin. There is rich material, here, for mediation in awe and silence. There is also a prompt to make our own the tender, grateful prayer of the final chorus of Bach’s St John Passion, Ruht wohl, ihr heiligen Gebeine, ‘Rest in peace, you sacred limbs; and bring me also to rest.’
Cross
The image of the crucifixion is now so embedded in Christian consciousness — and in outsiders’ perception of Christianity — that we easily forget how long it took to emerge. This panel from the main door of Santa Sabina on the Aventine in Rome is the earliest known representation of Christ crucified made for a devotional purpose. It was produced in the first half of the fifth century. Cicero, voicing a classical Roman’s point of view, had written that ‘the very word cross should be far removed not only from the person of a Roman citizen, but from his thoughts, his eyes and his ears. For it is not only the actual occurrence of these things, but the very mention of them, that is unworthy of a Roman citizen and a free man’ (Rab.Perd. 16). This gives us an idea of the revolution in sensibility that issues from Good Friday. It gradually enabled Christians to perceive the cross as a manifestation of grace and to sing as in a Lauds antiphon this morning: Propter lignum venit gaudium in universo mundo — ‘throughout the world, joy has come through the wood [of the cross]’.
Feet
The Sacred Triduum displays the unfathomable mystery of God’s personal, unique love for each of us. To believe in the possibility of such love, we need to practise it and discern the face, the name, the soul of men and women who can easily seem featureless, obliterated by a fog of prejudice. Someone who practises this art of humanity, and bears witness to it, is Katja Oskamp, whose Marzahn, mon amour: Confessions of a Chiropodist (now available in English translation) is a wonderful book. Oskamp speaks of the vulnerability and shame people feel on revealing their feet to another: ‘Whether they’re labourers from a building site or vain fellows covered in tattoos, whether they’re pregnant or old ladies, spiritual low-flyers or academics, all apologise, the first time they remove socks and shoes, for their feet.’ Her observation sheds light on the significance of the foot washing in the Upper Room, which we enact liturgically, as if for the first time, each Maundy Thursday.
Membra Iesu nostri
As every year, I find myself on Palm Sunday struggling to look ahead. Rationally I know that within a week we shall have celebrated Easter, yet the prospect seems almost unreal given that, between now and then, we shall by means of the Paschal mystery have re-lived liturgically — that is, with high realism — the entire history of the world, seeing it through to fulfilment in the eschaton. In the Ambrosian rite, Holy Week is known as the Hebdomada authentica, the week that sets the measure of all other times. It is a helpful notion. It puts experience in perspective. Where words fail, music can help. I love Buxtehude’s Membra Iesu nostri, the setting of a text attributed (wrongly, probably) to St Bernard of Clairvaux. Through what is largely a mosaic of Scriptural passages, the cantata takes us to the heart of Christ’s sacrifice and the grace it confers. The video quality of this recording with René Jacobs shows its age, but the ensemble’s interpretation is possibly unsurpassed. The text can be found here.
The Cardinal
Otto Preminger’s 1963 picture, loosely based on the life of Cardinal Spellman, was a box office hit, though critics were snooty about it. Bosley Crowther, reviewing it for the New York Times, remarked of the protagonist: ‘The young priest, played by Tom Tryon, is no more than a callow cliché, a stick around which several fictions of a melodramatic nature are draped.’ To watch it again sixty years down the line is to be clementer. It is now so rare in cinema to find representations of Catholic clergy that even approach three-dimensional credibility that one spontaneously awards high marks for effort. The film represents an image of priesthood after which young people today supposedly hanker, though I suspect the situation is in fact more complex. What strikes one most is the fact that the Church (notwithstanding obvious failures of individuals throughout the film) could be portrayed in a mainstream medium back in ’63 as representing, at some deep level, moral authority, be it one against which people railed. This marks such a contrast with the present day that it really makes one sit up — to realise what a task we’ve on our hands.
Remembering Names
The initial wistfulness of Lea Ypi’s memoir of growing up in communist, then post-communist, Albania reveals itself a rhetorical device in the unfolding of a political parable. Ypi exegetes the perfidy of concepts. In her childhood, everything and everyone was labelled. By the criterion of loyalty to Uncle Enver, all things fell into place. Even hairstyles could be described as loyalist or imperialist. The revolution of 1990 caused order to unravel. Ypi, still a child, discovered that many people, including her family, ‘had simply mastered the slogans’ without believing in them. It caused her a trauma. ‘I believed. I knew nothing else. Now I had nothing left.’ The book is an account of her piecing together a sustainable account of society. It is seasoned with humour; but the tragic is never far away. No reader will quickly forget Ypi’s friend who, at fifteen, was trafficked overseas to work the streets of Milan. Or the image of her father, charged with the management of a seaport, manically rehearsing the names of hundreds of Roma workers whom he refused to lay off: ‘If I forget their names, I will forget about their lives.’ The Albanian revolution, writes Ypi, had been ‘a revolution of people against concepts.’ How hard this outlook is to maintain over time.
Existential War?
In today’s audience, the Holy Father firmly condemned the massacre of Bucha, calling again for peace. In the light of what has taken place in Ukraine in the past 48 hours, Sergey Karaganov’s recent conversation with Bruno Maçães, is even more preoccupying. Karaganov, a former adviser to Putin, affirms: ‘Russia cannot afford to ‘lose’, so we need a kind of a victory. And if there is a sense that we are losing the war, then I think there is a definite possibility of escalation. This war is a kind of proxy war between the West and the rest – Russia being, as it has been in history, the pinnacle of ‘the rest’ – for a future world order. The stakes of the Russian elite are very high – for them it is an existential war.’
I find myself thinking of a speech Otto von Habsburg made almost twenty years ago, in 2003, looking eastward and pointing presciently to Europe’s gullibility in taking its security for granted.
To the Heart
In a beautiful brief essay on Beethoven’s Missa Solemnis, Fr Robert Imbelli cites James MacMillan’s claim that it is ‘one of the most deeply Catholic works ever written’. It is also, he adds, ‘a magnificent affirmation of Catholic humanism, accenting at its midpoint the good news, both scandalous and salvific, that God became man.’ Imbelli says it took him a long time to discover this work from within. I had the same experience. For years it seemed to me too bombastic, too full of contrasts, too little like an act of worship. The interpretation that to me unlocked its mystery was Thielemann’s 2010 performance at the Semperoper in Dresden, commemorating the city’s destruction during World War 2. There is a quality of earnest attention in both performers and audience (which includes Mikhail Gorbachov) that is moving and contagious. The soloists proclaim their parts as if they were evangelists. At the end, everyone stands, in perfect silence. Beethoven inscribed the score with the words: ‘From the heart—may it go to the heart.’ And there, suddenly it entered mine.
Lost in Thought
How one wishes that every architect of public policy would read Zena Hitz’s Lost in Thought, part testimony, part manifesto. It’s not only a highly interesting book; it’s an important one. Hitz puts her finger on a sore point in modern Western society: the fizzling out of the meaningful transmission of culture with a resulting loss of sharable criteria for community-building. Among the causes identified is this: ‘Colleges and universities once held central a practice whose success was evident and that therefore provided an endless source of confidence. That practice is called teaching, and it consists in the person-to-person transmission of the habits of mind that underlie all serious thinking, reflection, and discovery.’ Instead, she contends (rightly, I think), university campuses increasingly turn into playgrounds, the distance between staff and students widens, the quality of education becomes less serious, while disconnected prestige academics churn out reams of research ‘completely disconnected from any recognisable human question’. If you wonder what can be done about it, read the book, which is anything but gloomy. Indeed, it explicitly dissuades from ‘the deliberate choice of a miserable existence’.
Only a Little
We’re acutely conscious right now of the role propaganda plays in war. The deployment of information — or misinformation — can be tantamount to taking up arms. Christian Krönes’s portrait of Brunhilde Pomsel, Ein deutsches Leben, released in 2016, when the protagonist was 105 years old, makes for timely, challenging viewing. For having been Goebbels’s secretary from 1942 until April 1945, Pomsel regarded herself, after a lifetime’s pondering, as having been purely incidental to the drama of war. She owned no responsibility. ‘There is no justice’, she remarked, still indignant at having been interned by the Russians in 1945: ‘After all, I’d done nothing except type for Herr Goebbels. Of what lay behind it all, I knew nothing — or only very little. No, I would not see myself as culpable.’ Her long monologue, shot in black and white, shows (by way of counter-witness) what courage it takes to stand aside from the crowd. Only exceptional individuals are naturally courageous. For most of us, courage requires cultivation. On such cultivation the notion of the ‘free world’ depends. Pomsel said: ‘For my part, I am one of the cowards.’
Ubi caritas
In a Lent homily preached more than 1,400 years ago, Pope St Leo the Great said something stirring. Commenting on St John’s assertion, ‘God is love’, he placed the accent emphatically on ‘is’. He exhorted his hearers: ‘Let the minds of the faithful examine themselves. Let them, by truthful enquiry, evaluate the intimate stirrings of their hearts. Then, should they find in their consciences some repository of love, let them not doubt that God is present in them. Let them be ever more expansive in works of persevering mercy in order to be ever better able to put up such a guest.’
To be on the look-out for this effective presence of a personal, divine love in oneself and in others is to awaken to the sacramental nature of existence. It is also to be gradually relieved of the tendency, common to most of us, to mistake means for ends.
Life & Loss
At times of upheaval, it matters, for the sake of understanding, to extend one’s perspective as broadly as possible. It matters no less, at the same time, to focus on particulars, lest the complexity of seemingly insoluble conflicts overwhelm us. We read of soldiers in both the First and the Second World Wars who hankered after the novels of Jane Austen. Cinema can likewise root us in human particulars, revealing their beauty and letting us sense the universal significance within them. A master of this art was Yasujirō Ozu. His 1953 film Tokyo Story, remastered in 2017, is a fine evocation of life and loss, filial failure, selfless devotion, and the uncertainty of old age. Ozu once remarked to a reporter: ‘Pictures with obvious plots bore me.’ Tokyo Story is not a film of action, but its characters are drawn with moving, utterly credible precision. It is a work of high art that challenges viewers to reflect on what is, in fact, of consequence in life. A challenge that, here and now, is of vital importance.
Revolution
Trying to understand the background for the war in Ukraine, we are brought up against deeply troubling realisations. I have been salutarily provoked by the analyses of Professor John Mearsheimer, much cited in recent weeks in a variety of media. It is uncanny to revisit now this lecture, which he gave seven years ago at the university of Chicago, where he occupied a distinguished chair. What strikes me most is his emphasis on the fact that, to a certain way of thinking, it will seem expedient to ‘wreck’ an entire nation to ensure one’s own strategic advantage. James Meek made much the same point in a carefully argued 1 March podcast for the LRB. An agenda that coolly envisages destruction for destruction’s sake is surgically dehumanised. All the more powerful is Archbishop’s Shevchuk’s repeated pleas (here, for instance) for a focus on personhood. What is a Christian response to iniquitous violence? ‘We should do everything possible to express our respect for the dignity of the human person.’ The archbishop calls, not only for Christians’ obedience to Gospel standard. He calls for a revolution of politics.
Of the Brook
The scene of the Annunciation is rendered in any number of wonderful works of art. Dearest to me is that of the Carmelite painter Fra’ Filippo Lippi (1406-69). Rarely have I been to London without stealing time to go and pause before it in the National Gallery. The silent conversation between the Virgin and God’s Angel is depicted incomparably. The essence of this feast, however, the fact that it commemorates the moment in which the Word became flesh, is impossible to render pictorially. For that, we need music. An account is given us in Handel’s Cantata Dixit Dominus, a setting of Psalm 109. The Psalm’s finally verse reads thus: ‘He shall drink of the brook in the way: therefore shall he lift up the head.’ The Fathers found in this phrase a prophecy of the incarnation, of God’s stooping to drink of the water that quenches our thirst along life’s tortuous, beautiful, often painful path. This version, sung by Annick Massis and Magdalena Kožená, takes us as close to the heart of the mystery as it is possible to get by sensory means.
Poetry
Wisława Szymborska was once asked by an aspiring writer to provide a definition of poetry. She answered with kindly irony:
‘A definition of poetry in one sentence — please. We know at least five hundred from various sources, none of which strike us as both all-embracing and pleasingly precise. Each expresses the taste of its own age. Our native scepticism saves us from attempting new definitions. But Carl Sandburg’s lovely aphorism comes to mind: “Poetry is a diary kept by a sea creature who lives on land and wishes he could fly.” Will that do for now?’
From Szymborska’s Advice for Authors, translated by Clare Cavanagh.
Flying
For years I have admired the films of Volker Koepp chronicling life in the region the ancients called Sarmatia, stretching from the Baltic to the Black Sea. The fact that this region is now largely covered by Ukraine give Koepp’s work great relevance. Indeed, I’ve just noticed that his 2013 film In Sarmatien will be re-screened tomorrow in the Akademie der Künste in Berlin at a fundraising event for the Ukraine-Hilfe. The film portrays tensions of a life lived between Russia and Europe. A Moldavian woman recounts how not so long ago her mother tongue, Romanian, for being a Romance language related to Italian, had mandatorily to be written with cyrillic letters. It is chilling, in the light of current events, to hear a young Ukrainian say, nine years ago, that after the hopes raised by the orange revolution, ‘great pressure’ had set in: ‘Everything gets smaller, narrower. There’s straightforward intimidation going on.’ At the end of the film, though, an interviewee maintains: ‘Anyone who carries a sentiment of freedom in the heart, in the soul, can fly.’
Castissimus
‘Being a father entails introducing children to life and reality. Not holding them back, being overprotective or possessive, but rather making them capable of deciding for themselves, enjoying freedom and exploring new possibilities. Perhaps for this reason, Joseph is traditionally called a ‘most chaste’ father. That title is not simply a sign of affection, but the summation of an attitude that is the opposite of possessiveness. Chastity is freedom from possessiveness in every sphere of one’s life. Only when love is chaste, is it truly love. A possessive love ultimately becomes dangerous: it imprisons, constricts and makes for misery. God himself loved humanity with a chaste love; he left us free even to go astray and set ourselves against him. The logic of love is always the logic of freedom, and Joseph knew how to love with extraordinary freedom. He never made himself the centre of things. He did not think of himself, but focused instead on the lives of Mary and Jesus.’
From Pope Francis’s Apostolic Letter Patris Corde, n. 7.
Laughter
Is it licit, even possible, to laugh in the face of tragedy? In a thought-provoking essay in The New Yorker, Adam Gopnik contends that it is. He reflects on the communication of Ukraines’s president Volodymyr Zelensky, that paradoxical politician, whose background is a career in comic acting. He cites something Zelensky said in an interview in 2019: ‘Laughter is a weapon that is fatal to men of marble! You shall see.’ Gopnik muses: ‘Clowns degrade order in order to make us imagine another world.’ This can have a sublime dimension. It is significant that Russia, with its long tradition of absolutist rule, should have produced the singular type of the holy fool. Gopnik’s observations make me think of a remark made by Jonathan Sacks in a broadcast produced at the height of Covid anxiety. He was commending people able to make others laugh about what was going on. For, he insisted, ‘humour is deeply connected to humanity. […] What we can laugh at does not hold us captive in fear.’
Compassion
On 25. March, the feast of the Annunciation, Pope Francis will consecrate Russia and Ukraine to the immaculate heart of the Blessed Virgin Mary. This is a powerful gesture, symbolically charged, right now. The archbishop of Lviv, Mgr Mieczysław Mokrzycki, invites us all to take part in spiritual preparations during the days ahead. In the prelature of Trondheim we use a novena that concludes with the following prayer:
Eternal Father, in the maternal heart of the Virgin Mary you give us an image of perfect compassion with your Son’s saving sacrifice; grant us a heart like hers, and let the Russian and Ukrainian peoples, at her intercession, be blessed in justice with your peace, which is not of this world. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God for ever and ever. Amen.
Mystery Mislaid
At Lauds this morning, I rejoiced on reading one of the preces. Truly a prayer for the present moment! Here it is: ‘Da nos mysterium Ecclesiæ altius percipere, ut eadem sit nobis et omnibus efficacius salutis sacramentum.’ We pray for the gift of being able to perceive – to fathom intellectually – the mystery of the Church more deeply, in order that the Church may more efficaciously be for us and for all a sacrament of salvation. Just out of interest, I looked up the prayer, afterwards, in the English breviary. There it reads as follows: ‘Lead us more deeply into the life of your Church; and through us make it a clearer sign of the world’s salvation’. It’s like boiling good pasta down to mush before serving. The mystery is gone. The sacrament is gone. Perception – the summons to exercise one’s mind so that it might open one’s being to grace – is gone. Instead of the Church, Body of Christ, being for us and for all a sacrament, agency is lodged in us.
In this simple example of sense lost in translation, the source of much current malaise can be found. We should heed, then, the 2. Vatican Council’s watchword and return to the sources.
