Archives For Worship

Christmas Interruptions

December 25, 2016 — 8 Comments

qaraqoshA bomb has driven worshipers from their churches and homes on Christmas. Ironically, this did not transpire in lands where war currently rages. Instead, it was a British bomb intended to end German lives.

Perhaps you’ve already seen the story?

The weapon was huge, nearly two tons in weight, and it’s explosion would have been no less lethal today than when it was originally dropped.

The bomb, known as a blockbuster, was the largest of its kind dropped by the RAF during aerial attacks on Germany in the second world war. It weighs 1.8 tonnes and, if exploded, could damage all buildings within a one-mile radius.

As I have worshipped and reflected during this Christmas season, the story of this bomb has continued to intrude on my thoughts.

On that first Christmas night a group of shepherds heard music that has now echoed for millennia.

Suddenly a great company of the heavenly host appeared with the angel, praising God and saying, “Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.”

God’s call to peace on earth and his desire for good will among his children—gifts already given to the world in the birth of Jesus—cannot be negated by the weapons of man.

As C.S. Lewis wrote, “Once in our world, a stable had something in it that was bigger than our whole world” (The Last Battle).

Still, in this moment, when this long forgotten and deeply buried blockbuster bomb can disrupt the traditional Christmas schedule, we see a vivid contrast between the good God desires for us and the ill we too often bear for one another?

A Warzone Witness to the Celebration of Christ’s Nativity

The entire world is aware of the genocide of Christians and Yazidis being conducted in the Middle East by Jihadists. This Christmas, however, marked a moment of encouragement.

Two years after being driven from their city by the Islamic State, Christians were able to return to the recently liberated city of Qaraqosh to worship God.

The church structure had been desecrated, but the presence of God among his gathered people, has reconsecrated it.

Christianity in northern Iraq dates back to the first century AD. The number of Christians fell sharply during the violence which followed the 2003 overthrow of Saddam Hussein, and the Islamic State takeover of Mosul two years ago purged the city of Christians for the first time in two millennia. (Reuters)

Despite the hatred some people hold for others, and the violence they inflict, it is encouraging to recognize that no power in this world can defeat the miracle that transpired on that first Christmas Day.

albumHave you ever written something that inspired a musician to compose new music? J.R.R. Tolkien hoped to do so one day, and had he lived to hear the scores of the Lord of the Rings trilogy created by Howard Shore, he would have been in awe.

I was reading Tolkien’s correspondence last week and came across a fascinating letter he wrote to a musician who was requesting permission to write a serious composition based on The Hobbit.

This would have been quite different than the quaint “Ballad of Bilbo Baggins,” made famous by Leonard Nimoy. (I wish their choreographer had read the book, so we could have been spared the tiny T-Rex arms sported during the chorus by the dancers.)

Anyway, returning to more serious musical ventures, in 1964 Tolkien received a request for permission to write a “Hobbit Overture.” It came from British composer Carey Blyton (1932-2002) who would become best known for his song “Bananas in Pyjamas.”

Tolkien’s response to the composer’s query is fascinating, on several levels. First, he is gracious in extending his permission, without any restrictions. And, in 1967 Blyton did compose “The Hobbit” Overture, opus 52a. It appears on the CD, British Light Overtures 3.

Secondly, he shares his unspoken desire that his work might someday inspire music. Then he makes a curious comment about the illustrations of Pauline Baynes, which would similarly grace the work of C.S. Lewis.

After that, Tolkien describes his own, musically impoverished, upbringing. Finally he expresses his deep appreciation for good music, despite his lack of knowledge on the subject.

And Tolkien accomplishes all of this in just a handful of sentences!

You certainly have my permission to compose any work that you wished based on The Hobbit. . . . . As an author I am honoured to hear that I have inspired a composer. I have long hoped to do so, and hoped also that I might perhaps find the result intelligible to me, or feel that it was akin to my own inspiration—as much as are, say, some (but not all) of Pauline Baynes’ illustrations. . . . .

I have little musical knowledge. Though I come of a musical family, owing to defects of education and opportunity as an orphan, such music as was in me was submerged (until I married a musician), or transformed into linguistic terms. Music gives me great pleasure and sometimes inspiration, but I remain in the position in reverse of one who likes to read or hear poetry but knows little of its technique or tradition, or of linguistic structure.

It is common for people of sincere Christian devotion, such as Tolkien and Lewis, to express an appreciation for the divine capacity of music to touch the human spirit.

luteMartin Luther, for example, wrote much about music. “Music is God’s greatest gift,” he proclaimed. He was not only a composer of hymns, but also an acceptable player of the lute, which he used to accompany his children during their family devotions.

Music is deeply intertwined with the heart of Christian worship.

C.S. Lewis on the Subject of Music

One of the modest challenges in contrasting fellow Inklings J.R.R. Tolkien and C.S. Lewis results from the significantly different natures of their literary corpora. While they both wrote fantasy, though of a vastly different magnitude, Lewis’ vocation as one of Christianity’s chief modern apologists necessitated that he defend the faith in diverse contexts. Thus, he wrote numerous essays and a number of texts addressing a wide range of considerations that his friend Tolkien never discussed in print.

Because of this distinction, it is relatively simple to discover what Lewis thought about the nature and powers of music. Typical of the man’s practical orientation, Lewis appears little interested in the abstract attributes of music. What interests him is its confluence with human existence. The following profound insight comes from his essay “On Church Music.”

There are two musical situations on which I think we can be confident that a blessing rests. One is where a priest or an organist, himself a man of trained and delicate taste, humbly and charitably sacrifices his own (aesthetically right) desires and gives the people humbler and coarser fare than he would wish, in a belief (even, as it may be, the erroneous belief) that he can thus bring them to God. The other is where the stupid and unmusical layman humbly and patiently, and above all silently, listens to music which he cannot, or cannot fully, appreciate, in the belief that it somehow glorifies God, and that if it does not edify him this must be his own defect.

Neither such a High Brow nor such a Low Brow can be far out of the way. To both, Church Music will have been a means of grace; not the music they have liked, but the music they have disliked. They have both offered, sacrificed, their taste in the fullest sense.

But where the opposite situation arises, where the musician is filled with the pride of skill or the virus of emulation and looks with contempt on the unappreciative congregation, or where the unmusical, complacently entrenched in their own ignorance and conservatism, look with the restless and resentful hostility of an inferiority complex on all who would try to improve their taste—there, we may be sure, all that both offer is unblessed and the spirit that moves them is not the Holy Ghost.

This discussion about church music is particularly interesting due to Lewis’ personal dislike for much of the music used in worship, which I’ve written about before.

Lewis described his own church music pilgrimage in “Answers to Questions on Christianity.”

My own experience is that when I first became a Christian, about fourteen years ago, I thought that I could do it on my own, by retiring to my rooms and reading theology, and I wouldn’t go to the churches . . .

If there is anything in the teaching of the New Testament which is in the nature of a command, it is that you are obliged to take the Sacrament [holy communion], and you can’t do it without going to Church. I disliked very much their hymns, which I considered to be fifth-rate poems set to sixth-rate music. But as I went on I saw the great merit of it.

I came up against different people of quite different outlooks and different education, and then gradually my conceit just began peeling off. I realized that the hymns (which were just sixth-rate music) were, nevertheless, being sung with devotion and benefit by an old saint in elastic-side boots in the opposite pew, and then you realize that you aren’t fit to clean those boots. It gets you out of your solitary conceit.

In “The Weight of Glory,” Lewis addresses this notion that we must look beyond the music itself, to assess its influence on our humanity.

The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols, breaking the hearts of their worshippers.

For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.

Lewis recognized the deep influence and mystery with which music communicates and inspires. It is no accident that Narnia’s creation itself comes through Aslan’s song.

The Lion was pacing to and fro about that empty land and singing his new song. It was softer and more lilting than the song by which he had called up the stars and the sun; a gentle, rippling music. And as he walked and sang the valley grew green with grass. It spread out from the Lion like a pool.

It ran up the sides of the little hills like a wave. In a few minutes it was creeping up the lower slopes of the distant mountains, making that young world every moment softer.

Returning to “On Church Music,” Lewis expands on the importance of our intentions as we approach music.

It seems to me that we must define rather carefully the way, or ways, in which music can glorify God. There is . . . a sense in which all natural agents, even inanimate ones, glorify God continually by revealing the powers He has given them. . . . An excellently performed piece of music, as natural operation which reveals in a very high degree the peculiar powers given to man, will thus always glorify God whatever the intention of the performers may be. But that is a kind of glorifying which we share with the ‘dragons and great deeps,’ with the ‘frost and snows.’

What is looked for in us, as men, is another kind of glorifying, which depends on intention. How easy or how hard it may be for a whole choir to preserve that intention through all the discussions and decisions, all the corrections and the disappointments, all the temptations to pride, rivalry and ambition, which precede the performance of a great work, I (naturally) do not know. But it is on the intention that all depends.

When it succeeds, I think the performers are the most enviable of men; privileged while mortals to honor God like angels and, for a few golden moments, to see spirit and flesh, delight and labour, skill and worship, the natural and the supernatural, all fused into that unity they would have had before the Fall. . . .

We must beware of the naïve idea that our music can ‘please’ God as it would please a cultivated human hearer. That is like thinking, under the old Law, that He really needed the blood of bulls and goats. To which an answer came, ‘mine are the cattle upon a thousand hills,’ and ‘if I am hungry, I will not tell thee.’ If God (in that sense) wanted music, He would not tell us. For all our offerings, whether of music or martyrdom, are like the intrinsically worthless present of a child, which a father values indeed, but values only for the intention.

At the outset of this column I declared Tolkien would have been “in awe” of the musical score written to accompany the Lord of the Rings movies. Lewis too, I believe, would have been impressed by the scores composed for the three Chronicles of Narnia films made thus far. We owe a debt of gratitude to three composers: Howard Shore,* Harry Gregson-Williams,** and David Arnold***.

An Historical Postscript

In the spirit of Lewis and Tolkien, who appreciated the importance of music, we’ll close now with another engaging quotation from the wry pen of Doctor Martin Luther.

I wish all lovers of the unshackled art of music grace and peace from God the Father and from our Lord Jesus Christ! I truly desire that all Christians would love and regard as worthy the lovely gift of music, which is a precious, worthy, and costly treasure given to mankind by God.

The riches of music are so excellent and so precious that words fail me whenever I attempt to discuss and describe them…. In summa, next to the Word of God, the noble art of music is the greatest treasure in the world.

A person who gives this some thought and yet does not regard music as a marvelous creation of God, must be a clodhopper indeed and does not deserve to be called a human being; he should be permitted to hear nothing but the braying of asses and the grunting of hogs.

_____

* Howard Shore has nearly a hundred credits as a composer, conductor and orchestrator on the Internet Movie Database (IMDb). In addition to the Tolkien cinema projects, he has also worked on a number of other very successful films and ninety-six episodes of Saturday Night Live. Shore won three Oscars for his work on Lord of the Rings.

** Harry Gregson-Williams has nearly a hundred credits on the IMDb, including a number of box office successes, a variety of popular video games, and several productions in the Shrek series. He won awards for his work on the Chronicles of Narnia series and another of my favorite films, Kingdom of Heaven.

*** David Arnold, wrote the score for the third Narnia film, The Chronicles of Narnia: The Voyage of the Dawn Treader. He has seventy-three credits listed on IMDb, ranging from this year’s Independence Day: Resurgence, all the way back to a BBC made for tv picture entitled Mr. Stink.

Do Dads Matter?

September 8, 2015 — 6 Comments

dadsaurusThey most certainly do, if you are discussing the influence of parents on their children’s religious practices.

And, as politically uncomfortable as it may make people, the example of the father appears to exert far more influence than that of the mother.

In 2000, a Swiss study was released that revealed, in part, the way parental faith is transmitted to children. I was reminded of it while reading “Dads Being Dads,” in the current issue of The Lutheran Witness.

A Touchstone article (linked below) analyzed the study. It compared the frequency of worship attendance by parents with the consequential involvement of their children as they matured.

If both father and mother attend regularly, 33 percent of their children will end up as regular churchgoers, and 41 percent will end up attending irregularly. Only a quarter of their children will end up not practicing at all.

If the father is irregular and mother regular, only 3 percent of the children will subsequently become regulars themselves, while a further 59 percent will become irregulars. Thirty-eight percent will be lost.

These numbers sound extreme, don’t they? Some of us will be doing calculations in our minds. In my own family, my mother was a faithful Christian. My father was agnostic. (Actually, he was a practicing atheist who would argue “I believe in God.”)

Of the three kids, I am a regular church attender. Not just because I’m a pastor; since I’m “retired” and have no external obligation to attend. My sister attends occasionally. My brother only for special, family events.

Hmmm, that is merely anecdotal, of course, but my observation of other family histories seems to bear out the findings of the demographic study.

While some readers may wish to challenge the applicability of a Swiss study to other nations, the simple fact that the burden to do so rests on them. The experience in Switzerland is almost certainly common to the rest of Europe and the other increasingly secularized countries of the West.

And, since it is about gender distinctions rather than culture variations per se, it may even correlate to less industrialized contexts.

Just how much more significant is a father’s example than a mother’s?

Even when the father is an irregular attender there are some extraordinary effects. An irregular father and a non-practicing mother will yield 25 percent of their children as regular attenders in their future life and a further 23 percent as irregulars. This is twelve times the yield where the roles are reversed.

Let’s consider that statistic a fluke, and cut it in half . . . no, into quarters. Even if is off by that great a magnitude, it would still mean that in this scenario, a father’s example is three times as significant as mother’s.

The study does not concern itself with the reasons for the disparity, but I have a theory. At the risk of sounding like a traditional dinosaur, as C.S. Lewis described himself, allow me to offer it.

  • Women are inherently more receptive to Christian virtues such as compassion, gentleness, and mercy.
  • Even if their mother discounts worship, the hearts of most girls are still attuned to its song.
  • Christian virtues of forgiveness and meekness resonate less in boys (not just because of their upbringings).
  • If a father goes to church without his wife, daughters will still be inclined to desire to accompany him.
  • If a father stays home, it promotes a boy’s innate suspicion (reinforced by external forces) that “religion is women’s business.”

This doesn’t mean, of course, that single mothers should despair. God is the One who draws us to himself, and he can most definitely do so in the absence of any other positive influences.

This is my prayer of gratitude: God bless faithful mothers.

As a reward for those who read these thoughts to their end, I would like to share one of Lewis’ allusions to himself as a dinosaur. This passage comes from his essay, “De Descriptione Temporum.”

If a live dinosaur dragged its slow length into the laboratory, would we not all look back as we fled? What a chance to know at last how it really moved and looked and smelled and what noises it made!

And if the Neanderthaler could talk, then, though his lecturing technique might leave much to be desired, should we not almost certainly learn from him some things about him which the best modern anthropologist could never have told us? He would tell us without knowing he was telling.

One thing I know: I would give a great deal to hear any ancient Athenian, even a stupid one, talking about Greek tragedy. He would know in his bones so much that we seek in vain. At any moment some chance phrase might, unknown to him, show us where modern scholarship had been on the wrong track for years.

Ladies and gentlemen, I stand before you somewhat as that Athenian might stand. I read as a native texts you must read as foreigners. You see why I said that the claim was not really arrogant; who can be proud of speaking fluently his mother tongue or knowing his way about his father’s house. . .

Where I fail as a critic, I may yet be useful as a specimen. I would even dare to go further. Speaking not only for myself but for all other Old Western men whom you may meet, I would say, use your specimens while you can. There are not going to be many more dinosaurs.

_____

You can read the cited article from Touchstone magazine here.

 

Thanksgiving in London

November 28, 2013 — 4 Comments

thanksgiving ukHappy Thanksgiving. I extend this wish and my goodwill to all readers of Mere Inkling, whatever your nationality.

I recognize that many countries have similar days, during which the population pauses to offer thanks to God for all of their blessings. Whatever its name, a nationwide recognition that we owe gratitude to God’s divine provision is a good thing.

I was thinking today, as I often do, about our years in the United Kingdom, and the hospitality of St. Paul’s Cathedral in London. Each year they open their doors on Thanksgiving as hosts to a wonderful service for “expatriates.”

Although Thanksgiving is a civil, rather than ecclesial celebration, it revolves around prayer. Simple logic says without Someone to “thank,” there could be no thanksgiving.

However, on the civic or “patriotic” side of the ceremony, we expect to see military honor guards and sing various familiar anthems.

And St. Paul’s offers a gracious welcome. Since Britain is “ahead” of the United States in terms of the clock, I actually saw photographs from today’s service already posted to their website. While online, I also saw something I didn’t recall from my visits there. It’s likely I saw it in the nineties, but I found it inspirational to read about the American Memorial Chapel.

St Paul’s Cathedral has a long-standing connection with the American people. At the east end of the Cathedral behind the High Altar is the American Memorial Chapel.

This part of the building was destroyed during the Blitz of World War II and as part of the post-war restoration it was decided that the people of Britain should commemorate the 28,000 Americans who were killed on their way to, or stationed in, the UK during the Second World War. Their names are recorded in the 500-page roll of honour encased behind the high altar. This was presented by General Eisenhower in 1951 and a page of the book is turned every day.

The American Chapel was designed by Stephen Dykes Bower and constructed by Godfrey Allen, Surveyor to the Fabric 1931-1956. The images that adorn its wood, metalwork and stained glass include depictions of the flora and fauna of North America and references to historical events. The three chapel windows date from 1960. They feature themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America’s achievements in space.

In a 1952 letter Lewis illustrates a post-war British opinion about Americans. Many Europeans—Lewis included—had been extremely grateful to the United States for massive amounts of aid sent there to assist with rebuilding. Most American’s are shocked to learn that in many parts of Europe, rationing continued long after the war. (It ceased in 1946 in American, and 1954 in the United Kingdom.)

As you say, we shall no doubt have large numbers of Americans in England for the Coronation, and some of them may not be a good advertisement for your country; but it is an odd thing that I have noticed, that since the war, the type of American visitor we have had is much nicer on the whole than that which came to us between the wars.

I suppose it is that, owing to the drop in sterling, we are now getting the Americans of modest means. And it has been my experience that the rich of any country are usually the least attractive specimens of the nation.

Curiously, Lewis had second thoughts about how his words might be read, and he added his own footnote to the paragraph.

There are very important exceptions. Also, on further thought, I don’t believe much in “French, American, or English people.” There are only individuals really.

In a world that often seems increasingly hostile, it’s encouraging to see the goodwill shared by some members of the international community.

And that is one treasure for which I am very thankful today.

_____

The photograph above features the bald eagle above the American Memorial Chapel altar in St. Paul’s Cathedral.

Face to Face with God

October 28, 2013 — 14 Comments

Jesus with animalsA recent letter to the editor of Lutheran Witness includes a delightful example of the wondrous glory of childhood simplicity.

When our four-year-old son . . . saw a bird outside the window, he commented “I wish I were a bird with wings so I could fly up to heaven and talk to Jesus.” [His parents] asked what he would say to Jesus if he were a bird. His simple reply . . . “Tweet, tweet.”

How gloriously innocent. So unpretentious and joyously pure. I think this captures the essence of what Jesus was referring to when he said “Truly, I say to you, unless you turn and become like children, you will never enter the kingdom of heaven. Whoever humbles himself like this child is the greatest in the kingdom of heaven” (Matthew 18:3-4, ESV).

C.S. Lewis discussed the innocence of children in his essay “The Abolition of Man.” He is discussing the monolithic power of society, or government, in reshaping what it means to be human. God preserve us from those who would redefine and eradicate the very qualities of humanity Jesus praised.

Human nature will be the last part of Nature to surrender to Man. The battle will then be won. . . . But who, precisely, will have won it? For the power of Man to make himself what he pleases means, as we have seen, the power of some men to make other men what they please. . . .

Hitherto the plans of educationalists have achieved very little of what they attempted and indeed, when we read them—how Plato would have every infant “a bastard nursed in a bureau,” and Elyot would have the boy see no men before the age of seven and, after that, no women, and how Locke wants children to have leaky shoes and no turn for poetry—we may well thank the beneficent obstinacy of real mothers, real nurses, and (above all) real children for preserving the human race in such sanity as it still possesses.

But the man-moulders of the new age will be armed with the powers of an omnicompetent state and an irresistible scientific technique: we shall get at last a race of conditioners who really can cut out all posterity in what shape they please.

When you and I stand in the presence of God, our adult words will vary. We’ll all drop to our knees—some in adoration, others perhaps in fear—but what will we say?

I can imagine some of the words that will come to our lips.

“Thank you.”

“Why did you allow . . ?”

“I love you.”

“I despise you because . . ?”

“Hallelujah.”

Or, perhaps, “Why did you delay so long?”*

I suspect we will probably be speechless. Certainly, at first. There’s a song that captures well the mystery that awaits us when we find ourselves face to face with our Creator. It’s more in spirit with the response of the young child who simply tweeted out his greeting to God.

Surrounded by Your Glory, what will my heart feel?

Will I dance for you, Jesus? Or in awe of You, be still?

Will I stand in Your presence, or to my knees will I fall?

Will I sing ‘Hallelujah!’? Will I be able to speak at all?

I can only imagine! I can only imagine!

We used to sing this song at chapel services in southwest Asia. I have often thought it would be very meaningful to record this song in my own voice, to be played at my own funeral (should the Lord tarry).

That’s not nearly as morbid as some might think. It’s a song of praise, awe and wonder, in my rendition I would end it with the words “I no longer imagine,” for my faith in God will have given way to sight.

_____
* The answer to that question is actually found in the Scriptures. From the third chapter of Peter’s second epistle:

This is now the second letter that I am writing to you, beloved. In both of them I am stirring up your sincere mind by way of reminder, that you should remember the predictions of the holy prophets and the commandment of the Lord and Savior through your apostles, knowing this first of all, that scoffers will come in the last days with scoffing, following their own sinful desires. They will say, “Where is the promise of his coming? For ever since the fathers fell asleep, all things are continuing as they were from the beginning of creation.” For they deliberately overlook this fact, that the heavens existed long ago, and the earth was formed out of water and through water by the word of God, and that by means of these the world that then existed was deluged with water and perished. But by the same word the heavens and earth that now exist are stored up for fire, being kept until the day of judgment and destruction of the ungodly.

But do not overlook this one fact, beloved, that with the Lord one day is as a thousand years, and a thousand years as one day. The Lord is not slow to fulfill his promise as some count slowness, but is patient toward you, not wishing that any should perish, but that all should reach repentance. But the day of the Lord will come like a thief, and then the heavens will pass away with a roar, and the heavenly bodies will be burned up and dissolved, and the earth and the works that are done on it will be exposed.

Since all these things are thus to be dissolved, what sort of people ought you to be in lives of holiness and godliness, waiting for and hastening the coming of the day of God, because of which the heavens will be set on fire and dissolved, and the heavenly bodies will melt as they burn! But according to his promise we are waiting for new heavens and a new earth in which righteousness dwells.

The Bible’s Songbook

October 10, 2013 — 15 Comments

psalmistI experienced an embarrassing moment many years ago while taking a broadcasting media course at seminary. I had used a passage from the Psalms as the basis for an assigned devotional, and when the professors (from several different seminary faculties) critiqued it, a distinguished professor dismissively pointed out that I had mispronounced the word “psalm” itself!

I had foolishly pronounced the “l” sound in the word (the way I’d always heard it pronounced). I don’t know whether any of the other students were as ignorant as I, but no one denied that the condescending correction was correct.

The first thing I did upon returning home was grab my dictionary to see if the doctor of theology was right. It turned out, of course, that he was right with how to pronounce the word [i.e. sahm] . . . but he was definitely wrong about how to properly correct a student.

On a more positive note, the Psalms are the foundation and epitome of worship music for Jews and Christians alike. One could read a Psalm each day and since there are one hundred and fifty, when you returned to the first psalm five months after beginning, it would be utterly fresh.

C.S. Lewis enjoyed the Psalms. The following passage comes from a letter written in 1940.

My enjoyment of the Psalms has been greatly increased lately. The point has been made before, but let me make it again: what an admirable thing it is in the divine economy that the sacred literature of the world should have been entrusted to a people whose poetry, depending largely on parallelism, should remain poetry in any language you translate it into.

And glorious poetry it is. The beauty of the songs extends far beyond the family “Lord is my shepherd . . .” And yet, it would be impossible to comprehend the number of grieving souls that have been comforted with the words “Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me.”

Most Christian traditions greatly value the Psalms, and many include them as a portion of the regular service or liturgy. And individuals who include them in the personal devotions are never disappointed.

C.S. Lewis included them in his prayer and devotion. In fact, he enjoyed the Psalms so much that in 1958 he wrote a book entitled Reflections on the Psalms. There he proclaims, “The most valuable thing the Psalms do for me is to express that same delight in God which made David dance.”

The Church has added an immense repertoire to the Psalms during the past two millennia, but they will never be replaced. In fact, many inspired songs owe a major debt to the Psalms themselves. This includes the Odes of Solomon, the first (post-Psalms) Christian hymnal (composed circa 100 A.D.).

Speaking of the Odes, I wrote a thesis on them many years ago, and have been considering writing a book about these treasures. Perhaps I’ll share more about them in the future.

_____

The lovely window pictured above is from a church in Fringford, England. David was likely a bit younger when most of the psalms he composed were written.

Hip-Hop Literary Lessons

April 27, 2013 — 8 Comments

flocabDo you ever have trouble remembering the key elements of a story? Well, you may not now, since you’ve become an accomplished writer. However, there was once a time when you were just learning about such matters. And that learning might have been far easier than it was if some of today’s teaching resources existed then.

This week I stumbled across a very unusual approach to teaching the fundamental building blocks of stories. You might want to bookmark the page, in case you ever experience difficulty remembering those five pesky elements required for your short fiction, or want to teach a young learner. You need look no further than Flocabulary’s innovative lesson “Five Things.”

The song is less than four minutes long, so go ahead and watch it now, before reading on. (Barring a small typo, it’s quite educational, and their website includes testimonials from teachers affirming how well it connects with young people.) Despite the fact that it’s got a hip-hop beat—not my favorite musical genre—it’s actually quite entertaining . . . and it’s easy to see how well it would connect with today’s younger students.

[Warning: If you watch the following video, you may well be singing along with the chorus before it ends.]

Plot, Character, Conflict, Theme,

Setting, yes these are the 5 things

That you’re going to be needing

When you’re reading or writing

A short story that’s mad exciting.

Music is a powerful medium, and when it is harnessed for educational purposes, it can accomplish wonderful things.

Music can be enjoyed for itself . . . its own inherent loveliness.

Music can also be used to communicate holy things. I believe this is the very reason it exists. Divine grace and our response to our Creator’s love are too majestic to be restricted to simple words.

The brilliant African Bishop Augustine of the city of Hippo is cited as saying “he who sings, prays twice.” Many have echoed these words. I have no doubt Augustine believed this, but the more accurate quotation is: “he who sings well prays twice” (bis orat qui bene cantat). Lest those of us with less than professional vocal chords be dismayed, I am confident the “well” here refers here to worshiping God in spirit and truth (John 4:23).

I have no doubt which of these two pleases God more. The most wondrous voice ever created (a gift itself from our Creator) flawlessly navigating three octaves and singing of the cares of this world—or the feeble, cracking, off-key strains of a tone deaf beggar who is praising the Lord for the gift of his daily bread.

C.S. Lewis famously expressed his disaffection for most church hymnody in a 1950 letter where he wrote:

I naturally loathe nearly all hymns; the face and life of the charwoman in the next pew who revels in them, teach me that good taste in poetry or music are not necessary to salvation.

We must forgive Lewis his condescending comment here, which was only meant for a private communication. And, if read in context it can be interpreted almost as a sort of confession. While he disliked the quality of contemporary Anglican hymns, he was acutely aware of how insignificant the matter was in light of the vital importance of  knowing Christ. (His description of the glorification of the modest Sarah Smith in The Great Divorce reveals how well he recognized that the charwoman beside him, despite her musical preferences, could easily dwarf him in holiness and religious courage.)

In a letter written in 1916, Lewis alluded to the wonder of music, and it’s relationship to particular words. “Isn’t it funny the way some combinations of words can give you—almost apart from their meaning—a thrill like music?”

Toward the end of his life, Lewis invested much time in a literary study of Edmund Spenser’s The Faerie Queene. (It was actually published after his death, based upon his notes, as Spenser’s Images of Life. It includes a sparkling description of the book as a musical masterpiece.

A story of this kind is in a way more like a symphony than a novel. Corresponding to the themes of the musical form, the literary form has images, which may be delicious or threatening or cryptic or grotesque, but which are always richly expressive of mood.

The images are in every possible relation of contrast, mutual support, development, variation, half-echo, and the like, just as the musical themes are. But the ostensible connection between them all—what keeps the meddling intellect quiet—is here provided by the fact that they are all happening to someone.

They are all worked into the experience or the world of the characters “whose” story it is. That, no more and no less, is the raison d’étre of characters in the characterless story.

I have no doubt Lewis would have found the video above jarring. Yet, I suspect he would have approved of the fact that the music was creating a bridge to some for whom traditional learning is incomprehensible. He was a traditionalist. In many ways, a medievalist. But he was, above all, a redeemed child of God. And, because of that, he desired the best for his neighbor, his nation, and our world.

That said, I don’t want to hear that any readers of Mere Inkling got it into their heads to put any of C.S. Lewis’ words into hip-hop melodies. Ever!

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If you are interested in checking out the official website for Flocabulary, you can view their lesson “Wordplay” (on figurative language). I understand, however, that some of their lessons with political dimensions have been considered superficial.