Archives For Worship

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!

_____

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.

Beware of Zoolatry

January 8, 2013 — 17 Comments

royal catWhen my wife and I dated, I praised her beautiful cat when I visited her home. The cat maintained that imperial posture and attitude that is common in virtually all felines. And that came as no surprise, since she was an Egyptian Mau, one of the most ancient of breeds. She passed on long decades ago, but her haughty, regal bearing is etched in my memory.

I thought of her today when I read the following in the December issue of First Things, in the executive editor’s column.

Wandering around the American Kennel Club’s big “Meet the Breeds” event with my two youngest children recently, I saw a big banner in the cat section proclaiming that a particular breed had been considered a god by an ancient civilization. Of course, our understanding of the genuine religious impulses of ancient religions has increased, but still, one of the gifts the Jewish people have brought the world is that no one who knows about the God of Abraham, Isaac, and Jacob is the least bit tempted to worship cats.

I mean, would you want to worship a murderous narcissistic psychopath? This is not an image of God to make anyone happy. If you’re going to worship an animal, why not the Border Collie, frantically eager to please, or the loving, soulful-eyed Lab? Or the alert and protective German Shepherd? Or the indomitable Saint Bernard? Or the classic loyal and even-tempered mutt?

I don’t intend to offend any cat lovers by repeating this observation—my son has an affectionate tabby he rescued as a kitten while a senior in high school, that’s welcome in our home anytime. Still, as an unrepentant dog person, and “papa” to a rescued border collie, the words above brought a smile to me.

C.S. Lewis painted a graphic image of one animal-headed deity. It was Tash, the god of the Calormenes. In The Last Battle, we see that in Narnia, the reality behind the lifeless image can be most terribly revealed.

In the shadow of the trees on the far side of the clearing something was moving. It was gliding very slowly Northward. At a first glance you might have mistaken it for smoke, for it was grey and you could see things through it. But the deathly smell was not the smell of smoke. Also, this thing kept its shape instead of billowing and curling as smoke would have done. It was roughly the shape of a man but it had the head of a bird; some bird of prey with a cruel, curved beak. It had four arms which it held high above its head, stretching them out Northward as if it wanted to snatch all Narnia in its grip; and its fingers—all twenty of them—were curved like its beak and had long, pointed, bird-like claws instead of nails. It floated on the grass instead of walking, and the grass seemed to wither beneath it. . . .

The others watched it for perhaps a minute, until it streamed away into the thicker trees on their right and disappeared. Then the sun came out again, and the birds once more began to sing. Everyone started breathing properly again and moved. They had all been still as statues while it was in sight. “What was it?” said Eustace in a whisper. “I have seen it once before,” said Tirian. “But that time it was carved in stone and overlaid with gold and had solid diamonds for eyes. It was when I was no older than thou, and had gone as a guest to The Tisroc’s court in Tashbaan. He took me into the great temple of Tash. There I saw it, carved above the altar.”

“Then that—that thing—was Tash?” said Eustace.

In our world, idolatry has certainly evolved since it’s pantheistic and zoolatrous beginnings. Today we are tempted by material indulgences and corruptions aplenty. While few of us impute divinity to animals or objects of stone or wood, we don’t have to look far to find something we deem worthy of adoration.

Our favorite idol is neither beast nor mammon. It is ourselves. As C.S. Lewis wrote in The Problem of Pain:

This act of self-will on the part of the creature, which constitutes an utter falseness to its true creaturely position, is the only sin that can be conceived as the Fall. For the difficulty about the first sin is that it must be very heinous, or its consequences would not be so terrible, and yet it must be something which a being free from the temptations of fallen man could conceivably have committed. The turning from God to self fulfils both conditions. It is a sin possible even to Paradisal man, because the mere existence of a self—the mere fact that we call it “me”—includes, from the first, the danger of self-idolatry. Since I am I, I must make an act of self-surrender, however small or however easy, in living to God rather than to myself. This is, if you like, the “weak spot” in the very nature of creation, the risk which God apparently thinks worth taking.

Now, this is a sin to which I frequently find myself succumbing. I far too often think first about my own desires and appetites . . . only later (if ever) becoming concerned with the needs of my neighbor.

No, it’s neither cat nor dog that needs to be evicted from the throne in my soul reserved for my Creator—it’s me.