Tag Archives: Music

Trinity as Story and Song

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eucharist1When we talk about the Trinity as a doctrine consisting of three Persons in one Deity, we tend to feel that we have grasped it to some degree. That is the way it is with concepts and doctrines. But the Trinity is a story much more than it is a doctrine. (See The Infinite round Dance.) As a story, the Trinity is no more graspable than the wind as Nicodemus found out. That is the nature of stories: to be ungraspable. Try to grasp anything in a story and you lose everything but the fragment you grasp. Might as well grasp at a note or two of a song and try to get a hold of the song. The story of the Trinity is the story of the Paschal Mystery, told succinctly in the famous verse, Jn :17, that God sent God’s only Son out of love for the world so that the world would not be judged but saved. In the sending, the Spirit acted out the bond of love between the Father and the Son. The Trinity also enters into the stories of each and every one of us as, through the Spirit, we cry “Abba! Father!” So it is that the Spirit makes us joint heirs with Christ. Paul tells us that as the Spirit enters our stories, we participate in Christ’s suffering and glory so that our own sufferings are shared by Christ and Christ’s glory becomes ours. After the threefold cry of “Holy!” in the temple, the Spirit sends the prophet Isaiah as the Father sends the Son and the Holy Spirit. Like Isaiah, we are sent by the Son and the Spirit to each other.

The Trinity as story shows us that a person is not a rugged individualist but is, in its very essence, a person is relationship. No relationship, no person. Our analogies with stories and music help us again here. The words of a story or a poem have very limited meaning individually but they take on much meaning in relationship to one another. The same is true with individual notes becoming a song when joined one to another. A triad is made up of three notes but it is one chord. The Persons of the Trinity hold nothing back from one another and ideally neither should we with one another. Trying to grasp our non-existent individuality is like trying to grasp a story or a song or the wind. If we are to be ourselves, we must let go as the Persons of the Trinity are always letting go so that we always go where we are sent whether it is halfway around the world or—as is most often the case—to the person next to us.

Rivalry over Pure Music

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angel trumpetMark Evan Bonds’ book Absolute Music: the History of an Idea deals with the most fundamental question in musicology. There are many music lovers for whom the subject is meaningless but some music lovers, including me, like to reflect on these matters. These days, music appreciation courses routinely teach the distinction between absolute music and program music. The latter paints a picture (say, a lake) in tones or tells a story (such as in Dukas’ “The Sorcerer’s Apprentice.”) The former doesn’t refer to anything beyond itself. The basic question, though, is whether or not music is its own isolated world, manipulating tones with no reference to anything else at all, or is related to the world in some way. This latter possibility could suggest that, say Schubert piano sonatas express emotions even if they are hard to define in words.

The title might lead a potential reader to think that Bonds is defending absolute music. That is not the case. Bonds is studying the history of this idea and along the way leaves us with an argument that a commonsense position that music is its own world but connects with phenomena elsewhere in the world. Central to this study is Edward Hanslick whose book Von Musikalischer-Schöne is pivotal to the debates it touched off, although Hansklick was neither the first by a long shot nor the last to make the argument he made (which Bonds examines at length.) (Sorry, the German title is hard to translate; it means something like “the musically beautiful.) Hanslick’s book did have the merit of being lucidly written in a field of thought that produced turgid and obscure tomes. Hanslick’s arch-enemy was Richard Wagner who lampooned Hanslick in the character of Beckmesser in Die Meistersinger.

Bonds’ own writing is very lucid and a great pleasure to read. One does not need to have technical knowledge of music to read this book. The key terms are clearly defined to help the reader understand the debate. There is also much about the characters of the principal debaters of what became the most intense musical debate in Europe for several decades in the 19th century. What the personal element shows is that the heat of debate distorts clear thinking and leads to exaggerated positions that get derailed from common sense and the evidence. More important, the debaters simply failed to understand accurately what their opponents were saying. Bonds traces the debate to the point where some reconciliation (for the time anyway) took place and even shows evidence of softening on the parts of Hanslick and Wagner. And yet neither could get over their personal animosities enough to admit publicly the changes in their positions, let alone reconcile with a hated adversary.

The personal elements in this debate interest me as my study of the thinking of René Girard and his colleagues has given me a keen interest in the phenomenon of what Girard calls “mimetic rivalry.” In light of Girard’s thinking, another personal element stands out for me. Hanslick began writing his book in the wake of the revolutions of 1848-9. This turmoil, climaxed for him by witnessing crowd violence that killed a hapless victim, motivated Hanslick (in Bond’s judgment as well as mine) to find in music a pure refuge from such human turmoil. This shows up in Hanslick’s insistence on the purity (reinlichkeit) of music. This same thing happened in the twentieth century. During and after World War I, there was a strong movement to absolutize music, to isolate it from human affairs. Igor Stravinsky was a ringleader here. That is ironic. His ballet The Rite of Spring (premiered in 1913) can be seen a prophecy of the sacrificial bloodshed about to tear Europe apart. After the war, Stravinsky insisted that it was an abstract symphonic poem. This same kind of thing happened after World War II with another wave of insistent manifestos that tried to tuck music into isolated boxes.

As for me, a Schubert piano sonata is a world with its own beautiful musical argument that spills out into the worlds of real human hearts. Maybe this is a bit fanciful, but there are times when I think Schubert was subtly undermining the Austrian Empire in his dramatic shifts of keys and the uncertainty of which end was sometimes up.

Mimetic Desire and Truth (2)

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yellowTulips1We tend to think our likes and dislikes and beliefs and unbeliefs are our own. “I like apple pie.” “I hate pickles.” “I believe that Jesus rose from the dead.” “I don’t believe in a conspiracy of interplanetary lizards to take over the planet earth.” As I admitted in my first post in this series, I reflexively think in these terms in spite of all the reading and reflection on mimetic desire that I’ve done. But if desire is mimetic, then all of our likes and dislikes, beliefs and unbeliefs are connected with those of other people.

There is, of course, a distinction between appetite—our bodily needs and gut reactions to various things—and desire, which is mimetic, but pinpointing the distinction in our ongoing experience is sometimes tricky. We all need to eat, but the specific foods we desire are colored by desires of others for specific foods. What we eat may depend on what is available, but when there is a choice, although individual preferences may be present, the desires of other people tend to make some foods more desirable than others. My parents encouraged a desire for roast beef and shrimp. The former never take that much but the latter sure did. Even so, during an impressionable period of my life when I was just starting to live into my conversion back to Christianity, a couple of my best friends were so strong on the desire for steak that I fooled myself into falling in with their desire when I really would have preferred crab cakes. I wasn’t really put under pressure or anything; it was just the ambient desire trumped what I more naturally liked.

In non-rivalrous situations, this imitation of desire is not a problem and is often a good thing. It was the sharing of a desire for good music in the church choir I sang in as a boy that awoke my own interest in music. One could speak of this as an individual choice in that not all choristers got interested in music to the extent that I did, but following up this interest brought me into the community of music lovers. Books, such as The Victor Book of the Symphony and people I knew introduced me into the “canon” of classical music and instilled in me a desire for the symphonies of Beethoven and Brahms and others. I was dismayed and disappointed when the Symphonie-Fantastique by Berlioz didn’t take and it leaves me cold to this day. In those days, Gustav Mahler’s canonicity was in dispute until Leonard Bernstein put him in the composers’ hall of fame so I had to make a choice. It was a no-brainer as soon as I heard one of his symphonies.  Even so, my growing sense of what I liked and disliked was never unaffected by the mimetic desire floating about in my musical ambience. When a sophisticated friend of mine dismissed some great works, it was difficult for me to see beyond his prejudices and get a sense of what was true about the music.

It is also more possible to see the truth of other people in a non-rivalrous situation than one fraught with rivalry. In such a situation, two young men can appreciate the qualities of the young woman who is currently coupled with his friend, sharing gently in his friend’s desire but not becoming a rival. This is the situation in the beginning of Shakespeare’s The Winter’s TaIe. Polixenes appreciates the qualities of his friend’s wife Hermione without envy, but Leontes projects is own jealousy on his friend with terrible results. That is, with the entry of envy and rivalry, the truth ceases to be expansive and shared; it becomes distorted. I will examine this distortion in my next post in this series.

Continue on to Mimetic Desire and Truth (3)

See also Mimetic Desire and Mimetic Rivalry

A Miserable Gospel

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sideAltarsIcons1Victor Hugo had turned away from the Catholic Church because of its indifference to the poor when he wrote Les Miserables and the book was condemned by the Church when it was published. Yet the novel is deeply imbued with the Gospel and some Church figures are strong witnesses to it. Go figure. Better yet, go see the movie of the musical if you haven’t already.

Jean Valjean, rejected by all as an ex-con, is invited to eat and sleep in the bishop’s house, but still embittered and desperate, he runs off with a silver plate. When brought back by the police, the bishop says the plate was a gift and orders the police to release him. The bishop presents this act of mercy to JV as a challenge to make the most of his second chance at life. The self-sacrifices required of JV to live up to this challenge make it clear that the forgiven life is far from easy or soft. Meanwhile, the police officer Javert, deeply scandalized by the bishop’s forgiveness, makes a career of tracking down the criminal in the name of justice.

A successful factor owner under an assumed name, JV inadvertently fails to protect his employee Fantine from being driven out by her co-workers and corrupt foreman when it is discovered she is an unwed mother. To atone for this, he takes responsibility for Fantine’s daughter while Fantine is dying. This entails bargaining with the venal Thénardiers to take the girl Cosette away to a better life. With JV’s past exposed by Javert, JV and Cosette escape to a convent that gives them sanctuary.

During the 1832 uprising in Parish, two mimetic triangles form around the grownup Cosette when she and Marius, a rich young man turned student revolutionary, fall in love. JV fears losing his daughter and at first hopes the street violence will lead to the young man’s death. But JV quickly realized he must put his daughter’s interests first and he then sees in Marius the son he might have had.  More complex is the triangle of the two lovers with Eponine, oldest daughter of the Thenardiers. Having fallen in love with Marius only to be politely turned away, Eponine protects Cosette and JV from a police raid led by Javert and her father but encourages Marius to join his fellow students in the revolt with the hope she and Marius will be killed. When fatally wounded by a bullet intended for Marius, she repents and tells Marius where he can find Cosette. Renouncing mimetic rivalry is shown to be possible, but costly.

Meanwhile, Javert infiltrates the rebels, is exposed by the street urchin Gavroche (a castoff son of the Thenardiers), sentenced to be killed, then handed over to JV who has joined the rebels to save Marius if he can. With the chance to exact his revenge, JV frees Javert, doing for the self-righteous officer what the bishop had done for him so many years ago. When, after the tragic street battle, JV drags the wounded Marius through the sewers of Paris (a Christ-like descent into hell if there ever was one) Javert ambushes him but can’t bring himself to arrest the convict. Totally disoriented by the prodigal forgiveness offered him, the legalist representative of the law throws himself into the Seine, a tragic demonstration that forgiving love is a tough challenge.

The musical strengthens the Gospel theme considerably in comparison with the book. The streamlining of the convoluted plot of the book puts the law/grace and revenge/mercy dichotomies front and center. The vulnerability of women and children to personal (the Thenardiers) and institutionalized (Javert) violence is stressed through Fantine, Cosette, and Gauvrache. Javert sings a song that betrays his warped mirror-imaging of the Gospel: declaring JV to be “fallen from God/fallen from grace” he reveals himself as a man so fallen. Musically, the singing of JV, Marius, and Cosette (especially as a child) is very soft while Javert is loud and assertive and the Thénardiers boisterous. (Strength in weakness.)  In the finale, JV dies and is brought by Fantine and the good bishop to a heavenly barricade turned into a heavenly chorus of revolutionaries who sing, in a song filled with biblical allusions: “Somewhere beyond the barricade/is there a world you long to see?”

A miserable, offensive Gospel if there ever was one.

Marriage of Figaro

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I watched Mozart’s Marriage of Figaro while in New York this week, and was impressed with the deep insights into mimetic desire this opera offers. (cf. Human See, Human Want) The opera centers on Count Almaviva’s desire for his servant Susanna who is betrothed to the count’s servant Figaro. For all of his roaming for women, the Count seems not to have desired Susanna until Figaro desired her and wished to marry her.

Meanwhile, Marcellina, a servant of Dr. Bartolo, wishes to marry Figaro and Dr. Bartolo, wishing revenge for Figaro’s helping the count marry Rosina when he himself had desired her, supports his servant’s claim based on Figaro’s unpayable debt to her. This triangle becomes farcical when it turns out that Figaro is Marcellina’s son begotten by Dr. Bartolo himself, who had done with his servant what the count wants to do with Suzanna.

The adolescent servant Cherubino provides a comical mirror image of the count in that he also desires all women, especially the countess, the only woman the count does not desire. This infatuation does not make him a serious rival to the count, but he becomes entangled with Rosina and Susanna’s plot against the count.

The count only shows any desire for his wife when he believes (mistakenly) that she is desired by another. In Act 2, he believes Cherubino was flirting with his wife and was hiding in the closet (which he was until Susanna helped him escape). When it is Susanna who emerges from the closet, an uneasy forgiveness ensemble ensues that foreshadows the opera’s finale, but then unravels when the gardener complains about somebody (Cherubino) jumping into the flower garden.

The abortive plans of Act 2 to trick the count come to fruition in the last two acts where Rosina and Susanna disguise themselves as the other and so entrap him so that the count has no choice but to drop to his knees and ask his wife’s forgiveness, which se freely gives.

The disguises and mistaken identities throughout the opera dissolve the characters into the indifferentiation of mimetic desire. At a deeper level, Mozart’s music weaves a unity out of the passions of all these characters so as to unite them in the mimetic desires, a unity transcending the class differences of the characters and creating a vision more subversive than the play by Pierre Beaumarchais used by the librettist Lorenzo Da Ponte.

The noble forgiveness scene is as fragile as it is beautiful; a fragile fleeting vision that can be blown away by the next breath of mimetic desire.

A Bit About Me

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A Benedictine monk in the Episcopal Church who writes fantasy fiction? How did that happen? The short answer is: God knows. As for myself, all I can say that the fantastical has always fascinated me and matters of faith have always been a consuming interest. The first two books to have my name written in them were that tales of Hans Christian Andersen and Grimm’s fairy tales. I started writing fantasy stories as a child and I haven’t stopped since. My religious journey took many twists and turns during my youth, including detours in Hinduism and Buddhism, although I consistently believed that religion dealt with the most important things in life. This journey led me back to the Episcopal Church in which I was raised and then to St. Gregory’s Abbey in Three Rivers, Michigan.

Another interest that caught me and has never let me go is music. Singing in a high quality church choir as a boy introduced me to great choral masterpieces and music has been woven with my religious interests ever since. These days, I sing plainsong in the monastic church and listen to music of all kinds in my spare time. Along with my religious convictions, music is a major strand in many of my stories.

Another swirl running through all of these major interests is a concern for peace and for alternatives to violence. In my stories and other writings, seeking peace within oneself and, more important, within social relationships, has become one of the major themes I deal with. Tools for Peace engages in a dialogue between the Rule of St. Benedict and the thought inspired by René Girard, a thinker preoccupied with the social dimensions of violence while my stories take the reader through enchanted but sometimes troubling pathways in search of visions of peace.

I suppose I could sum up my outlook in life as: Saint Benedict in Fairyland. In their various ways, St. Benedict and fairy tales combine an earnest moral and spiritual drive with a delight in God’s goodness. For me, monastic discipline and the freedom of the fantastical imagination reinforce each other. Both my religious writings and my stories witness to my conviction that, contrary to the violence humans perpetrate, God has created a friendly universe grounded in God’s love for all of us.