Companions for the journey: Reaching for Mercy

unnamed.jpgThis morning, because the start of daylight saving tricked my son into sleeping in, I had time to read. So I opened up the new poetry anthology from Proost Poets, Reaching for Mercy, a collection that I contributed to. I must admit that, the first time I looked at it, when I had just received a copy, I mostly looked for my poems, then to see if I knew any of the names. But this morning I decided to be less narcissistic and began from the front cover, and what I found as I started reading the editors’ reflections and the opening poems was a series of voices that felt familiar, like companions who cared about the same things and had walked the same paths as me: not all the same as me – some far from it – but reminders that a solo act like writing is still not done alone. When the struggle for authentic hope and faith in this world feels an increasingly steep up-hill climb, collections like this can help us feel that we have companions, fellow-strugglers to go with.

To find out more about the collection and get a copy, go here.

Epiphany: The Implications of Light

At first darkness you saw it,
Light looming large on the horizon,
transfiguring and sanctifying all that it struck.
Yet you were drawn, contrariwise,
to a glistening object that,
no light of its own, could only reflect
or, at worst, refract.
Distracted by prismatic brilliance,
you answered the wrong call,
saw charisma and grabbed at it.
Only, Light denied you. Fistful of air,
you returned to your bedroom and sat
where only Light equipped to pierce darkness could reach.
Okay, speak, you said reluctantly in the direction of the Light.
And so the Light began.
And so your life began.

Epiphany: Heartshine

“What can I give him,
Poor as I am?”
Christina Rossetti

Today is one of the most important days in the old church calendar, but also one of the most widely forgotten: the feast of Epiphany. Today we remember the wise men visiting Jesus, but we also remember what this represents, that the Gospel has been made known to the nations. Epiphany is an older celebration than Christmas, and in some early church documents it appears to have been the date when the Eastern church at least celebrated Jesus’ birthday. It’s a wonderful day, full of rich significance for believers to celebrate. Today we’re going to enlist one of my favourites, Bach, to see us through, with the help of his first Epiphany cantata. You can read the text and translation here.

Heartshine

I will arise with the stars.
In dappled light, the ground illuminates to show
the king made low,
the way made known.
I will arise with the stars to see
the glory that shines from east to west,
though wearing humble clothes.

I will arise with the night.
With nothing in my hand to give, I will receive
this treasure-trove
for years enclosed.
I will arise in the night to see
the light that day has not received
and now is bright to see.

I will travel with the kings
though I am no king, nor have ever been wise.
I will arise
with the stars in my eyes
and give a broken heart, for all
the better your treasure to store.

Christmas 12: “The rich and poor meet together”

On this night in Shakespeare’s day, there would have been wild revelry to celebrate the twelfth night of Christmas. He even named one of his plays this, a sign perhaps that it was to be performed on the twelfth night, but also a possible nod to the ways that Christmas switches around our ideas of wisdom and foolishness, poverty and wealth. This same inversion is captured for me in the wondrously celebratory first movement of Bach’s Brandenburg Concerto No. 4, a piece which surprises listeners by placing the recorder, not usually a solo instrument, alongside the violin. It isn’t a Christmas carol in any sense, but I think it’s still a fitting conclusion to our early music Christmas season. It also works well as a soundtrack to one of our texts for today, Proverbs 22:2, which says, “The rich and poor meet together: the LORD is the maker of them.”

“The rich and poor meet together”

Hear this: it’s singing,
joyfully, stridently.
Nothing is as you have thought it to be.

Listen: the king is
enthroned, he is ruling.
Yet see how he rules, how he lays down his crown.

Watch this: the minstrels
sit at the king’s table.
See how the courtiers have no place to lounge.

Listen: recorders
are trilling in triumph.
Come to the feast! (Leave your privilege behind.)

Christmas 11: Upsidedown

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Rembrandt, “The Flight into Egypt: a night piece”, from a print made by Henri Louis Basan, c. 1810

One of the more curious lost phenomena of Christmas was the late Medieval custom of appointing a so-called “Lord of Misrule” (or, as called in Scotland, the “Abbot of Unreason”). This involved either a peasant or an unimportant figure in the church being appointed to oversee the Christmas revelries. A related or parallel custom involved appointing a “boy bishop”, a child who would be bishop for the duration of the Christmas season. The “misrule” over which the Lord of Misrule ruled was sufficiently baudy that the Protestant Tudor rulers, as part of their cleaning up of the English church, saw fit to abolish the custom (although the Catholic Tudor, Mary I, saw fit to reinstate it). Yet there’s an unexpected biblical truth contained in the custom: that human rule is turned upside down by the coming of a baby king into the world who, though born a peasant, was God Himself.

As we approach Epiphany (this Saturday), the daily readings remind us of the ways that the wisdom of the world is different to the wisdom of God (expressed by the wise men finding the heavenly king not with Herod but in peasant Bethlehem). Today’s poem takes as its inspiration the rollicking Medieval song, “Lux Hodie, Orientus Partibus”, a joyful song about a powerful donkey carrying a king. It’s in these kinds of moments that I think the Medieval church remembered something about the truth of Christmas that we would do well to remember today.

Upsidedown

You who would be wise, take heed:
the king lies in a peasant’s bed.

You who would be great, take heed:
He takes a donkey as His steed.

You who would follow Him, take heed:
His throne’s a cross, a cursed tree.

You who would find life, take heed:
true life must die first, as a seed.

You who would be wise, take heed:
most blessed is this bruised reed.

Christmas 10: Sit at my right hand

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Caravaggio, “Nativity with St Francis and St Lawrence”, 1609.

“The LORD says to my Lord…” (Psalm 110:1). These are surely some of the more mysterious words to appear in the Bible. Who is the second Lord to whom the writer, King David, is referring? Who could even be understood to be David’s Lord apart from God, the LORD? David, after all, was king of all Israel; no-one beside God was higher than him. And yet he looks to another Lord who will be made king over everything and who, mysteriously, will also be a priest forever too. In Jesus, the mystery is, if not resolved, at least given flesh so we can behold it.

Today’s piece is Vivaldi’s powerful setting of Psalm 110, entitled “Dixit Dominus” (“The LORD says”) after the first two Latin words in the psalm. I’ve chosen Caravaggio’s strange Nativity scene, which anachronistically features Saints Francis and Lawrence, to help us to reflect on the wonder that this mighty king chose to come as a tiny baby. Caravaggio’s famous chiaroscuro lighting manages to hihglight Jesus’ face without resorting to the artistic cliches of his day. The presence of two saints known for their love of the poor seems fitting for this simple, peasant scene into which the king of all creation chose to come to earth.

Sit at my right hand

All earth is your footstool;
soon so will your enemies be too.
Yet You sit at our feet, minuscule, helpless,
Creator on the floor of creation,
infinite made finite,
the dew of your youth around you on the hay.

Judge of the nations: the nations come
to see your defenseless form, to catch
the future glory in your minute moment.
Where is your sceptre? You drink
from your mother’s breast; cannot
yet lift your head, nor fight.

Await the voice: “Sit at my right hand.”
But first you will cry, “I thirst”,
and, “It is finished,” and, “My God,
my God, why?” Heaven surrounds you,
but first the sword and the nails.
First the manger, this moment in eternity’s grasp.

Christmas 9: Join the dancing

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Fra Angelico, “Dance of the Blessed”

On the ninth day of Christmas, apparently, someone’s true love once gave them nine ladies dancing. Impractical though this is as a Christmas present (not to mention hard to wrap), it suits today’s carol well: the majestic “In dulci jubilo”, set by the seventeenth-century German Lutheran composer Michael Praetorius. The story of the text, originally written by 13th-century German mystic Heinrich Suso, is a story of dancing being brought into the midst of grief. According to the (auto?)biography of Suso, The Life of the Servant, Suso was told by an angel to stop the intense mortifications that he was practising and instead to join the angels in their dance: “Now this same angel came up to the Servant [Suso] brightly, and said that God had sent him down to him, to bring him heavenly joys amid his sufferings; adding that he must cast off all his sorrows from his mind and bear them company, and that he must also dance with them in heavenly fashion. Then they drew the Servant by the hand into the dance, and the youth [angel] began a joyous song about the infant Jesus, which runs thus: ‘In dulci jubilo’, etc.” It may or may not be a true story (more about the fascinating life of Suso can be read here), but the f
act remains that a man known for his austere ascetic practices also gave the medieval church one of its most joyful hymns. Today’s poem is inspired by Suso and the angel’s words.

Join the dancing

Angels dance around the stall.
Sing! Sing! One and all.

Come to earth, enthroned in hay,
sleeps the shining, living Day.

Leave your grieving songs, your weeping.
Dance, dance, with angels leaping.

Though the darkness now may linger,
Heaven dwells within a manger.

Cast off your ashes and your sackcloth.
The king is resting in a food trough.

Nothing now can snuff his light.
Sing, dance, with all your might.