On Sexuality, Christianity, and Language

The knight Richard Puller von Hohenburg and his servant, burned before the walls of Zürich for sodomy, 1482. (Source)

The recent controversy in ACNA about the language of homosexuality has been deeply unedifying. It has been aggravated in the last few days by an open, co-signed letter that, while doing the bare minimum, nevertheless was far more affirming than the original pastoral statement to which it replied. In a move I can only describe as scandalous, the principal author’s bishop then stepped in and ordered him to take it down.

I am for the most part uninterested in the internal politics of ACNA. I have friends in that communion, and after all, it is neither my circus nor my monkeys. I am, however, keenly interested in the issue at stake: what kinds of language sexual-minority Christians use, why, and what this says about their broader place within Christianity. Especially as some of these same issues have come up repeatedly in the Catholic context as well. That relevance to my own situation moves me to write, when I might otherwise keep silence.

When the original statement came out last month (no pun intended), a gay Christian friend of mine wrote, “I am starting to think that this tired conversation about sexual identity language is actually *designed* to keep the Church from caring for sexual minorities by addressing its pervasive homophobia.” Much of what follows therefore comes from what I wrote in reply, with a few edits and additions here and there.

It seems to me that this debate about language – the alleged moral valences of words like “homosexual” or “gay,” and whether or not it is appropriate for Christians to self-identify with these words – serves a multipronged function:

(1) It distracts from urgent issues, like sexual minorities being disproportionately subject to homelessness, political oppression, intimidation, healthcare discrimination, targeted murder, and suicide.

(2) It subsequently distracts from the historical and ongoing complicity of heterosexual Christians in these phenomena, and absolves them of any effort to help fix it.

(3) It puts the entire onus of subjectivity-formation on the gay Christian individual and thus places them in a defensive posture which prevents them from making further demands. It does this in three ways:

(4) It deprives them of a language in which to articulate their own subjectivity and needs.

(5) It isolates them by preventing them from using the language by which they can form bonds of solidarity with other sexual minorities.

(6) It further isolates them by cutting them off from the history of other sexual minorities, whatever terms they may have used (sodomites, inverts, homosexuals, fairies, queers, gays, LGBT, etc.).

(7) All of which is to say, the debate mainly functions to control sexual minority Christians by making their own experience more and more illegible to them.

(8) It works very well because it exhausts a lot of emotional energy from LGBTQ+ Christians. This is intrinsic to the debate’s function as a mechanism of control.

(9) It is doubly effective when, as in the ACNA document, it reverts to the most clinical and pathologized language imaginable. “Christians afflicted with” or “who struggle with same-sex attraction” is not only unwieldy, it’s obviously stigmatizing. SSA might as well be leprosy.

(10 This is not to say that gay Christians who feel that the language of “same-sex attraction” or SSA best expresses their experience shouldn’t use it. We should all use the language that best fits our own embodied story. But when straight Christians use it this way, they are robbing them of the freedom to make that decision for themselves.

(11) In the Roman Catholic Church, there is the added rigmarole around vocations. No man with “deep-seated homosexual tendencies” can be ordained…but what does this mean? If you have sex with men (or at least want to) but don’t call yourself gay, do you have these tendencies? What are we to make of the considerable number of gay priests that are already ordained? It hides hypocrisy.

(12) I am reminded, for instance, of what Roy Cohn says in Angels in America.

(13) The most insidious thing about the ACNA statement, though, isn’t even the matter of terminology. It’s the deeper point from which the terminological discussion grew: a claim that homosexuals can become straight again.

(14) If this were coming from an old-school queer theorist or even second-wave feminist who insisted on the radical flexibility of gender and sexuality, I wouldn’t have too much of an issue. But the obvious problem here is the latent moral imperative that moves from is to ought (also the erasure of bisexuals, but that’s a bit of a tangent).

(15) Going from “some people can move between kinds of attraction” to “you must become attracted to the opposite sex,” as this document does implicitly, is an awful lapse into conversion-therapy thinking. And we know how harmful this is, especially to queer youth.

(16) But this pathologization is itself, once again, a mechanism of control. Religions are social bodies that require adherents in order to survive. And like it or not, gays have historically been a major part of the Christian fold – including in Anglicanism!

(17) The reasoning advanced by ACNA is thus, quite precisely, an ideology. It is a logic that helps the oppressed buy into their own oppression. They are hardly unique in this; many in our own Church of Rome offer the same false narrative for the same ends.

(18) I would like to end this thread on a hopeful note, though I have very little hope to speak of. The best I can say is that LGBT Christians need to make their own communities. We need to use the terms that best express our own subjectivity. This is quite apart from the issue of sexual ethics, which does not hinge on what we call ourselves.

(19) Straight Christians, including Catholics, should accept that we are going to use the terms that we choose. It is not up to them. Their time would be better spent helping on the very urgent issues I outlined earlier. And maybe trying to understand what it’s like for (Christian) sexual minorities in the Church and in society at large.

(20) Finally – the best thing to help on the issues of terminology is for sexual-minority Christians, where it is safe to do so, to come out. Even clergy. Articulating your own experience is truly liberating, even as it opens up a new vulnerability. But freedom is worth it. Honesty is worth it. Visibility is worth it. Life is worth it.

“Lovely in Limbs, and Lovely in Eyes Not His”

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Kingfisher in action. (Source)

It’s beautiful weather in Oxford today, so I thought I’d celebrate with a quick poem by Hopkins. It’s one of my favorites.

As Kingfishers Catch Fire

As kingfishers catch fire, dragonflies draw flame;
As tumbled over rim in roundy wells
Stones ring; like each tucked string tells, each hung bell’s
Bow swung finds tongue to fling out broad its name;
Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves — goes itself; myself it speaks and spells,
Crying Whát I dó is me: for that I came.
I say móre: the just man justices;
Keeps grace: thát keeps all his goings graces;
Acts in God’s eye what in God’s eye he is —
Chríst — for Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his
To the Father through the features of men’s faces.

Faber’s Oxford Poems: Part I

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A view of the Bodleian Library from Radcliffe Square. Photo taken by author.

Fr. Frederick William Faber, that great son of St. Philip, was one of the many Oxford converts. He was a Balliol man who later became a fellow of University College, where he embarked on an ecclesiastical career as an Anglican. Later, of course, he came to the Church of Rome and founded the London Oratory. But as I am now settling back into Oxford, I thought it might my readers might enjoy a few of his poems about life at the University. I’ll probably break the collection up into a few different posts. Although Faber was later famous as a hymn-writer, in his youth he was a Romantic poet who won the admiration of none other than Wordsworth, whom he met in the Lake District. Faber’s style may be rather too Victorian for our tastes today. They also represent his spirituality at a very immature stage, when he was still an Anglican. The contrast between “College Chapel’s” rather pathetic final line and Faber’s “Muscular” pose in “College Hall” amuses, to say the least. But occasionally, as in “College Garden,” his sensuality and yearning anticipate the best of the Decadents who came at the end of the century. Finally, I’ll add that Faber’s romantic attachment to the legends and traditions of the English medieval monastics once again confirms my point that there remains an abiding affinity between the Oratorian and Benedictine charisms. 

College Chapel

A shady seat by some cool mossy spring,
Where solemn trees close round, and make a gloom,
And faint and earthy smells, as from a tomb,
Unworldly thoughts and quiet wishes bring:
Such hast thou been to me each morn and eve;
Best loved when most thy call did interfere
With schemes of toil or pleasure, that deceive
And cheat young hearts; for then thou mad’st me feel
The holy Church more night, a thing to fear.
Sometimes, all day with books, thoughts proud and wild
Have risen, till I saw the sunbeams steal
Through painted glass at evensong, and weave
Their threefold tints upon the marble near,
Faith, prayer, and love, the spirit of a child!

College Hall

Still may the spirit of the ancient days
Rest on our feasts, nor self-indulgence strive
Nor languid softness to invade the rule,
Manly, severe, and chastethe hardy school
Wherein our might fathers learnt to raise
Their souls to Heaven, and virtue best could thrive.
They, who have felt how oft the hour is past
In idle, worldly talk, would fain recall
The brazen Eagle that in times of yore
Was wont to stand in each monastic hall;
From whence the Word, or some old Father’s lore,
Or Latin hymns that spoke of sin and death
Were gravely read; and lowly-listening faith
In silence grew, at feast as well as fast.

College Garden

Sacred to early morn and evening hours,
Another chapel reared for other prayers,
And full of gifts,smells after noon-day showers,
When bright-eyed birds look out from leafy bowers,
And natural perfumes shed on midnight airs,
And bells and old church-clocks and holy towers,
All heavenly images that cluster round.
The rose, and pink acacia, and green vine
Over the fretted wall together twine,
With creepers fair and many, woven up
Into religious allegories, made
All out of strange Church meanings, and inlaid
With golden thoughts, drunk from the dewy cup
Of morns and evenings spent in that dear ground!

College Library

A churchyard with a cloister running round
And quaint old effigies in act of prayer,
And painted banners mouldering strangely there
Where mitered prelates and grave doctors sleep,
Memorials of a consecrated ground!
Such is this antique room, a haunted place
Where dead men’s spirits come, and angels keep
Long hours of watch with wings in silence furled.
Early and late have I kept vigil here:
And I have seen the moonlight shadows trace
Dim glories on the missal’s blue and gold,
The work of my monastic sires that told
Of quiet ages men call dark and drear,
For Faith’s soft light is darkness to the world.

“They Shall Not Bind Thy Wounds With Oil and Wine”

Occasionally I like to present obscure poetry here, especially by unusual figures. My readers will no doubt be well aware of my love of the bizarre and morbid. Here are two extremely rare poems from that equally strange poet, Count Eric Stanislaus Stenbock, an Anglo-Baltic aristocrat who dabbled in just about every religion known to man, kept a menagerie of wild animals at his Estonian palace, and carried a doll he called “le Petit Comte” that he always insisted was his son.

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Count Stenbock. A more like Huysmans’s Des Esseintes has never walked the earth. (Source)

Original collections of his Decadent verse fetch tens of thousands on the open market. I was privileged enough to view two of them at the Bodleian last year, my source for these two poems. The first dates from 1893, the second from 1883. I chose these two from several others because of the rather striking thematic contrast they afford.

Sonnet VI

O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus.”

All suffer, but thou shalt suffer inordinately.
All weep, but thy tears shall be tears of blood.
I will destroy the blossom in the blood,
Nathless, I will not slay thee utterly
Nay, thou shalt live—I will implant in thee
Strange lusts and dark desires, lest any should,
In passing, look on thee in piteous mood,
For from the first I have my mark on thee.

So shalt thou suffer without sympathy,
And should’st thou stand within the street and say:
“Look on me, ye that wander by the way,
If there be any sorrow like to mine.”
They shall not bind thy wounds with oil and wine,
But with strange eyes downcast, shall turn from thee.

Sonnet I – Composed in St. Isaac’s Cathedral, St. Petersburg

On waves of music borne it seems to float
So tender sweet, so fraught with inner pain,
And far too exquisite to hear again
Above the quivering clouds that single note,
The tremendous fires of the lamp-light gloat
On the exceeding sweetness of that strain—
Though mightest spend a lifetime all in vain
In striving to recall it, yet recall it not.

Therein are mingled mercy, pity, peace,
Tears wiped away and sorrow comforted,
Bearing sweet solace and a short relief
To those, that are acquainted well with grief,
Reviving for a time joys long since dead,
And granting to the fettered soul release.

The Voice of Arthur Machen

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The title illustration of Machen’s The Great God Pan and the Inmost Light (1896), famously rendered by Aubrey Beardsley (Source)

Arthur Machen (1863-1947) was one of the greatest horror writers in the English language. His particular brand of esoteric paganism, the dangers of the occult, the sinister truth lurking behind folktales, and a highly-developed knack for evoking eldritch terror – all of these elements exerted a profound influence on the development of weird literature. Those who enjoy Lovecraft will recognize much in Machen that later made its way into Lovecraft’s own corpus. The dark bard of Providence held Machen in high esteem.

Machen was also a deeply spiritual Christian, best but imperfectly classed as an Anglo-Catholic. His strong sense of the mystical life found its fullest expression not in his horror stories, which do indeed bear some mark of his sacramental worldview, but in his later writings. A Welshman, he was fascinated by the Grail legend and connected it with his idea of an ancient, vividly supernatural “Celtic” Christianity.

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Portrait of Arthur Machen (Source)

Machen is a favourite of mine. I cannot recommend his stories highly enough – especially The Great God Pan, “The Novel of the White Powder,” “The Shining Pyramid,” “The Ceremony,” and “The Lost Club.” He is far scarier than some of his better-known contemporaries such as M.R. James or Sir Arthur Conan Doyle.

He also figures prominently in some of my research. I recently came upon a recording of his voice from 1937, in which he speaks of Chesterton, Dickens, Thackeray, and the art of fiction more broadly. Some of my readers may find this as enjoyable as I do, and so I provide a link here.

A Poem by Montague Summers

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Madonna delle Grazie, Naples (Source)

Some of my readers will no doubt remember that very strange fellow I once wrote about, the Rev. Montague Summers. I have had to look at quite a lot of his orchidaceous writings recently for my research, including his poetry. Here is one such poem he wrote in Antinous and Other Poems (1907). It was written while he was still an Anglican, though it anticipates the lusciously Baroque spirituality that would mark his later writings.

Madonna Delle Grazie

Montague Summers

In the fane of grey-robed Clare
Let me bow my knee in prayer,
Gazing at thy holy face
Gentle Mary, Queen of Grace.
Thou who knowest what I seek,
Ere I unlock my lips to speak,
For I am thine in every part
And thou knowest what my heart,
Yearning in my fervid breast,
Ere it be aloud confessed,
Longeth for exceedingly,
Mamma cara, pity me!

By the dearth of childlorn years,
By thy mother Anna’s tears,
By the cry of Joachim,
When the radiant seraphim,
Girdled with eternal light,
Blazed upon the patriarch’s sight
With the joyous heraldry
Of thy sinless infancy.

By the bridal of the Dove,
By thy God’s ecstatic love,
By the home of Nazareth,
When the supernatural breath
Of God enfolded thee, and cried:
“Open to me, love, my bride,
Come to where the south winds blow,
Whence the mystic spices flow,
Calamus and cinnamon,
Living streams from Lebanon.
Fresh flowers upon the earth appear
The time of singing birds is near,
The turtle-dove calls on his mate,
The fruit is fragrant at our gate.
Thy lips are as sweet-smelling myrrh,
When the odorous breezes stir
Amid the garden of the kings;
As incense burns at thanksgivings.
Thy lips are as a scarlet thread,
Like Carmèl is they comely head,
Thou art all mine, until the day
Break, and the shadows flee away!”

Mother, by thy agony
‘Neath the rood of Calvary,
When the over-piteous dole
Pierced through thy very soul
With a sevenfold bitter sword
According to the prophet’s word.
By the sweat and spiny caul,
By the acrid drink of gall,
By the aloes and the tomb,
By thy more than martyrdom,
Dolorosa, give to me
The thing I lowly crave of thee.

By thy glory far above,
Mother, Queen of heavenly love,
By thy crown and royal state,
By thy Heart Immaculate,
Consort of the Deity,
Withouten whose sweet assent He
May nothing deign to do or move
Bound by ever hungered love,
God obedient to thee!

Mother, greatly condescending,
To thy humblest suitor bending,
From thy star-y-pathen throne,
Since it never hath been known
Whoso to this picture hied,
Whoso prayed thee was denied,
Mamma bella, give to me,
The boon I supplicate of thee!

In Santa Chiara, Napoli.

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“Madonna and Child,” Carlo Crivelli, c. 1480 (Source)

A Ghastly Hymn for Good Shepherd Sunday

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A cope depicting the Good Shepherd. (Source)

I realize that technically last week was Good Shepherd Sunday in the traditional calendar, but as most of the Catholic world (alas) celebrates it tomorrow, I thought I’d offer up this truly dismal hymn from Fr. Faber. I have never yet heard it set to music, so if any of my readers happen to know of a recording, I would appreciate them kindly sharing it. Fr. Faber is one of my favorite spiritual writers and hymnodists…even when he’s outlandishly bad.

The True Shepherd

Fr. Frederick William Faber

I was wandering and weary
When my Saviour came unto me;
For the ways of sin grew dreary
And the world had ceased to woo me:
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

At first I would not hearken,
And put off till the morrow;
But life began to darken,
And I was sick with sorrow;
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

At last I stopped to listen,
His voice could not deceive me;
I saw His kind eyes glisten,
So anxious to relieve me:
And I thought I heard Him say,
As He came along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

He took me on His shoulder,
And tenderly He kissed me;
He bade my love be bolder,
And said how He had missed me;
And I’m sure I heard Him say,
As He went along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

Strange gladness seemed to move Him,
Whenever I did better;
And he coaxed me so to love Him,
As if He was my debtor;
And I always heard Him say,
As He went along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

I thought His love would weaken,
As more and more He knew me;
But it burneth like a beacon;
And its light and heat go through me;
And I ever hear Him say,
As He goes along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

Let us do then, dearest brothers!
What will best and longest please us,
Follow not the ways of others,
But trust ourselves to Jesus;
We shall ever hear Him say,
As He goes along His way,
O silly souls! come near Me;
My sheep should never fear Me;
I am the Shepherd true.

“But There, Besides the Altar, There, is Rest”

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Ernest Dowson – a frail, unhappy poet driven by wild passions. Also a Roman Catholic. (Source)

Recently, I have discovered the work of the poet Ernest Dowson (1867-1900). He has swiftly become a favourite. His Decadent verse originated the phrases “gone with the wind” and “the days of wine and roses.” He was also a Catholic convert. His poetry often explores the contrast between the perishable delights of the world and the undying realm of the supernatural. In Dowson, we see the forked path that comes with the recognition of the world’s vanity: the choice lies between hedonistic decadence and the rigors of ascesis and contemplation. These two monastic poems express precisely that tension in his sad life as well as his powerful artistic vision.

Nuns of the Perpetual Adoration

Calm, sad, secure; behind high convent walls,
These watch the sacred lamp, these watch and pray:
And it is one with them when evening falls,
And one with them the cold return of day.

These heed not time; their nights and days they make
Into a long, returning rosary,
Whereon their lives are threaded for Christ’s sake;
Meekness and vigilance and chastity.

A vowed patrol, in silent companies,
Life-long they keep before the living Christ.
In the dim church, their prayers and penances
Are fragrant incense to the Sacrificed.

Outside, the world is wild and passionate;
Man’s weary laughter and his sick despair
Entreat at their impenetrable gate:
They heed no voices in their dream of prayer.

They saw the glory of the world displayed;
They saw the bitter of it, and the sweet;
They knew the roses of the world should fade,
And be trod under by the hurrying feet.

Therefore they rather put away desire,
And crossed their hands and came to sanctuary
And veiled their heads and put on coarse attire:
Because their comeliness was vanity.

And there they rest; they have serene insight
Of the illuminating dawn to be:
Mary’s sweet Star dispels for them the night,
The proper darkness of humanity.

Calm, sad, secure; with faces worn and mild:
Surely their choice of vigil is the best?
Yea! for our roses fade, the world is wild;
But there, beside the altar, there, is rest.

 

Carthusians

Through what long heaviness, assayed in what strange fire,
Have these white monks been brought into the way of peace,
Despising the world’s wisdom and the world’s desire,
Which from the body of this death bring no release?

Within their austere walls no voices penetrate;
A sacred silence only, as of death, obtains;
Nothing finds entry here of loud or passionate;
This quiet is the exceeding profit of their pain:

From many lands they came, in divers fiery ways;
Each knew at last the vanity of earthly joys;
And one was crowned with thorns, and one was crowned with bays,
And each was tired at last of the world’s foolish noise.

It was not theirs with Dominic to preach God’s holy wrath,
They were too stern to bear sweet Francis’ gentle sway;
Theirs was a higher calling and a steeper path,
To dwell alone with Christ, to meditate and pray.

A cloistered company, they are companionless,
None knoweth here the secret of his brother’s heart:
They are but come together for more loneliness,
Whose bond is solitude and silence all their part.

O beatific life! Who is there shall gainsay,
Your great refusal’s victory, your little loss,
Deserting vanity for the more perfect way,
The sweeter service of the most dolorous Cross.

Ye shall prevail at last! Surely ye shall prevail!
Your silence and austerity shall win at last:
Desire and mirth, the world’s ephemeral lights shall fail,
The sweet star of your queen is never overcast.

We fling up flowers and laugh, we laugh across the wine;
With wine we dull our souls and careful strains of art;
Our cups are polished skulls round which the roses twine:
None dares to look at Death who leers and lurks apart.

Move on, white company, whom that has not sufficed!
Our viols cease, our wine is death, our roses fail:
Pray for our heedlessness, O dwellers with the Christ!
Though the world fall apart, surely ye shall prevail.

Fr. Bowden’s Meditations for Lent

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Christ in the Desert, Ivan Kramskoi, 1872. (Source)

Some of my readers will no doubt recognize the name of Fr. Sebastian Bowden of the London Oratory. He achieved some small notoriety as the priest who nearly converted Oscar Wilde in the 1870’s. He was also a well-respected spiritual teacher, though sadly neglected today. I would like to make some of his wisdom available, especially as it bears on the season we enter on this Ash Wednesday.

Here’s Fr. Bowden’s advice for Lent:

Consider the bearing that Lent has upon Death. Lent is given us as a time of preparation, and the way it is spent has great influence on the times that follow it: a carefully spent Lent will bring about a careful month after it, and the influence of that may go on through the year. So, we may look upon each Lent as a bringing us nearer to a good state for death, by making a fresh mark on our life:—for as we live so we must die. Therefore enter fully into this spirit: withdraw as far as you possibly can from all outer things, in thought, during this season: let the things of Time go to a distance, and be as nothing to you. Be alone with God, and try simply to learn more and more where you are, and what you are worth, in His eyes only; and thus prepare yourself for joining Him in Eternity.

Give yourself thoroughly to the Spirit of the Passion. Do not look, in anything you do, for success, pleasantness, or comfort: expect crosses, failures, disappointments, and take all these readily:go to meet them, receive all with perfect resignation from God’s handstake their impress on your soul. Aim, in preparation for death, at caring for nothing so much that you will not be ready in a moment to give it up.

Remember that, perfect and infinite as are the merits of Christ’s Passion and Death, there is one thing still wanting to them:that is, our part in them: our taking and accepting His sufferings as ours, and bearing them with Him. Without this, His Passion remains worthless. To what purpose is the Head crowned with thorns, if the Members remain dead, paralyzed, mortified and motionless? And so it is if we, who are Christ’s Members, will not enter with Him into His Passion, and will to suffer with Him. Let us, therefore, now, go in with Him into the life of suffering, giving ourselves to Him completely. It is difficult and painful to human nature to face the thought of a penitential life, but it must be done if we would be His true followers. And at this season it should be done specially by some outward thing:no lessening of food or sleep for those who need strength to work; but, still, in some wayif it is only by restraint of attitude, by some posture at times different from the ordinaryno matter what, but by some meanswe should daily remind ourselves that it is Lent.

Of course, it is hard to realize the good of the Cross: it often seems to our eyes so purposelessso gratuitousas well as so hard. It is in Faith alone that we can bear it; human nature must feel and suffer by it,. Let us try, during Holy Week, for a “broken heart”: that is, not feeling, but the certain conviction of our own nothingness and the nothingness of everything but God’s will. It is not merely the having, or the not having, to suffer this or the other thing: it is in all that we must be crushed: it is that there is absolutely nothing of importance except to do the Will of God: and this is the Cross.

The Sacrifice [acceptance of crosses or voluntary renunciation] always seems greater than we expected: when the Cross presses inward it must take hold of us. But we must treat it by looking beyond, remembering that, after all, it is all, in reality, but nothing; living in daily Faith in God, and Hope; and reminding ourselves that all will pass. Feeling, at the moment, we cannot help. (Spiritual Teaching of Fr. Sebastian Bowden of the London Oratory, 1921, pp. 17-20)

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Fr. Sebastian Bowden of the London Oratory. (Source)

I would add two brief thoughts that come from a later portion of the book. They seem admirably suited to our meditation on this penitential day, the start of a journey of penance that will not end until we face the cross.

The best way of realizing our Free Will is St. Philip’s way: “Lord, keep Thy hand on my head, or I shall betray Thee.” This consciousness of how easily we may at any moment commit any sin, however great, is simply the truth. It is the experience of everyone who knows anything of human nature, and especially of every priest. He knows it first for himself, and then for others. This it is that fills our prisons with criminals: the sinfulness of human naturegreed and avarice, lust and passion. To know our own weakness is our only safeguard. (p. 98)

Recollect that it was Christ on the Cross that redeemed the world: not His miraclesnot His life of preachingbut His naked body offered on the Cross to God. And so it must be with us if we would follow Him: the will simply to suffer must be oursto this our whole lives must be bent. It is not by great and heroic deeds that we are to succeed in Eternity: it is by the daily round of silent, humble suffering of whatever God sends. We are to become what He was: holocausts: to be stripped of Self on all sides:of our will, of our powers, of our very individuality if He chooses, so as simply to be in His hands to do what He likes with. Remember that here we see everything exactly as it is not: to us, success seems to lie in what showsin active deeds, in energy, in strength and power. But this is not so before God; and when we die we shall see it all in its right light. Let us live, therefore, for the things which are great in Eternity, though not in Time, and be patient. (pp. 79-80)

May we all learn from Fr. Bowden’s sound practical wisdom and make a well and holy Lent.

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The Temptation in the Wilderness, John St. John Long, 1824. (Source)

“The Fair and Fatal King”

CharlesStatue1

Two heroes, one square: Charles I and Nelson. (Source)

Today may be the anniversary of Louis XVI’s execution, but I just found a wonderful poem about His Majesty Charles I that I wanted to share with my readers. Something to meditate upon before the 30th.

By the Statue of King Charles at Charing Cross

Lionel Johnson
To William Watson

Sombre and rich, the skies,
Great glooms, and starry plains;
Gently the night wind sighs;
Else a vast silence reigns.

The splendid silence clings
Around me: and around
The saddest of all kings,
Crowned, and again discrowned.

Comely and calm, he rides
Hard by his own Whitehall.
Only the night wind glides:
No crowds, nor rebels, brawl.

Gone too, his Court: and yet,
The stars his courtiers are:
Stars in their stations set;
And every wandering star.

Alone he rides, alone,
The fair and fatal King:
Dark night is all his own,
That strange and solemn thing.

Which are more full of fate:
The stars, or those sad eyes?
Which are more still and great:
Those brows, or the dark skies?

Although his whole heart yearn
In passionate tragedy,
Never was face so stern
With sweet austerity.

Vanquished in life, his death
By beauty made amends:
The passing of his breath
Won his defeated ends.

Brief life, and hapless? Nay:
Through death, life grew sublime.
Speak after sentence? Yea:
And to the end of time.

Armoured he rides, his head
Bare to the stars of doom;
He triumphs now, the dead,
Beholding London’s gloom.

Our wearier spirit faints,
Vexed in the world’s employ:
His soul was of the saints;
And art to him was joy.

King, tried in fires of woe!
Men hunger for thy grace:
And through the night I go,
loving thy mournful face.

Yet, when the city sleeps,
When all the cries are still,
The stars and heavenly deeps
Work out a perfect will.