Fénelon on the Return to God

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François de Salignac de la Mothe-Fénelon, Archbishop of Cambrai in the age of Louis XIV (Source)

Continuing my Lenten series of Wednesday spiritual masters, I present to you here a letter by Archbishop Fénelon to an officer, often identified as the Chevalier Colbert. The translation I am using comes from 1877, but I would also recommend to you the version by fellow Wahoo Chad Helms in the 2006 Paulist Press edition of Fénelon‘s Selected Writings. It struck me by its beauty and force of feeling, as well as its Lenten spirit. 

You have forgotten me, sir, but it is impossible for me to forget you. Something in my heart continually recalls you, and makes me want to hear of you, as I have more especially felt during the campaign and its perils. Your forgetfulness only makes me feel the more. The friendship you showed me once is of a kind never to be forgotten; and when I recall some of our conversations, my eyes are filled with tears. I trust that you remember how pleasant and hearty they were. Have you found anything since then more acceptable than God? Have the truths which then satisfied you failed? Is the pure light of the kingdom of God quenched? Has the world’s nothingness acquired some fresh value? Is that which was but a wretched dream not still the same? Is the God to Whom you poured out your soul, and Who filled you then with a peace beyond all earthly ken, no longer to be loved? Has the eternal beauty, ever so fresh to pure eyes, no longer charms for you? Is that source of heavenly joy, of unmarred happiness, which springs from the Father of Mercies and God of Consolation, dried up? No, for He has filled me with an urgent desire to recall you to Him. I cannot resist it: for long I have hesitated, and said to myself that I should only worry you. Even as I began this letter, I laid down a limit of discretion to myself; but after the first few words, my heart burst its bounds. Even should you not answer, or should think me absurd, I should not cease to speak sorrowfully to God of you, when unable to speak to you yourself any more. Once more, sir, forgive me if I exceed all due limits. I know it as well as you, but I feel irresistibly urged: God has not forgotten you, since He stirs up so eager a desire for your salvation in me.

What does He ask of you, save to be happy? Have you not realised that one is happy in loving Him? Have you not felt that there is no other real happiness, whatever excitement may be found in sensual pleasures, apart from Him? Since, then, you know where to find the Fountain of Life, and have of old drunk thereof, why would you seek foul, earthly cisterns? Bright, happy days, lighted up by the soft rays of loving mercy, when will ye return? When will it be given me to see this child of God reclaimed by His powerful Hand, filled with His favour, and the blessings of His holy Feast; causing joy in Heaven, despising earth, and acquiring an inexhaustible fund of humility and fervour from his experience of human frailty?

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The Return of the Prodigal Son, Rembrandt van Rijn, c. 1661-69. (Source)

I am not dictating what you should do. God will Himself make that plain to you according to your needs, so long as you hearken inwardly to Him, and despise boldly that which is despicable. Do whatever you will, only love God, and let His Love, revived in your heart, be your guide. I have often thanked Him for having shielded you amid the perils of this campaign, in which your soul was even more exposed to risk than your body. Many a time I have trembled for you: put an end to my fears, and fill my heart with gladness. None can possibly be greater than to find myself once more with you in the house of God, united in heart and soul, looking together to one glorious hope, and the Coming of our Great God, Who will fill us with the flood of His pure delights. Your ears are not yet closed to the sublime language of truth, your heart is made to feel its charms. “Taste and see” the pleasant bread daily spread for us at our Father’s table. Why have you forsaken it? With such support, who can fear that anything else will be lacking? Even if you do not feel strong enough to regain the happy position where you were, at least answer me, at least do not shun me. I know what it is to be weak; I am a thousand times weaker than you. It is very profitable to have realised what one is; but do not add to that weakness, which is inseparable from human nature, an estrangement from the means of strength. You shall regulate our intercourse; I will only speak to you of such things as you are willing to hear. I will keep God’s secret in my heart, and shall be always, with unchanging affection and regard, etc.

 

Maurice Zundel on Prayer

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Maurice Zundel in old age. (Source)

Fr. Maurice Zundel was one of the great, if often-forgotten, theologians of the last century. Sometime student of Fr. Reginald Garrigou-Lagrange, he wrote various works of Catholic philosophy in conversation with existentialism, Protestantism, and personalism. This wide-ranging and erudite scholarship led soon-to-be-Saint Paul VI to call him “a mystical genius.” However, he is best known in the Anglophone world for his writing on the liturgy. This extract is taken from his great work, The Splendour of the Liturgy (1943), translated by Edward Watkin for Sheed & Ward. It comes from his chapter on “The Collect” (pg. 61-67). I was struck by this passage’s profound depths of wisdom as well as its light,  imaginative style.

Prayer is the soul’s breath, the creature’s fiat in response to the Creator’s in that mysterious exchange which makes us God’s fellow-workers. Its purpose is not to inform God of needs which He knows infinitely better than we do ourselves, nor to move His will to satisfy them, for His will is the eternal gift of infinite Love. Its sole object is to make us more capable of receiving such a gift, to open our eyes to the light, to throw open the portals of our heart too narrow to give access to the King of glory. There is no need to importune God for our happiness, for He never ceases to will it. It is we who place the obstacle in its way and keep his love at arm’s length.

Jerusalem, how often would I have gathered thy children, as a hen gathers her chickens beneath her wings, and thou wouldst not.

This surely is the most poignant expression of the Divine Tragedy: ‘I would, I, thy Lord and thy Godbut thou, thou wouldst not.’ If we place this complaint side by side with the text already quoted from the Apocalypse, ‘I stand at the door and knock,’ we must conclude that God always hears man’s prayer, that He is the eternal answer to prayer, and that it is man who too often refuses to hear God’s prayer.

And prayer is precisely the response to Love’s eternal invitation, which is made with an infinite regard for our freedom. It is, therefore, superfluous to ask whether every prayer is heard. It is heard if and in so far as it is a genuine prayer. For genuine prayer is the opening of the soul to the mysterious invasion of the Divine Presence, and it is completely summed up in the final appeal of the Apocalypse: ‘Come, Lord Jesus.’ (61-62)

Throughout the chapter, Zundel strikes what we might call a sophiological note. He approaches the most basic substance of the Christian lifeprayerand carries on to the Eschaton, to spiritual nuptials, and to illumination from on high.

It remains true that there is no conversation without answers, no marriage of love without mutual consent. And it is a marriage of love that is to be concluded between God and ourselves. In this marriage whose intimate union must continually grow until its flower unfolds in eternity, prayer is our assent. There is no need to put it into words. It may be confined to a silent adherence, a simple look in which we give our entire being a calm silence in which, without adding anything of her own, the soul listens to Him who utters Himself within her by His single Word. And all prayer tends towards this transparent passivity which exposes the diamond of our free will to the rays of the eternal light. We can pray without asking for anything and without saying anything, that God may express Himself the more freely…

It is ultimately for the sake of God that the soul desires her own Beatitude, that no obstacle may thwart His love, that the world may realise its spiritual vocation, and that throughout creation all may be yea, as all is yea in God. (62-64)

Zundel notes that the peculiar genius of the Liturgy is the way it uses human spiritual needs as launchpads for a “flight” into the eternal. The Collects crystallize this function in that they often speak of our human wants. Zundel writes:

But their very sobriety forbids us to stop at their verbal surface. The soul has but to let herself go and she is launched on the open sea voyaging over abysses of light and darkness, of sorrow and peace. They are more than prayers, they are sacraments of prayer, formulas that induce the essential prayer which we have attempted to describe. (64-65)

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Would that we might be ever mindful of what is really taking place at every Mass! (Source)

Among Prayer-Book Anglicans, there used to be a very old custom of memorizing collects. I do wonder how many still keep it upcertainly, I don’t know of any Catholics who memorize collects. Imagine what would happen to our own spiritual lives, to say nothing of the Church militant, if we committed to learning a few by heart. If you’re looking for a beautiful English translation of the traditional collects, might I recommend a little volume published by W. Knott & Son. Otherwise, there’s another good alternative that came out around the same time. 

“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.

The Year’s Top Posts: 2017

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The Bibliophiles, by Luis Jimenez y Aranda. 1879. (Source)

Here are the Top 10 most viewed posts in 2017.

1. 100 Things I Would Rather Listen To at Mass than Hymns from the 70’s and 80’s, In No Particular Order

2. Worried About the Church? Here Are Some Cardinals Playing with Cats!

3. The Five Idols of Christmas

4. The Oratorian Option

5. Fr. James Martin and the Perils of Imaginative Religious Art

6. The Triumph of Color: Notes on the Anglo-Catholic Aesthetic

7. UVA’s Honor Referendum is Undemocratic

8. Benedict Shrugged

9. UVA’s Own Saint

10. When the Sacred is Strange: The Art of Giovanni Gasparro

I hope next year will be full of even more writing!

 

Terrible as An Army Set in Array

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Our Lady of Guadalupe, pray for us. (Source)

“Your deed of hope will never be forgotten by those who tell of the might of God. You are the highest honor of our race.”

Thus does the whole Church sing at Mass today, on the Feast of Our Lady of Guadalupe. And no mean words are they! The Psalm is drawn from the Book of Judith – a frequent verse for feasts of Our Lady – and it lands on our ears like a shout of proleptic joy in this season of preparation and penance. The liturgy draws two special comparisons between Mary and the women of the Old Testament: Mary as the new Eve, and Mary as the second Judith. Today’s feast draws its special energy, its exegetical verve, from the mystical connection between Mary and Judith.

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Our Lady of Guadalupe painted by the Trinity. An image worth meditating on. (Source)

The particular verse that the Church applies to Mary comes from Uzziah’s praise of Judith after she has already beheaded Holofernes the Assyrian. Let us turn briefly to the immediately preceding passage.

Then she took the head out of the bag, showed it to them, and said: “Here is the head of Holofernes, the ranking general of the Assyrian forces, and here is the canopy under which he lay in his drunkenness. The Lord struck him down by the hand of a female! Yet I swear by the Lord, who has protected me in the way I have walked, that it was my face that seduced Holofernes to his ruin, and that he did not defile me with sin or shame.” All the people were greatly astonished. They bowed down and worshiped God, saying with one accord, “Blessed are you, our God, who today have humiliated the enemies of your people.” (Judith 13:15-17).

Then come our Psalm verses.

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Judith Beheading Holofernes, Caravaggio, c. 1602. (Source)

Why would the Church draw our attention to this violent episode on a feast of Our Lady falling so soon after the Immaculate Conception? Haven’t we just contemplated her Sophianic existence? Haven’t we just basked in the light of the Holy Spirit resting upon her Immaculate Heart? Why must we leave those pleasant snow-caps of the spirit? Why turn instead to this grisly tale of murderous deliverance?

We must recall that, although Mary is all sweetness and concord to those who love her Son, she is the terror of demons. Her litanies and devotions include many titles that evoke the clamor of warfare: “Tower of David,” “Tower of Ivory,” even “Gate of Heaven.” She crushes the head of the Serpent. The sword that pierces her heart becomes, by the union of her suffering with that of her Son, a fearful weapon in her mighty hands.

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“Hail Mary, full of grace, punch the devil in the face.” (Source)

The story of Guadalupe is just one example of Our Lady exercising this power. Her appearance on Tepeyac, and the miracle wrought on the tilma of St. Juan Diego, was the beginning of the end of Aztec paganism. The demons that held that great people in thrall to the murderous rites of human sacrifice were totally vanquished. Like Judith, Mary rode out from Heaven into the  very camp of the enemy. Like Judith, she conquered. Like Judith, she proclaimed her victory with a visible sign – only, Our Lady’s sign was far more glorious. Judith held up the head of the vanquished foe, the bloody remains of a wicked oppressor. The Mother of God gave us her own image, miraculously imprinted into the convert’s cloak.

Judith delivered the Jews from the army of the Assyrians. Mary came forth to Tepeyac to convert the Mexican people, lifting from them the demonic yoke of a bloodthirsty paganism. What a glorious victory she won! Nine million Aztecs converted within the first ten years of the apparitions. Even today, she continues to spur us to conquer those terrible forces of injustice that oppress so many of God’s people. The collect prayer for today’s feast reads:

O God, Father of mercies, who placed your people under the singular protection of your Son’s most holy Mother, grant that all who invoke the Blessed Virgin of Guadalupe, may seek with ever more lively faith the progress of peoples in the ways of justice and of peace. (Source; emphasis mine)

These days it is rather in vogue to lament a certain kind of triumphalism that is built on self-centered pride. But too often we forget that there is another triumphalism, the shout of a people who have seen their salvation coming from the Lord:

Blessed are you, daughter, by the Most High God,
above all the women on earth;
and blessed be the LORD God,
the creator of heaven and earth
(Judith 13:18).

The Church herself enjoins us to celebrate the works and ways of God through His chosen instruments. And in today’s Mass, we are called to join that praise to the sacrifice of Christ in the Eucharist.

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Our Lady of Guadalupe, Victrix over All Heresies and Demons. (Source)

In considering Our Lady of Guadalupe and the zeal with which she overcame the forces of evil and in contemplating the beauty of her miraculous portrait, a verse of Scripture comes to mind.

“Who is she that cometh forth as the morning rising, fair as the moon, bright as the sun, terrible as an army set in array?” (Cant. 6:10 DRA)

We who have seen the tilma through the eyes of faith know the answer.

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Our Lady of Guadalupe, Mystical Rose. (Source)

The Best Depictions of the Subtle Doctor

I’ve taken a major interest in Scotus recently. His Christology and Mariology seem to be treasures that remain largely unexploited by contemporary theologians, in part because he was recognized as being in the right about a doctrine that became dogma almost two hundred years ago. He is at the center of ongoing debates about the advent of secularism and modernity, debates which I am not competent to comment on at this time. Nevertheless, I thought it might be fun to examine some of the ways that Catholics (mostly Franciscans) have memorialized him in art over the course of the last several centuries. In some sense, the variety of depictions here tell a story of a lineage long overshadowed by other, more influential streams of thought. Thomism in particular has had a near perennial appeal within the Church, whereas Scotism, it seems, has largely been a niche concern. After all, Scotus has not yet been canonized or joined the ranks of the Doctors of the Church. This inequity arose from a variety of factors. No doubt, the fate of Scotism has come partially from Scotus’s own difficult style and vast intelligence. There’s a reason he’s called the “Subtle Doctor.”

May my small collection here help rectify that oversight on this, his feast day.

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John the Scot (c. 1266 – 8 Nov. 1308), appearing in what must be one of his earliest depictions: an illuminated capital. (Source)

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A Renaissance portrait of the Blessed John Duns Scotus. One point that people forget about Scotus is that he defended the rights of the Church against Philip IV, who had wanted to tax church properties. For his bold stance, he was exiled for a few years from Paris. (Source)

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Perhaps the most famous, a late-Medeival, early-Renaissance portrait of Scotus. The name of the artist escapes me. (Source)

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An early modern engraving of Scotus, probably early to mid 15th century. (Source)

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Here he is with St. Albert the Great, one of the Dominican Doctors. (Source)

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Scotus the Scholar. Age and provenance unclear; my guess is late 17th century, though it may be later. (Source)

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Scotus receiving a vision of the Christ Child, 17th or 18th century. Although chiefly remembered for his metaphysics and Mariology, Scotus made major contributions to Christology, defending the Patristic idea of Christ’s Absolute Primacy. (Source)

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From the early modern period, it became typical to depict Scotus with representations of the Virgin Mary, whose Immaculate Conception he famously defended. This piece, probably from the 18th century, is one such example. It also contains a pretty clear criticism of Aquinas – Scotus looks away from the Summa to gaze lovingly at Mary (Source: this very friendly take on Scotus by a prominent popular Thomist)

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A slightly more dramatic iteration of the same theme. Scotus is inspired by the Immaculate Conception. (Source)

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My single favorite image of Scotus is this ludicrously over-the-top Rococo depiction of Scotus and the Immaculate Conception triumphing over heresy and sin. He holds the arms (no pun intended) of the Franciscan order. His defense of the Immaculate Conception surpassed the doubts of even his own order’s great luminary, St. Bonaventure. And what a marvellously simple argument it was, too. Remember: POTVIT DECVIT ERGO FECIT. (Source).

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Likewise, this totally marvelous Colonial Mexican painting from the Franciscan monastery of Izamal, Yucatan, is something else. Rare is the saint granted wings in traditional iconography, though the trend was not uncommon in early modern Mexican art (Source)

Joannes Pitseus, Scotus 1619

The mystery solved! This version by Johannes Pitseus comes from 1619, and served as a model for the Izamal piece. Here, it’s clearer that the heads represent various heretics, including Pelagius, Arius, and Calvin. (Source)

Landa Duns Scotus

This ceiling relief from Landa, Querétaro, uses the same iconographic lexicon. It seems that the Franciscans of colonial Mexico had a set of stock images to propagate devotion to their own saints. (Source)

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Here’s another unusual image of Scotus. In this mural of Mary Immaculate, or La Purísima, we see Scotus alongside St. Thomas Aquinas…and wearing a biretta! A remarkable addition, unique among all other depictions of the Subtle Doctor that I know of. (Source)

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Moving away from Mexico, we come to this rather uninteresting French portrait of Scotus. Not all 18th century portraits of the man are elaborate bits of Franciscan propaganda. (Source)

 

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A late 18th or early 19th century depiction of Bl. John Duns Scotus. If this is in fact an English painting, its creation at a time of high and dry Anglican Protestantism poses interesting questions about the use of Scotus as a figure of national pride. (Source)

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I’m unsure of how old this image is; my guess, however, is that it represents a 19th century imitation of late Medieval and Renaissance style. (Source)

Albert Küchler (Brother Peter of Copenhagen) - Immaculate Conception with St. Bonaventure, Francis, Anthony and Blessed John Duns Scotus - Rome - Pontifical University Antonianum

A great 19th century painting of the Immaculate Conception by Danish Franciscan Albert Küchler. Scotus, who is on the bottom right, is here depicted alongside other Franciscan saints – S.s. Francis of Assisi, Anthony of Padua, and Bonaventure. (Source)

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This looks like a Harry Clarke window, though it may just resemble his style. In anyway, we see here Scotus holding a scroll with his famous argument for the Immaculate Conception epitomized – “He could do it, It was fitting He should do it, so He did it.” (Source)

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John Duns Scotus, once again contemplating the Immaculate Virgin and offering his mighty works to her. (Source)

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Another stained glass window, this time indubitably from the 20th century. We see here Scotus worshiping the Christ Child and his Immaculate Mother. (Source)

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Scotus depicted in on the door of a Cologne Cathedral, 1948. He represents the supernatural gift of Understanding. (Source)

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A contemporary statue of Scotus. (Source)

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Scotus with a modification of the Benedictine phrase. “Pray and Think. Think and Pray.” Not a bad motto. (Source)

 

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A 20th or 21st century image of the Blessed Scotus (Source).

The Demonologist: Montague Summers

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Montague Summers in clerical garb. (Source)

The history of the Church is a history of odd birds, but it is harder to find odder birds than those which inhabited the British Isles in the fruitful years of the Catholic Revival. The eccentricities of certain English clergy are well-known and well-beloved. One of the great flowers of this tendency was Montague Summers.

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A flying devil. (Source)

Augustus Montague Summers was born in Bristol, the youngest of seven. Eventually he went on to study at Trinity College, Oxford, with the intent of seeking ordination in the Church of England. After some time at Lichfield Theological College, he was eventually deaconed and spent his curacy in Bath and the Bristol area. Even at this young stage, he garnered a reputation for eccentricity. In Ellis Hansen’s Decadent Catholicism, we learn the rather delicious fact that at seminary, “he was known to burn incense in his rooms and to wear purple silk socks during Lent” (qtd. by the Modern Medievalist).

This was as far as he made it in the ranks of the C of E, however. As the Oxford Dictionary of National Biography tersely puts it, “Rumours of studies in Satanism and a charge of pederasty, of which he was acquitted, terminated this phase of his career.” The latter charge may have had some truth to it. About this same time, he published a book of Uranian verse entitled Antinous and Other Poems (1907). His interest in pederastic and homosexual themes continued throughout his life. In 1940, he wrote a play about Edward II. Even more scandalously, “Despite his conservative religiosity, Summers was an active member of the British Society for the Study of Sex Psychology, to which he contributed an essay on the Marquis de Sade” (Source 1 and Source 2).

In 1907, though, Summers was out of a job. His hopes of becoming an Anglican clergyman seemed to have been quashed. But as they say, when the Lord closes one door, He opens another. We might imagine that Summers had something like this in mind when, two years later, he converted to Roman Catholicism. He also spent some time on the continent, allegedly for reasons relating to his health. Some have speculated that he might have received valid, if illicit, orders during this sojourn; others have said he spent his time exploring the black arts (vide the Modern Medievalist). We have almost nothing on which to base our speculations.

Now we see him coming to the full bloom of his later, famous eccentricity. It is in this formative period that he lays the foundation for the vivid persona that would make him such a cult literary and religious figure. I will quote the Oxford DNB at length:

On 19 July 1909 Summers was received into the Church of Rome and was granted the clerical tonsure on 28 December 1910; after this his clerical career became murky and remains so. He may have received minor orders as a deacon, but no record of his ordination has ever been found. During his lifetime, he was addressed as the Revd Montague Summers, celebrated mass in his own chapel and those of friends, adopted two names in religion, and invariably wore the dress pertaining to Roman priesthood; his appearance in soutane, buckled shoes, and shovel hat, later with an umbrella of the Sairey Gamp order, was familiar in London and Oxford. He became increasingly eccentric and was described as combining a manifest benignity with a whiff of the Widow Twankey. Some spoke of an aura of evil. It was charitably assumed by his friends that he was indeed a priest, and his devotion was never in question; his biographer Joseph Jerome (Father Broccard Sewell) records that all his life Summers wore the Carmelite scapular.

On a side-note, Fr. Brocard Sewell was a deeply strange man himself. But I digress.

If Summersor, as he was now calling himself, “Reverend Alphonsus Joseph-Mary Augustus Montague Summers”–had simply remained a slightly dubious cleric, we probably wouldn’t remember him. He might have become a little more than a footnote in the history of the Episcopi Vagantes so famous for dispensing illicit orders here and there. But he did not. Instead, he wrote. Prolifically.

Summers started off with genuine and important literary scholarship. Eventually, he even became a member of the Royal Society of Literature. He had certainly earned it with the sweat of his brow. He produced fairly good books on Restoration Drama, including major editions of previously neglected playwrights such as Aphra Behn. In this capacity, he had some connections with the world of the British stage; he was a founder of the Phoenix Theatre. He wrote an important monograph on Shakespeare.  In another work he also proved that the terrible Gothic novels that Jane Austen mentions in Northanger Abbey were all real books. Gothic literature remained a lifelong passion, in part because it dovetailed so well with his overriding obsessionthe occult.

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Montague Summers in clerical collar. (Source)

Summers is most famous today for his several books on witches, demons, vampires, ghosts, and other supernatural phenomena. He translated and edited the first English edition of the Malleus Maleficarum, that great tome of Medieval witch-hunting. He did the same with several other demonological manuals: The Demonality of Sinistrari, The Discovery of Witches by Hopkins, the Compendium Maleficarum of Guazzo, and the Demonolatry of Nicolas Remy. He wrote a text on The Physical Phenomena of Mysticism, in contrast with his somewhat headier and less decadent contemporary, Evelyn Underhill. He edited more than one collection of horror stories. He wrote three seminal texts on vampirism, one on lycanthropy, and four on various aspects of witchcraft. Following the best scholarship of the day, Summers endorsed the idea of the “Witch-Cult,” long suppressed by Christianity but operating sub rosa in Europe down the centuries (this hypothesis has long since been undermined by scholars across disciplines). He would often draw upon a huge range of historical, theological, ethnographic, and literary sources in constructing his arguments. All of his texts speak to his vast learning. It is probable that upon his death, Montague Summers knew more about the history and practice of the occult than any other Englishman then living.

The Modern Medievalist has preserved some charming anecdotes of the later, esoteric Summers over on his blog. We read, for example, the following passage from Ellis Hansen’s Decadent Catholicism:

…although Summers was a brilliant conversationalist, he had always a thick carapace of artificiality in his demeanor, a kind of mask that recalled the studied falsity of the classic dandy, not to mention the distrustful reserve of Walter Pater and John Gray. His style was decidedly aristocratic, Continental, and decadent, with the inevitable intimation of sexual impropriety. His friend writes of him, “He would often meet me with such an expression as Che! Che!, accompanied by a conspiratorial smile; or he would look closely at me and murmur, ‘Tell me strange things’.”

Or this remarkable scene drawn for us by Fr. Brocard Sewell:

Summers…could often have been seen entering or leaving the reading room of the British Museum, carrying a large black portfolio bearing on its side a white label, showing in blood-red capitals, the legend “VAMPIRES.”

Not to mention the fact that Summers went about town with a cane topped by a depiction of Leda and the Swan (vide the Modern Medievalist).

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A caricature of Summers from the Evening Standard, probably from 1925. (Source).

What distinguished Summers’ writing on these dark subjects is the absolute credulity with which he approaches his subject. Unlike his predecessor, Dom Calmet, who wrote about ghosts with ambivalence and vampires with manifest doubt, Summers did not hesitate to express his firm certainty about both (and much more). He believed in all the phenomena he wrote aboutthe whole ghastly parade of incubi and succubi, of witches dancing at the Sabbath, of vampires rising from the grave to seek the blood of the living, of werewolves stalking innocent Christians in the night. Everything that belonged to the netherworld was as real to him as the people you or I might meet in the street. His purple prose often slips into breathless passages of scholarly terror. Observe the following lines from Chapter Two of The Vampire: His Kith and Kin:

It has been said that a saint is a person who always cho[o]ses the better of the two courses open to him at every step. And so the man who is truly wicked is he who deliberately always cho[o]ses the worse of the two courses. Even when he does things which would be considered right he always does them for some bad reason. To identify oneself in this way with any given course requires intense concentration and an iron strength of will, and it is such persons who become vampires.

The vampire is believed to be one who has devoted himself during his life to the practice of Black Magic, and it is hardly to be supposed that such persons would rest undisturbed, while it is easy to believe that their malevolence had set in action forces which might prove powerful for terror and destruction even when they were in their graves. It was sometimes said, but the belief is rare, that the Vampire was the offspring of a witch and the devil.

Summers also stood apart from his thoroughly modern era in endorsing “Church-sanctioned methods of destroying” the monsters he wrote about (The Modern Medievalist).

And although his pages are littered with authoritative quotes from long-dead writers, Summers was not unaware of the dark streams that swirled about him in his own day. Richard Cavendish reports in a typically mordant passage from The Black Arts (1967) how Summers treated the claims of the twentieth century’s greatest occultist, Aleister Crowley:

Aleister Crowley could not pass over such an opportunity to scandalize his readers. ‘For the highest spiritual working one must accordingly choose that victim which contains the greatest and purest force. A male child of perfect innocence and high intelligence is the most satisfactory and suitable victim.’ Montague Summers took this seriously, as he took everything else, and quotes it with gratified horror, in spite of Crowley’s footnote in which he says that he performed this sacrifice an average of 150 times a year between 1912 and 1928! (Cavendish 238)

In spite of it all, Summers remained well-liked in certain circles. He moved among the literary elite of his own day, an eccentric among eccentrics. One of his friends, the actress Dame Sybil Thorndike, relates something of his personality:

I think that because of his profound belief in the tenets of orthodox Catholic Christianity he was able to be in a way almost frivolous in his approach to certain macabre heterodoxies. His humour, his “wicked humour” as some people called it, was most refreshing, so different from the tiresome sentimentalism of so many convinced believers.

His caricature in the Evening Standard captures something of this impish quality.

But although he was known and appreciated in his own day, he has been largely forgotten in the intervening decades. There have not been many books about Montague Summers, and he is not widely read. However, that will soon hopefully change. In recent years, Georgetown University has acquired Summers’ papers, once thought irrevocably lost. Fittingly, they have a peculiar provenance, having been “discovered languishing in an old farmhouse in Manitoba.” The story of how they got there is probably as strange as any of Summers’ own books. Georgetown’s collection has made possible a forthcoming biography by Matthew Walther that will hopefully rectify the longstanding neglect of this bizarre yet sincere writer.

But perhaps a question rises. Not every obscure author is worth reviving. Why bother with Montague Summers? A man of outdated style, of dubious subjects, and of very questionable morals to boot…what does he offer the modern reader?

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The grave of Montague Summers. (Source)

The Modern Medievalist has a few thoughts on the matter.

Montague Summers is, at best, a good fit for the Institute of Christ the King and a throwback to an age when priests were also arbiters, makers, and preservers of high culture a la Antonio Vivaldi; at worst, a “daughter of Trent” who, if he ever actually was a priest to begin with, wasted his vocation on trivialities rather than the cure of souls.

Perhaps. I am not so convinced that Summers would have fit in any age. He was a decadent, and a great deal of decadence is contrarianism. Though the comparison with ICKSP is hilarious.

I think the message of Summers’s life and work can best be summed up in his epitaph.  On the black stone hat marks his grave in Richmond Cemetery, we read a simple phrase; “Tell me strange things.” These four words that he used to say to his friends encompass his whole life, packed as it was with “strange things.” Summers matters today not because he is a towering figure of literary talent, nor because his scholarly subjects are of vital importance, nor because he is a moral exemplar of impeccable religiosity. He matters because he can remind us to embrace the mystery of life. As we read in one of those plays that Summers so loved, “There are more things in heaven and earth, Horatio,/Than are dreamt of in your philosophy.” Summers lived by those words. The more I learn about the world, the more reason I see in them. And what better day to remember this humbling, bewildering, frightful truth than on All Hallows’ Eve?

A Century of Marian Metaphors

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Our Lady of Fatima, pray for us. (Source)

1. Mary’s heart is the prism which catches the ineffable light of the Godhead and scatters it out as all the many graces of the world.

2. Mary is the pure candle holding aloft the undying flame of the Holy Spirit – the light and heat are Christ in his humanity and divinity, come to quicken the dead earth.

3. Mary’s heart is the spotless flower from which we, like so many bees, draw forth the fragrant nectar of Christ to make sweet honey for our God and King.

4. Mary’s heart is the fresh spring of grace that flows until it has become the mighty river of all the baptismal waters through history.

5. One word spoken by Mary is more ravishing to the angels and saints than the music of our worship, the hymns of the dead in purgatory, or even that sweetest sound, the prayer of a single penitent sinner.

6. Mary’s heart is the jeweled cask that hides a treasure inexhaustible.

7. Mary is the ever-new wineskin, and she always receives the new wine of God’s undying graces.

8. As the Ark rested beneath the watchful gaze of the two angels, so Mary is attended by her two angelic forebears, Enoch and Elijah.

9. Mary’s Immaculate Heart is the pillar of fire; the breath of her Fiat is the pillar of cloud.

10. Mary is the crown of the priest and king, his finest ornament and glory as he stands at prayer for us in the Holy of Holies.

11. Mary is the priestly breastplate, the glory of the House of Israel, the bearer of the Urim and Thummim of Christ’s two natures, guardian of the heart of the High Priest.

12. Mary is the Golden Vestment of Adoring Sacrifice and the Linen Vestment of Atoning Sacrifice.

13. Mary is the triumphant sister of Jael and Judith.

14. Mary is the undying hearth in winter, and she who tends the hearth.

15. Mary is the strong tree of shelter for us and the wood of the cross for her son.

16. Mary is the threefold seat of wisdom.

17. Mary is the ring of Solomon the King, that all the demons fear and tremble before.

18. Mary is the blueprint of Heaven and its surest map.

19. Mary is the granary of Heaven, opened for us in the time of our souls’ great famine.

20. Mary is the Pelican, piously feeding her children with the fruit of her own Immaculate Heart.

21.Mary is the cup of the everlasting nuptials.

22. Mary is the abyss of all Light, and the Light is Christ.

23. Mary is the white fire; her spouse is the black fire; together, they bring forth the Word.

24. Mary is the perfect circle of the nimbus around Christ’s head.

25. Mary is Eden-Garden.

26. Mary is Bethel of Jacob.

27. Mary is Eretz Yisrael.

28. Mary is Mt. Sinai.

29. Mary is Mt. Zion.

30. Mary is Jordan-Bank.

31. Mary is Mt. Tabor.

32. Mary is Golgotha.

33. Mary is the Cenacle.

34. Mary is the Tree of Life, the fruit of which we are given to eat, now and always.

35. Mary is the Tree of Life, on which the world of the spirit turns.

36. Mary is the Tree of Life, perfectly united to Christ in His sacrifice.

37. Mary is the visible whirlwind from which God speaks to the Righteous man suffering; her spouse is the invisible whirlwind, from which the wind derives its likeness.

38. Mary is the wing of the Seraphim lifted into flight by that ghostly wind.

39. Mary is the flowering earth under the footprint of Christ, her son.

40. Mary is the willow who weeps with an inconsolable grief.

41. Mary is the first high cliff that meets the light of the rising Sun.

42. The heart of Mary is as a treasure hidden in a placid blue sea.

43. Mary is the haven of white sands.

44. In Mary, lava cascades into the sea and builds a new land.

45. Mary’s heart is the molten forge of the King’s great weapons.

46. Mary’s heart is the gift of roses and lilies upon the altar.

47. Mary’s heart is the mirror of heaven.

48. Mary’s heart is the root of a golden fruit, the sacred heart of her son.

49. Mary’s heart is the privileged parchment on which the Holy Ghost composes the chant of every Angelic choir.

50. Mary’s heart is God’s library, wherein He may read and recount His own great deeds in all of human history.

51. Mary’s heart is the throne of the cosmic King.

52. Mary is the unstained looking-glass through which we see Christ clearly.

53. Mary is the altar.

54. Mary is the Tabernacle

55. Mary is the Lampstand.

56. Mary is the Holy of Holies.

57. Mary is the parted veil.

58. Mary is the lantern we carry that spreads the Uncreated Light before us on our path.

59. Mary is the Queen of all our darkest nights.

60. Mary is she who speaks the ineffable name of God, and lives.

61. Mary is the first and perfect Veronica, keeper of the Holy Face of Jesus.

62. Mary is the first and perfect Magdalene, anointing Christ with her unblemished humanity.

63. Mary is the first and perfect Martha, laboring always for Christ and His kingdom.

64. Mary is the first and perfect Lydia, following the Gospel wherever it leads.

65. Mary is the first and perfect Priscilla, aid to all the successors of the Apostles.

66. Mary is the hidden Aleph at the start of God’s great book.

67. Mary is the firmament.

68. Mary is the firstborn of the Redeemed World according to the order of time.

69. Mary is the Golden Fountain of all graces.

70. Mary is the Garden and the Garden-Ground.

71. Mary’s heart is the thurible in the hands of the Great High Priest; her pure prayer goes up to the Father as so much fiery incense.

72. Mary’s heart is the Chalice that receives and holds the Most Precious Blood.

73. Mary’s heart is the gem at the center of God’s crown.

74. Mary’s heart is the virgin land where stands the banner of her son.

75. Mary is the ladder of the Angels.

76. Mary is the cloud that rises from the sea.

77. Mary is the one who chants the music we had forgotten.

78. Mary is the canopy of the undying marriage between Christ and His bride.

79. Mary is the neck of the Church.

80. Mary is the joy of all creatures.

81. Mary is the Star seen in the East.

82. Mary is the chariot of the dawn.

83. Mary is she who has surpassed Semele and Psyche.

84. Mary is she who shames Juno and Venus.

85. Mary is she who overcomes Minerva and Diana.

86. Mary is the unlooked-for gift.

87. Mary’s name is the shield of Michael.

88. Mary’s name is the lily of Gabriel.

89. Mary’s name is the staff of Raphael.

90. Mary’s name is the honey of the angels.

91. Mary is the black cloud bringing rain to the desert.

92. Mary is the gateway to the land of the living.

93. Mary is the orb of God’s blessing to the righteous.

93. Mary is the scepter of God’s wrath to the demons.

94. Mary is God’s royal seal upon His creation.

95. Mary is the quarry and mine of the Temple.

96. Mary is the font of new birth.

97. Mary is the Queen from whom all queens take their pattern.

98. Mary is the one enthroned in the heart of Jesus Christ, and His perfect likeness.

99. Mary is the sweet perfume of the holy through all the ages.

100. Mary is eternity’s memory.

7 Protestant Songs with Surprisingly Good Theology

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No altar in sight, but boy can they sing. (Source)

Flannery O’Connor once famously remarked that conservative Catholics had more in common with fundamentalist Protestants than they did with liberal Catholics…hence the many strange prophets and preachers she raises up in her Southern Gothic fiction. While we could probably contest her claim in some ways, she is indisputably right in other respects. Protestants, particularly those of the deep South, have preserved a sense of sin and grace lost in many churches. And their powerful hymnodic tradition has helped foster American music for generations.

As an ecumenical gesture à la O’Connor, I thought I’d review a few Protestant songs that contain important and salutary theological insights. In doing so, I want to get beyond the well-known classics like “Amazing Grace,” “Come Thou Fount,” and “The Old Rugged Cross,” and look instead at songs that may not be as familiar among Catholics. I am also excluding Anglican and Wesleyan hymns, since most Catholics (at least, English-speaking ones) will be well aware of them from their parish Masses.

One thing that I hope will be clear in this list is how different all of these songs are from the kind of music current in Evangelical (and some Catholic) circles today. Unlike so much Praise and Worship music, it’s impossible to reduce these songs to a subjective, emotivist, “Jesus is my boyfriend” spirituality. I don’t mean to suggest that they keep clear of deeply personal, even existential, questions of faith and morals. They live and breathe in a world where those issues are deeply present. But even among the loopier ones (see numbers 4 and 7 below), we are dealing with a faith that lies in objective, concrete beliefs. Consequently, the lyrical form those beliefs take is highly articulate. Protestant music has suffered immeasurably by the loss of the King James Bible as the translation of choice throughout American Christendom. Many of these songs, all of which come from a period of attachment to King James, more or less reflect that hieratic idiom.

I. George Jones, “The Cup of Loneliness”

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George Jones was known for his religious songs, particularly in his early career. (Source)

One of the masters of Country Music, George Jones will no doubt be familiar to many of my readers. But his early song, “The Cup of Loneliness,” may not be. Catholics in particular should take note of this offering. Here are the lyrics in toto:

I say Christian pilgrim so redeemed from sin
Hauled out of darkness, a new life to begin
Were you ever in the valley where the way is dark and dim?
Did you ever drink the cup of loneliness with him?

Did you ever have them laugh at you and say it was a fake?
The stand that you so boldly for the Lord did take
Did they ever mock at you and laugh in ways quite grim?
Did you ever drink the cup of loneliness with him?

Did you ever try to preach, then hold fast and pray?
And even when you did it, there did not seem a way
And you lost all courage, then lost all you vim
Did you ever drink the cup of loneliness with him?

Oh my friends ’tis bitter sweet while here on earthly sod
To follow in the footsteps that our dear Savior trod
To suffer with the savior and when the way is dark and dim
The drink of the bitter cup of loneliness with him…

This is simply good ascetic theology, delivered in the spiritual context of mid-century American Evangelicalism. In the last stanza, when we are exhorted “To suffer with the savior,” we must remember the theology of suffering passed on to us by so many saints through the ages, from the Martyrs and Confessors forward. In the Catechism of the Catholic Church 618, we read:

The cross is the unique sacrifice of Christ, the “one mediator between God and men”.452 But because in his incarnate divine person he has in some way united himself to every man, “the possibility of being made partners, in a way known to God, in the paschal mystery” is offered to all men.453 He calls his disciples to “take up [their] cross and follow (him)”,454 for “Christ also suffered for (us), leaving (us) an example so that (we) should follow in his steps.”455 In fact Jesus desires to associate with his redeeming sacrifice those who were to be its first beneficiaries.456 This is achieved supremely in the case of his mother, who was associated more intimately than any other person in the mystery of his redemptive suffering.457 Apart from the cross there is no other ladder by which we may get to heaven.458

And how do we unite our sufferings with Christ? Through prayer, through fasting, and above all, through the Eucharist. The literal “cup of loneliness.”

II. Traditional, “This World is Not My Home”/”Can’t Feel at Home”

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The cover art for Ben Babbitt’s album, Kentucky Route Zero – Act III. (Source).

A Bluegrass favorite. I first encountered it in a magnificent video-game, Kentucky Route Zero. As a side-note, let me strongly recommend that game to anyone who likes David Lynch, Flannery O’Connor, Gabriel Garcia Marquez, film noir, science fiction, or bourbon. The artfully written story about several strange characters moves through hauntingly beautiful minimalist landscapes. It is, in short, a work of art. If you have the time, play it.

More to the point, the music is excellent. The deep and delicate cover of “This World is Not My Home” by Ben Babbitt in Act IV of KR0 is my personal favorite rendition of the song, though I also appreciate the old version the creators used in their original Kickstarter trailer. And the Carter Family produced a classic cover.

Consider the lyrics:

This world is not my home; I’m just a passing through.
My treasures and my hopes are placed beyond the blue.
Many friends and kin have gone on before
And I can’t feel at home in this world anymore.

Oh Lord, you know I have no friend like you
If heaven’s not my home then lord what will I do?
The angels beckon me from heaven’s open door
And I can’t feel at home in this world anymore.

Here in miniature is the homo viator, a spirituality that calls us to renunciation and subsequent embrace of “the one thing necessary.” The 47th Instrument of Good Works according to St. Benedict is “To keep death daily before one’s eyes.” The song’s narrator is a man who does precisely that. As in “The Cup of Loneliness,” we encounter a basically sound ascetic theology, only this time coming from the very depths of Appalachia.

And that’s not all. In a later verse, we hear:

I have a loving mother up in gloryland
And I don’t expect to stop until I shake her hand.
She’s waiting now for me in heaven’s open door
And I can’t feel at home in this world anymore.

There are two ways to read this verse. Given its Protestant origin, it almost certainly refers to a literal, biological mother. Anyone who has lost their mother can relate to the feelings the verse expresses. But Catholics know that we all “have a loving mother up in gloryland.” One of the reasons I love this song is that, by drawing upon universal experiences, it can bear a number of equally legitimate spiritual meanings.

III. The Whites, “Keep on the Sunny Side”

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Texas-based country group, The Whites. They’re famous for performing regularly at the Grand Ole Opry, often alongside their frequent collaborator (and family member), bluegrass artist Ricky Skaggs (Source).

I know that this cheery song is considerably older than its famous rendition by The Whites, as heard in O Brother Where Art Thou? (2000). But I enjoy that version more than any other, and I recommend it to you.

We could easily dismiss this song as an expression of Joel Osteen-style naive optimism. But that would do a great disservice to the spiritual vision presented therein. The very first line takes a more realistic view of things than Osteen ever has:

Well there’s a dark and a troubled side of life
There’s a bright and a sunny side too
But if you meet with the darkness and strife,
The sunny side we also may view.

At no point does the song ever swerve from considering the felt reality of evil. Bad things do happen, and to good people. But the song refuses to linger on the sorrow of “this valley of tears.” Instead, it calls us to rejoice:

Let us greet with a song of hope each day
Though the moments be cloudy or fair.
Let us trust in our Savior always,
To keep us, every one, in His care.

A hope that does not take the possibility of despair seriously will falter. But a supernatural hope that stares despair in the eye and does not blink – that’s what the Holy Spirit seeks to create in us over the course of a lifetime. “Keep on the Sunny Side” is preeminently about that stronger sort of hope, a trust in God’s Providence founded on the singular sacrifice of Calvary.

IV. The Louvin Brothers, “Satan is Real”

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There’s a lot going on here. (Source)

I unironically like this one by the Louvin Brothers, even with (or because of?) its dated, somewhat campy ethos. I mean, just look at that cover art. And while the long monologue that makes up the bulk of the song is *just a little much,* it’s a good snapshot of what a certain kind of American Christianity looked and sounded like in 1960.

The refrain is where the song’s theological merit can be seen – or, rather heard.

Satan is real, working in spirit
You can see him and hear him in this world every day
Satan is real, working with power
He can tempt you and lead you astray

From the perspective of Catholic demonology, the Louvin Brothers are not wrong. St. Anthony the Great would certainly agree with their diagnosis.

Admittedly, they may have had a little bit of an unhealthy obsession with the question of demonic influence (the album includes another Satanic-themed song, and on another album they dramatize a dialogue between “Satan and the Saint“). Fair enough. Nevertheless, given that so much of our own hymnody is so obsessed with a false, flimsy, feel-good image of Christ and the demands of the spiritual life, something as overtly anti-demonic as “Satan is Real” strikes me as a good, if somewhat ridiculous, corrective.

V. Sister Rosetta Tharpe, “Up Above My Head”

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It is perhaps spiritually significant that in nearly all her famous photos, Sister Rosetta can be seen looking up – as if she can see the very angels above her. (Source)

I mentioned at the start of this essay that Protestant music has had an enormous influence on the development of American music as such. Two particular communities, broadly construed, have made especially important contributions to that tradition: Appalachian churches, and the Black church. I have already drawn out some of the fruits of that former school. I would be remiss if I did not mention the latter.

I mention all this here because my fifth artist, Sister Rosetta Tharpe, is unusually important in the history of music. A pioneer of at least four different genres – Country, Rock and Roll, R&B, and Gospel – she has tragically been forgotten by most people today. Virtually all of her joyful songs could fit in this selection, but for the sake of brevity, I’d like to offer her signature piece, “Up Above My Head.” The message is simple enough:

Up above my head
(Up above my head)
I hear music in the air
(I hear music in the air)

And I really do believe
(Yeah) I really do believe
There’s a Heaven somewhere
(There’s a Heaven somewhere)

There’s not much else in the lyrics. Simply reading the text won’t give you the full depth of the spiritual message Sister Rosetta is trying to communicate. But once you listen, you’ll understand why I chose it. “Up Above My Head” is one of the best, most affectively sound expressions of hope in Heaven that I know of.

VI. The Harmonizing Four, “His Eye is on the Sparrow”

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This whole album is very good. (Source)

This old Negro Spiritual, as recorded by The Harmonizing Four and many other artists over the years, features unadorned by theologically powerful lyrics. Take a look:

I sing because I’m happy
I sing because I’m free
Oh, His eye is on the sparrow
And I know He watches me

Why should I feel discouraged?
And why should the shadows come?
Why should my heart be lonely
And long for Heaven and home?

When Jesus is my captain
My constant friend is He
His eye is on the sparrow
And I know He watches me
His eye is on the sparrow
And I know He watches me

I sing because I’m happy
I sing because I’m free
Oh, His eye is on the sparrow
And I know He watches me
He watches me

Here, the simple lyrics concisely present one of the key doctrines of Christianity – the omniscience of God. The fact that God is all-knowing, however, should not fill us with dread, but with peace and joy. There is a tremendous existential point here. We are never alone. We never face life and the myriad questions of our being as atomized individuals. Rather, we are seen, we are recognized, and we are loved absolutely. We need not surrender to “the shadows” of discouragement and loneliness, as the second verse relates.

The hymn tells us quite a lot about the relation between God, His creation, and ourselves. It is a little spiritual masterpiece.

VII. The Louvin Brothers, “The Great Atomic Power”

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Once again, there’s just a lot going on here. (Source)

Alright, I’m mainly throwing in this one for fun. It has a specious, somewhat rapture-based eschatology. But given current events, its central message may be worth pondering.

Are you, are you ready
For that great atomic power?
Will you rise and meet your savior in the air?
Will you shout or will you cry
When the fire rains from on high?
Are you ready for that great atomic power?

Strange to think that only a year ago, these lyrics would have been a simple and somewhat overwrought remnant of Cold War anxieties. Wonder of wonders, everything old is new again!