A reminiscence by a colleague (?), the kind of prose combining both affection and an easy accuracy of portrayal that makes us all linger a bit.
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I am delighted to introduce Ronald Knox to those who do not know him. All my adult life he has been a private pleasure, a delight expected and delivered, a literary and higher satisfaction on which to reflect and be pleased.
He is a happy part of the intellectual and esthetic life of so many who love fine English prose; who rejoice in the joie de vivre that bursts suddenly from this hooded, diffident person; who discern the apostolic roots of a devotional life that steadied his easily injured person. His uncommon literary gifts, restricted social instincts, and unlimited imagination, his bouts with self-doubt and dejection were all carried nicely by his deep trust in Christ and the dignity of an honorable priest.
Ronald Arbuthnott Knox (1888-1957), son and grandson of evangelical Anglican bishops — true believers — was born into a family of uncommon brightness and scholarly gifts. His childhood was filled with profound goodness and enlivening opportunities to learn and imagine, memorize the best, and wrestle with intellectual puzzles. His niece wrote, “As for Ronnie, the little boy who had been asked at four years old what he liked doing and had replied, `I think all day, and at night I think about the past,’ was already a natural philosopher”[Penelope Fitzgerald, The Knox Brothers (London: Coward, McCann and Geoghegan, 1977]. At six he wrote letters salted with Greek and Latin words. He attended Eton and Balliol College, by contemporary estimate the finest schools in England in the attention they gave to students.
These were his advantages, and not much was lost. But he did not live in secure circumstances. As a small boy he lost his mother; he lived in no great homes. His family had not enough money for his schools; he had to win scholarships to each. All his life he had to be careful of money, and he worked hard, young and old, not to burden anyone.
From childhood he loved Church life and normal religious practice, and long before he ever saw a ritual service, he came to love ritual because he felt every object associated with worship was sacred. As two brothers slipped into agnosticism, Ronald taught himself sharp distinctions that served him well. Early he distinguished ritual, theology, and faith as exercises of very different value. An irredeemable romantic in religious matters (he loved Bruges as Catholic and Robert Hugh Benson’s novels), he rejoiced in a skeptical mind ever demanding clear, supported truth. He was wary of theological vagueness and intellectual shortcuts. His biographer, Evelyn Waugh, wrote:
Such temptations against the Faith as he suffered — and he was near despair in the year before his reception into the Catholic Church — were total. Either the whole deposit of Faith was divinely inspired and protected and developed under divine guidance, or it was false. He never saw it, as did many of the contemporaries with whom he now took issue, as the agglomeration of history and fable, of hints and shadows of Truth, of vestigial philosophic notions and dark superstitions from which anyone could pick at will whatever he found agreeable, and discard the rest. He was for some years uncertain where he could find the authority which guarded and administered the Faith, but he always recognized it as a single, indivisible world. [Evelyn Waugh, Ronald Knox (London: Chapman Hall, 1959)]
Nor did relaxing intellectually into the Faith diminish his skeptical approach to invention in Catholic doctrine and emotion-tinged theological conclusions. This was, of course, not the skepticism unbelievers proclaim but the mind of a clear-headed believer wanting to trust only purest apostolic teaching, and the longing of a scholar for clear, sure conclusions as a base for further reflection. Many other “truths” of religion he thought dangerous mush. One of his earliest pieces as an Anglo-Catholic was the often reprinted Absolute and Abitofhell (in the style of Dryden), in which he lampooned the waffling Anglican hierarchy.
As an Anglican, early on, he saw that the first danger to the Church was not Protestantism, as most Anglo-Catholics thought, but modernism. Oddly, too, for an early ritualist, he considered the externals and consolations of religion very minor factors in spirituality. His sound thinking in this kept his sharp esthetic sense well grounded and also nicely liberated. He groaned inwardly at the wording of Catholic hymns and official prayers. But he never injured the feelings of those who profited from those prayers.
Was it perhaps his demanding mind in limning the final verities that allowed him to abandon himself to comic devices in lectures and wild charades? He was so entertaining and delightful to high school girls that they were known to race home so as not to miss his talks. At Oxford he completed a lecture, offering his conclusions muffled in a gas mask.
One piece of doggerel will do:
We love the pitch-pine pews
On which our coat-tails bend,
Designed to make us muse
Upon our latter end.
[Evelyn Waugh, Ronald Knox (London: Chapman Hall, 1959]
After a long, painful wrestling with himself and grace and disbelief altogether, he submitted, exhausted and happy, to the Catholic Church on September 22, 1917.
He was ordained a Catholic priest on October 5, 1919.
It was no easy business for him. He enjoyed the finest education England had to offer, was well known as an Anglo-Catholic of lively positions and the author of very entertaining books, and was named the “wittiest young man in England” (Daily Mail’s Choice, 1924). As he entered the Catholic Church and the priesthood, there were awkwardnesses and a few painful dislocations. He served as a master at Saint Edmund’s Preparatory School and Seminary (1919-26) and as chaplain at Oxford (1926-39).
Although his personality and learning, his hold on Christian doctrine and reality, his goodness and wit made a profound impression on many young people — mostly as they looked back — he knew he was painfully unsuited to the routine of those posts. He wrote and preached to larger congregations during his vacations, but he knew his literary work, of which so much was expected, was reduced to a thin stream of pleasant secondary works. (The exception was his brilliant Let Dons Delight, which appeared at the end of his Oxford chaplaincy.) At Saint Edmund’s and Oxford we see the deeper “hidden stream” of his life: an honorable priest and self-denying Christian who had promised obedience to the Church and her work. [The Hidden Stream was the title of a series of his lectures in which he developed an analogy between a stream now hidden under Oxford and the hidden sustaining Catholic Traditions of English Christianity.]
What is interesting is that he was ordained on his own “patrimony” (nonexistent), promising in effect to support himself and not to expect any pension. He supported himself largely by writing and preaching. Because of that circumstance, he could have removed himself from those two posts, but he accepted them for twenty years because the Church in the person of her hierarchy asked him to serve in them.
From 1939 to the last years of his life, he enjoyed chaplaincies in two accommodating English Catholic homes where he was a paying guest. In the first he was swallowed up in a girls’ high school fleeing the bombing of London. He responded with the incisive and charming Slow Motion books for the girls on the Mass, Creed, and Gospels. They increase in popularity in our day.
But his two major works were also accomplished in that period. Enthusiasm (begun in 1919 and published in 1950) is his scholarly and enchanting exposition of the Christian religion, gone off the track of sound doctrine and sacramental life, turning into privately inspired and sometimes hilarious inventions. Serious students of Christianity cannot be without Enthusiasm. It is a truly insightful, sympathetic, and cool-eyed study of amazing Christians.
And he also wrote his beautiful, graceful, and literarily inspired translation of the Bible during this period (1939-55). The Bible, on which people make such varied demands for clarity and mystery, mellifluousness and declarability, devotion and nostalgia, doctrine and more, cannot satisfy a majority through any one translation. But, I dare say, if contemporary Christians love both a clear, understandable, easily comprehended, reliable translation of the New Testament and the graces of a master’s fine rhythmic prose, they need to pray for a handsome reprinting of Ronald Knox’s translation. It is a refuge from the bathos and awkwardness of many contemporary translations and from the taunting of believers by citing the “brothers and sisters of Christ.” The Old Testament, touched by Monsignor Knox with a note of archaism, divides admirers into those who love it and those who wished he had not added even a slight archaic shade to the clarity and style that were his genius.
His collection of talks, sermons, and letters constitutes a major part of his published works. They created a special genre of his thinking and style. Most of his sermons were carefully crafted conversations that he read in the pulpit, but somehow he made them seem like easy dinner conversation. It was an uncommon style for sermons, but it will surely last. Some of his most thoughtful and evocative sermons were obituaries of the great figures he had known. Many were Newmanesque, as he gently exposed the heart and aspirations of a subject.
This charming don also left us a delicious menu of delightful communications. In Essays in Satire he punctured the pretentions of the higher critics of the Bible through a study of Sherlock Holmes and a piece that “proved” Queen Victoria wrote In Memoriam. He reveled in the absurdities of early Anglican ecumenism and in much else to delight honest men and women who enjoy the human comedy in religious and scholarly life.
Let Dons Delight was recognized immediately as the work of a master of English styles and of the nuances of English politics and theology. It is a work of subtle wit and good fun: conversations in an Oxford common room, every fifty years, from the Armada to our own time. It is, of course, full of wisdoms and pathos of a deeper sort. It is, for Catholics, a sign of hope in education wherever it is appreciated or understood.
Ronald Knox died a good Christian and loyal priest. Fame meant little to him; he suffered a dreadful fear that he might not have done enough with what the Lord had given him. We, his heirs of lesser gifts, may think he was more concerned than he need have been. But let us do what he wanted and pray for him in gratitude for the treasures of perception, belief, and easy wit that he gave us — his own happy traditio of Catholic Faith and good fun.
Monsignor Eugene V. Clark, Ph.D.
Church of Saint Agnes, New York City










