
After his short spell as a military chaplain ended with the fall of France in 1940, he devoted himself to the study of the Fathers of the Church, and with Fr. Henri de Lubac was one of the founders of Sources Chrétiennes, a popular yet scholarly series of key writings from the patristic period. Over the years, Daniélou produced a flow of books and articles on the worship and theology of the Early Church. Such was his reputation and influence that Blessed Pope John XXIII named him as a theological expert for the Second Vatican Council. In 1969 he was made a cardinal by Pope Paul VI, and elected to the Académie Française
An incredible essay which requires an intense reading by the late Cardinal Jean Daniélou, taken from The Presence of God, trans. Walter Roberts Baltimore: Helicon Press, 1960), ch. 1: The Cosmic Temple, 9-14. Jean Daniélou, S.J. (1905-1974), was an influential French theologian and author, one of the main movers of Vatican II.
This was one of our readings for the Boston Communio Study Group meeting at St. Clement’s Eucharistic Shrine in Boston. Our focus is the monthly Communio International Catholic Review. We each choose an article from the review and discuss. We discussed this essay along with another An Introduction To Jean Daniélou by Fr. Jonah Lynch. You are more than welcome to join us. We’ll be there next at 3:00pm on May 19th. Contact me and I will make sure you have the readings for the next meeting. We are a monthly reading group and if you like payingattentiontothesky you will love the Christian fellowship you will gain with the group.
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Through man the silent litany of things becomes an explicit act of worship.
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On the lowest level, which is not essentially Christian, but is part of the historical heritage of Christianity, though generally separated from it, the Christian mystery is the mystery of creation. I mean by its not only an original dependence of the universe in relation to a personal and transcendent God, but also the actual dependence of all things in his sight, and consequently a divine Presence which confers upon the whole cosmos a sacramental value.
At the birth of mankind, the whole creation, issuing from the hands of God, is holy; the earthly Paradise is nature in a state of grace. The House of God is the whole cosmos. Heaven is his tent, his tabernacle; the earth is his “footstool.” There is a whole cosmic liturgy, that of the source of the flowers and birds.
Multiplied blessings made an overflow,
The silence of the soul was a still pond.
The rising sun became a monstrance now,
Filling the heavens with a shining sound.
Smoke was a censer, and the cedar-trees
Composed an ever-mounting barricade.
Days of delight were as a colonnade
Fanned by the calmness of the twilight breeze.
Charles Peguy, “Eve,” in Ouvres Poetiques Completes (Paris: Gallimard, 1948), 710
The time of the patriarchs still retains something of this paradisal grace. The Spirit of God still broods upon the waters. Yahweh is not yet the hidden God, dwelling apart within the tabernacle. He talks with Noah on familiar terms. His relationship with Abraham is that of a friend:
And the Lord appeared to him in the vale of Mambre as he was sitting at the door of his tent, in the very heat of the day. And when he lifted up his eyes, there appeared to him three men standing near him: and as soon as he saw them, he ran to meet them from the door of his tent, and adored down to the ground. And he said: Lord, if I have found favor in thy sight, pass not away from thy servant: but I will fetch a little water; and wash ye your feet, and rest ye under the tree.
Genesis 8:1-4
Abraham has that parrhesia with God, that freedom of speech which, in the days of ancient Greece, was the right of a free citizen, and by which St. Paul and the brethren symbolized the liberty of the children of God with their Father. The whole of nature is still a temple consecrated to him. A group of trees, a spring of fresh water, these are fragments of Paradise in which he offers sacrifices; a rough stone is an altar dedicated to him.
This is the primitive level, common to all men, whose traces are still to be found, twisted, soiled, perverted, in every religion. So in Greek religion we have the sacred wood, the alsos, with its fountain; but polytheism has corrupted the primitive gesture. God “in times past suffered all nations to walk in their own ways. Nevertheless he left not himself without testimony, doing good from heaven, giving rains and fruitful seasons, filling our hearts with food and gladness.” [Acts 14:16-17]
Only the wise men continued to seek for signs in the heavenly Temple, contemplating, examining, and defining, according to the positions of the stars, the sites of towns and altars. The shepherds and the Magi are, as it were, the flowering in the Gospel of this underlying, primary stratum, which corruption has not altogether spoiled, nor Mosaic revelation destroyed.
For us today, it still constitutes the holy in its rudimentary form, which darkly hints at the Divine Presence in the silence of the night, in the shadows of the forest, in the vastness of the desert, in the lightning-flash of genius, in the purity of love. It is this basic level that was recognized by that Boer farmer to whom Otto refers, who in the solitude of the desert, where the sun poured forth its rays upon the plain, was aware of a voice speaking to him. It is this level that explains the religious awe with which the Earth deserves to be surrounded.
But this sacramental element has no meaning except in relation to a personal Presence. “Awe,” writes Peguy, “stretches forth indeed to encompass the whole universe. We too easily forget that the universe is creation; and awe, like charity, is due to every creature.” It is the personal Presence, at once hidden and revealed by signs, that awakens in us this holy dread.
In the cosmic Temple, man is not living primarily in his own house, but in the house of God. This is why he knows that he should revere those creatures who do not belong to him, that he can lay hands on nothing without permission. All is holy; the trees are heavy with sacramental mysteries. Primitive sacrifice is simply the cognition of the sovereign realm of God. He takes the first-fruits, and leaves the rest to man. But at the same time, man is part of creation and has his role to play in it. God has in some way left creation unfinished, and man’s mission is to bring it to fulfillment. Through his work he exploits unknown material resources, and thus work is sacred, being co-operation in the task of creation. Through knowledge and art he removes it from its ephemeral condition to enable it subsist spiritually.
[FN: This is well expressed by P.J. Toulet:
Whispering woods, if I should die,
Perish without my artistry.]
Indeed, by sacramental use man confers on visible things their supreme dignity, not merely as signs and symbols, but as effective means of grace in the soul. So water effects purification, oil communicates power and unction, salt gives the savor of heavenly things. Man is thus the mediator through whom the visible universe verse is gathered together and offered up, the priest of that virginal creation over which God lovingly watches. Through man the silent litany of things becomes an explicit act of worship.
Nature without me is vain, it is I who give it a meaning;
All things become in me eternal, are laid on my altar.
Water now washes the soul, not only the travel-worn body;
My bread becomes for me the very substance of God.
Paul Claudel, Cinq Grandes Odes (Paris: Gallimard, 1936), 174.
Thus the whole of nature, as St. Paul says, expects that man will lead it to its end. The sacred character of love, in particular, is not derived from the shadowy presence of the race using individuals for its own ends, but from the Presence of God in the handiwork that love causes men to share. “When I was close to him I nearly always had the sense of God’s actual presence,” wrote Alice Ollé-Laprune of her husband.
Such is the innocence of creation. Creatures are holy, expecting that man will lead them to their goal. But man has the power to violate this order. When he turns away from God, when he profanes himself by ceasing to be a consecrated creature, he also profanes the world on which he imposes sacrilegious uses.
The material inventions that are meant to help men to free themselves from matter and bring to realization the community of mankind, we transform into instruments of hatred. The beauty of the body, which is the lovely reflection of the beauty of the soul, its visible “glory” which should awaken in us loving awe, we transform into an instrument of selfish pleasure. The blessings of culture, intended to help men to become more truly human by developing the powers of their minds, we transform into an instrument of perverted specialization and highbrow aestheticism.
But creation itself is free from all these faults, wherever she may “suffer violence.” She, too, rebels in her holiness and purity against such profanation by sacrilegious rites; and she expresses her rebellion by the resistance that she makes when we turn her aside from her goal. Between her and us there is a battle waged, which is the result of sin.
You know nothing in the vast universe
That may not be a means of unhappiness.
Charles Peguy, “Eve,” in Ouvres Poetiques Completes
This is the hostile world that we know so well, where everything is threatening; and the more sensitive we are, the more it is so. No one has felt this more acutely than Rilke:
The terrible in every breath of air,
You breathe it all too clearly
No citation was given in the original translated publication.
The rebellion of creatures is the cause of suffering, which is the resistance of matter to our will. It was unknown in Paradise, it will be unknown in Paradise Regained, and Jesus already restores this Paradise, mastering the winds and waves, healing the sick. It is the cloudiness of the world that, far from showing us God, hides Him from us and confines us to earth. So we become slaves, we that are called to be kings. What are the fires of hell but the rebellion of the creature, defined all too clearly?
How are we to rediscover the lost harmony, how are we to reconciled with things? Here is the nostalgia that lies perhaps at the center of poetry, which is a quest for the cosmic privileges of Paradise Lost, a glorification of the body without using the conversion of the heart as intermediary.
But everything depends on this conversion. Things themselves have never changed. They remain what they always were; they await us in brotherly innocence. It is we that are “underlings.” If I seek to rediscover the joys of Paradise, to move at ease amid created things, I must give them back their proper meaning, I must restore their honorable mission as servants of humanity. Then they will cease to burden me with silent reproaches, they will begin once again to chant before me:
None but the pure heart knows
The perfume of the rose
Paul Claudel, Figures et Paraboles (Paris: Gallimard, 1936), 28.
I must recover the purity of my glance. Then only will creatures once more become bearers of light from heaven. It is this paradisal reconciliation that we find in St. Francis of Assisi, in St. John of the Cross: “Yes, the heavens are mine and e earth is mine and the peoples are mine…. What more can you sire? What do you seek, my soul?”
Nothing remains of our prostration before the powers of the cosmos and history, those words of Damocles hanging over mankind. Cosmic fear is vanquished, the universe has become once more a Temple where we are at home with God in the cool of the evening, where man comes forward, silent and composed, absorbed in his task as in a perpetual liturgy, attentive to that Presence which fills him with awe and tenderness.













The Temptation and Expulsion — Andrew Graham-Dixon
October 8, 2012The last scene in the central triad of images on the ceiling is The Temptation and Expulsion. Here Michelangelo tells the story of the Fall of Man, giving his own narrative interpretation to the events recounted in the Book of Genesis, Chapter 3.
First, Adam and Eve fall into temptation in the Garden of Eden, and are punished for their sin:
Now the serpent was more subtle than any beast of the field which the Lord God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden? And the woman said unto the serpent, We may eat of the fruit of the trees of the garden: But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die. And the serpent said unto the woman, Ye shall not surely die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil. And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.
(Genesis 3: 1-6)
Then, God discovers Adam’s transgression and condemns him and Eve to suffer the pains, labor and discord of mortal life. To ensure that Adam does not take fruit also from the tree of life, and become immortal, God exiles him forever from Eden:
Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken. So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.
(Genesis 3: 23-4)
Generations of artists before Michelangelo had depicted these two scenes separately. Going against convention, he joined them in a single image, framed with such fearful symmetry that it links the crime with its punishment in a pattern of stark inevitability. The two halves of the painting mirror one another to the extent that, seen through half-closed eyes, they resemble shapes made by folding a piece of inked blotting paper in half.
This is apt, because the picture itself is a kind of hinge — a hinge on which the whole grand narrative of the ceiling turns. It is here that man sins, here that his fate is sealed. Adam and Eve break with God’s commands and are separated from God for ever. Unity gives way to alienation, harmony gives way to discord, oneness becomes fragmentation.
The three scenes that follow this one — all tracing the subsequent life of man on earth, through the story of Noah — are characterized by a busy brokenness, a mood of nightmare, a deliberate compositional disharmony, entirely at odds with the breadth and the sweeping simplicity that characterize the earlier scenes depicting the Creation. In this way, the very rhythms and formal structure of the paintings of the Sistine ceiling conspire to define mortal life — the life that follows the Fall — as disharmony, disconnection, alienation.
On the left, Adam and Eve are depicted as youthful, energetic figures. The semi-reclining Eve is flushed with excitement, anticipation sparkling in her eyes, as she reaches round to take the fruit offered by the serpent — a creature depicted by Michelangelo as half-woman, half-snake, the long coils of its serpentine tail twined round the trunk of the tree. The face of the creature resembles those of the maenads and furies in ancient art. There is a resemblance, too, to the face of Adam. The two figures have the same flowing yellow hair. Their gestures even seem to flow towards one another in a convergence of erotic energy.
The Fall of Man had often been interpreted as a surrender to impure desire, and its sexual aspect is strongly emphasized by Michelangelo. The tree of knowledge bears not apples but figs, which have a traditional sexual significance. Eve kneels, not to pray, but to seduce. Her left hand is suggestively entwined in that of the serpent, from whose fist several fruit protrude.
Adam reaches greedily, with a claw-like hand, towards a bunch of figs in the shadowy leaves next to the mouth of the snake-woman, while his own genitals hang like fruit beside the mouth of Eve. The middle finger of Eve’s right hand is emphatically extended in a crude gesture and points down towards her own sex. Adam has turned into shadow, his face half-hidden in profile, to indicate that he has chosen the way of darkness.
Eve’s outstretched arm is rhymed by the shape of the dead tree stump against which she reclines, to show that in reaching towards temptation she has embraced the world of mortality and forsaken eternal life. Both are depicted against an outcrop of barren rock, another stark symbol of death.
In making Adam such an active figure, one who does not blindly follow Eve but vigorously reaches into the tree to pick the fruit himself, Michelangelo emphasizes that the couple are implicated in a partnership of sin. The artist also stresses, by this means, that Adam has acted out of his own free will. Adam’s energies are Promethean in their unruly vigor. He does not only reach into the tree but also pulls its main branch down towards him.
The gesture that he makes with the arm closest to the serpent, both stretching out and groping for the figs with the index finger of his right hand, is a graceless parody of the gesture with which God brought him into being in The Creation of Adam.This is the moment in the narrative of the ceiling when man seeks to take control of his own destiny, when he sets out to become, as the guileful serpent suggests, a god himself. The result is disaster. God’s pointing finger conjures life from nothing. But Adam, in reaching for divinity, conjures only the specters of death and hardship, and condemns Man to a world of pain.
In suggesting the complexity of Adam and Eve’s motives in this moment of Original Sin, Michelangelo indicates the multitude of evils encompassed within it — greed, treachery, God-defying insolence, a whole Pandora’s box of ill intentions. John Milton, who retold the story of the Fall of Man a century later in his epic poem Paradise Lost, never saw The Temptation and Expulsion. But Milton’s puritanically severe reflections on the nature of Original Sin, in a prose work entitled De Doctrina Christiana, set forth a view of the subject very close to that expressed in Michelangelo’s painting:
If the circumstances of this crime are duly considered, it will be acknowledged to have been a most heinous offence, and a transgression of the whole law. For what sin can be named, that was not included in this one act? It comprehended at once distrust in the divine veracity, and a proportionate credulity in the assurances of Satan; unbelief, ingratitude; disobedience; gluttony; in the man excessive uxoriousness, in the woman a want of proper regard for her husband, in both an insensibility for the welfare of their offspring, and that offspring the whole human race; parricide, theft, invasion of the rights of others, sacrilege, deceit, presumption in aspiring to divine attributes, fraud in the means employed to attain the object, pride, and arrogance …
The other side of the painting, the bleak mirror image of Adam and Eve choosing sin, represents the moment of their punishment and belated remorse. An angel reaches out with a sword — a punitive gesture that rhymes cruelly with the enticing gesture of the serpent offering fruit — to expel the couple from the Garden of Eden.
Adam’s face is twisted into a rictus of anguish, and he looks instantly older and more wizened, as though mortality has already begun to work its effects on his flesh. Eve has metamorphosed into a hideous caricature of her former seductive self, a lumpen, lumbering being — a member of the same crude tribe of antediluvian giants that will soon be encountered, stumbling to their destruction, in Michelangelo’s depiction of The Deluge.
As she takes her first steps into the world, the mother of mankind scowls and covers her breasts in shame, looking around over her shoulder, one last time, at paradise lost. She might be looking back at her own image beneath the tree, seeing the memory of the happy self she once was, but can never be again.
Posted in Art Commentary, Genesis, Michelangelo | Tagged De Doctrina Christiana, John Milton, Michelangelo, The Fall of Man, the moment of Original Sin, The Temptation and Expulsion | Leave a Comment »