Archive for the ‘The Old Testament’ Category

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The Presence Of God– Jean Daniélou

May 2, 2013
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

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.

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Tobit — Mark Giszczak

February 22, 2013
Tobit shows the importance of prayer and strong family relationships.

Tobit shows the importance of prayer and strong family relationships.

Author: Unknown
Date Written: 300-200 BC
Date of Narrative: c. 700 BC

Tobit is one of the deuterocanonical books which means it is included in the Catholic canon, but some Christians dispute its canonicity. Tobit is a story like one of Jesus’ parables. The characters may be fictional, but the message or moral of the story is true.

Tobit was only known in one Greek edition until the 1844 discovery of the Codex Sinaiticus. Sinaiticus contained a longer and older Greek edition of Tobit, which is used in modern translations. Five fragments of Tobit were found among the Dead Sea Scrolls: one in Hebrew, four in Aramaic. The fragments confirm the Sinaiticus edition and suggest an Aramaic original.

The story takes place a few years after the Assyrians conquered the Northern Kingdom of Israel (722 BC). The Assyrians exiled the Israelite tribes and encouraged them to intermarry with surrounding people groups. Tobit is an Israelite living in Assyrian Ninevah. He is faithful to covenantal worship and charitable works. The Lord rewards his faithfulness with wealth and a good position in the king’s government. Yet a series of unfortunate circumstances leave Tobit poor, depressed and blind. He prays for death (3:2ff):

Then with much grief and anguish of heart I wept, and with groaning began to pray:

‘You are righteous, O Lord,
and all your deeds are just;
all your ways are mercy and truth;
you judge the world.*
And now, O Lord, remember me
and look favorably upon me.
Do not punish me for my sins
and for my unwitting offences
and those that my ancestors committed before you.
They sinned against you,
and disobeyed your commandments.
So you gave us over to plunder, exile, and death,
to become the talk, the byword, and an object of reproach,
among all the nations among whom you have dispersed us.
And now your many judgements are true
in exacting penalty from me for my sins.
For we have not kept your commandments
and have not walked in accordance with truth before you.
So now deal with me as you will;
command my spirit to be taken from me,
so that I may be released from the face of the earth and become dust.
For it is better for me to die than to live,
because I have had to listen to undeserved insults,
and great is the sorrow within me.
Command, O Lord, that I be released from this distress;
release me to go to the eternal home,
and do not, O Lord, turn your face away from me.
For it is better for me to die
than to see so much distress in my life
and to listen to insults.’

Simultaneously, an young Israelite woman named Sarah prays for death (3:11ff). She has been married seven times but a demon killed each of her husbands before the marriage could be consummated (3:8):

On the same day, at Ecbatana in Media, it also happened that Sarah, the daughter of Raguel, was reproached by one of her father’s maids. For she had been married to seven husbands, and the wicked demon Asmodeus had killed each of them before they had been with her as is customary for wives. So the maid said to her, ‘You are the one who kills your husbands! See, you have already been married to seven husbands and have not borne the name of a single one of them. Why do you beat us? Because your husbands are dead? Go with them! May we never see a son or daughter of yours!’

Sarah’s Prayer for Death
 On that day she was grieved in spirit and wept. When she had gone up to her father’s upper room, she intended to hang herself. But she thought it over and said, ‘Never shall they reproach my father, saying to him, “You had only one beloved daughter but she hanged herself because of her distress.” And I shall bring my father in his old age down in sorrow to Hades. It is better for me not to hang myself, but to pray the Lord that I may die and not listen to these reproaches any more.’ At that same time, with hands outstretched towards the window, she prayed and said,

‘Blessed are you, merciful God!
Blessed is your name for ever;
let all your works praise you for ever.
And now, Lord,* I turn my face to you,
and raise my eyes towards you.
Command that I be released from the earth
and not listen to such reproaches any more.
You know, O Master, that I am innocent
of any defilement with a man,
and that I have not disgraced my name
or the name of my father in the land of my exile.
I am my father’s only child;
he has no other child to be his heir;
and he has no close relative or other kindred
for whom I should keep myself as wife.
Already seven husbands of mine have died.
Why should I still live?
But if it is not pleasing to you, O Lord, to take my life,
hear me in my disgrace.’

The Lord hears the prayers of Tobit and Sarah. When Tobit asks his son Tobiah to go and recover a large sum of money he had deposited many years prior with his relative, the Lord sends the angel Raphael to help. Raphael joins Tobiah on the journey disguised as an Israelite named Azariah.

As the pair make their way to Tobit’s relative, they catch a fish whose innards have healing properties (6:5). Then they stop at the house of Raguel, Sarah’s father. Raphael convinces Tobiah to marry Sarah, despite her track record of dead husbands. Tobiah asks for her hand and they marry immediately (7:9). Tobiah uses parts of the fish to ward off the murderous demon and he survives the wedding night (8:2). Raphael retrieves the money and the two arrive safely back at Tobit’s house in Ninevah with Tobiah’s new bride. Finally, Tobiah uses the fish’s gall to cure Tobit’s blindness (11:11).

The book includes Tobit and Sarah’s prayers for death (3:2-6; 3:11-15; see above), Tobiah and Sarah’s prayer for protection on their wedding night (8:5-7), a short prayer from Raguel (8:15-17) and a lengthy song of praise by Tobit (13:1-18). At the end of the book, Tobiah moves from Ninevah to Media because of the Lord’s impending judgment prophesied by Nahum (14:4, 12).

The story draws on themes from a few Mesopotamian myths from the same time period, but it is replete with Old Testament themes: divine retribution, theology of God, familial ties, marriage, prayer and angels. There are several sections that are very similar to the Old Testament wisdom literature (e.g. 4:3-19; 12:6-10).

Like Ruth, Tobit is a family story. It illustrates how God cares for those who love him. It shows him rewarding human faithfulness with his faithful deliverance. Yet the characters must undergo trials in order to experience deliverance. Tobit, Sarah and Tobiah suffer, but God delivers them in the end. In fact, Raphael says he was sent to test and heal Tobit and Sarah (12:14). Yet Tobit is very different from most biblical books because of its fictional character. It is not a suspenseful story, since the reader knows the outcome early on (6:6-8), but we can see through it we see how God brings his deliverance, how he helps those in need. Tobit also shows the importance of prayer and strong family relationships.

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Psalm 8: The Greatness Of God, The Dignity Of Man

February 1, 2013

How great is your name, Lord, through all the earth.

How great is your name, O Lord our God,

through all the earth!

Your majesty is praised above the heavens;

on the lips of children and of babes

you have found praise to foil your enemy,

to silence the foe and the rebel.

When I see the heavens, the work of your hands,

the moon and the stars which you arranged,

what is man that you should keep him in mind,

mortal man that you care for him?

Yet you have made him little less than a god;

with glory and honour you crowned him,

gave him power over the works of your hand,

put all things under his feet.

All of them, sheep and cattle,

yes, even the savage beasts,

birds of the air, and fish

that make their way through the waters.

How great is your name, O Lord our God

through all the earth!

Glory be to the Father and to the Son and to the Holy Spirit,

as it was in the beginning, is now, and ever shall be,

world without end.

Amen.

How great is your name, Lord, through all the earth.

The Impulse Of Art And The Uniqueness Of Man
Monkeys did not begin pictures and men finish them; Pithecanthropus did not draw a reindeer badly and Homo Sapiens draw it well. The higher animals did not draw better and better portraits; the dog did not paint better in his best period than in his early bad manner as a jackal; the wild horse was not an Impressionist and the race-horse a Post-Impressionist. All we can say of this notion of reproducing things in shadow or representative shape is that it exists nowhere in nature except in man; and that we cannot even talk about it without treating man as something separate from nature.

In other words, every sane sort of history must begin with man as man, a thing standing absolute and alone. How he came there, or indeed how anything else came there, is a thing for theologians and philosophers and scientists and not for historians. But an excellent test case of this isolation and mystery is the matter of the impulse of art. This creature was truly different from all other creatures; because he was a creator as well as a creature. Nothing in that sense could be made in any other image but the image of man.

But the truth is so true that, even in the absence of any religious belief, it must be assumed in the form of some moral or metaphysical principle….The simplest truth about man is that he is a very strange being; almost in the sense of being a stranger on the earth. In all sobriety, he has much more of the external appearance of one bringing alien habits from another land than of a mere growth of this one. He has an unfair advantage and an unfair disadvantage. He cannot sleep in his own skin; he cannot trust his own instincts.

He is at once a creator moving miraculous hands and fingers and a kind of cripple. He is wrapped in artificial bandages called clothes; he is propped on artificial crutches called furniture. His mind has the same doubtful liberties and the same wild limitations. Alone among the animals, he is shaken with the beautiful madness called laughter; as if he had caught sight of some secret in the very shape of the universe hidden from the universe itself.

Alone among the animals he feels the need of averting his thought from the root realities of his own bodily being; of hiding them as in the presence of some higher possibility which creates the mystery of shame. Whether we praise these things as natural to man or abuse them as artificial in nature, they remain in the same sense unique.
G.K. Chesterton, The Everlasting Man

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Deuteronomy 6:4-7

December 9, 2012

dawn

Reading Deuteronomy 6:4-7

Hear, O Israel: The Lord is our God, the Lord alone. You shall love the Lord your God with all your heart, and with all your soul, and with all your might. Keep these words that I am commanding you today in your heart. Recite them to your children and talk about them when you are at home and when you are away, when you lie down and when you rise.

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Couldn’t help but notice how the translations vary on this: heart, soul and might for the NSRV (which I always use on Paying Attention to the Sky here); while others substitute strength and mind. I like “might” and see it as something we moderns might interpret as “will.” Aquinas, after all, defined love as “willing the good of the other as other,” so it is not as though “will” is in anyway antithetical to a discussion of love. Would you substitute it for heart or soul? Or do you prefer the will/might coupling as I do?

Recently I have been falling ever so slowly in love with a beautiful young Italian woman half my age. I would need to love this person with all my might for it to happen. She might just be the last person I think God would wish on me. Hence my thought that love requires an act of might for it to succeed. Heart appears to substitute for mind, although I can be of two minds on this (never two hearts, though); hence my suspicion of a secular view sneaking in the back door on this. What say you?

I wonder whether the following is describing love, although Taylor was describing the interior lives of believers and nonbelievers:

We all see our lives and/or the space wherein we live our lives as having a certain moral/spiritual shape. Somewhere, in some activity, or condition, lies a fullness, a richness: that is, in that place (activity or condition), life is fuller, richer, deeper, more worth while, or admirable, more what it should be. This is perhaps a place of power: we often experience this as deeply moving, as inspiring.

Perhaps this sense of fullness is something we just catch glimpses of from afar off; we have the powerful intuition of what fullness would be, were we to be in that condition, e.g., of peace or wholeness: or able to act on that level of integrity or generosity or abandonment or self-forgetfulness. But sometimes there will moments of experienced fullness, of joy and fulfillment, where we feel ourselves there.
Charles Taylor,  A Secular Age

Understanding isn’t something that belongs to reason. Understanding comes to pass as an outward sign of inward grace:

And for what, except for you, do I feel love?
Do I press the extremest book of the wisest man
Close to me, hidden in me day and night?
In the uncertain light of single, certain truth,
Equal in living changingness to the light
In which I meet you, in which we sit at rest,
For a moment in the central of our being,
The vivid transparence that you bring is peace.
Wallace Stevens

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The Temptation and Expulsion — Andrew Graham-Dixon

October 8, 2012

The 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.

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The Creation of Eve – Andrew Graham-Dixon

October 1, 2012

The second of Michelangelo’s paintings telling the story of Adam and Eve is The Creation of Eve, the biblical source for which is Genesis 2: 21-2:

`And the Lord God caused a deep sleep to fall upon Adam, and he slept; and he took one of his ribs, and closed up the flesh instead thereof; And the rib, which the Lord God had taken from man, made he a woman…’

The artist shows the blonde-haired Eve emerging from the side of Adam and coming face to face with her creator. Michelangelo has placed Adam’s sleeping form next to a jumble of dark rocks, which introduces a spatial ambiguity into the scene and makes Eve look as though she might be stepping from the entrance of a cave beside him. Emerging from darkness into light, she seems astonished by the suddenness of her encounter with God. Her mouth hangs half open in amazement and she holds her hands up instinctively in a prayer that also looks like a gesture of supplication. With his raised right hand, God seems to be pulling her upright, drawing her out of Adam’s side and into life. He stares solemnly into her troubled eyes.

The figure of God in The Creation of Eve is distinctly less awe-inspiring than the airborne, cosmic creator of the earlier Genesis scenes. Dressed in a voluminous mantle, he has here the aspect of a patriarch or priest. He does not fly, but stands and even stoops slightly in the act of creating woman. His weight upon the earth is suggested by the single mighty foot shown protruding from his robes, toes splayed on the bare grey ground. His hair and beard are a lank, dullish blond, painted with far less energy and animation than the swirling grey locks of God in the other scenes.

How can these differences be explained? Partly perhaps as a result of the evolution of Michelangelo’s ideas between one phase of painting and the next. The artist was to break off from painting the ceiling for several months after finishing The Creation of Eve. This pause for thought might well account for the great difference between the figure of God the Father as he appears in this picture, and as he would appear in the three scenes of the creation of the universe and The Creation of Adam.

It may simply be that Michelangelo, recognizing that God would have to become dynamically more active for the earlier scenes of creation, took the chance offered by a break in his work to reconceive his personification of the deity. But one of the great (and relatively underrated) aspects of the artist’s achievement in painting the Sistine Chapel ceiling was that he managed to preserve the total unity of the scheme despite the evolution of his own style during the course of the four years that it took him to complete it. And the fact remains that the character of God, as he appears in The Creation of Eve, powerfully contributes to the particular expressive twist that Michelangelo gives to this episode in the Genesis story.

The position of the fresco on the ceiling of the chapel is significant. It is the central image of the nine narrative scenes, occupying a place directly above the screen that once divided the area closest to the altar — reserved for the pope and his court — from that occupied by less exalted worshippers. It marks a corresponding separation within the overall scheme of the Genesis narrative, dividing the stories of creation from those of fallen humanity. So it makes sense that the figure of God should suddenly, in this image, seem so much more grounded. This is the moment when the story itself comes decisively to earth. The transition is not a joyful one. The action takes place on a lonely stretch of coast. The line of the horizon, where sea meets sky, neatly bisects Eve’s body at the midriff.

The overt symbolism of the picture restates the ultimate beneficence of God’s plan for mankind. The sleeping Adam, beneath a dead tree stump suggestive of a truncated cross, is once more a prefiguration of Christ, while Eve, springing from his side, calls to mind the sacraments of baptism and the Eucharist, in that water and blood ran from the side of the crucified Christ (associations reinforced by the water behind her, and by the way in which she holds her hands up to the priest-like figure of God, like a worshipper at Mass preparing to receive the wafer).

But the pious complacency inherent in such typologies is disturbed by the raw emotion with which the painting is charged. A current of intense, troubled feeling courses from Eve to the Almighty. She looks at God with an expression of pained and pleading mystery that lends this already cramped and claustrophobic act of creation an ominous, menacing atmosphere.

Eve, placed dead centre of the entire Sistine Chapel ceiling, is given a unique privilege. She is the only figure on the whole ceiling who is allowed to look into the eyes of God. Does she already feel sinfulness stirring within her breast? Could she be asking God why he has made her, why he has squeezed her into being, imperfect as she is? These are among the oldest and most intractable questions that Christians have asked themselves about their God. If all was foreknown, all foreordained, by a perfectly benevolent deity, why create the possibility of evil at all? But in Michelangelo’s painting, she receives no answer. The solemn God stares back at Eve with eyes as hard, as unyielding, as stones.

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The Creation of Adam – Andrew Graham-Dixon

September 28, 2012

Probably the most iconic religious fresco of all time. Michelangelo 1511.

The ceiling’s central triad of images begins with The Creation of Adam, a majestic depiction of the moment when God imparts life and a soul to the first of men. It is among the most dynamic and startlingly original of all Michelangelo’s inventions. Like many famous pictures, it can all too easily be taken for granted. The overwhelming familiarity of the composition, its beguiling power and simplicity, can obscure its true qualities. Only on close, careful inspection does the work disclose its range of meanings and subtleties of expression.

The tradition of misreading The Creation of Adam is as old as the picture itself. So far did it depart from all previous artists’ imaginings of the creation of humanity that the work completely bemused at least one early visitor to the Sistine Chapel. Paolo Giovio, bishop of Nocera, who also wrote brief lives of Raphael and Leonardo da Vinci, composed a slender biographical sketch of Michelangelo sometime between 1523 and 1527.

Giovio’s text, a bare 31 lines in Latin, contains a short appreciation of the Sistine Chapel ceiling, which is principally memorable for revealing the author’s bafflement when faced with The Creation of Adam: `Among the most important figures is that of an old man, in the middle of the ceiling, who is represented in the act of flying through the air …’ Giovio clearly had no idea of what he was looking at. But his incomprehension serves as a measure of just how novel, how alien to prevailing conventions, Michelangelo’s painting seemed to his contemporaries.

The artist was familiar with other depictions of the same theme by earlier Renaissance artists. In devising his composition, he may have had somewhere in his mind a celebrated bronze panel by Jacopo della Quercia on the Porta Magna of San Petronio, in Bologna, a city Michelangelo knew well, having spent several months there creating his doomed monumental bronze portrait of Pope Julius 11. Jacopo had depicted Adam nude and recumbent on a somewhat abstract outcrop of rock, springing into life as if waking from sleep, with the cloaked figure of God the Father standing over him, making a restrained, priestly gesture of benediction. Michelangelo galvanized this somewhat wooden piece of early Renaissance theatre by turning it into a whirlwind encounter between man and God.

The Almighty floats weightlessly through space, wrapped in a billowing red cloak that enfolds his angelic entourage. He is a severe, grey-bearded Creator, reaching out with great deliberation towards the languid Adam, a suitably earthbound figure (the name `Adam’ is also the Hebrew word for `earth’). So it is that God imparts to man, across the few inches of air that separate their outstretched fingers, the spark of life that makes him move and breathe.

In early Christian depictions of the creation of man, God had usually been truncated to a mere hand gesturing from a strategically placed cloud. He had developed into the familiar figure of an old man with a beard by the middle of the fifteenth century, but there was no precedent for showing him `in the act of flying through the air’, let alone dressed in clinging draperies that reveal his legs from the thigh down.

The fingertip act of creation was also Michelangelo’s own invention. Given that this has become the single most famous, most reproduced detail in the entire pictorial scheme of the ceiling — despite the fact that the celebrated fingertips themselves were repainted, due to a small area of loss, by the restorer Domenico Carnevale in the 1570s — it is worth considering in some depth just what Michelangelo may have intended by it.

Where did the painter get this striking idea? It owes little to the account given in Genesis 2: 7, which casts God in the role of a sculptor who literally breathes life into his work: `The Lord God formed man, of dust from the ground, and breathed into his nostrils the breath of life.’ Michelangelo may have taken inspiration from a medieval hymn traditionally sung at Vespers on Whit Sunday, one stanza of which refers to ‘Digitus paternae dexterae’ – the finger of God’s right hand. The overarching theme of this hymn, which celebrates the nature of God’s gifts to man, also seems apposite to The Creation of Adam:

The seven-fold gift of grace is thine,
Thou finger of the hand divine;
The Father’s promise true, to teach
Our earthly tongues thy heavenly speech.

Thy light to every sense impart;
Pour forth thy love in every heart;
Our weakened flesh do thou restore
To strength and courage evermore.

Drive far away our spirits’ foe,
Thine own abiding peace bestow;
If thou dost go before as guide,
No evil can our steps betide.

The notion that God, through the touch of his finger, metaphorically imparts not only grace but also instruction was embedded in earlier Christian tradition. In considering the Ten Commandments given to Moses from on high, Church fathers had seized on the metaphor of a divine finger — one that both writes instructions for mankind and points out the path of the true and good life. St Augustine develops this idea in a passage in his fifth-century treatise De spiritu et littera:

That Holy Spirit, through whom charity which is the fullness of the law is shed abroad in our hearts, is also called in the Gospel the finger of God. That those tables of the law were written by the finger of God, and that the finger of God is God’s spirit through whom we are sanctified, so that living by faith we may do good works through love

It is impossible to prove that Michelangelo, or the papal advisers who may have helped him to formulate his iconography, had such ideas in mind when devising The Creation of Adam. Interpretations of paintings based on their presumed connections to a specific text or texts are often suspect. This is especially true when those texts are not the primary sources, as in this case, but are drawn instead from the deep well of post-biblical Christian thought.

Such hypotheses bring with them the temptation to force ill-fitting meanings on to works of art that visually resist them — to yoke the unwilling image to the inflexible word. As Leo Steinberg once cuttingly remarked of a fellow art historian, `His glimpse of a Michelangelo picture is as from a speeding car bound for the library.’ Yet in this particular instance the facts of the picture seem to confirm rather than contradict the hypothesis — suggesting that Michelangelo was indeed aware of the Christian tradition that found, in the image of God’s finger, a metaphor for his commands.

There is a look of total concentration on the face of the creating God, in Michelangelo’s fresco. But his gaze, depicted with such sharpness and clarity, is pointedly not directed at the reclining Adam. Instead, he stares with great intensity at his own outstretched finger. He does so in a way that suggests that what is being channelled through it, and towards Adam, is not only the impulse of life but also man’s incipient awareness of God’s own will — and, with that, the capacity for thought and for moral action. It is as if, in the moment of his creation, Adam is also being instructed in the laws by which God means him to live — laws that he will break, with fatal consequences for all of mankind.

Did Michelangelo really mean the viewer to understand all this, in the gesture and gaze of the Almighty? There are good reasons for believing so. The idea of transgression, Adam’s transgression against the divine will, is central to the tragic unfolding of the Genesis story as told by the artist. In the next painting but one, The Temptation and Expulsion, he will take the forbidden fruit. Michelangelo will later make it clear that man’s fallen condition is a direct consequence of Adam’s disobedience, by making the slumped body of the drunken Noah the epitome ofpostlapsarian human frailty resemble a pathetically collapsed version of Adam’s God-perfected body in the scene of his creation.

Yet for Adam to transgress, Adam must first be given the laws that he is to break. This begs the question, where, if not in The Creation of Adam, does Michelangelo imply that narratively necessary divine act of instruction? There is no space for it anywhere else in his scheme. The subject of the painting is best understood, therefore, as the formation rather than simply the creation of man.

The most compelling evidence for this interpretation is to be found in one of the most obvious places, namely Ascanio Condivi’s life of the artist. Admittedly, Condivi is an occasionally unreliable witness, but the fact remains that he knew Michelangelo intimately, and the very terseness of his description of The Creation of Adam, so pointedly bald and unembroidered as it is, gives it all the more credibility. Of the figure of the Almighty, Condivi simply writes the following: `God is seen with arm and hand outstretched as if to impart to Adam the precepts as to what he must and must not do.’

Michelangelo’s Adam looks up at God with an expression of barely dawning awareness on his face. He has just woken into consciousness and there is still about him the wide-eyed helplessness of a child. Yet the look in his eyes suggests that he has already begun to absorb the awareness that life brings with it duty to God. There is a slight implication of melancholy in his gaze, as of someone being drawn half against their will from blissful ignorance towards a sense of responsibility.

Adam’s body is full-grown and athletic. The chiseled outlines, the ebbs and flows of contour that define his nude form, recall Walter Pater’s famous remark about art aspiring to the condition of music. The effect of the entire figure is epitomized by the single detail of Adam’s outstretched arm — which swells and fades, rises and falls, from the curve of the shoulder to the soft bump of the bicep, along the meandering line of the forearm and across the reaching hand, like a melody drawn in the air.

The modeling of the figure’s flesh and muscles in light and shade is equally haunting (and represents a triumph of subtlety within the medium of fresco, which is far less malleable and forgiving than oil paint, making such effects of chiaroscuro notably difficult to achieve). Michelangelo disdained landscape painting but here he has painted Adam’s body as if the human form were itself a landscape to be explored. The soft juncture of his left calf and thigh, the shadowy hollows and protuberances formed in the area around his neck and collarbone, are painted with an immense, tender sensuality. They have what the twentieth-century painter Frank Auerbach has called a ‘haptic’ quality, a term denoting painted forms so instinct with life that to look at them is to have the uncanny sense of physically touching that which is depicted.

Adam must be perfect, his image that of a god on earth, because of the words of Genesis 1: 26: `And God said, Let us make man in our image, .after our likeness.’ In no other figure on the whole of the ceiling is Adam’s beauty repeated, and that too is part of Michelangelo’s expressive purpose. The first of men, newly created, represents a perfect state of harmony with God — but one that is destined to be lost, and never recaptured until the blessed rise on the day of the resurrection.

The scene where the action takes place is the most abstracted of landscapes, a grassy mound suspended in infinite space. Temporally, the picture is even more ambiguous because it represents a moment in which all of history — from the creation of man to his fall and ultimate salvation — is also contained. Michelangelo gives to God an aspect that expresses his infinite power. The vivid coils and whorls of his hair and beard evoke the cataclysmic patterns of whirlwinds and whirlpools. They bear a remarkably close resemblance to a later, celebrated group of apocalyptic drawings of floods and deluges by Michelangelo’s contemporary (and occasional rival) Leonardo da Vinci, who knew the Sistine Chapel and may have been influenced by this detail.

The figures contained within God’s mantle span the arc of time. At his shoulder he is accompanied by seraphim and cherubim, members of the highest order of the angels, to whom Michelangelo has also given the character of classical representations of the four winds. Their presence makes of the mantle a sail, swelled by their breath and thus impelled through space. Below God’s right arm lies a mysterious, anguished figure, present only as a groaning face, half obscured by darkness. This shadowy presence can tentatively be identified as a personification of Chaos, the dark nothingness from which the Almighty wrestled the universe into being — now conquered, he is whirled along in God’s train like the captives trailed in the wake of ancient triumphal processions.

There is also a beautiful young woman held in the embrace of God’s left arm. She looks across at Adam with a lively, fascinated gaze — the look, almost, of a startled gazelle — suggesting that she knows her destiny to be entwined with his. She can be identified with certainty. She is Eve, preordained in the mind of God from the beginning. Michelangelo has arranged his composition so that she appears as if coming out of God’s left side, a subtle prefiguration of the way in which she will actually emerge from the left side of Adam — God’s own likeness on earth — in the ceiling’s very next narrative scene. The length of green drapery that enfolds her loins has become unwound and flutters freely in the air beneath the crowded mantle of divinity, reaching down towards the earth that is Adam’s namesake. Green is the color of life, symbolizing Eve’s fruitfulness as the future mother of mankind.

If the spectator looking up at the ceiling should choose at this point to zoom out, so to speak, and encompass all three of Michelangelo’s paintings telling the story of Adam and Eve, a larger pattern of meaning can be seen to have its origin here. The figure of Eve is repeated twice more across a single, powerful diagonal that connects all three narrative scenes of the ceiling’s central triad — creating, as it were, one line of vision along which can be traced the successive stages of her destiny. She nestles in God’s mantle; she emerges from Adam’s side; she tempts Adam to his fall.

Behind the figure of Eve, in The Creation of Adam, can be glimpsed another female figure, with wispy blonde hair and a face partially obscured by paint damage. Her hand is wrapped around God’s left arm, suggesting her proximity to the Almighty. The most likely explanation for this figure’s presence is to be found in Proverbs, Chapter 8, in which Wisdom is personified as a woman coeval with God himself. `The Lord possessed me in the beginning of his way, before his works of old,’ she proclaims. `I was set up from everlasting, from the beginning, or ever the earth there was … When he prepared the heavens I was there, when he set a compass upon the face of the depth’ (Proverbs 8: 22-7).  Wisdom seems to be leaning forward to whisper into Eve’s ear. But Eve, transfixed by the sight of her husband, pays her no heed.

Numerous interlinked allusions and associations play across the composition. These form a chain of meaning, carried from figure to figure, at times from hand to hand, the end of which is to create a metaphor for an omniscient God’s all-encompassing salvific plan for erring humanity. In the figure of Eve is also implied that of the Virgin Mary, vessel of the Incarnation. Beside her is a staring child, a look of ominous foreboding in his eyes. He is the infant Jesus Christ — an identification underlined by the hand of God, whose fingers encircle the round protuberance of the child’s right shoulder in just the same gesture used by a priest when he elevates the Host, flesh of Christ, at the ceremony of the Mass. Within the mantle of God, within the divine mind, all is foretold and all foreseen.

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The Genesis Cycle, First Triad:– Andrew Graham-Dixon

September 27, 2012

Art historians have noted several unusual features of this fresco. Andrew Graham-Dixon has pointed out that God has exaggerated pectoral muscles suggestive of female breasts, which he interprets as Michelangelo’s attempt to illustrate “male strength but also the fecundity of the female principle.” In addition it has been noted that the anatomy of God’s neck is too complex and does not resemble the normal contour of the neck. The lighting scheme of the image has been noted to be inconsistent; whereas the entire scene is illuminated from the bottom left, God’s neck appears to have a different light source from the right.

The Separation of Light and Darkness
Michelangelo begins at the beginning, with a depiction of The Separation of Light and Darkness. He shows the Almighty God of the Old Testament as a heroic male figure with grey beard and hair, dressed in lilac robes that swirl about him, twisting upwards through the heavens to separate light from darkness. He embodies male strength but also the fecundity of the female principle, in that Michelangelo has given him pectoral muscles nearly as rounded as a woman’s breasts. The figure rises into space amid rays of light. The picture is at once the sparest and the most austere of the ceiling’s scenes of Creation.

The subject is drawn from the Book of Genesis:

In the beginning God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light. And God saw the light, that it was good: and God divided the light from the darkness. And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.
Genesis 1: 1-5

There was no precedent in earlier Christian art for Michelangelo’s dynamic airborne deity swooping through an implied infinity of space. The artists of the Byzantine and medieval traditions had expressed their own sense of the ineffable mystery of God the Creator by removing the scenes so elliptically described at the start of Genesis to a pictorial world of abstract geometrical perfection.

The Italo-Byzantine craftsmen who had created the thirteenth-century mosaics of the dome of the Baptistry in Florence — a famous and much venerated building at the heart of the town where Michelangelo spent his formative years — had represented the God of the Creation scenes as a solemn, hieratic figure floating on a ground of gold, enclosed by the celestial spheres, making a stiff gesture of benediction.

The artists of the early Renaissance had humanized God the Father, to the extent that he could appear in Masaccio’s celebrated fresco of The Trinity, of the 1420s, in the Florentine church of Santa Maria Novella, as a doughty ancient with a forbiddingly solemn expression on his face. But Michelangelo energized this still recently anthropomorphized figure in a way that was both new and revolutionary.

His reinvention of the all-creating deity as a figure flying through space under the unseen impulse of divine will, was to prove enormously influential. Artists of the High Renaissance such as Raphael, followed by the painters of the Baroque and Rococo periods, would follow Michelangelo in embodying God as a being with human form endowed with a superhuman, cosmic thrust and energy.

Romantic painters of the eighteenth and nineteenth centuries would impart something, of his twisting, irrepressible force to the Promethean heroes of their own disenchanted mythologies. Michelangelo’s influence can even be discerned in the popular art of the twentieth century. Inventors of the American superhero comic-strip adapted his style to their own ends. The character of Superman has his origins, as a graphic creation, in the airborne God who flies majestically across the Sistine Chapel ceiling.

Although The Separation of Light and Darkness is the first of the nine narrative scenes from the Book of Genesis, Michelangelo painted it last of all, along with the other two scenes of primal creation. Having gradually worked his way along the ceiling, starting at the chapel’s entrance with the painted histories of fallen humanity, he finished above the altar with images of the all-powerful God. So while the momentum of his narrative moves, as in the Old Testament, from the acts of God to the life of man, Michelangelo actually painted that narrative in reverse order.

There could have been purely practical reasons for this, but the artist’s piety may also have played a part. Michelangelo must have known that, as he proceeded with the project, he would become more technically accomplished in the medium of fresco. Perhaps he wanted to be at his best when painting the scenes that involved God alone.

To create the image of the deity reaching up to separate light from darkness, night from day, Michelangelo used the difficult technique known as sotto in su. The figure is seen, from beneath, as though soaring up and away from the viewer. Practical methods had been devised by earlier generations of artists for accomplishing this particular type of illusion. The architect and theorist Leon Battista Alberti, in his treatise . on painting of the 1430s, had described a perspective `veil’ — a grid of threads strung on a wooden frame, through which a painter might study a subject seen at an extreme angle of foreshortening, transcribing each element of what he saw on to the corresponding sections of a squared-up piece of paper.

If Michelangelo used a device of that kind, he did not do so slavishly. Such was his self-assurance that he departed in many details from the carefully calculated sketch for this scene produced in his workshop, to help him realize this difficult perspectival illusion. The outlines of that sketch were incised into the wet plaster before Michelangelo began work, so the evidence still survives of just how freely he improvised from it. Minute study of the picture’s surface during conservation has revealed that the artist changed the angle and position of both of God’s hands and arms, and even shifted the entire figure so as to set it more firmly on a diagonal — increasing its torsion and intensifying the sense of God’s upwardly spiraling energy.

The difficulty of making off-the-cuff changes to such a challenging composition should not be underestimated. It is a tribute to Michelangelo’s exceptional ability to think three-dimensionally, even when working in two dimensions, that he managed to carry it off. It is as if, in painting The Separation of Light and Darkness, he conceived the rectangular panel to be painted not as a flat surface but as a block of stone extending upwards through the vault of the ceiling. Into that block, he imagined himself carving the figure of God, painting a form he could almost feel with his hands.

God’s act of creation is simultaneously an act of division. He reaches into the air as though separating bright swirls of lightly tinted steam from a mass of heavy grey storm clouds. Michelangelo, as well as the more theologically learned among his audience, may have associated the separation of light from darkness with ideas about the Creation expressed by the venerable Saint Augustine (354-430).

In The City of God, the influence of which had been all-pervasive in medieval Christendom, Augustine had compared God’s separation of day from night to his division of the angels into two communities, the good and the bad. A number of traditions told of the rebel angels rising against God, under the leadership of Lucifer, and being cast down into darkness by the host of good angels, led by the Archangel Michael. Augustine explicitly identified the good angels with heaven and the light that God called `Day’ in Genesis is 1:1 and 1: 3-5. The all-creating God is also God the judge. Just as, in the beginning, he divided dark from light, good from evil, so on the last day will he divide mankind into the saved and the damned.

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There are numerous stories of Julius’s growing impatience with the length of time it took to finish the ceiling. On one occasion, he is even said to have struck Michelangelo in a fit of frustrated rage. The pope’s importunity may explain the great speed with which the artist finished the scenes of the Creation. Not only were they among the last to be completed, they were by some distance the most rapidly painted. Analysis of its surface has revealed that The Separation of Light and Darkness was painted in a single giornata — just one working day of about eight hours, a period determined by the rapid drying-time of the wet plaster into which the painter of true fresco is obliged to work his images. The artist worked quickly and instinctively, using particularly dilute pigment so that in places the figure of God seems as though dissolving into — or condensing out of — the circumambient air.

As a measure of the painter’s acceleration, the time taken three years earlier to paint The Deluge, at the other end of the chapel, had been no fewer than twenty-nine separate giornate. Admittedly, the subjects are hardly comparable, in that The Deluge occupies a larger area of ceiling and contains many different figures, all of whom had to be depicted in some detail for the story to make its impact. The broad, summary style in which Michelangelo painted the soaring figure of God was well adapted to the contrasting grandeur of the opening of Genesis — a metaphor, itself, for the sweeping, flowing, creative powers of divinity.

The Creation of the Sun, Moon and Plants
Michelangelo also worked with great rapidity on the second of the three scenes of primal Creation. This was a larger and more complicated composition than The Separation of Light and Darkness, but one that still took him only seven giornate to complete. Its subject is The Creation of the Sun, Moon and Plants. This time the figure of God appears twice, to indicate that two different moments in the narrative have been telescoped together.

To the right, frowning with concentration, he divides the heavens with a sweeping gesture of his arms, creating both sun and moon. The wingless angels in his broad cape express a mixture of admiration and awe, bordering on terror. This part of the composition is drawn from Genesis 1: 14-18: `And God said let there be lights in the firmament of the heaven to divide the day from the night … And God made two great lights; the greater light to rule the day, and the lesser light to rule the night…’

To the left he is seen from behind. Here, the contours and delicate coloring of God’s lilac robe give it the look of a conch shell flying unexpectedly through the sky. He is shown in the act of bringing forth vegetation from the hitherto barren earth, in the form of a few wisps of grass and fronds of fern, silhouetted against the white air. Michelangelo’s source here was Genesis 1: 11: `And God said let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit, whose seed was in itself…’

There is a pointed lack of emphasis on the actual creation of the earth, a part of the story that the artist has not quite left out but has certainly abbreviated to a bare minimum. It is implied, so to speak, as something that must necessarily have happened, in the gesture with which the receding figure of God calls forth the grasses and other plants. But even that gesture is given relatively little prominence, enacted as it is by a Creator whose mighty back — and even mightier posterior — is turned to the spectator. Far greater prominence is given to the formation of the sun and moon. Both were drawn with the aid of a compass — the imprint made by its point is still minutely visible in the centre of each sphere — and colored in flat thin layers of golden yellow and silvery grey. Michelangelo has contrived matters so that his entire composition revolves around sun and moon and the divine gesture that links them.

According to an ancient tradition going back at least as far as to the writings of the fourth-century St Ambrose, the sun was held to be a mystic symbol of Christ, while the moon, reflecting back the sun’s radiance, was equated with the Virgin Mary, mother of Christ and embodiment of the Church. In creating the sun and moon, therefore, God was also pre-ordaining Christ’s Incarnation and the institution of the Church. His outflung arms are a visual anticipation of Christ’s arms, stretched upon the Cross. The expression of solemnity on his face suggests that even at this moment, so close to the beginning of time, he is gazing ahead and seeing, in his mind’s eye, the betrayal and death of his son.

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The Creation of Life in the Waters
In the last painting of the first triad, Michelangelo’s God is restored once more to effortless tranquility. He floats through the air, again wrapped in a billowing mantle and attended by a small angelic retinue. This time he. is shown above a vast expanse of grayish-white water. Some authors have assumed that the painter had Genesis 1: 2 in mind: `And the Spirit of God moved upon the face of the waters.’ Others believe that he meant to indicate the separation of the land from the water, as it is described in Genesis 1: 6: `And God said let there be a firmament in the midst of the waters, and let it divide the waters from the waters.’

Either hypothesis, if true, would mean that Michelangelo had disturbed the chronology of Genesis in the order of his pictures. But there is no good reason to suppose that the artist reversed biblical time here. The last of his three pictures almost certainly depicts the events of the fourth day of Creation, which take place directly after the creation of sun and moon: `And the evening and the morning were the fourth day. And God said, Let the waters bring forth abundantly the moving creatures that have life …” The gesture of his hands suggests that Michelangelo chose to paint the very moment of this invocation. God holds his palms above the water, creating a teeming multitude of unseen creatures down in the depths of the ocean.

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And I Shall Dwell in the House of the Lord Forever – Rabbi Kushner

May 30, 2012

Corriedale lambs in Tierra del Fuego. The more I’ve stared at this photo, I guess this is what we really look like. Most of us figure in some bunch here or there and I’m over on the left sitting down in the pasture. Got a nice spot, can’t complain.

Psalm 23
The Lord is my shepherd, I shall not want.
He makes me lie down in green pastures; he leads me beside still waters;
he restores my soul. He leads me in right paths for his name’s sake.
Even though I walk through the darkest valley, I fear no evil;
for you are with me; your rod and your staff— they comfort me.
You prepare a table before me in the presence of my enemies;
you anoint my head with oil; my cup overflows.
Surely goodness and mercy shall follow me all the days of my life,
and I shall dwell in the house of the Lord my whole life long.

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We can read the Twenty-third Psalm as a drama in three acts. Act one is serene, pastoral. The psalmist feels safe and secure, and he thanks God, his faithful shepherd, for providing him with that security.

Act two turns dark and stormy. The psalmist’s life is interrupted by trauma, tragedy, and bereavement. Instead of dwelling in green pastures by still waters, he finds himself alone in a dark valley. Then he learns that he is not really alone. He comes to see God not only as the source of the good things in his life, but as the source of comfort and consolation in hard times. He comes to understand that only because God was with him was he able to find his way out of the darkness. He learns, as all of us who have gone through hard times learn, that the sunshine we step into when we have found our way through the valley of the shadow is infinitely sweeter than the sunshine we had basked in during our carefree, cloudless days.

In act three, he realizes that his understanding of God, his relationship to God, has matured as well. God is no longer just the one who follows him through his travails. God now offers him something more permanent, an invitation to dwell in His house.

What does it mean to dwell in the house of the Lord? “Home” is such an evocative word. It speaks of love, of an enduring relationship. Robert Frost defines it as “something you somehow don’t have to deserve.” It is the ultimate expression of the promise, “I will be with you.” Home symbolizes safety, security, a refuge from the dangers of the world outside. God’s house is also a sanctuary in the sense of a holy place (sanctus means holy).

But there is also a sense in which it is uncomfortable, even intimidating to live our days conscious of the fact that we are living them in God’s presence. A Hassidic tale tells of the rabbi who hired a horse and carriage to take him to a neighboring village. The carriage was making its way along a road with fruit trees and orchards on either side. At one point, the coachman stopped by the side of the road and told his passenger, “I’m going to climb over the fence and steal some of that fruit. You sit here and keep an eye out for anyone coming. Let me know if anyone sees me.”

He had just crossed the fence when the rabbi called out, “Someone’s watching!” The driver jumped back into his wagon, drove a bit farther, stopped, and said, “I’m going to try again. Make sure I’m not being seen.” Once again, as soon as he crossed the fence, the rabbi called out, “Someone’s watching!” The driver was puzzled. He said, “I don’t understand it. The road is empty; the area is deserted. I don’t see another human being for miles. But every time I try to grab some fruit, you tell me someone’s watching. What’s going on?” The rabbi pointed heavenward and said simply, “Someone is watching.”

For the author of the Twenty-third Psalm, dwelling in God’s house, having the sense that every moment of his day is being lived under God’s watchful eye, is the most reassuring, most comforting thought he can have. For the rabbi’s coachman, it is a major inconvenience, keeping him from doing things he would like to do. What might it mean to us? The answer may depend on where we are in our lives.

For a young child, there are few things more important and reassuring than the knowledge that his parent is there watching out for him, and few things more unsettling than the fear that the parent might not be there. That is likely why very young children play peek-a-boo; its message: Mommy may go away out of sight, but she comes back a moment later. That may be why young children in a playground “push the envelope,” going to the brink of doing something dangerous or forbidden, not in the hope of getting away with it but in an effort to elicit the reassuring cry of “Stop that, I’m watching you.” And maybe there is a part of us that never quite outgrows that childhood need.

But a few years later, that young child grows into a sulky, withdrawn teenager. “Momma, come see what I can do” is replaced by “Stay out of my room” and “Will you just get off my back and let me live my life?” What has happened? One of the defining characteristics of adolescence is self-consciousness, the feeling that people are looking at you and judging you. For the first time in their lives, adolescents are making ethical decisions, making choices about their values and their behavior without parental guidance and authority. They are making choices about dress, relationships, and money, and because they can never be sure they are doing it right, they are manifestly uncomfortable, hypersensitive to being judged. If you have a fourteen-year-old daughter at home (or if you can remember being a fourteen-year-old girl), how much time does she spend on the phone with her friends every evening deciding what to wear to school the next day? It is important for her to know that she won’t stand out as the only one wearing the “wrong” clothes.

Go back and reread chapter three of Genesis, the puzzling story of Adam and Eve in the Garden of Eden. Note that before Adam and Eve eat the forbidden fruit, they are described as “naked but feeling no shame” (Genesis 2:25). But the very first thing that happens after they eat of the Tree of the Knowledge of Good and Evil is that they realize they are naked, feel embarrassed by it, and try to hide from God’s sight. Why are they ashamed when there is literally no one else in the world to see them? My understanding of the story is that acquiring a knowledge of good and evil marks their transition from childhood to adolescence.

Isn’t that the difference between a child and a teenager, that a child can only be obedient or disobedient to parents and teachers, but a teenager has to make his or her own moral decisions about right and wrong a thousand times a day? I see Adam and Eve after they eat the forbidden fruit as adolescents, brand-new to the world of knowing right and wrong, new to the challenge of making moral choices, insecure about their body image, uncomfortable at the prospect of being judged, risking being told that they had done wrong and would be punished.

According to some classical Christian and Jewish interpretations of the Garden of Eden story, Adam and Eve were capable of sexual activity and reproduction even before they ate the forbidden fruit. Remember, they were commanded to be fruitful and multiply. But after they ate the fruit and acquired a knowledge of good and evil, their attitude toward sexuality changed. It was no longer a simple matter of being guided by nature and instinct, as it is for other animals. It now took on a frantic dimension, a quest for intimacy and closeness, a reprieve from loneliness, a reassurance of being desired. (Sounds very adolescent to me.)

For Adam and Eve, for the rabbi’s coachman, for the typical adolescent, living in the presence of God is intimidating, a source of potential shame and imminent condemnation. When Job’s friends try to comfort him after a series of disasters have made his life miserable, they speak to him in the accents of childhood: Don’t despair, our heavenly Father is watching over us constantly. And Job responds like an adolescent: You’re right, God is always watching over us — to catch us in a mistake and have a reason to punish us (Job 7:20).

As we grow older, we carry with us fragments of both views, the child’s sense of reassurance that his parents are there for him and the adolescent’s need for a life free of watchful eyes and judgmental authorities. Ultimately we come up with an outlook that reconciles the two. We come to realize that God invites us into His house, into His presence, not simply to protect us and not only to judge us, but to establish a relationship with us, and the basis of that relationship is God’s expectation of moral behavior.

God says to us, as one might say to a child who is no longer a child, If you are going to live in My house, I expect certain things of you. God says this not in order to restrict us or to punish us when He catches us in a mistake, but to show that He takes us seriously and to invest our lives with significance by telling us that He cares how we live.

In the view of Rabbi Joseph Soloveitchik, one of the great souls of the American Jewish community, God gave Israel the Law at Mount Sinai because He sensed the existential loneliness of the average human being in what can often be a lonely world. God who created Eve as Adam’s mate because “it is not good for man to be alone” sought to cure an even deeper feeling of loneliness by reaching down to enter into people’s lives, freeing the Israelites from Egypt and forming a covenant with them.

For Soloveitchik, as paraphrased by one of his disciples, there comes a point in a person’s life when he or she realizes that one’s “work does not suffice to define [one's] personality. Human dignity is now seen in the quest for purpose, meaning and relationship.” With the sound of God’s voice addressing man by name (that is, when we feel personally commanded to do something we might otherwise not be inclined to do — being generous, forgiving, in control of our emotions), “God, whom Man has searched for along the endless trails of the universe, is suddenly discovered as standing beside him.”

God, who is pure righteousness, seeks to establish a relationship with human beings by summoning us to do righteous deeds. In that way, God connects with our soul, our conscience, the little bit of Himself that He breathed into us, that inner voice that should have told the coachman that it was wrong to steal his neighbor’s fruit even if he didn’t have a rabbi as his passenger. God tried to do that with Adam, giving him one command. But Adam, too much the adolescent, was unprepared for a mature relationship with God.

When God called Noah, Abraham, or Moses to do things that were challenging but right, promising only that He would be with them, promising to guide Abraham to his unknown destination, telling Moses “I will be with you” (Exodus 3:11-12) when he asked, “Who am I that I should go to Pharaoh?,” that was more than an assignment. It was an invitation to a relationship. For the person who asks, “Why should I be good? Why should I respect my neighbor’s property? Where is my reward for being honest?,” the Twenty-third Psalm gives us the answer. The reward is “I shall dwell in the House of the Lord forever.” The reward is that you will be redeemed from the existential loneliness of wandering aimlessly through life, without meaning or purpose. You will have God as your friend and neighbor.

And what will be the punishment for the person who chooses to live a selfish, deceitful, exploitative life? I don’t need to picture him tormented in Hell and cast into fire and brimstone. It is punishment enough that he will live out his days alone, perhaps feared, perhaps envied, but ultimately alone where it matters most, while those around him live out their days in the presence of God.

Can you remember a time when you went out of your way to help a neighbor in need, and how good that felt? Can you remember a time when you reluctantly gave money to a good cause because you could not say no to the person who asked you, and later you realized what a bargain you had gotten? The feeling of satisfaction you got from helping those in need was worth more to you than the money. That is what it means to live in the House of the Lord, to have a relationship with God based not on our need and not on His might but on the capacity for righteous living that God has planted in each of us.

There is a part of us that wants to live in the presence of God, not only for the comfort but for the challenge. There is a part of us that wants to be summoned, that welcomes the demands of morality and righteousness. When God summons us to act justly and righteously, it is His way of telling us that He takes us seriously enough to care about how we live. When He tells our neighbors not to harm us, not to harm our marriage, our property, our reputation, He is giving us the message that He cares about our wellbeing. When He speaks to us through the voice of our conscience and through the words and deeds of inspiring teachers and leaders, He is assuring us that we are not alone in a dangerous and distracting world. When we come to understand that, we learn to see our lives differently. We learn to see our pain and our problems differently. We learn to see the world differently.

The author of the Twenty-third Psalm, who has been meditating on all the good things that God does for him, has saved the best for last. God, who has provided him with a peaceful, livable world, who has stilled the raging waters around him and within him, who has led him through the valley of the shadow, has also given him this ultimate gift: He has invited him into His home, into His presence, that he might live all of his days in the presence of God.

God has said to him in his bereavement, as he languished in the valley of the shadow, You have lost someone you love, but you have found Me. You have discovered what I am really about, not the God of fairy tales and contrived happy endings, but the God who said to Abraham, to Joseph, to Moses, to the saints and strivers in every generation, “Fear not for I will be with you.” You have found Me, and I will not abandon you. Like the shepherd who watches his flock by day and at night, I will be with you in sunshine and in shadow, in happy times and in tragic times. My house is your home.

The psalmist, I am sure, repaid God with prayers of gratitude and with acts of righteousness. But in addition, he repaid God for all of His kindnesses by writing a psalm, so that future generations would come to know what he had come to know about God. And this is what he has to tell us:

When we are frightened because the world is a scary place, God is with us. If He cannot always protect us from harm or from our own mistakes, He can ease our fears and our pain by being with us.

When we are exhausted because the world asks so much of us, God gives us times and places of refuge from the claims of the world, to calm and restore our souls. God renews our strength so that we can “mount up with wings as eagles” and continue tirelessly to do what is right.

When we are terrified at the prospect of losing control over our emotions and doing ourselves serious harm, God is with us to help us do things with Him at our side that we were not sure we could do alone.

When illness, bereavement, and the losses that come with age cast a shadow over our lives, God is there to fill the empty space, to remind us that shadows are cast only because the sun is shining somewhere, to take us by the hand and lead us through the valley of the shadow and into the sunlight.

When events in our world bring us dismay and we fear that evil is prospering, God reminds us that evil acts invariably carry the seeds of their own destruction.

When people disappoint us, when they cannot give us what we need, whether because our needs are too great or because their emotional resources are too meager, God is our reliable friend, an inexhaustible source of love and strength.

And when we find ourselves wandering aimlessly through the world, wondering why we are here and what our lives will have meant when they are over, God blesses us with a sense of purpose, a challenge, a list of moral obligations and opportunities, every one of which will give us the sense of living our days in His presence.

There is pain in the world. If we are to be truly alive, we cannot hide from it. But we can survive it, and God’s caring presence lessens the pain.

There is death in the world, robbing us of the ones we love and one day robbing them of our presence. But God who is immortal assures us that death may take a person out of our future but cannot remove him from our past, that all the things we loved a person for have entered so deeply into our souls that they remain part of us. The Lord gives, but the Lord does not take away, and their presence is every bit as real as their absence.

There is fear in the world. There is vulnerability and uncertainty. God cannot tell us that nothing bad will ever happen to us. But God can tell us that we need not be afraid of the future, no matter what it holds. He cannot protect you from evil without taking away from other people the human power of choosing between good and bad. He cannot protect you from illness or bad luck. He cannot spare you from death and let you and those around you live forever. But He can give you the resources to transcend and overcome those fears, so that bad luck never causes you to lose faith in yourself, so that bad people never cause you to lose faith in humanity, so that the inevitability of death never causes you to give up on the holiness of life.

There will be dark days, days of loss and days of failure, but they will not last forever. The light will always return to chase away the darkness, the sun will always come out again after the rain, and the human spirit will always rise above failure. Fear will assault us, but we will not be afraid, “for Thou art with me.”

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The Lie With The Ring Of Truth – R.R. Reno

April 27, 2012

But the serpent said to the woman, “You will not die; for God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.”
Genesis 3.4-5

Did God say … ?
The subtle serpent creates a disorienting atmosphere of uncertain questions. Is it “this tree” or “any tree” that God has fenced with a commandment not to eat of its fruit? What did God actually command? And why? What are the real consequences of transgression? The ambiguity is crucial. As the self-defeating perversion of goodness, sin is ugly and repulsive. Transgression can only allure in a world of distortion and dreamlike fantasy, where what is real becomes malleable, capable of seeming to be what it is not. The robbery won’t require any killing, the thief imagines. The one-night stand won’t lead to any bad feelings. The lie is for the best.

Our lives are full of gauzy pictures that our imaginations conjure in order to make the ugliness of sin look more appealing. This is why deception and the lie loom so large in Christian thought about Satan. We can consistently desire what is bad when we imagine that it will add up to something good, a mental open t it wi s only possible if we are deceived about reality. As Gregory of Nyssa writes, “Good is in its nature simple and uniform, alien from all duplicity or conjunction with its opposite, while evil is many-colored and fairly adorned, being esteemed to be one thing and revealed by experience as another” (On the Making of Man 20.3).

Or as St. Paul writes, “Even Satan disguises himself as an angel of light” 2 Corinthians 11:14). In the garden, the serpent’s distortion has the effect of throwing doubt on the divine plan. “Is this not, he seems to be saying, “the garden of joy? You are surrounded by food for life, and yet you are commanded not to fully enjoy it? Is this the sort of God you obey, one who promises life and yet requires renunciations, one who claims to give blessings but always ends up placing limits and making demands?”

These questions have been repeated many times. A Jew is not to eat` pork or shrimp, and what are we to think? Does God wish to cut us off from the good things in life? St. Paul inveighs against fornication, and what are we to think? Is God so opposed to sex and the human capacity for pleasure? Is not the whole scheme of divine commandment, a diminishment of life that cuts us off from the bounty of creation, condemning us to endless sackcloth and ashes?

The woman’s response is corrective, but the serpent’s opening gambit produces an echoing exaggeration. She recounts that God forbade eating from the tree in the middle of the garden, and she then adds, “Neither shall you touch it” Unsettled by the distortions of the serpent, the woman wants to return to the reality of God’s commandment, but her grasp is unsteady. It is as if Satan’s insinuation has taken hold on her imagination. She begins to assume the role of lawgiver herself, puffing up as one giving orders and establishing rules. It is an untenable position of pride: “Everything that I command you, you shall be careful to do; you shall not add to it or take from it” (Deuteronomy 12:32).

Midrash is a traditional Jewish style of reading. It involves a supplemented retelling, that interprets by way of added emphasis, color, and dramatization, as I have done above. The skeleton of the biblical story is retained, but flesh is added. Midrash, however, is not unique to Judaism. These few verses depicting the original transgression provide the basis for an extensive tradition of Christian midrash. Milton’s Paradise Lost provides one of the most famous examples. But there is nothing uniquely poetic or premodern about the tendency to fill out the story of the fall.

Modern biblical critic Gerhard von Rad produces exegesis in this genre, and he does so with a panache for inventing motives and emotional responses that shed light on the psychology of sin (1972: 88-90). These examples of creative retelling are not surprising. This short portion of biblical text combines narrative realism with economy of expression, a’ combination that positively invites the reader to fill out the story with more detail. Here, then, the literary form matches the ambition of Genesis. The suggestive brevity of the verses invites us to interweave our many and diverse thoughts about the nature of sin into our reading. In the silences of the text we find a place for our own knowledge of the concrete form of human wickedness, and in so doing we vindicate the traditional view that this story tells us about the original sin.

And the woman said…
Perhaps the serpent arrives on the scene more ignorant than wise, and he opens with a clever question designed to provoke the woman to betray crucial information. “I’ve heard that all these trees are off limits. Is it true?” he asks. “No,” says the woman, “with God as my witness, I was told to refrain from eating the fruit of the one tree in the middle of the garden.” “Oh, I see;’ he responds. Now, with this missing piece of information, the lawyer can proceed, knowing just where to focus his attention. “You foolish woman;’ he says to himself, “you have given me what I wanted to know, because you could not restrict yourself to a simple `yes’ or `no” (Matthew 5:37). Eve is too eager, too chatty, too forthcoming. She allows herself to be lured into a discussion with the evil one about the substance of God’s commandment. “Do not throw your pearls before swine”warns ,Jesus (Matthew 7:6), and that seems to be exactly what Eve does. “Such is the evil of idly and casually exposing to all and sundry the divine mysteries,” John Chrysostom observes in his extraordinarily rich reading of Eve’s transgression (Homilies on Genesis 16.6 in FC 74.211).

This might seem a fanciful reading, but the larger scriptural witness suggests otherwise. A negligent, careless tongue looms large in the biblical concern about sin, much larger than most Christian readers realize. Restraint of the tongue is the object of two of the Ten Commandments: do not take the LORD’S name in vain, and do not bear false witness. James identifies the control of the mouth as the key to vice and virtue (James. 3:2-5) and warns that “the tongue is a fire” (3:6). Sin has made our tongues “a restless evil, full of deadly poison” (James 3:8). The Pastoral Epistles place great emphasis on the properly trained tongue, one that knows when to be silent and when to command and teach according to the sound doctrine.

This larger biblical concern about the tongue and its dangers forms the background for Chrysostom’s portrayal of Eve as the original gossipy housewife, whose wandering, undisciplined tongue leads to the original human sin. It is not prideful self-assertion that is the source. For Chrysostom, the root sin is negligence, expressed most clearly in the easy familiarity of neighborhood gossip. For in gossip we treat other people’s lives as occasions for entertainment and titillation, as opportunities to express complacent superiority or to express a burning envy.

With Chrysostom’s interpretation, therefore, we see an important aspect of our sinful selves. We are not hyper-alert seekers after advantage, men and women who puff ourselves up with arrogant self-importance. More often than not we are somnolent, lazy, and complacent folks who drift along with the crowd. We don’t rush off to join the devil’s party. Instead, we wake up one day and find that, after an unthinking, offhanded career as a fellow traveler, we have signed a loyalty oath as full members.

There is no one right way to read the story of the first sin. The early monastic tradition developed a list of seven deadly sins: pride, envy, anger, sloth, avarice, gluttony, and lust. Under the influence of Augustine, Western Christianity has tended to presume that pride is the cardinal, original sin. But the early monks who lived in the Egyptian desert often thought otherwise. For some greed loomed large. They observed a deep human fear of dependence upon God that manifested itself in a perennial desire to accumulate some small margin of protective, sustaining property. For others, a languid, despairing, spiritual pessimism (sloth) was the deepest problem we face.

We should not be surprised that the Christian tradition has not settled on a single account of material form of the primal sin. The scriptures themselves equivocate. Proverbs 16:18 gives St. Augustine his favorite text: “Pride goes before destruction, and a haughty spirit before a fall.” But Wisdom of Solomon 2:24 teaches, “Through the devil’s envy death entered the world.” (St. Augustine harmonizes these verses by supposing that the devil’s pride causes him to envy, God’s supremacy.) In 1 Timothy 6:10 we read that “the love of money is the root of all evils.” And 1 John 2:16 gives a threefold formulation (drawing on Ezekiel 24:21) that has been used to probe the deep sources of sin: “the lust of the flesh and the lust of the eyes and the pride of life.”

This diversity should not trouble, because it reflects a deeper, formal truth about sin. Transgression is, at root, a spectral romance with nothingness. It is epitomized by idolatry, devotion to an image powerless to deliver on its promises. Lacking an underlying truth or reality, our actual sins take countless forms without ever coming into focus as instances of some deeper, more stable, more fundamental form of life.

As a strange, impossible love of nothingness, sin always twists itself toward some semblance of reality. Sin is the perverted love of a finite good, and therefore has no stable, fundamental form. For this reason, there is no one way to characterize the original sin in Genesis 3.

You will not die…
The serpent’s deceiving promise is a primordial lie
. It is to the ears what an idol is to the eyes: a fantasy about the power of life. As a promise, the lie is a claim about the future, a faux covenant. In the subtle, indirect, and deceiving form of a negative claim, the serpent seems to promise life: “You will not die.” “Have no fear,” he implies. “Do as you please. You can have what you want right now — and at the same time you can have the fullness of life in the future. You can have the lovely fruit, and it will provide you with all the happiness you seek.” At root, this lie, and the covenant it implies, is like the golden calf at the base of Mount Sinai. It is like Mammon, whom we so often serve. It is like the ideological totems of modern men and women. Satan’s lie always takes the same form. It creates the illusion that there is some path to fullness of life other than obedience to God’s commandments.

Evil is negation, and pure evil is complete privation or negation. Therefore, pure evil cannot exist, not even as a possibility. As a result, the lie can endure only in the mind of the woman and tempt her if it somehow participates in truth, as do all believable lies. And indeed Satan’s lie does. When they eat the fruit, neither the man nor the woman drops dead. The LORD, who has said, “In the day that you eat of it you shall die” (Genesis 2:17), seems to be shown the purveyor of falsehood, while the serpent speaks the truth.

The seeming truth of Satan’s lie rests on the equivocal meaning of life and death. God creates the man and the woman for a purpose: to enter into his Sabbath rest. Spiritual life and death turns on our acceptance or rejection of that divine purpose established in the beginning. Moses’s exhortation to the Israelites restates the choice that Eve faces in the garden: “I call heaven and earth to witness against you this day, that I have set before you life and death, blessing and curse; therefore choose life, that you and your descendents may live, loving the LORD your God, obeying his voice, and cleaving to him” (Deuteronomy 10:19-20).

Christ presents the same choice to all the nations: “In him was life” (John 1:4), he is “the bread of life” (John 6:35), and his words “are spirit and life” (John 6:63). Christ gives his flesh over to death for the sake of “the life of the world” (John 6:5 1), and in his resurrection death is “swallowed up by life” (2 Corinthians 5:4). In this way, from Eve onward the original choice of life or death is recapitulated again and again: “He who has the Son has life; he who has not the Son of God has not life” (1 John 5:12).

The serpent’s lie was brilliant and effective, because it shifts the focus of human concern. He directs attention to what the woman already possesses: the gift of physical life that she shares with all living things. “What you have now you shall not lose;’ he promises, and in a strict sense he speaks truthfully. But the strict sense of Satan’s promise is not the implied sense. “You shall not die” conjures the promise that we will have life abundant. The deception thus breaks the bond between “life and godliness:’ and the lie turns our attention away from “him who called us to his own glory and excellence” (2 Peter 1:3). The serpent’s lie tempts the woman to believe that what matters most is sentient, bodily existence: “Take the fruit. It’s not going to kill you!”

The lie remains effective to this day. St. Augustine makes a distinction between two dispositions toward things: use and enjoyment. To use something means to see its finite goodness and its role in God’s larger plan or purpose and then to love it contingently, that is, not for its own sake but for the sake of God’s plan. To enjoy, by contrast, means to embrace something as our final rest and ultimate purpose, to love it for its own sake. God alone is our proper rest, and thus we are created to enjoy him alone, and others in him, while we are to use created reality to attain that end. But we are tempted to rest in countless finite goods, and the temptation is strong, because, as Satan promises, we really can love them and live in them for their own sake — at least for a while.

My professional success is genuinely rewarding. The five-star chef cooks wonderful food. Patriotism is a noble sentiment. All of these finite goods make life better in the short and medium term. “The tree was good for food” (Genesis 3:6), and its apple does not kill Adam and Eve — or us. In fact, an apple might satisfy our hunger and keep the doctor away. Thus, it’s very easy to think that apples and other finite goods are what make life worth living. The lie works because it has a ring of truth.

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