Great quotes of St. Francis that he didn't say

Luther is not the only one that gets credited for quotable lines that he didn’t really say.  (E.g., the principle of voting for “wise turks,” as we discussed.)  St. Francis of Assissi gets the same treatment.  Here a Franciscan priest, Father Pat McCloskey, responds to a question about that phrase, which I have heard even from people who should know better, that suggests preaching the Gospel doesn’t require words.  He throws in a debunking of the “peace prayer”  (“Lord, make me an instrument of thy peace.  Where there is hatred, let me sow love,” etc.)

Q: I keep seeing St. Francis of Assisi credited as saying, “Preach the gospel at all times. Use words if necessary.” I have looked in several places but cannot find where St. Francis said this.

A: This is a great quote, very Franciscan in its spirit, but not literally from St. Francis. The thought is his; this catchy phrasing is not in his writings or in the earliest biographies about him.

In Chapter XVII of his Rule of 1221, Francis told the friars not to preach unless they had received the proper permission to do so. Then he added, “Let all the brothers, however, preach by their deeds.”

I had been a Franciscan for 28 years—and had earned an M.A. in Franciscan studies—before I heard the “Use words if necessary” quote. That was during Msgr. Kenneth Velo’s homily at Cardinal Joseph L. Bernardin’s funeral in 1996.

About a year ago, a friend of mine used the Internet to contact some of the most eminent Franciscan scholars in the world, seeking the source of this “Use words if necessary” quote. It is clearly not in any of Francis’ writings. After a couple weeks of searching, no scholar could find this quote in a story written within 200 years of Francis’ death.

This saying and the “Peace Prayer,” which Francis certainly did not write, are easily identified with him because they so thoroughly reflect his spirit. Unfortunately, they would not have become as widespread if they had been attributed to “John Smith” or “Mary Jones.”

Exhaustive research on the origins of the “Peace Prayer of St. Francis” has led to Christian Renoux’s new book in French. This 210-page study (ISBN 2-85020-096-4) is described at www.electre.com under Les Editions Franciscaines.

An 11th-century French prayer is similar to the first part of the “Peace Prayer.” The oldest known copy of the current prayer, however, dates to 1912 in France. The prayer became more well known in other countries during World War I.

This prayer is sold all over Assisi today—but always under the title “A Simple Prayer.” Whoever linked it to St. Francis guaranteed a wide diffusion of the text. The same is true for the “Use words if necessary” quote. Both reflect St. Francis very well.

via Ask a Franciscan: Great Saying But Tough to Trace – October 2001 Issue of St. Anthony Messenger Magazine Online.

Thanks to Pastor  Matt Richard for the link.  Read his post for an important critique of the notion that we can preach the Gospel without words and the Word.

Tolkien's new book on King Arthur

J. R. R. Tolkien has a new book coming out next year, a 200-page narrative poem about King Arthur.  From the British newspaper The Guardian:

It’s the story of a dark world, of knights and princesses, swords and sorcery, quests and betrayals, and it’s from the pen of JRR Tolkien. But this is not Middle-earth, it’s ancient Britain, and this previously unpublished work from the Lord of the Rings author stars not Aragorn, Gandalf and Frodo, but King Arthur.

HarperCollins has announced the acquisition of Tolkien’s never-before-published poem The Fall of Arthur, which will be released for the first time next May. Running to more than 200 pages, Tolkien’s story was inspired by Geoffrey of Monmouth and Thomas Malory’s tales of King Arthur, and is told in narrative verse. Set in the last days of Arthur’s reign, the poem sees Tolkien tackling the old king’s battle to save his country from Mordred the usurper, opening as Arthur and Gawain go to war.

“It is well known that a prominent strain in my father’s poetry was his abiding love for the old ‘Northern’ alliterative verse,” said Tolkien’s son, Christopher Tolkien, who has edited the book and provided commentary. “In Sir Gawain and the Green Knight he displayed his skill in his rendering of the alliterative verse of the 14th century into the same metre in modern English. To these is now added his unfinished and unpublished poem The Fall of Arthur.”

Tolkien began writing The Fall of Arthur a few years before he wrote The Hobbit. Its publication is the latest in a series of “new” releases from the author, including The Legend of Sigurd and Gudrún in 2009 and the unfinished Middle-Earth story The Children of Húrin in 2007.

For the book’s editor at HarperCollins, Chris Smith, the news that Tolkien had finished work on The Fall of Arthur was an unexpected surprise. “Though its title had been known from Humphrey Carpenter’s Biography and JRR Tolkien’s own letters, we never supposed that it would see the light of day,” he said.

He described the previously unpublished work as “extraordinary”, saying that it “breathes new life into one of our greatest heroes, liberating him from the clutches of Malory’s romantic treatment, and revealing Arthur as a complex, all-too human individual who must rise above the greatest of betrayals to liberate his beloved kingdom”.

He added that, “though Tolkien’s use of alliterative verse will mean the poem is of more specialised interest than his other work, we would like to think that the subject of King Arthur is one that will resonate with readers of his more celebrated works.”

“In The Fall of Arthur we find themes of lost identity, betrayal, and sacrifice for greater glory, which have their echoes in other works, such as The Lord of the Rings, but anyone looking for closer connections will find no wizards or magic swords. In this respect The Fall of Arthur is closer to Sir Gawain and the Green Knight or The Legend of Sigurd and Gudrún.” . . .

John Garth, author of Tolkien and the Great War, said that from the fragments he had seen, the omens looked good. “In The Fall of Arthur, Tolkien depicts Arthur going off to fight the Saxons in Mirkwood – not the Mirkwood of Middle-earth, but the great German forests. Whether it’s as good as the best by Tolkien will have to wait on the full publication, but snippets published so far are encouraging, showing him in darkly evocative mode writing about one of the great English villains, Mordred: ‘His bed was barren; there black phantoms/ of desire unsated and savage fury/ in his brain brooded till bleak morning.’

“Any addition to the Arthurian tradition by a major author is welcome; this one is also exciting because of what it adds to our picture of a great modern imagination.”

via ‘New’ JRR Tolkien epic due out next year | Books | guardian.co.uk.

I’m excited about this.  I’m even excited about the narrative verse, which uses the alliterative patterns of very early English poetry, as in Beowulf.  Here are the opening lines of The Fall of Arthur, as quoted in the Guardian:

“Arthur eastward in arms purposed

his war to wage on the wild marches,

over seas sailing to Saxon lands,

from the Roman realm ruin defending.

Thus the tides of time to turn backward

and the heathen to humble, his hope urged him,

that with harrying ships they should hunt no more

on the shining shores and shallow waters

of South Britain, booty seeking.”

Can you handle a story told in this kind of poetry?

Whatever happened to narrative verse?  Other cultures and other times have loved stories told in poetry (think Chaucer, Milton, Longfellow).  Have we just become too prosaic?  Do you think Tolkien can bring back the form?

HT:  Jackie

Machiavellian reformer

British author Hilary Mantel won the Booker Prize for her novel Bring Up the Bodies.  This is the second time she won this top award for British fiction.  The first time was for Wolf Hall.  Both novels are about Thomas Cromwell, the consigliere to Henry VIII.   And they are both spellbinding.

Cromwell is typically presented as a Machiavellian villain who made it possible for Henry VIII to marry Anne Boleyn and then cynically framed her and engineered her execution.  Mantel, though, in her thoroughly-researched imagining of those tumultuous times, presents him sympathetically.  Her Cromwell is a man of high ideals who wants a more just society and will do what it takes to make those ideals reality.  Specifically, he is a man of the Reformation, someone with a brilliant intellect who has memorized the Bible, possesses books by Luther that would earn him the death penalty, and who does what he can to rescue Protestants from the torture chambers of Sir Thomas More.  But his effectiveness depends on how well he can work with the volatile, passionate egotist who is the King of England.

Mantel’s books capture the texture and nuances of a complicated time, and her characters are complex, historically-grounded, and utterly believable.  And her handling of the religious issues of 16th century England is especially illuminating.  King Henry breaks from the Pope and makes himself head of the English church because of his marital intrigues, but he retains the medieval Catholic dogmas, inquisitorial spirit, and  hatred of the Lutheran Reformation.  (Did you realize that it wasn’t the Catholics but King Henry after his break with Rome who had Tyndale burned at the stake for translating the Bible into English?)

Anyway, if you like historical fiction written at the very highest, most sophisticated level, and if you enjoy tales of intrigue, you will love Hilary Mantel’s books.  You need to read them in order, so start with Wolf Hall.  Then you will want to read Bring Up the Bodies (which deserves another prize just for its title).  She is reportedly working on another volume to round out the Cromwell trilogy, which may well earn her a third Booker prize.

 

The "Jesus' wife" fragment is from the internet?

One of my favorite courses in grad school was “Bibliography and Methods,” in which we learned about the scholarship of studying manuscripts, variant texts, printing evidence, textual editing, and other kinds of hard-core old-school literary research.  One of the things you can do with this knowledge is detect forgeries.

Scholars have found that the much-hyped manuscript fragment that refers to Jesus having a wife consists basically of phrases from the already-known gnostic text known as the Gospel of Thomas.  Not only that, it replicates a mistake in the transcription that is found only in a version posted on the internet!

See Gospel of Jesus’ Wife: Forgery Confirmed? » First Thoughts | A First Things Blog.

Politics as Dante's Inferno

Literature professor that I am, I appreciate this application of the unutterably great Dante to today’s political and cultural woes.  It’s by Henry G. Brinton, pastor of Fairfax Presbyterian Church, who got it published in USA Today:

In Inferno, hell is cold at its deepest levels, not hot. People are frozen in place, eternally. Nothing ever changes. . . .

The hell that Dante envisions is a series of concentric circles, containing the souls of people being punished for a variety of sins. His poem is “the drama of the soul’s choice,” according to English crime writer and poet Dorothy Sayers. The seriousness of the sin increases as the observer moves downward from the first circle to the ninth; for instance, the residents of the second circle are being punished for lust, while the souls in the ninth are suffering for treacherous fraud against individuals and communities. . . .

In Dante’s frozen ninth circle, there are two damned souls who do not face each other. Instead, they are pressed together chest to back, with one gnawing the back of the other’s head. I think of my Facebook friends who send blistering political messages, containing insults that they would never deliver face to face. . . .

Says Peter Hawkins of Yale Divinity School, a Dante scholar, “Among the many things lost at this depth is the notion of e pluribus unum, one out of many.” Here, private egos run wild, with no chance of healthy partnership.

In this ninth circle, the man who is eating the other’s head is an Italian count who was betrayed by an archbishop and locked in a tower to starve to death. The two men are traitors who represent corruption within both the state and the church, but what locks them in hell is the hatred they chose in the last moments of their lives. Dante is reminding us that we don’t have to choose that path.

We can all choose to do better, right along with the characters of The Divine Comedy. As the story moves from Inferno to Purgatorio to Paradiso, the focus of the characters shifts — they gradually move from looking at each other to gazing upward toward “the love which moves the sun and the other stars.”. . .

Politics is so often a zero-sum game, with one candidate’s gain coming from another’s loss, but Dante offers a heavenly ideal of sharing and mutuality. “In the Paradiso,” says Alan Jones, dean emeritus of Grace Cathedral Episcopal Church in San Francisco, “love is the only ‘commodity’ that isn’t diminished by sharing.”

via Column: When politics freezes over – USATODAY.com.

Connected TV dramas as the new novel

Since the time of the ancient Greeks, a dramatic production seldom lasts much more than two hours, about the limit of human endurance sitting in one place.  Thus, plays, movies, and TV shows tend to be relatively short.  Novels, though, can take weeks to read.  That means that novels can take up stories of greater length, complexity, and depth than the typical play or film.  (Not that those forms don’t have their own complexity and depth–I mean, think of Shakespeare–but there can’t be as much story as in a novel.)  When a novel is made into a film, we generally say, “The book is better than the movie,” but that’s to be expected.   How can you compress the incidents in a 350 page book into the two hours of a movie?

But now it’s possible to develop a filmed story that can go on for hours, days, weeks, even years.  Dramatic series on television are no longer self-contained one-hour tales.  Rather, the episodes are connected with each other to tell a bigger and bigger and longer and longer story.  Now filmed versions of novels can be quite faithful to the original.  And now TV series can constitute creative long-form fiction in the same way that a novel does.

Film scholar Thomas Doherty comments, proposing to call the new series “Arc TV”:

Long top dog in the media hierarchy, the Hollywood feature film—the star-studded best in show that garnered the respectful monographs, the critical cachet, and a secure place on the university curriculum—is being challenged by the lure of long-form, episodic television. Let’s call the breed Arc TV, a moniker that underscores the dramatic curvature of the finely crafted, adult-minded serials built around arcs of interconnected action unfolding over the life span of the series. Shows like Mad Men, Breaking Bad, Downton Abbey, Homeland, Dexter, Boardwalk Empire, and Game of Thrones—the highest-profile entrees in a gourmet menu of premium programming—are where the talent, the prestige, and the cultural buzz now swirl. Fess up: Are you more jazzed about the release of the new Abraham Lincoln biopic by Steven Spielberg or the season premiere of Homeland (September 30, 10 p.m., on Showtime)? The lineup hasn’t quite yet dethroned the theatrical feature film as the preferred canvas for moving-image artistry, but Hollywood moviemakers are watching their backs.

This being from the medium that inspired the wisecrack “Imitation is the sincerest form of television,” Arc TV has antecedents aplenty. The format owes obvious debts to a swath of small-screen influences—the mid-70s explosion in quality TV, the BBC’s Masterpiece Theater imports on PBS, Steven Bochco’s Hill Street Blues (NBC, 1981-87) and L.A. Law (NBC, 1986-94), and especially Stephen J. Cannell’s Wiseguy (CBS, 1987-90), the show usually credited with bringing the multi-episode arc to serial American television.

Yet its real kinship is literary, not televisual. Like the bulky tomes of Dickens and Dreiser, Trollope and Wharton, the series are thick on character and dense in plot line, spanning generations and tribal networks and crisscrossing the currents of personal life and professional duty. Episode per episode, in milieux that stretch from the ruthless geopolitics of a medieval off-world to the gender dynamics of a post-zombie apocalypse, the tide of action ebbs and flows in a meandering but forward direction, gaining momentum over the course of a season (now likely to be a mere 13 episodes), before congealing and erupting in a go-for-broke season finale.Traditionally, even late into the age of cable, television thrived on two durable genres, the weekly 30-minute sitcom and the hourlong drama. Play the theme song, rack up the signature montage, and a virgin viewer has no trouble following along. Each episode was discrete and self-contained, wrapped up on schedule, with no overarching Ur-plot, designed to be digested full at one sitting, and meant to spiral autonomously ever after in syndication: Gilligan stranded forever on his island, Columbo freeze-framed in his trench coat.

The dramatis personae existed in a realm that was picaresque, a pre-novel mode in which a one-dimensional protagonist is hit by one damn thing after another. A viewer could spend years, maybe decades, with the likes of Matt Dillon on Gunsmoke or Steve McGarrett on Hawaii Five-O and not know a whit about the hero’s psychic interior or personal history. Many of the surviving remnants of network television follow that time-worn template. The repetition compulsion of Homer Simpson—always the same, never learning from experience—is an ironic homage to the picaresque legacy: “D’oh! D’oh! D’oh!”

By contrast, Arc TV is all about back story and evolution. Again like the novel, the aesthetic payoff comes from prolonged, deep involvement in the fictional universe and, like a serious play or film, the stagecraft demands close attention. For the show to cast its magic, the viewer must leap full body into the video slipstream. Watch, hour by hour, the slow-burn descent into the home-cooked hell of the high-school-chemistry-teacher-turned-meth-kingpin Walter White in Breaking Bad, or the unraveling by degrees of the bipolar CIA agent Carrie Mathison, falling off her meds and cracking to pieces in Homeland.

At its best, the world of Arc TV is as exquisitely calibrated as the social matrix of a Henry James novel.

via Cable Is the New Novel – The Chronicle Review – The Chronicle of Higher Education.

I would argue that the novel still has advantages over what can be portrayed visually on television.  A novel can present a character’s thoughts and feelings and experiences directly and completely, right into the reader’s imagination. Some of that can be hinted by good acting and clever filmmaking, but it isn’t the same, just watching everything on a screen.  Reading has huge advantages over watching.  (I agree with Charles Lamb that it’s better to read Shakespeare than to watch a production of Shakespeare, that his plays work best performed in the “theatre of the mind.”)

Still, we don’t always want to give our imaginations a workout, so it can be pleasant and relaxing to let  someone else imagine the stories for us.  So I pay tribute to the fictional possibilities of this new artform.


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