The BBC has a wonderful article by Sally Davies on puns, basically a review of John Pollack’s book The Pun Also Rises: How the Humble Pun Revolutionized Language, Changed History, and Made Wordplay More Than Some Antics. The article offers different theories of puns, most of them ludicrous. (Why are “power” and “coping with despair” considered valid categories of explanation, while “because they are funny” is apparently not?) Puns have often been condemned, though they are used by by such luminaries as Shakespeare and JESUS (so there can’t be anything wrong with them). The article includes some world-class puns. Read it, linked below. Here is a sample: [Read more…]
Philip Jenkins cites the prescience of science fiction writer Robert Heinlein, whose novel Stranger in a Strange Land, written in 1961, posits a church of the future that sounds strangely prophetic:
“At a time of social chaos, seminary reject Joseph Foster proclaimed a spiritual message uniquely suited for America, a nation that had always combined public puritanism with private libertinism. But why not combine the two instincts, creating a religion that spoke the language of fervent piety, while tolerating virtually any behavior? . . . . [Read more…]
Mollie Hemingway, in the context of a post on how the media completely ignored a huge evangelical youth gathering, quotes the great G. K. Chesterton on the nature of journalism:
“It is the one great weakness of journalism as a picture of our modern existence, that it must be a picture made up entirely of exceptions. We announce on flaring posters that a man has fallen off a scaffolding. We do not announce on flaring posters that a man has not fallen off a scaffolding. Yet this latter fact is fundamentally more exciting, as indicating that that moving tower of terror and mystery, a man, is still abroad upon the earth. That the man has not fallen off a scaffolding is really more sensational; and it is also some thousand times more common. [Read more…]
Something interesting I found exploring the Patheos neighborhoods: A discussion from Ryan Adams (whom I assume is not the same person as the former lead singer of Whiskeytown) on the Eastern Orthodox understanding of Hell, which is defined as the suffering that comes from being loved by God and yet rejecting that love. He talks about this notion in Dostoevsky and shows how that mysterious phrase of the Creed about Christ’s descent into Hell plays into this. Read it all, but here is his conclusion: [Read more…]
We saw Les Miserables, which has to be the most explicitly Christian film that I have seen come out of contemporary Hollywood. There are more meaningful unembarrassed references–in dialogue, songs, and plot elements–to God, Jesus, salvation, grace, prayer, and Heaven than in most of the overtly Christian productions that I have seen lately.
The ex-convict Jean Valjean has received the forgiveness of Jesus, thanks to a priest who shows him an inexplicable grace. In response to that forgiveness, Valjean lives a life of sacrificial service to others. His good works are a direct fruit of the Gospel.
Inspector Javert speaks of God also, but, as he says of himself, “I am of the Law.” He is all about personal righteousness, justice, and salvation by works. He does not believe that sinners can or should be forgiven.
This all gets caught up in the wretched state of French society and with a revolutionary movement, led by idealistic students. (This is not to be confused with the French Revolution of 1789. France had several successful and unsuccessful revolutions in the 19th century.) But pay special attention to the words of that final song.
The movie is intense and very moving. It’s a musical, not just in the sense of big musical numbers (though there are those) but in the sense of an opera, with virtually all of the dialog being sung. The film is realistically shot–the battle at the barricade is tremendous–but that doesn’t necessarily go with the stylized singing. I think it works better on the stage. So see the movie, see the play, and, above all, read Victor Hugo’s novel, one of the greatest in literary history.
It’s still Christmas and will be for a total of 12 days. Jim Denney reminds us of what J. R. R. Tolkien said about it in his classic essay “On Fairy-Stories“:
JRR Tolkien, the creator of “The Hobbit,” once wrote that his goal as an author was to give his readers “the Consolation of the Happy Ending.” That consolation takes place at the point in the story when all hope is lost, when disaster seems certain—then Joy breaks through, catching the reader by surprise. In a 1964 essay, Tolkien called that instant “a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.”
Tolkien even coined a word for the moment when the light of deliverance breaks through the darkness of despair. He called it “eucatastrophe.” When evil fails and righteousness suddenly triumphs, the reader feels Joy—”a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears.”
Is the Joy of eucatastrophe just a literary device for manipulating the reader’s emotions? No. This same sudden glimpse of Joy, Tolkien wrote, can be found in our own world: “In the eucatastrophe we see in a brief vision . . . a far-off gleam or echo of evangelium in the real world.” Evangelium is Latin for “good news,” the message of Jesus Christ.
Tolkien went on to compare the Christian Gospel, the story of Jesus Christ, to “fairy-stories,” the kind of fantasy tales (like “The Hobbit”) that produce the Joy of “eucatastrophe,” the consolation of the happy ending. The difference between the gospel story and fairy-stories, Tolkien said, is that the gospel is true: “This story has entered History and the primary world.”
“The Birth of Christ is the eucatastrophe of Man’s history,” Tolkien explained. “The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the ‘inner consistency of reality.’ There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits.”
HT: Paul Veith