“Tripping over Joy” by Daniel Ladinsky

Leunig, Michael_Falling Fool
Falling Fool by Michael Leunig (Australian, 1945–)

What is the difference
Between your experience of Existence
And that of a saint?

The saint knows
That the spiritual path
Is a sublime chess game with God

And that the Beloved
Has just made such a Fantastic Move

That the saint is continually
Tripping over Joy
And bursting out in Laughter
And saying, “I Surrender!”

Whereas, my dear,
I am afraid you still think
You have a thousand serious moves.

This poem, inspired by the fourteenth-century Persian poet Hafiz, appears in I Heard God Laughing: Poems of Hope and Joy (Penguin, 2006) and is used here by permission of the author.

Girded with Joy (Artful Devotion)

Klee, Paul_Joyful Mountain Landscape
Paul Klee (Swiss, 1879–1940), Heitere Gebirgslandschaft (Joyful Mountain Landscape), 1929. Oil on board, 17 5/16 × 24 13/16 in. (43.9 × 63.1 cm). Yale University Art Gallery, New Haven, Connecticut.

By awesome deeds you answer us with righteousness,
O God of our salvation,
the hope of all the ends of the earth
and of the farthest seas;
the one who by his strength established the mountains,
being girded with might;
who stills the roaring of the seas,
the roaring of their waves,
the tumult of the peoples,
so that those who dwell at the ends of the earth are in awe at your signs.
You make the going out of the morning and the evening to shout for joy.

You visit the earth and water it;
you greatly enrich it;
the river of God is full of water;
you provide their grain,
for so you have prepared it.
You water its furrows abundantly,
settling its ridges,
softening it with showers,
and blessing its growth.
You crown the year with your bounty;
your wagon tracks overflow with abundance.
The pastures of the wilderness overflow,
the hills gird themselves with joy,
the meadows clothe themselves with flocks,
the valleys deck themselves with grain,
they shout and sing together for joy.

—Psalm 65:5–13

Psalm 65 is a such a magnificent praise song, and I especially love the expression in verse 12: “the hills gird themselves with joy” (ESV). Other translations have “the little hills rejoice on every side” (KJV), “the hillsides blossom with joy” (NLT), and “the hills [are set] to dancing” (MSG). The picture extends into the final verse, where, along with pastures, meadows, and valleys, the mountains “shout and sing” to their Creator. Last year when I saw Paul Klee’s Joyful Mountain Landscape at the Yale University Art Gallery, I instantly thought of this psalm—of how nature sings praises to God simply by being itself.

Human beings are called to join in creation’s joyful song.

[Related post: “Creation’s Praise” (Artful Devotion)]

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SONG: “I Sing the Mighty Power of God” | Words by Isaac Watts, 1715 | Music (tune: ELLACOMBE) from Gesangbuch der Herzogl, Württemberg, 1784

I sing the mighty power of God
that made the mountains rise,
that spread the flowing seas abroad
and built the lofty skies.
I sing the wisdom that ordained
the sun to rule the day;
the moon shines full at his command,
and all the stars obey.

I sing the goodness of the Lord
that filled the earth with food;
he formed the creatures with his word
and then pronounced them good.
Lord, how thy wonders are displayed,
where’er I turn my eye,
if I survey the ground I tread
or gaze upon the sky.

There’s not a plant or flower below
but makes thy glories known,
and clouds arise and tempests blow
by order from thy throne;
while all that borrows life from thee
is ever in thy care,
and everywhere that man can be,
thou, God, art present there.

For a fairly traditional rendition of this classic hymn, here’s a three-part a cappella arrangement performed by the Ball Brothers in 2012:

If you prefer a more modern sound, check out the version by Ben Thomas on the 2015 album Bring Forth. Thomas wrote a new melody for the song and recorded it under the title “I Sing the Goodness” (using the language of verse 2 instead of 1).

The whole Bring Forth album is great, which takes as its basis thirteen hymn lyrics dating from the fourth through twentieth centuries—“all seeking to find the Divine in the everyday elements of our existence,” Thomas says. Thomas adapted and retuned the hymns and released them in three movements that echo the cycle of time: Dawn, Day, and Dusk. To guide you through your listening, there is a meditation and prayer for each movement published on his website.

Other favorites of mine from the album are “Creator God, Creating Still,” “Tell Me the Old, Old Story,” “Lord of All Being,” “Peace, Troubled Soul,” and “Bring Forth.”


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 10, cycle A, click here.

Everlasting Joy Shall Be (Artful Devotion)

Wyeth, Andrew_Snow Hill
Andrew Wyeth (American, 1917–2009), Snow Hill, 1989. Tempera on hardboard panel, 48 × 72 in. (121.9 × 182.9 cm). Andrew and Betsy Wyeth Collection. Photo: Victoria Emily Jones (at the Brandywine River Museum of Art 2017 retrospective).

. . .

Then the eyes of the blind shall be opened,
and the ears of the deaf unstopped;
then shall the lame man leap like a deer,
and the tongue of the mute sing for joy.

. . .

And the ransomed of the Lord shall return
and come to Zion with singing;
everlasting joy shall be upon their heads;
they shall obtain gladness and joy,
and sorrow and sighing shall flee away.

—Isaiah 35:5–6a, 10

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SONG: “Therefore the Redeemed” by Ruth Lake, 1972 | Performed by Kim McLean, on Soul Solace, 2008

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Snow Hill by Andrew Wyeth [previously] is “a conscious summary of his artistic life that is both somber memoir and playful recalibration” (John Wilmerding). It shows six of his friends and neighbors, who modeled for him many times throughout his career, dancing around a beribboned Maypole in winter in Chadds Ford, Pennsylvania. Their coats, earflaps, and braids fly in the wind, as does one untouched white ribbon, which, it has been posited, could represent Christina Olson (who had a degenerative muscle disorder and could not walk), the artist’s wife Betsy, or the artist himself.

This painting, one of Wyeth’s last, was the finale of a major retrospective at the Brandywine River Museum of Art in 2017, which has been one of the most memorable art exhibitions I’ve ever attended. The wall text there read,

Painted over a two-year period, Snow Hill is both fantasy and memorial, a visual summation of the iconic places and people of Chadds Ford that occupied [Wyeth] for the previous fifty years. Wyeth looks backward and inward, bringing together many of these subjects from his past, a number of them now deceased. Depicted are Karl Kuerner (dressed in his German uniform), holding the hand of Anna Kuerner, who is in turn linked to William Loper, whose prosthetic hook is held by Helga Testorf, rounding the circle to Allan Lynch (of Winter 1946) and Adam Johnson (partially obscured). They are surrounded by a landscape that shows, left to right: the railroad tracks where Wyeth’s father, N. C. Wyeth, was killed in 1945; the Kuerner farmhouse and barn; the remains of Mother Archie’s octagonal church; the Ring family home in the distance; and Adam Johnson’s shed and haystack.

Wyeth’s models are shown holding ribbons—although one white ribbon is symbolically floating free—and dancing atop Kuerner Hill—a site at once iconic for its recurrence in Wyeth’s work and for its proximity to the site of his father’s death. . . .

I love how the dead and the living join together in this Yuletide circle dance, in which suffering is taken up into joy. Wyeth had lived through Karl Kuerner, a World War I veteran, succumbing to cancer, Allan Lynch to suicide, and Bill Loper to mental illness, as well as the early death of his father and nephew in a car accident. And while such darkness is not fully dissipated in this gray-day scene, a mood of celebration and hope and friendship does take over.

Wyeth, Andrew_Snow Hill (detail)


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Third Sunday of Advent, cycle A, click here.

Give Thanks (Artful Devotion)

Van Mourick, Kirsten_Eucharist
Kirsten Van Mourick, Eucharist, 2014. Oil on canvas, 72 × 72 in.

Oh give thanks to the Lord, for he is good,
for his steadfast love endures forever!
Let the redeemed of the Lord say so,
whom he has redeemed from trouble . . .
For he satisfies the longing soul,
and the hungry soul he fills with good things.

Some sat in darkness and in the shadow of death,
prisoners in affliction and in irons,
. . .
they fell down, with none to help.
Then they cried to the Lord in their trouble,
and he delivered them from their distress.
He brought them out of darkness and the shadow of death,
and burst their bonds apart.
Let them thank the Lord for his steadfast love,
for his wondrous works to the children of man!
. . .
And let them offer sacrifices of thanksgiving,
and tell of his deeds in songs of joy!

—Excerpts from Psalm 107

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SONG: “Oh Give Thanks (Psalm 107)” by Wendell Kimbrough, on Psalms We Sing Together (2016) | CCLI #7064726

 

For a video tutorial by the songwriter on how to play “Oh Give Thanks” on the guitar, click here.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 13, cycle C, click here.

Roundup: Too much religion; the single story; fore-edge paintings; choral evensong; and more

EXHIBITION REVIEW: “Overstating the religious?” by Christopher Knight, Los Angeles Times: Michael Wright brought to my attention an old review of the 2003 LACMA exhibition “The Circle of Bliss: Buddhist Meditational Art,” in which art critic Christopher Knight harshly faults the curators for using religion as the organizing principle . . . of an exhibition of religious art. He says it’s “bizarre” and “inappropriate” that

traditional artistic concerns of art museum exhibitions – style, historical context, connoisseurship, artist biography, etc. – play no part in [the objects’] presentation. Instead, LACMA’s galleries unfold as the articulation and embodiment of a religious philosophy. . . . You will leave this exhibition having not a clue who these artists were . . . and how (or if) their imagery evolved. Instead, the reason for the art’s inclusion is to instruct us in various aspects of the embodiment of perfect compassion – that is, to provide experience with critical theological nuances of “the Middle Way.”

Mandala of the Buddhist Deity Chakrasamvara
Mandala of the Buddhist deity Chakrasamvara, Nepal, 1490. Mineral pigments on cotton cloth, 46 × 34 5/8 in. Los Angeles County Museum of Art, California.

The review itself struck me as bizarre—that Knight decries the exhibition’s focus on the religious meaning of these Tantric paintings, which he considers secondary to their aesthetic qualities and altogether outside the purview of an art institution to comment on. I was glad to see that several readers responded in letters, such as Andy Serrano, who wrote that “up until recent centuries, people did not make art for art’s sake. People who made religious art made it in order to enhance the religious experience in one way or another. Separating religious art without the context of religion is like trying to swim without getting wet.” Phil Cooke chimed in, “The fact that Knight sees no legitimate connection between art and the religious faith that inspired it is at once outrageous and yet sadly typical of current critical assumptions.” [HT: Still Life]

A decade and a half after this exhibition closed, I’ve observed that curators, critics, and art historians oftentimes still struggle to discern or articulate (or else they simply neglect) the theological content and/or devotional purposes of religious art, as they preoccupy themselves instead with the “traditional artistic concerns” Knight mentions. But I do feel that the situation is improving overall, with wider-spread recognition that evaluating certain works of art through the primary lens of religion—if that’s the context in and for which they were created—is not only permissible but essential.

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TED TALK: “The Danger of a Single Story” by Chimamanda Ngozi Adichie: The single story, says Nigerian novelist Chimamanda Ngozi Adichie, is when one story (about a person, place, or ethnicity) becomes the only story, creating stereotypes, or a flattened perspective. Adichie admits to having had a single story of her household servant growing up (“poverty”), and later on, of Mexicans (“the abject immigrant”). Many Americans have a single story of Africa. But the problem is, we are all formed by many stories, no single one more definitive than another—and we need to talk about them all. [HT: Sarah Quezada]

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ESSAY: “And God Said to Pastors: Use More Sermon Puns and Plan More Parties” by W. David O. Taylor, Christianity Today: Taylor gives three reasons to practice levity and humor in public worship, quoting Augustine, Chesterton, Lewis, Barth, Capon, Buechner, Ratzinger, and Eugene Peterson along the way. I especially like his first point about grace and hyper-abundance.

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ESSAY: “In Defense of Owning Too Many Books” by Daniel Melvill Jones, The Curator: I relate to this author’s tottering stacks of books throughout his house—having exhausted my shelf space, I also have them in closets, hutches, and chests. I’m a bibliophile, what can I say. Probably about a third of the books in my personal library I haven’t read yet, which, I affirm with Daniel M. Jones, is both humbling and tantalizing, a “promise of ideas to explore.”

Potential is not in the books you’ve read but in those that remain unread. Therefore, you ought to expand the rows of what you do not know as much as your resources allow, and expect them to keep growing as you get older and accumulate more knowledge.

The books you surround yourself with “will feed [your] life and output in unseen ways.” So stock up!

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FORE-EDGE PAINTINGS: The Boston Public Library has one of the world’s finest collections of fore-edge paintings, an art form originating around the tenth century but popularized in the eighteenth, utilizing as a surface the edge of a book opposite its spine. Over time, the content of these paintings evolved from decorative or heraldic designs to landscapes and narrative scenes, like these two from volumes 1 and 2 of a Bible printed in Edinburgh in 1803. [HT: Public Domain Review]

Annunciation (fore-edge painting)
The Annunciation after Fra Lippo Lippi, painted on the fore-edge of a Bible (vol. 1 of 2) printed in Edinburgh in 1803. Collection of Boston Public Library.

Last Supper (fore-edge painting)
The Last Supper after Leonardo da Vinci, painted on the fore-edge of a Bible (vol. 2 of 2) printed in Edinburgh in 1803. Collection of Boston Public Library.

Great Big Story recently featured contemporary fore-edge painter Martin Frost, who specializes in the vanishing variety. Cool!

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MUSIC DOCUMENTARY: “Elizabeth I’s Battle for God’s Music,” presented by Lucy Worsley: Aired in October 2017 on BBC Four, this hourlong program presents a history of choral evensong, the Protestant church service of music and prayer born out of the English Reformation and still performed today. Worsley moves through the Tudor monarchs, discussing their relationship to sacred music—from Henry VIII, who broke away from the Catholic Church but didn’t want to abandon the Latin mass, and who thus hired Thomas Tallis to compose in a more austere style in which the words of the liturgy could be more easily understood; to his son Edward VI, who, in his dislike of elaborate music, ordered the disbanding of choirs and the destruction of organs, but also supported the creation of the first complete English prayer-book (Thomas Cranmer’s Book of Common Prayer) and John Marbeck’s musical guide to it; to Mary I, who returned England to Catholicism, with its high-church music, all in Latin; and finally Elizabeth I, a moderate Protestant whose compromising spirit led to the reinstatement of English evensong but with much leeway given as to how it is set, whether in monophony, homophony, or polyphony. Elizabeth’s patronage and legal protections of church music made possible the glorious compositions of, among others, William Byrd, and ensured the survival of choral evensong. [HT: Global Christian Worship]

Choral evensong is a continuing tradition, and Worsley concludes by highlighting its new possibilities, such as the Oxford Blues Service by Roderick Williams. Listen to an excerpt on the SoundCloud player below.

Sowing Tears, Reaping Joy (Artful Devotion)

Sower with Setting Sun by Vincent van Gogh
Vincent van Gogh (Dutch, 1853–1890), Sower with Setting Sun, 1888. Oil on canvas, 162.5 × 204.5 cm. Kröller-Müller Museum, Otterlo, Netherlands.

When the Lord restored the fortunes of Zion,
we were like those who dream.
Then our mouth was filled with laughter,
and our tongue with shouts of joy;
then they said among the nations,
“The Lord has done great things for them.”
The Lord has done great things for us;
we are glad.

Restore our fortunes, O Lord,
like streams in the Negeb!
Those who sow in tears
shall reap with shouts of joy!
He who goes out weeping,
bearing the seed for sowing,
shall come home with shouts of joy,
bringing his sheaves with him.

—Psalm 126

Psalm 126 is “a community lament that recalls a previous time of God’s mercy on his people and asks for a fresh show of that mercy” (ESV Study Bible). The second stanza anticipates not only a literal food harvest but also a more general flourishing of life in all its aspects, an abundant crop of joy.

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SONG: “Psalm 126” by Isaac Wardell | Performed by Molly Parden, on Bifrost Arts’ He Will Not Cry Out (2013)

Isaac Wardell’s musical adaptation of Psalm 126 was regularly programmed into the worship services of my former church, Citylife, usually as a going-out song, and it was always a favorite of mine. If you’d like to sing it at your church, you can license it through CCLI (#7023230).


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Fifth Sunday in Lent, cycle C, click here.

“As the bridegroom rejoices over his bride . . .” (Artful Devotion)

Les maries de la tour Eiffel by Marc Chagall
Marc Chagall (Russian French, 1887–1985), Les mariés de la tour Eiffel (The Bride and Groom of the Eiffel Tower), 1938–39. Oil on canvas, 150 × 136.5 cm. Centre Pompidou, Paris. Photo: Jim Forest.

Regarding Zion, I can’t keep my mouth shut,
    regarding Jerusalem, I can’t hold my tongue,
Until her righteousness blazes down like the sun
    and her salvation flames up like a torch.
Foreign countries will see your righteousness,
    and world leaders your glory.
You’ll get a brand-new name
    straight from the mouth of GOD.
You’ll be a stunning crown in the palm of GOD’s hand,
    a jeweled gold cup held high in the hand of your GOD.
No more will anyone call you Rejected,
    and your country will no more be called Ruined.
You’ll be called Hephzibah (My Delight),
    and your land Beulah (Married),
Because GOD delights in you
    and your land will be like a wedding celebration.
For as a young man marries his virgin bride,
    so your builder marries you,
And as a bridegroom is happy in his bride,
    so your GOD is happy with you.

—Isaiah 62:1–5 (The Message)

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SONG: “Fairland” by The Hollands!, on ashes to beauty (2011)

 

The lyrics of “Fairland” are adapted from the poem “The Little Beach-Bird” by Richard Henry Dana (1787–1879), with the bridge referencing Jesus’s words to his disciples in John 14:1–3: “Let not your hearts be troubled. Believe in God; believe also in me. In my Father’s house are many rooms. If it were not so, would I have told you that I go to prepare a place for you? And if I go and prepare a place for you, I will come again and will take you to myself, that where I am you may be also.” These are the words of a bridegroom to his bride.

Thou little bird, thou dweller by the sea,
Why takest thou so melancholy,
And with that boding cry
Along the breaker fly?
O rather, bird, with me
Through the fair land rejoice!

Come and go with me
Back to my Father’s house
To my Father’s house
Come and go with me

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It is not difficult to see, . . . in his dreamlike images of adorned and beautiful Jewish brides, Chagall’s aspiration for the redeemed daughter of Zion.

—David Lyle Jeffrey, In the Beauty of Holiness, p. 347


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Second Sunday after Epiphany, cycle C, click here.

Rejoice Greatly, Daughter! (Artful Devotion)

The Third Sunday of Advent is known as Gaudete Sunday, from the Latin word for rejoice. Churches and families all over the world will be lighting the joy candle of their Advent wreath—traditionally rose-pink instead of purple like the other three—and worshipping with gusto in anticipation of the great joy to come at Christmas.

Eclat by Gill Sakakini
Gill Sakakini (British), Éclat, 2015. Acrylic on board, 120 × 90 cm.

Sing aloud, O daughter of Zion;
shout, O Israel!
Rejoice and exult with all your heart,
O daughter of Jerusalem!
The Lord has taken away the judgments against you;
he has cleared away your enemies.
The King of Israel, the Lord, is in your midst;
you shall never again fear evil.

On that day it shall be said to Jerusalem:
“Fear not, O Zion;
let not your hands grow weak.
The Lord your God is in your midst,
a mighty one who will save;
he will rejoice over you with gladness;
he will quiet you by his love;
he will exult over you with loud singing.
I will gather those of you who mourn for the festival,
so that you will no longer suffer reproach.
Behold, at that time I will deal
with all your oppressors.
And I will save the lame
and gather the outcast,
and I will change their shame into praise
and renown in all the earth.
At that time I will bring you in,
at the time when I gather you together;
for I will make you renowned and praised
among all the peoples of the earth,
when I restore your fortunes
before your eyes,” says the LORD.

—Zephaniah 3:14–20

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SONG: “Rejoice” | Adapted from the soprano air “Rejoice greatly, O daughter of Zion” from Handel’s Messiah | Performed by the Broadway cast of Mamma Mia, feat. Jenn Noth, Felicity Claire, Gerard Salvador, and Albert Guerzon, on Broadway’s Carols for a Cure, vol. 15 (2013)

(I was unable to find the name of the adapter/arranger of this song. If you know, please notify me.)

This song is a setting of Zechariah 9:9a:

Rejoice greatly, O daughter of Zion!
Shout aloud, O daughter of Jerusalem!
Behold, your king is coming to you;
righteous and having salvation is he . . .

Though this verse is not an assigned lectionary reading for this week, its sentiments are echoed in the Zephaniah passage.

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The title of Gill Sakakini’s painting pictured above is Éclat, a French word meaning brilliance, glow, glory, or a burst. Sakakini discusses it in an interview with Mark Byford in the book The Annunciation: A Pilgrim’s Quest (274). The painting captures a post-Annunciation moment, she says: Mary, alone in her room, responding to Gabriel’s news “through a bursting, embodied YES!” A bold, botanic wallpaper design forms the backcloth, emphasizing openness and fecundity; “the ‘garden,’ like creation itself, shares the immediacy of her joy through the shape of wide open, fully ripe petals which reinforce the openness of her limbs in this accepting gesture.” Sakakini says she’s aware that Mary almost surely cycled through other natural responses to the unexpected news of her pregnancy, like shock and fear, but that her ultimate posture was one of joyful acceptance, of celebration of what God was doing through her. “I’m not denying there were other stages, but this is the fruit of all those other interior conversations. . . . This is when she’s finally arrived.”

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Jucundare, filia Sion,
exsulta satis filia Jerusalem, alleluia.

Daughter Sion, be glad!
Dance, dance, daughter Jerusalem! Alleluia.

—from the monastic liturgy (Antiphonale Monasticum)


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Third Sunday of Advent, cycle C, click here.

Joyful on the Way (Artful Devotion)

The Arrival of Spring in Woldgate, East Yorkshire, in 2011 by David Hockney
David Hockney (British, 1937–), The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 2011. Oil on 32 canvases, 365.8 × 975.4 cm (each 91.4 × 121.9 cm); one of a 52-part work. Photo: Jonathan Wilkinson.

Psalm 119:1, three translations:

Blessed are the undefiled in the way, who walk in the law of the LORD. (KJV)

Joyful are people of integrity,
who follow the instructions of the LORD. (NLT)

You’re blessed when you stay on course,
walking steadily on the road revealed by GOD. (The Message)

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SONG: “Beati quorum via” (Blessed are those whose way) | Music by Charles Villiers Stanford, ca. 1892 | Performed by VOCES8, 2017

Stanford’s “Beati quorum via,” op. 38, no. 3, is a motet for mixed unaccompanied six-part choir, a setting of Psalm 119:1 in Latin: “Beati quorum via integra est, qui ambulant in lege Domini.” It is the last of Stanford’s Three Latin Motets, published in 1905—the other two being on the subjects of Christ’s ascension and the souls of the just at rest in heaven.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 26, cycle B, click here.

Joyful Lent (Artful Devotion)

Genesis 9:13 by Sawai Chinnawong
Sawai Chinnawong (Thai, 1959–), Genesis 9:13, 2004. Acrylic on canvas, 27 × 27 in.

Then God said to Noah and to his sons with him, “Behold, I establish my covenant with you and your offspring after you, and with every living creature that is with you, the birds, the livestock, and every beast of the earth with you, as many as came out of the ark; it is for every beast of the earth. I establish my covenant with you, that never again shall all flesh be cut off by the waters of the flood, and never again shall there be a flood to destroy the earth.”

And God said, “This is the sign of the covenant that I make between me and you and every living creature that is with you, for all future generations: I have set my bow in the cloud, and it shall be a sign of the covenant between me and the earth. When I bring clouds over the earth and the bow is seen in the clouds, I will remember my covenant that is between me and you and every living creature of all flesh. And the waters shall never again become a flood to destroy all flesh. When the bow is in the clouds, I will see it and remember the everlasting covenant between God and every living creature of all flesh that is on the earth.”

God said to Noah, “This is the sign of the covenant that I have established between me and all flesh that is on the earth.”

—Genesis 9:8–17

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MUSIC: Keyboard Sonata in C Major (K. 159, L. 104) by Domenico Scarlatti | Arranged for banjo by Béla Fleck and for mandolin by Edgar Meyer | Performed by Béla Fleck and Chris Thile on Perpetual Motion (2001)

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This art and music may seem inappropriately light and bright for the first Sunday of Lent, a season that’s stereotypically thought of as gloomy and self-deprecating. But the Old Testament reading the Revised Commentary Lectionary assigns to this day is God’s covenant with Noah after the Flood, a passage filled with great hope.

Contrary to popular misconceptions, Lent does not mean forty days of beating yourself up. It literally means “springtime,” and it’s a time of renewal in preparation for Easter. Self-examination is a major component, yes, but so is grabbing hold of the divine promise—of God’s wondrous love and mercy.

In my church’s liturgy (and this is common across denominations), the confession of sin is always followed by words of assurance—a verse of scripture, spoken by the pastor, that reminds us of the pardon we receive through Christ. We are not left in the darkness of our failures; we are brought into the light, and given power to live as children of the light. Repentance is a joyous thing! That’s why the Constitution on the Sacred Liturgy, a Second Vatican Council document, refers to Lent as the “joyful season.” It’s joyful because God’s mercy is amazing.

After forty days on a dark boat, and then some, Noah, his family, and a whole bunch of animals come out to a renewed earth, and to a promise painted across the sky in bright colors that never again will all God’s creation be destroyed. Similarly, during Lent we choose to enter a period of darkness, taking stock of our sin. It can seem like a rocking journey, but it’s really a period of regeneration, and when we arrive at Easter we receive, as confirmation of the new life that’s possible, the resurrected Christ. He’s there for us all along—we need not wait till Lent’s over to enter his forgiveness and to rise with him. But we also don’t want to skip over the necessary steps of first acknowledging the depth of our sin, and confessing it with a contrite heart.

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Excerpt from “The Agreement” by Henry Vaughan, from Silex Scintillans:

But while Time runs, and after it
Eternity, which never ends,
Quite through them both, still infinite,
Thy covenant by Christ extends;
No sins of frailty, nor of youth,
Can foil His merits, and Thy truth.

And this I hourly find, for Thou
Dost still renew, and purge and heal:
Thy care and love, which jointly flow,
New cordials, new cathartics deal.
But were I once cast off by Thee,
I know—my God!—this would not be.

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Tomorrow is Ash Wednesday, and I have a poem planned for publication here at Art & Theology. But I also wrote a short visual meditation for the Anglican Church in North America, which you can find at the bottom of their Lent website, https://giftoflent.org/. It’s on Ted Prescott’s mixed-media artwork All My Sins, which incorporates paper ash, the residue left over from the artist’s burning of a list of his personal sins.

All My Sins by Ted Prescott
Theodore Prescott (American, 1944–), All My Sins, 1996. Cherry, lead, hand-blown glass, paper ash, and silicon, 36.5 × 24.5 × 5 in.


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To view all the Revised Common Lectionary scripture readings for the First Sunday of Lent, cycle B, click here.