A Norbertine Poem for the Sacred Heart

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Most Sacred Heart of Jesus, have mercy on us. (Source).

I happened upon this wonderful poem by one Frater Simeon Charles Goodwin, O.Praem., a seminarian at St. Michael’s Abbey. It’s always a delight to find good rhyming verse with a tightly-wound meterand rich theology to boot! Throughout the text, we can detect hints of Chesterton and, in the very last couplet, the sensual, baroque Richard Crashaw. I offer it here for your enjoyment on this solemnity of the Sacred Heart.

The Sacred Heart

    by Simeon Charles Goodwin, O.Praem.

There is a heart that beat with love
When time could mark no beat.
It echoed with a triple-pulse
And surged in thunders sweet.

Too happy not to overflow
It laughed and all was made.
It sighed and angel hosts came forth
In myriad parade.

It sang the seas and skies to be,
Hummed forth the rolling hills.
It beamed out beast and bird in love,
A sweet and mighty will.

It breathed into the mire and muck,
Sweet nothings to the earth;
And clay was made creation’s crown,
Man made with God’s own worth.

And how that heart did pound with peace
When he and man would walk
In silent love in evening winds
Too full of love for talk.

Oh man was glad and God was glad
And all creation too,
But man in madness pierced God’s heart
And rent the world in two.

There is a secret hideaway
Where cosmoi come to cry,
With atrium no bigger than
The needle’s narrow eye.

And there the mighty waters wait
To burst on arid wastes.
Men need but kiss the lance-made lips
To learn how sweet blood tastes.

The Seven Sacraments in Flannery O’Connor

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Flannery O’Connor at her farm, Andalusia, with one of her beloved peacocks. (Source).

Flannery O’Connor’s name is synonymous with the American short story tradition. What sets her apart from her peers, besides her mastery of plot and her succinct, grotesque style, is the deep concern for issues of faith and grace that animates all of her stories. As O’Connor once put it, “All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless, brutal, etc.” There is a certain delicious cruelty to her work. The nasty fates she metes out to children, let alone the adults who deserve what they get, rank her with the best of the gothic writers (and a humorous one at that—we can only imagine the hysterical laughter that something like Der Struwwelpeter would have provoked in her).

Yet O’Connor never show us violence for its own sake, nor for mere moralizing, nor as a ploy for cheap entertainment. Violence is the only outlet for grace in a fallen, “Christ-haunted” world. Her pages are choked and sodden with the precious blood that flows from the Cross.

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The Seven Sacraments, Rogier van der Weyden, c. 1448. O’Connor provides us with a (southern) gothic view of the sacraments. (Source)

It is a commonplace among critics that O’Connor’s writing is deeply sacramental. But to my knowledge, no author who has made that claim has also tried to find the fullness of the sacramental system present in her work.

I maintain that all seven sacraments appear in her fiction under different guises. Very often, we are given only implicit or twisted versions. It is common in O’Connor’s dark narratives to find flashes of grace in the inverse of sacraments; the truth emerges through its own negationhence her heavy use of violence. But all seven are all there, for those who “hath ears to hear” (Matt. 13:9 KJV).

In giving short descriptions of the following stories, my effort is not to justify my choices so much as to provoke further reading. As such, I will keep my descriptions succinct and relatively spoiler-free. Those who have read them may be able to see where I’m coming from. Those who haven’there’s some summer reading for you.

Baptism“The River”

This is one of O’Connor’s more overtly sacramental stories. The young son of irreligious parents accidentally gets himself baptized by a preacher in a Southern riverwith lethal consequences.

Honorable mention: The Violent Bear It Away. O’Connor thought about baptism a lot, probably because, as a rite of initiation, it is so centrally connected with questions of faith.

Confirmation“The Enduring Chill”

A sick and snobbish intellectual. A garrulous Jesuit. An overt reference to “A Simple Life” by Flaubert. Sometimes, the descent of the Holy Spirit doesn’t feel quite the way we expect.

Eucharist“A Temple of the Holy Ghost”

The only short story I know by any author that quotes the Tantum Ergo at length. There’s a good example of the “Red, Eucharistic Sun” motif that O’Connor was so fond of using. And lovers of the weird O’Connor will find her incarnational vision at a particularly grotesque note in this story.

The thinkpiece that uses “Temple” to discuss contemporary gender identity issues, sadly, has yet to be written.

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O’Connor knew how to use a Protestant idiom to communicate Catholic doctrine. (Source).

Confession“The Lame Shall Enter First”

At one point, the liberal main character’s office is compared to a confessional. In confession, however, you hope that a good priest will comfort those who need comfort and afflict those who need affliction, for the edification and sanctification of all. Not so in Sheppard’s benevolently atheist bubble.

Marriage“Parker’s Back”

In this remarkable narrative, one of O’Connor’s most Catholic stories, we read the story of a marriage broken apart by a dramatically visible expression of extraordinary grace. Theological and moral Puritans won’t be pleased by the implications.

Holy OrdersWise Blood

What happens when you really, really, really don’t want to accept your vocation? You end up like Hazel Motes, and chase after a “Holy Church of Christ Without Christ.” The last chapter can be read as a meditation on the Imago Dei.

Unction“A Good Man is Hard to Find”

If only for that incredible, climactic line spoken by the Misfit, “She would of been a good woman…”

I may try to expand this list into a real academic work some day. For now, take this list for what it isa few reading suggestions for those of you who, like me, enjoy O’Connor, Southern Lit generally, and Catholicism.

Also peacocks.

Lots of peacocks.

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Cover of The Complete Stories. (Source).

Heat, Song, Sweetness: A Meditation on the Benedictine Life of St. Philip Neri

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“Rome will be your Indies.” St. Philip receives his vocation from a Cistercian. (Source)

It has not been remarked upon very often that St. Philip loved the Benedictines. Monks played an important part in his life at two critical moments: first, when he decided to go to Rome, and second, when he decided to stay in Rome.

While working with his uncle Romolo in San Germano, near Naples, St. Philip would go to pray at Monte Cassino. As one author has it, “From [the Benedictines], he developed a profound love of the liturgy, the Bible and the ancient Church Fathers.” Their rich spiritual life helped cultivate a sense of God’s will, which led him to his first conversion. St. Philip quit his lucrative mercantile career with Romolo and set off for the Holy City. We shall examine his second run-in with the sons of St. Benedict later.

In considering St. Philip, we start to find similarities with other saints. Father Faber likened him unto St. Francis of Assisi; just as St. Francis was the “representative saint” of the middle ages, so was St. Philip the true saint of modernity. Cardinal Newman took another approach, tracing the influence of S.s Benedict, Dominic, and Ignatius Loyola,  thereby arriving at something like a portrait by comparison. My strategy and emphases will differ somewhat from both of theirs.

Among the “great cloud of witnesses” who make up the Church Triumphant, there are an infinite number of likenesses and connections between the saints. Here and there, one spies a similarity in outlook, or devotion, or manner of life between figures who lived across centuries and continents. The eternal coinherence, the “dance” that binds them all, is the ineffable life of the Trinity in Unity. Thus, it is not surprising that when we observe similarities between Philip Neri and that great father among the saints, Benedict of Nursia, we should also find a deeper, Trinitarian resemblance.

I would like to offer a meditation on the life and spirituality of St. Philip through the lens of the Benedictine vows. In doing so, I hope to shed light on the Trinitarian character of the three vows as well as St. Philip’s remarkable interior life. His Trinitarian spirituality was distinguished by the threefold experience of God that the great English mystic Richard Rolle describes in The Fire of Love: “ghostly heat, heavenly song and godly sweetness” (Rolle I.5).

Keeping all of these disparate lenses in mind, let us commence.

I. The Warmth of the Father’s Stability

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St. Philip Neri was especially popular among the young men of Rome. (Source)

St. Philip was the spiritual father of many men in his own day. Palestrina, Animuccia, St. Camillus of Lellis, and others received forgiveness from him in the confessional. He was particularly kind to youth. Once, when the scholarly Baronius complained that the children with whom St. Philip was playing in the yard were too loud for his studies, St. Philip replied that he’d let them chop wood off his own back, if only they might not sin. The long-suffering Baronius accepted St. Philip’s paternal will. It was a salutary and exemplary mortification, and St. Philip knew that. It was also a lesson. St. Philip intended for his sons to live out spiritual fatherhood in the world. And they were to do it, following his own example, with intense joy.

When we contemplate the Fatherhood of God, we are struck dumb with wonder at the abyss of Being abiding in His fullness. God the Father is the immovable, the unshakeable, the indefinable One. It is from God the Father that we learn that fatherhood can only be cultivated upon presence…rootedness…constancy. And it must also blaze with the heat of love. The two qualities are mutually reinforcing. Put briefly, the warmest paternity will cool, harden, and falter if it is not sustained by stability.

St. Benedict understood this dynamic, and when he sought to compose a rule for his spiritual family, he knew that he had to incorporate it into his model. In the very first chapter of the Rule, we read of the different kinds of monks. The worst are those whom St. Benedict calls “Gyrovagues,” men who

…spend their whole lives tramping from province to province, staying as guests in different monasteries for three or four days at a time. Always on the move, with no stability, they indulge their own wills and succumb to the allurements of gluttony (Rule of St. Benedict I).

Instead, St. Benedict calls for his monks to pass their lives in one place, at one task—seeking God. Stability is so central to his vision that he doesn’t even bother writing a chapter about it. Instead, he assumes it as a necessary condition from the very beginning and lets it color his prescriptions from then on.

St. Philip was equally adamant about stability. The organization of the Oratory is a great testament to his idea of stability. Even in the early days, when he first sent some priests to San Giovanni dei Fiorentini, he required that they return to his chamber above San Girolamohis “cenacle,” if you willand continue with the exercises of the Oratory.  When the priests finally left both parishes and moved to Santa Maria in Vallicella, the Chiesa Nuova, St. Philip imagined that his religious family would never grow beyond its four walls. He was deeply reluctant to grant the foundation of an Oratory in Naplesthough it would furnish the Church with great saints such as the Blessed Giovanni Juvenal Ancina.

The basic grain of St. Philip’s idea has endured in those lands where the Oratory has flourished. Oratorians spend their whole priestly lives in one community. They can travel and work more freely than vowed religious, since they are truly secular priests, but their range of motion is restricted by the value of stability that St. Philip imposes on his sons. The quality of that stability differs from the asceticism which marked the experience of the early monks. As Newman puts it:

The Congregation is to be the home of the Oratorian. The Italians, I believe, have no word for homenor is it an idea which readily enters into the mind of a foreigner, at least not so readily as into the mind of an Englishman. It is remarkable then that the Oratorian Fathers should have gone out of their way to express the idea by the metaphorical word nido or nest, which is used by them almost technically. (Newman, qtd. by Robinson).

As Newman said elsewhere:

…the objective standard of assimilation is not simply the Rule or any abstract idea of an Oratory, but the definite local present body, hic et nunc, to which [the novice] comes to be assimilated (Newman, qtd. on the Toronto Oratory Vocations page).

The stability of the Oratory is enlivened with a certain warmth, a familial domesticity that is adequately captured in the Italian nido. The Oratorian has his “nest” in his cell, and beyond that, his house, and beyond that, the city where God has led him. None of these becomes his “nest” by matter of location, but by the network of sacramental relationships he enters there. He is begotten anew by the paternity of St. Philip, by his immediate superiors, and ultimately, by God. The same spirit prevails in the very best monastic houses, as any visitor to Silverstream Priory or the Monastero di San Benedetto in Monte or Stift Heiligenkreuz or Clear Creek Abbey or L’Abbaye Sainte-Madeleine du Barroux can attest. Dom Aelred Carlyle’s Caldey Island had just such a sensibility, as did Nashdom Abbey before its decline. The Oratory and the Benedictine Monastery keep alive the fire of God’s paternal love by their community life and stability in prayer.

II. The Son’s Obedient Song

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The Madonna Appearing to Saint Philip Neri, Sebastian Conca. (Source)

Up to now, I have not addressed the peculiar irony in my approach. The model that St. Philip left for his sons is singular among all others in the Church in its total rejection of vowssuch as those that mark the Benedictine vocation. The constitutions of the Congregation are very clear. Even if all the members around the world should take vows and only one abstain, the true Oratory would rest with that lone dissenter, and not the majority. Instead, Newman tells us, “Love is his bond, he knows no other fetter.” St. Philip trusted that bond of charity to sustain the common life he envisioned for the Oratory.

St. Philip hoped that his sons, through mortification of the intellect and an easy, friendly concord, would persevere in the love that was their peculiar vocation. Just as voices unite in harmony for no better end than beauty, so might we describe the Oratorian ideal as a kind of “song”Rolle’s second experience of God. The liturgy for the Sixth Sunday in Easter illustrates this point admirably. The Introit (Vocem iucunditatis annuntiate), Psalm (Let all the earth cry out to God with joy), and Offertory (Benedicite gentes Dominum) all refer to song as the properly obedient response to God’s grace. The truth and beauty of that good song is attractive to souls made weary by the heavy dross of the world. St. Philip knew this fact well, and he employed some of the leading composers of the timePalestrina and Animucciato write music for the exercises of the Oratory.

Moreover, one could almost imagine that the first reading, which mentions the Apostle Philip, was really intended to tell us something about the life of the Joyful Saint:

Philip went down to the city…and proclaimed the Christ to them. With one accord, the crowds paid attention to what was said by Philip when they heard it and saw the signs he was doing…There was great joy in that city. (Acts 8: 5-8 NAB)

Similarly, the Epistle calls to mind St. Philip’s singular mystical life. We read, “Sanctify Christ as Lord in your hearts,” (1 Pet. 3: 15-18 NAB). And how are we, like St. Philip, to go about sanctifying Christ in our hearts? The Gospel tells us:

If you love me, you will keep my commandments. And I will ask the Father, and he will give you another Advocate to be with you always, the Spirit of truth, whom the world cannot accept, because it neither sees nor knows him. But you know him, because he remains with you, and will be in you. (John 14:15-17 NAB)

Christ is preeminently the man who responds with a song of obedience, and St. Philip follows his lead. And what do St. Philip and his sons sing in their common life? What but the praise of God? What but the Divine Word, the Logos, Christ made present in prayer and scripture and sacrament? Indeed, Eliot’s description of “every phrase/And sentence that is right” could apply just as well to the Oratorian life:

…where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together
(Little Gidding V)

The life of the Benedictine monk is not so seemingly free. He has one work, the liturgy, the Opus Dei. This one task is the first and final way that the Benedictine fulfills his vow of obedience to Christ. As Chapter 5 of the Holy Rule has it: “The first degree of humility is obedience without delay. This is the virtue of those who hold nothing dearer to them than Christ” (Rule of St. Benedict V). The eleven degrees that follow build upon this cornerstone, marked as it is by the love of Christ. It is a love that conforms the monk to the obedience of Christ crucified. The wicked Sarabaites that St. Benedict describes in Chapter 1 are chiefly marked by their unwillingness to obey:

They live in twos or threes, or even singly, without a shepherd, in their own sheepfolds and not in the Lord’s. Their law is the desire for self-gratification: whatever enters their mind or appeals to them, that they call holy; what they dislike, they regard as unlawful. (Rule of St. Benedict I).

St. Philip knew how to obey. When he was under suspicion of heresy, he immediately ceased his labors in submission to the Papal investigators until he knew the outcome. He only resisted when it came to the cardinalate, which he always resolutely refused. Once, upon receiving the Red Hat, he made jokes about the honor and laughed it off as if it were nothingin the very presence of the Pope! Exasperated, the Holy Father decided to grant St. Philip’s wish, and did not insist on the appointment.

But he also obeyed the voice of God through other figures, such as when he formally received his vocation. Hearing the many stories of St. Francis Xavier in the East, St. Philip determined to set out for India. But he decided to wait and test the calling with the advice of another man he trusted.

In Rome, there is a Cistercian monastery called the Tre Fontane, which takes its name from the legend that when St. Paul was martyred, his head bounced three times. It is said that three fountains miraculously sprang up from the earth where his head fell. Later, a house of religion was founded there. It was to this monastery that St. Philip went to consult a well-respected monk known for his spiritual insights. The monk listened to St. Philip’s situation, and told him to return later. When St. Philip came back to the Tre Fontane, he had his answer“Rome will be your indies.” He never again desired to leave the Holy City. Cardinal Newman tells us that the monk did this under the spiritual guidance of St. John. How appropriate that the Apostle so intimately tied to the Second Person of the Trinity should teach St. Philip to imitate Christ’s obedient humility!

III. The Sweetness of the Spirit’s Conversatio Morum

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The Holy Spirit made the heart of St. Philip sacramental while on this earthly journey. (Source)

Few saints have such a manifest intimacy with the Holy Spirit as St. Philip Neri. Biographers and commentators throughout the centuries have always noted the peculiar affinity between St. Philip and the Third Person of the Holy Trinity.

When St. Philip first came to Rome, he spent most of his nights praying in the catacombs. He drew surpassing sweetness from this salutary solitude. For him, Rome was not just a (recently sacked) city of decadent palaces, picturesque ruins, and opulent vices. Rome was a landscape marked by the work of the Holy Spirit through human history. The catacombs reminded St. Philip of the Church of the martyrs.

It was on one of these vigils that St. Philip experienced a visitation by the Holy Spirit. He came to the catacomb of St. Sebastian on the night before Pentecost. While praying, the Holy Spirit descended upon him. Fr. Philip G. Bochanski of the Oratory describes the scene well:

As the night passed, St Philip was suddenly filled with great joy, and had a vision of the Holy Spirit, who appeared to him as a ball of fire. This fire entered into St Philip’s mouth, and descended to his heart, causing it to expand to twice its normal size, and breaking two of his ribs in the process.  He said that it filled his whole body with such joy and consolation that he finally had to throw himself on the ground and cry out, “No more, Lord!  No more!” (Source).

Throughout his life, St. Philip would report an unremitting heat throughout all of his body, though always most intense around his heart. Even in the dead of winter, he’d be so warm as to freely unbutton his collar when everyone else was shivering. Pressing someone’s head to his breast, letting him hear his heartbeat and feel the miraculous warmth, was enough to convert even the most hardened and impenitent sinners. We can say with no exaggeration that the Holy Spirit made St. Philip a living sacrament. He became a fountain issuing forth graces. He bore all of the sweet fruits of the Holy Spirit. As Fr. Bochanski puts it, “St Philip was convinced and constantly aware of the presence and action of the Holy Spirit in him and through him…He was sure that he had received the gifts of the Holy Spirit, and this assurance set him free to bear the Spirit’s fruits.”

St. Philip’s special relationship with the Holy Spirit drew him into an almost uncontrollable ardor of love for the Eucharist. He was a great mystic of the Blessed Sacrament. Under St. Philip’s direction, the Roman Oratory popularized the Forty Hours Devotion of Eucharistic Adoration, an important precursor for later efforts at Perpetual Adoration. In spite of his wise suspicion of visions and miracles, he was granted innumerable ecstasies. These would usually come in some connection with the Eucharist. St. Philip had jokes read to him in the sacristy as he vested, as he had a very realistic fear of entering a sweet trance of joy before the Mass even began.

In his old age, St. Philip was allowed to give free reign to these Eucharistic ecstasies. By special permission of the Pope, he would say his Mass only in a private chapel on the top floor of the Vallicella. At the consecration, he would kneel down before the altar. The servers would close the windows, shut the door, and place a sign on the handle which read, “Silence! The Father is saying Mass.” Then, in darkness and silence, St. Philip would commune with the Eucharistic God for upwards of two hours. When he was done, the servers would ring a bell, the sign on the door would be removed, and he would continue the Mass as if nothing had happened.

In all of these phenomena, we may be tempted to draw a contrast with the staid, rhythmic, simple spirituality of St. Benedict’s Rule. Not sofor we must examine why St. Philip was given the singular graces that marked his life in the Holy Spirit.

The third vow that St. Benedict demands of his sons is Conversatio Morum, the conversion of manners (Rule of St. Benedict LVIII). The monk enters the monastery that he might “seeketh God,” and seek Him fully (Rule of St. Benedict LVIII). Like all Christians, he is after deification. But unlike most of us, he is called to theosis by shunning the distractions of the World. He can only do this by entering into the sacrifice of the Eucharistic Christ, whom he adores in the liturgy that marks the hours of every day. The Benedictine vocation is, at its heart, life made explicitly Eucharistic.

Dom Mark Daniel Kirby of Silverstream, building upon the work of the Blessed Abbot Columba Marmion and Mother Mectilde de Bar, has put the point admirably. Among many other similar passages, we find in a poem from 2011:

The Eucharistic Humility of God
is inseparable from His Eucharistic Silence.
This Saint Benedict understood,
for in his Rule, the silent are humble,
and the humble silent.
This our Mother Mectilde understood
for she wanted her Benedictine adorers to bury themselves
in the silence of the hidden God,
the ineffably humble God
in the Most Holy Sacrament of the Altar. 
(Source)

In the Eucharist, we find the consummation of all God’s sweetness. “O taste, and see that the Lord is sweet: blessed is the man that hopeth in him” (Psalm 33:9 DRA). It is the grand work of the Spirit, the crown of the sacraments, the dawn of the new and everlasting life. Just as Richard Rolle passed into “the most delectable sweetness of the Godhead,” so too does the monk return each day to the Eucharist to drink of the Spirit’s epicletic sweetness (Rolle I.5).

And St. Philip, with his Eucharistic ecstasies and his intimacy with the Spirit, knew that sweetness better than we can possibly imagine. The sweetness of the Holy Spirit transformed him into an instrument of grace, a human sacrament whose own manners were deeply converted and who aided many along the same journey. It is little wonder that Oratories and Benedictine monasteries remain centers of reverent and beautiful celebration of the Holy Sacrifice of the Mass.

Conclusion

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Portrait of St. Philip Neri. (Source)

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Portrait of St. Benedict. (Source)

Many writers have found in St. Philip Neri the likeness of other saints, including those predecessors whom he admired, the contemporaries whom he loved, and the innumerable great saints who followed in the generations since he went on to immortal glory.

Yet is any resemblance so striking, and so Trinitarian, as that between the Father of the Oratory and the Father of Monks? In both, we find the very image of the Father, the Son, and the Holy Spirit. In both, we can see the marks of stability, obedience, and conversion of manners. And in both, we detect the surpassing heat, song, and sweetness which Richard Rolle describes as indicative of a true encounter with God.

By their prayers, may we someday share that eternal encounter.

Solimena, Francesco, 1657-1747; The Holy Trinity with St Philip Neri in Glory

The Holy Trinity with St. Philip Neri in Glory, Francesco Solimena. The figure at left is probably the Benedictine Oblate, St. Francesca Romana. The painting, originally intended for the Naples Oratory, now hangs in the Ashmolean Museum of Art and Archaeology at Oxford (Source).

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St. Benedict in Glory, c. 1500. Artist unknown. (Source)

Life Update: Graduate School

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St. Stephen’s House, Oxford. Source.

This won’t come as a surprise to those of you who know me personally, but in the interest of honesty, archiving, and my own historical interests, I thought I’d post here that I have decided to attend the University of Oxford next year in pursuit of an M.Phil. in Theology, with a concentration in Ecclesiastical History. I will be living at St. Stephen’s House.

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The coat of arms of St. Stephen’s House. It incorporates elements of the coat of arms of its founder, Bishop Edward King. (Source)

I’m very happy to be at St. Stephen’s. It is the Anglo-Catholic seminary in Oxford. I am guaranteed to be around people who are seeking ordination in the Church of England. And very high Anglo-Catholics at that. I’m really looking forward to morning and evening prayer every day. While it may not be the prayer of the whole Church in the Divine Office, the Book of Common Prayer is nevertheless a fine, beautiful way to pray and meditate on Scripture in community. I also think that the liturgical rhythms of life at “Staggers,” as it’s called, will be salutary on the whole. It’s even motivated me to try to memorize a few of the old collects, as Peter Hitchens demonstrates in this debate.

While I realize it has changed a great deal over time, the history of St. Stephen’s House is one of the reasons I’m happy to be here. It may not be one of the well-known colleges (it doesn’t even seem to have very much merchandising in the way of scarves, ties, pins, cufflinks, etc., like all the other ones). But Staggers did play its part in the history of Anglo-Catholicism. Founded by Bishop Edward King of Lincoln in 1876, the house soon became a major center of Anglo-Catholicism. It started to produce Tractarian priests by the dozens, and eventually gained a reputation as a factory of bishops and deans of cathedrals. This prolific connection to the Church of England’s highest chambers has continued into its more recent years.

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Edward King, Bishop of Lincoln. (Source)

Its relationship with Oxford, on the other hand, has varied. It only attained Permanent Private Hall status in 2003. In moving to that arrangement, it joined other historically religious foundations at Oxford: Blackfriars for the Dominicans, St. Benet’s for the Benedictines of Ampleforth, Wycliffe Hall for Evangelicals, Campion Hall for the Jesuits, and Regent’s Park (nominally) for the Baptists. It was at that time that the House broadened its emphasis to include those who were not seeking ordination in the C of E.

Moreover, Staggers has moved around Oxford. It started as a small community near the heart of town, and only much later moved to its present location across the Cherwell. To wit:

For the House’s first years, it was situated near the centre of Oxford, where the New Bodleian Library now stands. From 1919, the House had a site in Norham Gardens, near to the University Parks. In 1980 it moved to the current site…(St. Stephen’s House Blog).

The accommodations that the House took up were built by the Society of St. John the Evangelist, named alongside the parish church they ran (although it is now largely a concert venue, the House clergy still conduct liturgies there each week). The Society priests were also known as the Cowley Fathers. T.S. Eliot conducted at least one retreat there, although he was generally closer to the Benedictines at Nashdom and the Society of the Sacred Mission at Kelham (see Spurr’s biography, Anglo-Catholic in Religion).

In the mid 20th century, the House prospered under the benevolent influence of Father Arthur Couratin, allegedly referred to by some as “Noël Coward in a clerical collar.”

Halliday, Edward Irvine, 1902-1984; Reverend Canon Arthur Couratin, Former Principal of St Stephen's House

Canon Arthur Couratin, Principal of St. Stephen’s House. (Source)

Although its ethos remains largely Anglican, the House has offered a few important alumni to the Church of Rome. Balthasar scholar and theologian Father John Saward graduated there, as did the one-time Bishop of Ebbsfleet and current priest of the English Ordinariate, Monsignor Andrew Burnham. Indeed, they’ve even produced the Primate of the Western Diocese of the Armenian Church of North America, Hovnan Derderian. He is the youngest Armenian archbishop.

Staggers also gave the Church of England Fr. Kenneth Leach, an important Christian Socialist priest. He was trained at St. Stephen’s when it had become a rather homoerotic place, and Leach would famously sum up his time there as “gin, lace, and backbiting.” The writer and Staggers alum A.N. Wilson composed a bitingly comedic satire of the House in those years, entitled Unguarded Hourswhich, as Ignatius Press’s reviewer puts it, is decidedly “not a Catholic novel.” Alas. Wilson, who would eventually return to Christianity after years of very public atheism, would later recall the custom formerly in vogue at Staggers of taking “religious names” that were actually rather saucy nicknames, often of the opposite sex. If Father Couratin was “Noël Coward in a clerical collar,” it seems that by the 1970’s, you were more likely to find Julian and Sandy in soutanes.

I seriously doubt that any of that persists. Women’s ordination in the C of E means that, while many Anglo-Catholics have become more liberal, their seminaries no longer smack of the kinds of homoerotic associations that fueled so many stereotypes (see Cousin Jasper’s famous quip in Brideshead Revisited). Staggers seems to remain as a pillar of sensible, ornate, properly Anglo-Catholic liturgy at its best.

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A liturgy at the parish church of St. John the Evangelist, St. Stephen’s House, Oxford. (Source).

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A requiem for the founders of the House. (Source)

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A priest says a Mass at St. Stephen’s House. I highly recommend the source I took this from, Merrily On High. An excellent source for all things Anglo-Catholic.

Of course, I could also emphasize the importance of Oxford in general as a center of CatholicismRoman and otherwise. Here, the Subtle Doctor “fired France for Mary without spot.” Here, Cardinal Wolsey established a college named for his office and, later, all of Christ’s Body on earth. Here, Archbishop Laud attempted to bring back devotion to Our Lady through a little portico on her church in town. Here, Charles I took refuge while his queen heard the Mass of Ages in Merton Chapel. Here, Keble railed against a “National Apostasy.” Here, Newman battled the liberals, and in doing so, broke ground for the Second Spring. Here, Gerard Manley Hopkins served briefly as curate. Here, Oscar Wilde flirted with men and the Church for the first time. Here, Monsignor Ronald Knox cut his clerical teeth as the chaplain of Trinity College. Here, Montague Summers was first haunted by the Vampyre’s shadow. Here, Tolkien and Lewis and Williams and their friends spoke about God long into the stout-softened night. Here, T.S. Eliot studied briefly before going on to greatness in London. Here, Evelyn Waugh thought up a story about two men and a teddy bear. Here, Father Martin D’Arcy pondered the ways of divine and human love. Here, the Oratory finally arrived in 1990 to fulfill Newman’s dream. Here, the late Stratford Caldecott wrote of God’s undying beauty in all things.

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An Oxford morning. (Source).

I could name more ways in which Oxford has played a special role in the life of the Catholic Church. Perhaps I will do so in another post, or a series of posts. For now, I’m just happy to say that I’ll be in a place with a lot of Catholic history, learning about that history. And thank God for that.

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“Saint Stephen,” by Carlo Crivelli. Proto-martyr and patron of St. Stephen’s House, Oxford (and perhaps a rather wan patron at that, by the look of this paintingis that asparagus in his hand?). (Source)

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Also, apparently the Prince of Wales sometimes visits. (Source)

Newman’s Novena to St. Philip Neri

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Articles of devotion to St. Philip Neri, Florence. Photo taken by the author in June of 2015.

St. Philip Neri is my favorite saint. I came to his acquaintance during the summer after my second year in college, when I studied abroad in locations marked by the presence of Oratories. I believe that I was, so to speak, “introduced” to St. Philip by his famous son, the Blessed Cardinal Newman, whose work I had already read and admired. It is also perhaps of some significance that I had devoted that year of my Catholic life to the Holy Spirit. Desiring a deeper friendship with St. Philip, I followed along with Newman’s novena to St. Philip last May. Having read several biographies and having started a blog, I thought I might try my own hand at offering some small act of devotion to St. Philip in the form of nine brief meditations on his life and virtues.

Unfortunately, it seems that the frenzy of graduation week has crept up on me, and I was unable to complete this task. I do, however, offer my own biography of the saint. My sources are chiefly the various Oratorian materials produced by the London and Oxford houses, Good Philip, by Alfonso Cardinal Capecelatro, the biographies by V.J. Matthews, Louis Bouyer, Anne Hope, and Theodore Maynard, and finally, sundry writings by Cardinal Newman, Fr. Faber, Fr. Jonathan Robinson, and Monsignor Knox. All are excellent resources, and I would be happy to provide more details about them in the comments section if asked.

The actual text of the novena will be taken from the Newman Reader, which is my go-to source for all things Newman. I claim no authorship of these texts and am entirely in debt to that great theologian, the Blessed Cardinal of the Birmingham Oratory. I have decided to do this, rather than simply link to the Newman Reader, in part because I am starting my novena a day later than Newman does. Newman began his novena to St. Philip on the 17th and ended it on the 25th, presumably because of the various festivities that the 26th would usher in. However, as I do not live in an Oratory, I will be starting and ending a day later, so that the readings of the ninth day fall on the feast proper. There is a certain liturgical grace that comes with the feast this year, but I will discuss that in another post.

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John Henry Newman as an Oratorian. (Source)

For now, I’ll say that I will be offering this novena for the vocation of Nathan Hart, whom some of you may know over at Simeon Song. I invite you to join me. Nathan’s late leap into the blogosphere was one of the events that inspired me to establish my own masthead. He will be entering the Monastery of Our Lady of the Cenacle at Silverstream Priory, Stamullen, Co. Meath, Ireland, on May 31st, the Feast of Our Lady, Queen of Heaven. If for some reason you were unaware of the monastery, you can read up on the its remarkable spirituality and vocation at Vultus Christi, written by its priorDom Mark Daniel Kirby, OSB.

Pray for Nathan as he pursues the Lord’s will. St. Philip, as we shall see, is a very good heavenly guide for young men. He is especially helpful for those who are trying to discern the will of God in their lives.

 

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A famous image of St. Philip. He is customarily depicted in a red or rose chasuble in iconography. (Source).

Each day, start by reading the meditation and prayer, and then say the prayer of Cardinal Baronius:

Look down from heaven, Holy Father, from the loftiness of that mountain to the lowliness of this valley; from that harbour of quietness and tranquillity to this calamitous sea.  And now that the darkness of this world hinders no more those benignant eyes of thine from looking clearly into all things, look down and visit, O most diligent keeper, this vineyard which thy right hand planted with so much labour, anxiety and peril.  To thee then we fly; from thee we seek for aid; to thee we give our whole selves unreservedly.  Thee we adopt as our patron  and defender; undertake the cause of our salvation, protect thy clients.  To thee we appeal as our leader; rule thine army fighting against the assaults of the devil.  To thee, kindest of pilots, we give up the rudder of our lives; steer this little ship of thine, and, placed as thou art on high, keep us off all the rocks of evil desires, that with thee for our pilot and guide, we may safely come to the port of eternal bliss. Amen.

Those of you who prefer Latin can find it at this link.

On the ninth day, conclude by adding on the Collect and Litany at the very end of this post.

St. Philip’s Life

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Saint Philip Neri (1515-1595), by Carlo Dolci, c. 1645. The finest portrait of the saint was painted long after he died. In his own life, St. Philip was patron of the arts, and was even Palestrina’s confessor. (Image Source).

St. Philip Romolo Neri was born in Florence to a loving father and stepmother and brought up in the faith by the Dominicans of San Marco. The embers of Savonarola’s fiery spirit still burned in the memories of the Florentines, and for the rest of his life, St. Philip would hold the reformer in a high regard. But his temperament was as different from Savonarola’s as day is from night. St. Philip was always good-natured, kind, and generous. He was not overly pious, with play-acting the Mass or anything of that sort. Instead, he cultivated a winning personality that earned him the nickname “Pippo Buono.” He was remarkably humble, never giving much weight to the things of this world. Once, he was shown a beautiful diagram of his family tree; he promptly tore it up.

When he reached adulthood, St. Philip went to seek his fortune with his uncle Romolo, a merchant in San Germano. He found that the life of commerce was not conducive to his temperament, and so, after praying at the shrines of the Benedictines at Monte Cassino and Gaeta, he left for Rome almost penniless. The city had just been sacked by the soldiers of the Emperor, and work was hard to come by. Nevertheless, St. Philip was soon employed as a tutor for the Caccia family. The boys he taught would later go on to lives of holiness as priests. St. Philip made few friends in this period of his life. Like a hermit, he would hardly eat anything and spent his nights in the catacombs, remembering and praying to the martyrs of the early Church. On one such occasion, while he was in the catacombs of San Sebastiano, he had a mystical experience that would forever change his life. The Holy Spirit descended into his heart as a ball of fire. For the rest of his life, he would report heart palpitations, an incredible heat, and physical shaking – sometimes enough to move the chair in which he sat. Upon occasion, it was enough to convert a sinner only to draw their head to his Spirit-infused breast. Only in very old age did he confide his secret. When he died, his heart was found to be considerably enlarged. Several ribs were dislocated by its growth.

But in youth, he kept all this under wraps. He slowly started to gain a following. He would frequent the Seven Stational Churches, even leading bands of pilgrims on picnics. As he got older, these journeys grew in size and festivity. But in the early days, he was followed only by a few young men who were attracted to a charismatic tutor. He would also visit and help in the hospitals, perhaps the most common form of charitable work in Renaissance Italy. He would later exert a great influence on that marvelous saint of the hospitals, St. Camillus of Lellis.

St. Philip and his friends moved into the Church of San Girolamo, where, every afternoon, they would have a time of prayer, hymn-singing, recitation of the Bible, public commentary on the Scriptures, and some lesson from the history of the Church or the lives of the saints. This was the first Oratory. St. Philip’s way of life looked mighty suspicious to the authorities in a Rome still reeling from the Reformation, and he was investigated and opposed by several figures – namely an irate cardinal close to the Pope. But that cardinal died before the end of his investigation into St. Philip, an event whispered to be the wrath of God. Every other opposition fell away, and in time, St. Philip became an established figure in Rome. He was eventually persuaded to seek ordination. While never a Doctor of the Church, St. Philip learned his theology well, and was able to put it to good use in his later pastoral life.

When the Church of the St. John of the Florentines requested that St. Philip move to their community, he balked. Instead, he sent some of his best disciples, including Cesare Baronius, later to become a great cardinal and historian of the Church. However, all of the priests he sent were required to return to San Girolamo every day for the Oratory sessions. In this practice, we can perceive the seeds of the Congregation that would later flourish throughout the Catholic world.

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The Chiesa Nuova, Rome. (Source)

When St. Philip was given the chance to build a new church, Santa Maria in Vallicella, he stunned the architects by boldly demanding a much larger structure than expected. Yet build it he did, and the “Chiesa Nuova,” or “New Church,” became the nerve center for the entire Oratorian family. St. Philip always resisted turning the Oratory into a religious order; today, it is still no such thing. Oratorians take no vows, but are bound to each other by a promise of charity. Love (and, one must assume, a tremendous amount of patience) holds each Oratory together. The closest parallel would be the Benedictines, who live in one place their entire life and belong to a wide, loose, familial confederation.

St. Philip Neri made friends with a great many Romans, and more than a few saints. He was on close terms with many of the Popes of his day, and more than one went to him for confession. Two great cardinals came from his immediate circle, Baronius the historian and Tarugi the politician. St. Philip was particularly intimate with the great Capuchin mystic, St. Felix of Cantalice. He also sent so many men to the Jesuits that St. Ignatius took to calling him “the Bell of the Society,” always bringing in more, but never entering himself. All in all, it was for the best. St. Philip’s temperament and spirituality were thoroughly un-Jesuit. Where St. Ignatius was hard, St. Philip was soft; where St. Ignatius was demanding, St. Philip was persuasive; where St. Ignatius sent his sons to a thousand works, St. Philip allowed them but one. But the two saints always held each other in a high, slightly bemused regard. St. Philip was the confessor of St. Camillus of Lellis as well as the composers Palestrina and Animuccia. Their compositions for St. Philip’s afternoon meetings became the first oratorios. St. Philip was always trying to draw souls to Christ by way of holy beauty. This quality, along with so many others, would make him a particularly apt spiritual father for the revival of Catholicism in 19th century Britain.

St. Philip could be a very hard confessor. He could tell if someone was holding back a sin, and he’d often relate the substance of that sin to the penitent himself. Yet his demands were always tempered by a certain tenderness. He was never inclined to endorse any kind of extreme asceticism, and positively distrusted anyone who claimed special visions and ecstasies.

Nevertheless, the Lord did grant him many such graces anywayand usually when saying Mass. St. Philip was a mystic of the Eucharist. Just in order to get through the process of vesting, let alone the Mass itself, he would have his server read jokes to him in the sacristy. In his old age, he would go into ecstasies at the Masses he celebrated, sometimes taking a few hours to say the entire liturgy. He also popularized the devotion of the Forty Hours of Adoration, a tradition that still takes place in so many of the Oratories of the world.

St. Philip was known as a joker, and he would teach his disciples to mortify their reason through his many practical jokes. Along with the Laudi of Jacopone da Todi, the joke books then popular in Florence and Rome were some of his favorite reading. He once showed up to a formal function with half of his beard shaved off. At another solemn occasion, he started to stroke the beard of a Swiss guard for no apparent cause. At yet another time, he made his aristocratic disciple Tarugi follow and carry a little lapdog through the city, to the jeers of the crowds. He is known as the “Joyful Saint” for very good reasons.

He effected such a change in the devotions and morals of the broken, decadent, and dispirited city, that he became known as the Third Apostle of Rome. When he died, he was immediately the subject of widespread devotion. The official workings of the Vatican could not proceed quickly enough for the people of Rome, who prayed to the departed priest with all the zeal they could muster. When he was finally elevated to sainthood in 1622, the Romans took to saying that the Pope had canonized “four Spaniards and a saint.”

Yet Spain would not receive the Florentine’s spiritual heritage in its fullness. Nor would France, where Cardinal de Bérulle heard of the Oratory, liked the idea, and started his own order with a very different organization and spirituality. The French Oratorians may be considered St. Philip’s nephews, but not his sons. For many centuries, only Italy bore the mark of what St. Philip really wanted from his sons – holy, independent houses of secular priests bound together by nothing more than the bond of charity.

And the Italian Oratories persevered valiantly until a convert from Anglicanism came to Rome to study for the priesthood: John Henry Newman. It was Newman, along with Fr. Frederick William Faber and Fr. Ambrose St. John, who brought the Oratory to England, where it thrived as almost nowhere else. The Oratories of Birmingham and London were the great centers of English Catholicism, leavening all the other efforts of the Church in that land. Oratorians played a significant role in the lives of Gerard Manley Hopkins, Oscar Wilde, and J.R.R. Tolkien, to mention but a few. The Oratory has seen an explosion in the United Kingdom over the last few decades, with new houses in Oxford, York, Manchester, Cardiff, and Bournemouth having opened or set to open in the near future. It seems that in these troubled times, the Holy Spirit is multiplying their numbers for some great work. More and more Oratories are starting in the United States, many on the lines of the English and Italian models. In Toronto, Pittsburgh, Cincinnati, Washington, Kalamazoo, and so many more cities, St. Philip is making his home. In these days of preparation for his feast, let us remember the great works God has wrought through him and his sons.

Day 1: Philip’s Humility

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The famous effigy of St. Philip in the Roman Oratory, made while he was still living. It would go around to the Seven Churches when he could no longer make the pilgrimage. (Source)

If Philip heard of anyone having committed a crime, he would say, “Thank God that I have not done worse.”

At confession he would shed abundance of tears, and say, “I have never done a good action.”

When a penitent showed that she could not bear the rudeness shown towards him by certain persons who were under great obligations to him, he answered her, “If I were humble, God would not send this to me.”

When one of his spiritual children said to him, “Father, I wish to have something of yours for devotion, for I know you are a Saint,” he turned to her with a face full of anger, and broke out into these words: “Begone with you! I am a devil, and not a saint.”

To another who said to him, “Father, a temptation has come to me to think that you are not what the world takes you for,” he made answer: “Be sure of this, that I am a man like my neighbours, and nothing more.”

If he heard of any who had a good opinion of him, he used to say, “O poor me! how many poor girls will be greater in Paradise than I shall be!”

He avoided all marks of honour. He could not bear to receive any signs of respect. When people wished to touch his clothes, and knelt as he passed by, he used to say, “Get up! get out of my way!” He did not like people to kiss his hand; though he sometimes let them do so, lest he should hurt their feelings.

He was an enemy to all rivalry and contention. He always took in good part everything that was said to him. He had a particular dislike of affectation, whether in speaking, or in dressing, or in anything else.

He could not bear two-faced persons; as for liars, he could not endure them, and was continually reminding his spiritual children to avoid them as they would a pestilence.

He always asked advice, even on affairs of minor importance. His constant counsel to his penitents was, that they should not trust in themselves, but always take the advice of others, and get as many prayers as they could.

He took great pleasure in being lightly esteemed, nay, even despised.

He had a most pleasant manner of transacting business with others, great sweetness in conversation, and was full of compassion and consideration.

He had always a dislike to speak of himself. The phrases “I said,” “I did,” were rarely in his mouth. He exhorted others never to make a display of themselves, especially in those things which tended to their credit, whether in earnest or in joke.

As St. John the Evangelist, when old, was continually saying, “Little children, love one another,” so Philip was ever repeating his favourite lesson, “Be humble; think little of yourselves.”

He said that if we did a good work, and another took the credit of it to himself, we ought to rejoice and thank God.

He said no one ought to say, “Oh! I shall not fall, I shall not commit sin,” for it was a clear sign that he would fall. He was greatly displeased with those who made excuses for themselves, and called such persons. “My Lady Eve,” because Eve defended herself instead of being humble.

Prayer

PHILIP, my glorious patron, who didst count as dross the praise, and even the good esteem of men, obtain for me also, from my Lord and Saviour, this fair virtue by thy prayers. How haughty are my thoughts, how contemptuous are my words, how ambitious are my works. Gain for me that low esteem of self with which thou wast gifted; obtain for me a knowledge of my own nothingness, that I may rejoice when I am despised, and ever seek to be great only in the eyes of my God and Judge.

Prayer of Cardinal Baronius (above)

Day 2: Philip’s Devotion

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St. Philip had a tender devotion to Our Lady, and she gave him many outstanding graces. (Source).

The inward flame of devotion in Philip was so intense that he sometimes fainted in consequence of it, or was forced to throw himself upon his bed, under the sickness of divine love.

When he was young he sometimes felt this divine fervour so vehemently as to be unable to contain himself, throwing himself as if in agony on the ground and crying out, “No more, Lord, no more.”

What St. Paul says of himself seemed to be fulfilled in Philip: “I am filled with consolation—I over-abound with joy.”

Yet, though he enjoyed sweetnesses, he used to say that he wished to serve God, not out of interest—that is, because there was pleasure in it—but out of pure love, even though he felt no gratification in loving Him.

When he was a layman, he communicated every morning. When he was old, he had frequent ecstacies during his Mass.

Hence it is customary in pictures of Philip to paint him in red vestments, to record his ardent desire to shed his blood for the love of Christ.

He was so devoted to his Lord and Saviour that he was always pronouncing the name of Jesus with unspeakable sweetness. He had also an extraordinary pleasure in saying the Creed, and he was so fond of the “Our Father” that he lingered on each petition in such a way that it seemed as if he never would get through them.

He had such a devotion to the Blessed Sacrament that, when he was ill, he could not sleep till he had communicated.

When he was reading or meditating on the Passion he was seen to turn as pale as ashes, and his eyes filled with tears.

Once when he was ill, they brought him something to drink. He took the glass in his hand, and when he was putting it to his mouth stopped, and began to weep most bitterly. He cried out, “Thou, my Christ, Thou upon the Cross wast thirsty, and they gave Thee nothing but gall and vinegar to drink; and I am in bed, with so many comforts around me, and so many persons to attend to me.”

Yet Philip did not make much account of this warmth and acuteness of feeling; for he said that Emotion was not Devotion, that tears were no sign that a man was in the grace of God, neither must we suppose a man holy merely because he weeps when he speaks of religion.

Philip was so devoted to the Blessed Virgin that he had her name continually in his mouth. He had two ejaculations in her honour. One, “Virgin Mary, Mother of God, pray to Jesus for me.” The other, simply “Virgin Mother,” for he said that in those two words all possible praises of Mary are contained.

He had also a singular devotion to St. Mary Magdalen, on whose vigil he was born, and for the Apostles St. James and St. Philip; also for St. Paul the Apostle, and for St. Thomas of Aquinum, Doctor of the Church.

Prayer

PHILIP, my glorious Patron, gain for me a portion of that gift which thou hadst so abundantly. Alas! thy heart was burning with love; mine is all frozen towards God, and alive only for creatures. I love the world, which can never make me happy; my highest desire is to be well off here below. O my God, when shall I learn to love nothing else but Thee? Gain for me, O Philip, a pure love, a strong love, and an efficacious love, that, loving God here upon earth, I may enjoy the sight of Him, together with thee and all saints, hereafter in heaven.

Prayer of Cardinal Baronius (above)

Day 3: Philip’s Exercise of Prayer

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A depiction of St. Philip by the contemporary Italian artist, Salvo Russo. (Source).

From very boyhood the servant of God gave himself up to prayer, until he acquired such a habit of it, that, wherever he was, his mind was always lifted up to heavenly things.

Sometimes he forgot to eat; sometimes, when he was dressing, he left off, being carried away in his thought to heaven, with his eyes open, yet abstracted from all things around him.

It was easier for Philip to think upon God, than for men of the world to think of the world.

If anyone entered his room suddenly, he would most probably find him so rapt in prayer, that, when spoken to, he did not give the right answer, and had to take a turn or two up and down the room before he fully came to himself.

If he gave way to his habit of prayer in the most trifling degree, he immediately became lost in contemplation.

It was necessary to distract him lest this continual stretch of mind should be prejudicial to his health.

Before transacting business, however trivial, he always prayed; when asked a question, he never answered till he had recollected himself.

He began praying when he went to bed, and as soon as he awoke, and he did not usually sleep more than four, or at the most five hours.

Sometimes, if anyone showed that he had observed that Philip went to bed late or rose early in order to pray, he would answer, “Paradise is not made for sluggards.”

He was more than ordinarily intent on prayer at the more solemn feasts, or at a time of urgent spiritual necessities; above all, in Holy Week.

Those who could not make long meditations he advised to lift up their minds repeatedly to God in ejaculatory prayers, as “Jesus, increase my faith,” “Jesus, grant that I may never offend Thee.”

Philip introduced family prayer into many of the principal houses of Rome.

When one of his penitents asked him to teach him how to pray, he answered, “Be humble and obedient, and the Holy Ghost will teach you.”

He had a special devotion for the Third Person of the Blessed Trinity, and daily poured out before Him most fervent prayers for gifts and graces.

Once, when he was passing the night in prayer in the Catacombs, that great miracle took place of the Divine presence of the Holy Ghost descending upon him under the appearance of a ball of fire, entering into his mouth and lodging in his breast, from which time he had a supernatural palpitation of the heart.

He used to say that when our prayers are in the way of being granted, we must not leave off, but pray as fervently as before.

He especially recommended beginners to meditate on the four last things, and used to say that he who does not in his thoughts and fears go down to hell in his lifetime, runs a great risk of going there when he dies.

When he wished to show the necessity of prayer, he said that a man without prayer was an animal without reason.

Many of his disciples improved greatly in this exercise—not religious only, but secular persons, artisans, merchants, physicians, lawyers, and courtiers—and became such men of prayer as to receive extraordinary favours from God.

Prayer

PHILIP, my holy Patron, teach me by thy example, and gain for me by thy intercessions, to seek my Lord and God at all times and in all places, and to live in His presence and in sacred intercourse with Him. As the children of this world look up to rich men or men in station for the favour which they desire, so may I ever lift up my eyes and hands and heart towards heaven, and betake myself to the Source of all good for those goods which I need. As the children of this world converse with their friends and find their pleasure in them, so may I ever hold communion with Saints and Angels, and with the Blessed Virgin, the Mother of my Lord. Pray with me, O Philip, as thou didst pray with thy penitents here below, and then prayer will become sweet to me, as it did to them.

Prayer of Cardinal Baronius (above)

Day 4: Philip’s Purity

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St. Philip in tiles. Although I don’t know where this photo was taken, I am reminded of the thriving tradition of decorative tiling in Portugal. (Source).

Philip well knowing the pleasure which God takes in cleanness of heart, had no sooner come to years of discretion, and to the power of distinguishing between good and evil, than he set himself to wage war against the evils and suggestions of his enemy, and never rested till he had gained the victory. Thus, notwithstanding he lived in the world when young, and met with all kinds of persons, he preserved his virginity spotless in those dangerous years of his life.

No word was ever heard from his lips which would offend the most severe modesty, and in his dress, his carriage, and countenance, he manifested the same beautiful virtue.

One day, while he was yet a layman, some profligate persons impudently tempted him to commit sin. When he saw that flight was impossible, he began to speak to them of the hideousness of sin and the awful presence of God. This he did with such manifest distress, such earnestness, and such fervour, that his words pierced their abandoned hearts as a sword, and not only persuaded them to give up their horrible thought, but even reclaimed them from their evil ways.

At another time some bad men, who are accustomed to think no one better than themselves, invited him on some pretext into their house, under the belief that he was not what the world took him to be; and then, having got possession of him, thrust him into a great temptation. Philip, in this strait, finding the doors locked, knelt down and began to pray to God with such astonishing fervour and heartfelt heavenly eloquence, that the two poor wretches who were in the room did not dare to speak to him, and at last themselves left him and gave him a way to escape.

His virginal purity shone out of his countenance. His eyes were so clear and bright, even to the last years of his life, that no painter ever succeeded in giving the expression of them, and it was not easy for anyone to keep looking on him for any length of time, for he dazzled them like an Angel of Paradise.

Moreover, his body, even in his old age, emitted a fragrance which, even in his decrepit old age, refreshed those who came near him; and many said that they felt devotion infused into them by the mere smell of his hands.

As to the opposite vice. The ill odour of it was not to the Saint a mere figure of speech, but a reality, so that he could detect those whose souls were blackened by it; and he used to say that it was so horrible that nothing in the world could equal it, nothing, in short, but the Evil Spirit himself. Before his penitents began their confession he sometimes said, “O my son, I know your sins already.”

Many confessed that they were at once delivered from temptations by his merely laying his hands on their heads. The very mention of his name had a power of shielding from Satan those who were assailed by his fiery darts.

He exhorted men never to trust themselves, whatever experience they might have of themselves, or however long their habits of virtue.

He used to say that humility was the true guard of chastity; and that not to have pity for another in such cases was a forerunner of a speedy fall in ourselves; and that when he found a man censorious, and secure of himself, and without fear, he gave him up for lost.

Prayer

PHILIP, my glorious Patron, who didst ever keep unsullied the white lily of thy purity, with such jealous care that the majesty of this fair virtue beamed from thine eyes, shone in thy hands, and was fragrant in thy breath, obtain for me that gift from the Holy Ghost, that neither the words nor the example of sinners may ever make any impression on my soul. And, since it is by avoiding occasions of sin, by prayer, by keeping myself employed, and by the frequent use of the Sacraments that my dread enemy must be subdued, gain for me the grace to persevere in these necessary observances.

Prayer of Cardinal Baronius (above)

Day 5: Philip’s Tenderness of Heart

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St. Philip Neri and Pope Clement VIII. (Source).

Philip could not endure the very sight of suffering; and though he abhorred riches, he always wished to have money to give in alms.

He could not bear to see children scantily clothed, and did all he could to get new clothes for them.

Oppressed and suffering innocence troubled him especially; when a Roman gentleman was falsely accused of having been the death of a man, and was imprisoned, he went so far as to put his cause before the Pope, and obtained his liberation.

A priest was accused by some powerful persons, and was likely to suffer in consequence. Philip took up his cause with such warmth that he established his innocence before the public.

Another time, hearing of some gipsies who had been unjustly condemned to hard labour, he went to the Pope, and procured their freedom. His love of justice was as great as his tenderness and compassion.

Soon after he became a Priest there was a severe famine in Rome, and six loaves were sent to him as a present. Knowing that there was in the same house a poor foreigner suffering from want of food, he gave them all to him, and had for the first day nothing but olives to eat.

Philip had a special tenderness towards artisans, and those who had a difficulty of selling their goods. There were two watchmakers, skilful artists, but old and burdened with large families. He gave them a large order for watches, and contrived to sell them among his friends.

His zeal and liberality specially shone forth towards poor girls. He provided for them when they had no other means of provision. He found marriage dowries for some of them; to others he gave what was sufficient to gain their admittance into convents.

He was particularly good to prisoners, to whom he sent money several times in the week.

He set no limits to his affection for the shrinking and bashful poor, and was more liberal in his alms towards them.

Poor students were another object of his special compassion; he provided them not only with food and clothing, but also with books for their studies. To aid one of them he sold all his own books.

He felt most keenly any kindness done to him, so that one of his friends said: “You could not make Philip a present without receiving another from him of double value.”

He was very tender towards brute animals. Seeing someone put his foot on a lizard, he cried out, “Cruel fellow! what has that poor animal done to you?”

Seeing a butcher wound a dog with one of his knives, he could not contain himself, and had great difficulty in keeping himself cool.

He could not bear the slightest cruelty to be shown to brute animals under any pretext whatever. If a bird came into the room, he would have the window opened that it might not be caught.

Prayer

Philip, my glorious Advocate, teach me to look at all I see around me after thy pattern as the creatures of God. Let me never forget that the same God who made me made the whole world, and all men and all animals that are in it. Gain me the grace to love all God’s works for God’s sake, and all men for the sake of my Lord and Saviour who has redeemed them by the Cross. And especially let me be tender and compassionate and loving towards all Christians, as my brethren in grace. And do thou, who on earth was so tender to all, be especially tender to us, and feel for us, bear with us in all our troubles, and gain for us from God, with whom thou dwellest in beatific light, all the aids necessary for bringing us safely to Him and to thee.

Prayer of Cardinal Baronius (above)

Day 6: Philip’s Cheerfulness

StPhilipNeriAngels

St. Philip and an angel. (Source)

Philip welcomed those who consulted him with singular benignity, and received them, though strangers, with as much affection as if he had been a long time expecting them. When he was called upon to be merry, he was merry; when he was called upon to feel sympathy with the distressed, he was equally ready.

Sometimes he left his prayers and went down to sport and banter with young men, and by this sweetness and condescension and playful conversation gained their souls.

He could not bear anyone to be downcast or pensive, because spirituality is always injured by it; but when he saw anyone grave and gloomy, he used to say, “Be merry.” He had a particular and marked leaning to cheerful persons.

At the same time he was a great enemy to anything like rudeness or foolery; for a buffooning spirit not only does not advance in religion, but roots out even what is already there.

One day he restored cheerfulness to Father Francesco Bernardi, of the Congregation, by simply asking him to run with him, saying, “Come now, let us have a run together.”

His penitents felt that joy at being in his room that they used to say, Philip’s room is not a room, but an earthly Paradise.

To others, to merely stand at the door of his room, without going in, was a release from all their troubles. Others recovered their lost peace of mind by simply looking Philip in the face. To dream of him was enough to comfort many. In a word, Philip was a perpetual refreshment to all those who were in perplexity and sadness.

No one ever saw Philip melancholy; those who went to him always found him with a cheerful and smiling countenance, yet mixed with gravity.

When he was ill he did not so much receive as impart consolation. He was never heard to change his voice, as invalids generally do, but spoke in the same sonorous tone as when he was well. Once, when the physicians had given him over, he said, with the Psalmist, “Paratus sum et non sum turbatus” (“I am ready, and am not troubled”). He received Extreme Unction four times, but with the same calm and joyous countenance.

Prayer

PHILIP, my glorious Advocate, who didst ever follow the precepts and example of the Apostle St. Paul in rejoicing always in all things, gain for me the grace of perfect resignation to God’s will, of indifference to matters of this world, and a constant sight of Heaven; so that I may never be disappointed at the Divine providences, never desponding, never sad, never fretful; that my countenance may always be open and cheerful, and my words kind and pleasant, as becomes those who, in whatever state of life they are, have the greatest of all goods, the favour of God and the prospect of eternal bliss.

Prayer of Cardinal Baronius (above)

Day 7: Philip’s Patience

SanFilippoBW

St. Philip’s otherworldly spirituality was infused with a hard and cutting common sense. (Source).

Philip was for years and years the butt and laughing-stock of all the hangers-on of the great palaces of the nobility at Rome, who said all the bad of him that came into their heads, because they did not like to see a virtuous and conscientious man.

This sarcastic talk against him lasted for years and years; so that Rome was full of it, and through all the shops and counting-houses the idlers and evil livers did nothing but ridicule Philip.

When they fixed some calumny upon him, he did not take it in the least amiss, but with the greatest calmness contented himself with a simple smile.

Once a gentleman’s servant began to abuse him so insolently that a person of consideration, who witnessed the insult, was about to lay hands on him; but, when he saw with what gentleness and cheerfulness Philip took it, he restrained himself, and ever after counted Philip as a saint.

Sometimes his own spiritual children, and even those who lay under the greatest obligations to him, treated him as if he were a rude and foolish person; but he did not show any resentment.

Once, when he was Superior of the Congregation, one of his subjects snatched a letter out of his hand; but the saint took the affront with incomparable meekness, and neither in look, nor word, nor in gesture betrayed the slightest emotion.

Patience had so completely become a habit with him, that he was never seen in a passion. He checked the first movement of resentful feeling; his countenance calmed instantly, and he reassumed his usual modest smile.

Prayer

PHILIP, my holy Advocate, who didst bear persecution and calumny, pain and sickness, with so admirable a patience, gain for me the grace of true fortitude under all the trials of this life. Alas! how do I need patience! I shrink from every small inconvenience; I sicken under every light affliction; I fire up at every trifling contradiction; I fret and am cross at every little suffering of body. Gain for me the grace to enter with hearty good-will into all such crosses as I may receive day by day from my Heavenly Father. Let me imitate thee, as thou didst imitate my Lord and Saviour, that so, as thou hast attained heaven by thy calm endurance of bodily and mental pain, I too may attain the merit of patience, and the reward of life everlasting.

Prayer of Cardinal Baronius (above)

Day 8: Philip’s Care for the Salvation of Souls

philip1chasuble

St. Philip Neri’s flame-red chasuble is one of the hallmarks of his iconography, such as in this portrait by Guido Reni, 1619. (Source)

When he was a young priest, and had gathered about him a number of spiritual persons, his first wish was to go with them all to preach the gospel to the heathen of India, where St. Francis Xavier was engaged in his wonderful career—and he only gave up the idea in obedience to the holy men whom he consulted.

As to bad Christians at home, such extreme desire had he for their conversion, that even when he was old he took severe disciplines in their behalf, and wept for their sins as if they had been his own.

While a layman, he converted by one sermon thirty dissolute youths.

He was successful, under the grace of God, in bringing back almost an infinite number of sinners to the paths of holiness. Many at the hour of death cried out, “Blessed be the day when first I came to know Father Philip!” Others, “Father Philip draws souls to him as the magnet draws iron.”

With a view to the fulfilment of what he considered his special mission, he gave himself up entirely to hearing confessions, exclusive of every other employment. Before sunrise he had generally confessed a good number of penitents in his own room. He went down into the church at daybreak, and never left it till noon, except to say Mass. If no penitents came, he remained near his confessional, reading, saying office, or telling his beads. If he was at prayer, if at his meals, he at once broke off when his penitents came.

He never intermitted his hearing of confessions for any illness, unless the physician forbade it.

For the same reason he kept his room-door open, so that he was exposed to the view of everyone who passed it.

He had a particular anxiety about boys and young men. He was most anxious to have them always occupied, for he knew that idleness was the parent of every evil. Sometimes he made work for them, when he could not find any.

He let them make what noise they pleased about him, if in so doing he was keeping them from temptation. When a friend remonstrated with him for letting them so interfere with him, he made answer: “So long as they do not sin, they may chop wood upon my back.”

He was allowed by the Dominican Fathers to take out their novices for recreation. He used to delight to see them at their holiday meal. He used to say, “Eat, my sons, and do not scruple about it, for it makes me fat to watch you;” and then, when dinner was over, he made them sit in a ring around him, and told them the secrets of their hearts, and gave them good advice, and exhorted them to virtue.

He had a remarkable power of consoling the sick, and of delivering them from the temptations with which the devil assails them.

To his zeal for the conversion of souls, Philip always joined the exercise of corporal acts of mercy. He visited the sick in the hospitals, served them in all their necessities, made their beds, swept the floor round them, and gave them their meals.

Prayer

PHILIP, my holy Patron, who wast so careful for the souls of thy brethren, and especially of thy own people, when on earth, slack not thy care of them now, when thou art in heaven. Be with us, who are thy children and thy clients; and, with thy greater power with God, and with thy more intimate insight into our needs and our dangers, guide us along the path which leads to God and to thee. Be to us a good father; make our priests blameless and beyond reproach or scandal; make our children obedient, our youth prudent and chaste, our heads of families wise and gentle, our old people cheerful and fervent, and build us up, by thy powerful intercessions, in faith, hope, charity, and all virtues.

Prayer of Cardinal Baronius (above)

Day 9: Philip’s Miraculous Gifts

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The veneration of St. Philip has spread around the world. (Source)

PHILIP’S great and solid virtues were crowned and adorned by the divine Majesty with various and extraordinary favours, which he in vain used every artifice, if possible, to hide.

It was the good-pleasure of God to enable him to penetrate His ineffable mysteries and to know His marvellous providences by means of ecstasies, raptures, and visions, which were of frequent occurrence during the whole of his life.

A friend going one morning to confession to him, on opening the door of his room softly, saw the Saint in the act of prayer, raised upon his feet, his eyes looking to heaven, his hands extended. He stood for a while watching him, and then going close to him spoke to him—but the saint did not perceive him at all. This state of abstraction continued about eight minutes longer; then he came to himself.

He had the consolation of seeing in vision the souls of many, especially of his friends and penitents, go to heaven. Indeed, those who were intimate with him held it for certain, that none of his spiritual children died without his being certified of the state of their souls.

Philip, both by his sanctity and experience, was able to discriminate between true and false visions. He was earnest in warning men against being deluded, which is very easy and probable.

Philip was especially eminent, even among saints, for his gifts of foretelling the future and reading the heart. The examples of these gifts which might be produced would fill volumes. He foretold the deaths of some; he foretold the recovery of others; he foretold the future course of others; he foretold the births of children to those who were childless; he foretold who would be the Popes before their election; he had the gift of seeing things at a distance; and he knew what was going on in the minds of his penitents and others around him.

He knew whether his penitents had said their prayers, and for how long they were praying. Many of them when talking together, if led into any conversation which was dangerous or wrong, would say: “We must stop, for St. Philip will find it out.”

Once a woman came to him to confession, when in reality she wished to get an alms. He said to her: “In God’s name, good woman, go away; there is no bread for you”—and nothing could induce him to hear her confession.

A man who went to confess to him did not speak, but began to tremble, and when asked, said, “I am ashamed,” for he had committed a most grievous sin. Philip said gently: “Do not be afraid; I will tell you what it was”—and, to the penitent’s great astonishment, he told him.

Such instances are innumerable. There was not one person intimate with Philip who did not affirm that he knew the secrets of the heart most marvellously.

He was almost equally marvellous in his power of healing and restoring to health. He relieved pain by the touch of his hand and the sign of the Cross. And in the same way he cured diseases instantaneously—at other times by his prayers—at other times he commanded the diseases to depart.

This gift was so well known that sick persons got possession of his clothes, his shoes, the cuttings of his hair, and God wrought cures by means of them.

Prayer

PHILIP, my holy Patron, the wounds and diseases of my soul are greater than bodily ones, and are beyond thy curing, even with thy supernatural power. I know that my Almighty Lord reserves in His own hands the recovery of the soul from death, and the healing of all its maladies. But thou canst do more for our souls by thy prayers now, my dear Saint, than thou didst for the bodies of those who applied to thee when thou wast upon earth. Pray for me, that the Divine Physician of the soul, Who alone reads my heart thoroughly, may cleanse it thoroughly, and that I and all who are dear to me may be cleansed from all our sins; and, since we must die, one and all, that we may die, as thou didst, in the grace and love of God, and with the assurance, like thee, of eternal life.

Prayer of Cardinal Baronius (above)

filippo.neri.19

St. Philip Neri, remember thy congregation. (Source)

Collect for the Feast of St. Philip Neri

O God, who never cease to bestow the glory of holiness
on the faithful servants you raise up for yourself,
graciously grant
that the Holy Spirit may kindle in us that fire
with which he wonderfully filled
the heart of Saint Philip Neri.
Through our Lord Jesus Christ, your Son,
who lives and reigns with you in the unity of the Holy Spirit,
one God, for ever and ever.

(Collect for the Feast of St. Philip)

Newman’s Litany to St. Philip Neri
(source)

saints5-23ePhilipNeriGlass

A stained glass depiction. (Source)

Lord, have mercy.
Lord, have mercy.
Christ, have mercy.
Christ, have mercy.
Lord, have mercy.
Lord, have mercy.
Christ, hear us.
Christ, graciously hear us.
God the Father of Heaven,
Have mercy on us.
God the Son, Redeemer of the world, 
Have mercy on us.
God the Holy Spirit,
Have mercy on us.
Holy Trinity, One God,
Have mercy on us.

FourSpaniardsandaSaint

St. Philip with (l-r): St. Ignatius Loyola, St. Francis Xavier, St. Teresa of Avila, and St. Isidore the Farmer. All five were canonized on the same day in 1622. The people of Rome said that, on that day, the Church canonized “Four Spaniards and a Saint.” (Source).

Holy Mary,
pray for us.
Holy Mother of God, 
pray for us. 
Holy Virgin of Virgins, etc.

Saint Philip,
Vessel of the Holy Spirit,
Child of Mary,
Apostle of Rome,
Counselor of Popes,
Voice of Prophecy,
Man of Primitive Times,
Winning Saint,
Hidden Hero,
Sweetest of Fathers, 
Martyr of Charity,
Heart of Fire,
Discerner of Spirits,
Choicest of Priests,
Mirror of the Divine Life,
Pattern of humility,
Example of Simplicity,
Light of Holy Joy,
Image of Childhood,
Picture of Old Age,
Director of Souls,
Gentle Guide of Youth,
Patron of thine Own,

saints5-23dPhilipNeri

“The Ecstasy of St. Philip Neri,” Gaetano Lapis, 1754. (Source)

Thou who observed chastity in thy youth,
Who sought Rome by Divine guidance,
Who hid so long in the catacombs,
Who received the Holy Spirit into thy heart,
Who experienced such wonderful ecstasies,
Who so lovingly served the little ones,
Who washed the feet of pilgrims,
Who ardently thirsted after martyrdom,
Who distributed the daily word of God,
Who turned so many hearts to God,
Who conversed so sweetly with Mary,
Who raised the dead,
Who set up thy houses in all lands,

Lamb of God, Who takest away the sins of the world,
Spare us, O Lord.
Lamb of God, Who takest away the sins of the world, 
Graciously hear us, O Lord.
Lamb of God, Who takest away the sins of the world, 
Have mercy on us.

Christ, hear us.
   Christ, graciously hear us.

V. Remember thy congregation.
R. Which thou hast possessed from the beginning.

Let us Pray.

   O God, Who hast exalted blessed Philip, Thy confessor, in the glory of Thy Saints, grant that, as we rejoice in his commemoration, so may we profit by the example of his virtues, through Christ Our Lord. 
R. Amen.

St+Philip+NeriAlvinOng

“St. Philip Neri,” by contemporary artist Alvin Ong. Acrylic on wood. 2014. Commissioned by the Oxford Oratory. (Source)

UVA’s Own Saint

JULIEN GREEN

Julien Green (1900-1998), c. 1935. One-time student at the University of Virginia. Source.

As a student of the University of Virginia, I have been bombarded with official propaganda about the history of the Great Men (and, much later, Women) who “wore the honors of Honor.” Poe in particular is a favorite example, and certain elements of UVA culture such as the Jefferson and Raven Societies are suffused with the memory of his presence. We even commemorate him by setting apart a room on the West Range which we claim, without proper evidence, to be his. No matter. The great poet did live in the Academical Village before he dropped out, and he’s too important a figure not to use in a marketing ploy. The presence of William Faulkner is more understated, though an outstanding exhibition currently on offer at the Albert and Shirley Small Special Collections Library is correcting that imbalance. So, too, members of the Jefferson Literary and Debating Society recall fondly that he accepted honorary membership of their esteemed organization, once delivering an address with John Dos Passos in attendance.

I might also add, for those who enjoy fine beverages, that Faulkner’s grandson owns and runs a superlative small winery on the outskirts of town. The resemblance is uncanny.

But one author who left his footprints on Mr. Jefferson’s Grounds has gone sadly unnoticed by the vast majority of students. That man is Julien Green. I imagine that, if I were to ask any passing student about Julien Green, they would have no idea who he was. Yet in his own day, he was a major player in the French literary scene, interacting with such characters as André Gide, Jacques Maritain, Lucien Daudet, Gertrude Stein, Georges Bernanos, and many more. He even reached the pinnacle of literary achievement in France, eventually becoming the first American ever elected to the Académie française.

This oversight becomes more egregious in that, unlike Poe and Faulkner, Green wrote prolifically about his time at UVA. Indeed, he even set one of his novels at the Universityincluding a scene in front of a specific Lawn Room, 34 East. In the same book, he gives one of the most beautiful descriptions of the old Rotunda library that I have read; it still makes me proud to be a student at UVA, although the building has changed radically since that age. I am sure that in the years to come, I will return to that passage with no small dose of nostalgia.

Portrait_of_Julian_Green_(1900-1998),_by_photographer_Carl_van_Vechten

Green’s Van Vechten portrait, Nov. 11, 1933. Source.

The scion of two old Southern familiesone from Georgia, one from VirginiaGreen was born in Paris in 1900. He spent his youth hearing stories of the old Confederacy, which his mother romanticized incessantly. After World War I broke out, he served in both the American Red Cross and the French Army. When the fighting finished, he shipped off to college in the United States, a land he had never before seen.

Green was a student at the University from 1919-1921. By all accounts, he did not enjoy his time in Charlottesville. He was a remarkably proficient student, able to complete all of his academic duties by ten before spending the rest of the day with his books in the Rotunda. He was particularly fond of The Critique of Pure Reason. As a teenage convert to Catholicism, Green also felt alienated from his WASP peers. The University had no Catholic chaplaincy, so he had to trudge all the way down into the city to the rickety wooden mission parish (now Holy Comforter).

Church-of-the-Paraclete

As the only Catholic parish in Charlottesville at the time, the “Church of the Paraclete,” later Holy Comforter Parish, must have been where Green received the sacraments. But he describes it as a wooden church, not the brick structure that we know it to have been. This is a puzzle which more research could, perhaps, solve. (Source).

Anti-Catholicism wasn’t the only religious prejudice that infected the University’s culture. Green muddled through an independent study of Hebrew with a noticeably unpopular, albeit good-humored, Jewish student whom he calls “Drabkin.” Antisemitism must have been an entrenched, unquestioned part of student life then. Green was not an antisemite, and he would later return to the language after many years. In his later life, he relished the texts of the Old Testament (Diary 1928-1957 65-66).

Old_Lawn_Photo

The Lawn. Date Unknown. Source.

Virginia students will recognize certain eternal experiences that Green records in the third volume of his Autobiography, entitled Love in America (the cover shows the Rotunda from University Avenue). He likely lived in the block where Boylan, Fig, and Mellow Mushroom stand now, though possibly as far as Wertland. He describes a scene in his boarding house, which gave him a view “over the main avenue which led to the University, as well as the bridge across which the express train would rumble four or five times a day” (Love in America 71). Later, he moved to a house at the end of Chancellor Street, owned by an old woman named Ms. Mildred Stewart (Love in America 172-73).

Final_bridge_THEN

The view of the bridge looking towards the University, c. 1906. This approximates the view that Green describes from his first accommodations. (Source).

While in Charlottesville, he admired the University’s physical beauty, writing,

 

Life at University was slow to start again, for no one was ever in a hurry there, but by the end of the first week classes were full once more, and students yawned in the pleasant September weather. At Cabell Hall, the scent of honeysuckle hung over each window casement, and in the hall the plastercast of Hermes in all his majestic immodesty rose above the heads of the boys who walked past the level of his knees. (Love in America 131).

Evidently Old Cabell, before it was “Old,” had a few classical (nude) statues positioned around the staircases. One can only imagine what Green would think of the beautiful but controversial mural that now adorns its walls. He did go to attend convocation and other functions in its concert hall, where even then a large reproduction of “The School of Athens” graced the stage (Love in America 133).

First_copy_in_Annex.jpg

The University’s first copy of “The School of Athens,” then in the Rotunda Annex (prior to 1895, when the Annex burned down). By Green’s day, a replacement had been placed in Cabell Hall. Interestingly enough, the chairs in the photo resemble those in Hotel C, and the motto hanging at the topHaec Olim Meminisse Iuvabitmatches that of the Jefferson Literary and Debating Society. (Source).

 

OldCabellMural

The Old Cabell mural by Lincoln Perry. Source.

And of course, he writes about the Rotunda. In 1937, Green was back in Charlottesville. In his Diary, we read that he would often ponder whether Poe studied at the same tables in the same “old library,” i.e. the Rotunda (72). As I mentioned earlier, Green would go on to compose one of the best literary depictions of the Rotunda in his 1950 novel, Moira:

A few minutes later he was mounting the library steps and pushing open the heavy door…The warmth of the large, round room was pleasant and he stood there for a few seconds, his face relaxing. Finally he took off his overcoat and looked for a table, but the best places were taken. Everywhere there were students reading, or snoozing, overcome by the warmth under the great dome. In the silence he heard the hissing of the radiators. Joseph walked almost right round the library on tiptoe before he found a place behind a great pile of overcoats and scarves on a table. With a sigh of weariness he sank into an armchair…How comfortable it was! A delicious warmth flowed into his hands, his legs, all through his body. With his elbows on his legs, he linked his fingers over his stomach and looked curiously out of the window. Everything was hidden in snow. The tips of the magnolia leaves near the library could just be seen like black tongues. The little brick path had been cleared. Joseph had often heard it said that nothing ever changed at the University, but this morning, for the first time, he felt a sort of gratitude for everything that did not alter. Generations of young men had sat there in that corner and, like him, looked out over the little brick path. In the spring and autumn the wistaria hung all over the arch on the right. This morning the snow allowed only a few black and twisted branches to be seen, but there would be wistaria again. The snow would melt, but under the snow were all those dead leaves…(Moira 221-22).

Final_domeRoom_THEN

Green certainly based the scene on his own recollections. The Rotunda was one of the very few places where he could be happy, alone among the quiet genius of dead men. In his Autobiography, he calls it a “pink Pantheon” and tells us,

 

If I looked to the left, I could see the curves of Houdon’s bronze bust of Washington. To the right were the clumps of laurel trees, still green after the first snows. Like those who frequent certain cafes, I had my particular place, my preferred alcove. What dreams did I not drift into there? (Love in America 57-58).

RotundaMorningMar16

Morning in the Academical Village. The magnolias that Green describes were taken down in the recent renovations. Photo by the author, Mar. 16, 2017.

MoiraGreen

Cover of a Spanish edition of Moira (1950), implicitly set at the University of Virginia. Source.

He spent time on the Lawn, a place that would hold tremendous personal meaning for him, as we shall see. Green writes of the Lawnies and their rooms,

These privileged individuals did not live just anywhere. On either side of the long lawn, built into the brick walls, there were the dark green doors [they are red today] that I mentioned before, each with its brass number and frame that held a visiting card. Once one had gained access through one of these doors, you found yourself in a sort of cell. Daylight came in through a sash window and in cold weather the room was heated by lumps of coal which smoked in the fireplace, exactly as in English Universities…The obligatory rocking-chair could be seen in one corner, but when the weather was fine, one dragged it outside on the Lawn and studied beneath the trees [I and many others have continued this tradition]. These two galleries which faced each other were known as East Range and West Range [I have no explanation for why Green would write this, except that perhaps all the rooms in the Academical Village were once called by the title now only given to those that face away from the Lawn]. I never think of them without sadness after so many years. I little knew how much pain awaited me there. (Love in America 55).

There are other similarities between his time and ours. Green knew the irritation of construction, as he was there for the start of work on the Amphitheater (Love in America 194). He went to something very much like Foxfield: “One day, I was taken to the races at Warrenton in the north of Virginia. Everyone in the South knew Warrenton. Once a year, the races took place there and people came from all around” (Love in America 125). He published a story in one of the University magazines, Virginia Quarterly (Love in America 168). He even read The Yellow Journal, which he describes in the following terms:

…little more than a scandal sheet, designed to make people laugh. All sorts of personal insinuations were made, but in such a way that those who complained only did harm to themselves. The editors were diabolically cunning [still absolutely true]. People tolerated The Yellow Journal with good humor that occasionally turned to anger, for people were terrified of appearing in it. (Love in America 191).

Pergola_THEN

Cabell Hall Peristyle, c. 1920. Green would have passed by these columns every day. Today, the hulking mass of Bryan Hall looms behind them, and no ivy grows there. (Source).

He took History classes in the Rotunda under a Professor Dabney, very probably the Richard Heath Dabney who gave his name to one of the Old Dorms (Love in America 170). In one of the more humorous points of the Autobiography, Green tells us that the fervently Protestant Dabney, having heard that there was a devout Catholic student in his lecture, went out of his way to emphasize the depredations of Romanism. Many years later, when Dabney learned that Green had become a novelist and not a priest, he is reported to have said, “Anyway, it’s due to me that he remained a layman” (Love in America 170-71). There is also an extremely amusing episode in his Autobiography in which Green is hit up for donations to President Alderman’s funding drive.

One evening, as I was studying in my room by the light of the oil lamp…the door was pushed open and I saw two large boys whose build suggested they played football…
“Good evening,” said one of them. “Are you Green, Julian Green?”
“Yes, I am.”
“Do you love this University?”
“Well…”
“Of course he loves it,” said the other. “It’s his Alma Mater. So you’re going to give a nice present to your Alma Mater, a present of one dollar, and then you will sign there,” he added, placing a printed card before me.
I read it without knowing what it said. “I don’t understand,” I said.
“That doesn’t matter. Just give a dollar like a gentleman.”
I gave them a dollar.
“Good. The rest is merely a formality. You commit yourself to paying two dollars every year.”
“For how long?”
“Until the Lord calls you to him…There, do you see this dotted line? That’s where you sign, like a true Virginian gentleman. Otherwise…”
“Otherwise what?”
“Otherwise the University will realize it has been mistaken about you.”
I signed.
“Good evening,” they said as they left. “It’s been a pleasure chatting to you.”

(Love in America 159-60).

Did someone mention the Class Giving Campaign? (I kid..I kid…)

julien-greencandid

Green was known for his books that combined penetrating psychological portraits with Catholic spirituality and an exploration of sexual guilt. He also made a major impact on French letters through his multi-volume Diary, which stands as one of the most important pillars of 20th century French literature. It is an invaluable source for scholars of several major writers. Source.

Amphitheater_THEN

The Amphitheater, c. 1920. Green was there when construction began. (Source).

Yet at the end of the day, Green’s experience at the University cannot be described as all that similar to our own. He records things as they once were, and are no more. On the occasion of a return trip in 1933, he writes,

At the University. She is the same as ever, cordial with that shade of disdain that gives her so much charm. Her vast lawns bordered by Greek Revival columns reflect a peaceful soul, perfectly satisfied with herself. You call on her, a hand is extended with a smile. If you turn away from her, if the whole of America forsook her at the foot of her hills, she would none the less pursue her quiet dream, adorned with classical literature, white frontages, black foliage. From North to South, what could there be for her to envy? Isn’t she Mr. Jefferson’s daughter? (Diary: 1928-1957 47).

This romantic depiction of the University overlooks several of the very real problems, particularly racial ones (“white frontages, black foliage”), that plagued the University and the South at that time. And certainly, no one living in Charlottesville today could seriously write about UVA like this. It’s too large and worldly, and we all have a much clearer sense of collective sin than Green did. There is a certain literary irony in this blind spot, as Green was deeply indebted to that bard of guilt, Nathaniel Hawthorne.

But Green saw enough changes to realize that the University he remembered at the cusp of the 1920’s no longer existed. When he returned in 1937, he was deeply displeased with President Newcomb’s expansions.

Visited the new buildings, none of which are fine. The old University is intact, but while it used to be surrounded by woods, meadows, and ponds, as in Mr. Jefferson’s time, it now suffocates within a belt of big, commonplace houses. Useless to tell me that the buildings were very expensive, that doesn’t give them any more merit in my eyes. No, what happens to cities and universities is what happens to men: wealth kills something in them that can never again be found or replaced. Now that the University has become one of the big American universities, with a gymnasium the size of a railroad station [Mem Gym], a dormitory as big as a barracks [Old Dorms], etc., it attracts an increasing number of Northern boys, and I find no fault in this, but note that it is hardly any longer a Southern university. Its professors come from all over the country…(Diary: 1928-1957 72-73).

We who have passed our time here in the 21st century, almost a hundred years after Green left, must stifle a chuckle at his somewhat provincial complaint. It’s not hard to imagine what he would make of the Engineering School, Ruffner, New Dorms, Runk, Scott Stadium, Nau-Gibson, or New Cabell…let alone the sprawling monstrosity that is the medical complex. And you will be happy to know that Green could honestly describe Fourteenth Street in the Year of Our Lord 1921 as “rather gloomy” (Love in America 172).

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Julien Green, c. 1957. Source.

But in addition to religious pressures and the ordinary stresses of student life, Green’s time at the University was deeply unhappy for another reason. It was there that he discovered something about himself that would mark his writing for the rest of life. While studying Latin with Dr. Fitzhugh (almost certainly the namesake of the crummy dorm on Alderman Road), Green had an epiphany.

The day eventually came when Dr. Fitzhugh…coming to a passage of Virgil, made the following speech to us, not a syllable of which have I forgotten:
“Gentlemen, it seems pointless for me to disguise the meaning of this passage: we are dealing here with the shame of Antiquity, by which I mean boy-love.”
These words fell on an extraordinary silence, so much so that when I closed my eyes I believed I was alone in the room…The rapt attention with which everyone listened should have apprised me, had I been capable of reasoning, but I felt so dumbfounded it was as if someone had struck me a violent blow to the head. In a second, I understood a thousand things, except for one which was essential. I realized that the strange passion of which Virgil spoke resided also in me. A blinding flash had clarified my entire life. I was frightened by this revelation which identified me with the young men of Antiquity. So I bore the shame of Antiquity, I alone bore it. Between me and these generations that had disappeared over twenty centuries ago there was this extraordinary link. In the modern world, I was alone because of it. (Love in America 49-50).

Green realized that he was a homosexual. As fellow student Mr. Thaddeus Braxton Woody (“Mr. Woody, may he always be remembered”) would later note, Green was never a very happy student. His shame compounded his sense of isolation. And it would not be long before he fell in love for the first time. That winter, when walking back from Cabell Hall towards the Rotunda, Green spotted a boy who darted past him swiftly, without even a word. It was a coup de foudre. He was totally captivated. Green tells us that, after a spell of motionless awe in what was probably the East Lawn colonnade, he went back to his room and thought, “I love him…I shall have to die” (Love in America 79). Green was “enslaved” to a love that dare not speak its name (Love in America 79). When Green would later write the story of his life, he called the mysterious student “Mark S.,” but revealed that he lived in 34 East Lawn (Love in America 90). Two students lived in that room in the Spring of 1920, so if your curiosity gets the best of you, you are welcome to search the Lawn Resident database to discover their names. It is impossible to know which of the two won Green’s unrequited love.

And it was an entirely un-erotic love at that. Green was spiritually attracted to Mark. He could easily distinguish between the innocent tenderness he felt for Mark and the darker, carnal desires that characterized his thoughts about some of the other studentsincluding Virginius Dabney, son of that zealously Protestant lecturer and later an important scholar and journalist in his own right (Love in America 91, 171-72). Only towards the end of his time at the University did Green ever pluck up the courage to speak to Mark, who welcomed him as a dear friend. He never did grasp the depth of Julien’s affections (Love in America 255-59).

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Old Cabell Lobby, c. 1914. The statues in Cabell were a source of some temptation for Green, and helped him understand his homosexuality in a specifically classical context. They also appear in Moira (1950), where the Puritanical protagonist finds them repulsive. (Source).

Green never consummated his desires in Charlottesville, but by the time he left, his sexual awakening was more or less complete. He was aided in arriving at this “transformation” of awareness by a similarly-inclined student whom he calls “Nick” in his autobiography. Nick shared stories of his own encounters, introduced Green to the work of Havelock Ellis, and encouraged him to a sexual adventurism that Green was never to take up (inter alia, Love in America 202-04, 209-11, 214, 266).

 

Any reader of Green’s novels or diaries knows that homosexuality would go on to become one of his constant themes, even when it exists beside more conventional relationships. The memory of that first, innocent love with “Mark” would later fuel the novel he wrote about the University, Moira (1950). Mark appears in the story as “Bruce Praileau,” a handsome Lawnie who shares an unspoken sexual tension with the main character (Moira 15). In fact, most of the male characters in that book correspond to one or two of the figures in the Autobiography, including a Mephistophelean young professor of Classics who introduced Green to the sodomitical poetry of Petronius and Catullus at an evening party (Love in America 240-42). Even beyond Moira, Green’s fiction very often explores issues related to the homosexual experience in the middle of the 20th century.

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Julien Green at about the age he would have attended the University. Source.

The energy and complexity of that exploration lies not only in his own relationships, but in his intense spiritual vision. Even in Moira (1950), the main internal conflict takes place between the protagonist’s repressed sexual urges (both for women as well as, implicitly, men) and his zealous, Puritanical religion. His competing fanaticisms eventually erupt into an act of violent destruction, but I won’t spoil the plot for those of you who may wish to read it.

Green’s time at the University transpired at the latter end of his first conversion. He had been received into the Catholic Church as a teenager, during the War. He would later leave the Church after his return to Paris, and spent the better part of two decades in the bohemian lifestyle which so strongly characterized the French literati of that age.

Yet even in this period, he retained a constant belief in God and a devotion to the Bible. In the late 1930’s, he returned to his Catholic faith. He would persist in it, albeit at times imperfectly, for the rest of his life. He broke off sexual relations with men, including his long-time partner and biographer, Robert de Saint Jean (though their emotional and spiritual relationship continued). He hated to be called a Catholic writer, but Green did acknowledge that his works “allow glimpses of great dark stirrings…the deepest part of the soul…the secret regions where God is at work” (Diary: 1928-1957 190). Green went so far as to write a life of St. Francis of Assisi, a saint to whom he always felt a certain inexplicable attraction. One reporter notes that “When asked, tactlessly, how he would like to die, he replied with a curious malicious twinkle in his eyes: ‘In a state of grace.'”

So, why would I title this largely historical post “UVA’s Own Saint?” Because I shamelessly want page views, of course. But also because I believe that Green’s work exhibits a spiritual mastery which is rarely acknowledged. He has been overlooked, I think, in large part because of his homosexuality. Occasionally, even conservative Catholic activists will tip their hats to Green (see Deal Hudson’s “The 100 Best Catholic Novels I Know,” where no fewer than three of Green’s books make the listor the 1996 Crisis Magazine article on Love in America, written in a tone that differs rather markedly from the journal’s more recent fare. Hudson has long admired Green, and even corresponded with him in the mid-90’s). On the other hand, Spiritual Friendship, a blog that has done so much to change the conversation about homosexuality in the Church while remaining faithful to Catholic orthodoxy, has never really given much thought to Green.

But it would be a colossal mistake to treat Green as a “gay” Catholic writer, as if his work can only speak to the narrow concerns of a minority within the Church. He must not be made a football subject to the ephemeral concerns of the culture warriors. Catholics should pay more attention to him because his spiritual insights speak to the depths of the human condition. What is unique in Green is the way he draws those universal ideas from his own very particular situation. Like St. Augustine in Antiquity, Green perfects the art of discerning the divine meaning of memory. Much of his spiritual vision is concentrated in his personal, autobiographical, and reflective writing. For example:

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St. Augustine of Hippo. A major influence on Green. (Source)

The Eternal is the most beautiful name that has been given to God. You can think it over until you lose all feeling of the exterior world, and I think that, in a certain manner, it is in in itself a way that leads to God. If we seek what is eternal in the sensuous world, all the manifestations of matter vanish from our sight, what is most solid together with what is most ancient, until we reach the limits of what is imaginable in all possible spheres. When I was still a child, I used to think over occasionally the term for ever and ever that Protestants add at the end of the Pater, and the words finally gave me a sort of mental dizziness, as though by continuing in that direction you would reach something inexpressible, an immense void into which you fell. (Diary: 1928-1957 76).

In this passage, he echoes sentiments that Newman felt and expressed nearly a hundred years earlier in the Apologia, and anticipates several of the key themes that would mark T.S. Eliot’s spiritual poetry. But perhaps more importantly, these words reveal Green’s basically Augustinian orientation, the legacy of both his Calvinist upbringing and his Catholic reading.

That deep longing for happiness, that longing I have in me, as we all have, so much so, for instance, that I can’t listen without melancholy to a bird singing on a too fine summer day in Paris, where does it come from? It is not merely the longing to possess everything, formerly so strong in me; it is a painful and sometimes pleasant nostalgic longing for a happiness too far away in time for our brief memory to retrace it, something like a recollection of the Garden of Eden, but a memory adapted to our weakness. Too much joy would kill us. (Diary: 1928-1957 81)

All the dead are our elders. When a child of ten dies, he is my elder because he knows. (Diary: 1928-1957 124).

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François Fénelon, another significant influence. (Source)

As might be expected, he had a particular concern for questions of the human body and the importance of chastity. In his Diary, he often ponders the body’s potential and limits in the spiritual life:

Vice begins where beauty ends. If one analyzed the impression produced by a beautiful body, something approaching religious emotion would be found in it. The work of the Creator is so beautiful that the wish to turn it into an instrument of pleasure comes only after a confused feeling of adoration and wonder. (Diary: 1928-1957 93).

Chastity is the body’s nightmare. The soul is certain of its vocation, but the body’s vocation is physical love. That is its mode of expression, the way it fulfills its part; that is all it thinks, that is all it thinks about. How can you expect it to understand the soul’s care? That body and soul are forcibly wedded is a mystery. The body hates the soul and wants it to die…To remain chaste does not necessarily make a saint of you, but chastity is one of the hallmarks of holiness, and if you wish to be chaste, you also wish to be holy, without daring to admit it, perhaps. (Diary: 1928-1957 203).

Sin occupies a major portion of his attention:

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Blaise Pascal, a major influence. (Source)

One loses all in losing grace. Many a time have I heard this said, but it is curious to observe that a single sin disenchants the whole of the spiritual world and restores all its power to the carnal world. The atrocious chaos immediately reorganizes itself…A veil stretches over the page. The book is the same, the reader’s soul has grown dark…a single act of contrition is enough for this wretched phantasmagoria to vanish and for the marvelous presence of the invisible to return. A man who has not felt such things does not know one of the greatest happinesses to be had on earth. (Diary: 1928-1957 300).

 

He had an exceptionally strong sense of the ineffable mystery at the heart of Christianity, drawn in large part from his reading of Scripture:

Faith means walking on waters. Peter himself had begun to sink when Jesus stretched out His hand, reproaching him for doubting. Now, we must believe. In an atheistic world, we have received this exceptional gift. In wind and in darkness, if the ground gives way under our feet like waterand who has not felt this at some time or other?we must go straight ahead, in spite of all, and grasp the hand that is stretched out to us. (Diary: 1928-1957 273).

It is useless to attempt to get ahead of divine action. Our soul is an abyss into which we vainly peer. We scarcely see anything, but something is happening therea great drama, surely; the drama of Adam’s salvation. The Church puts these things to us as best it can, but in a necessarily imperfect tongue, that is, the human tongue. It makes us familiar with extraordinary ideas that lose much of their strength with time. Happy the man who, in growing older, can feel the mystery increasing beyond all expression…(Diary: 1928-1957 284).

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The two great Carmelite doctors, St. Teresa of Avila and St. John of the Cross. (Source)

How I loved the word firmament when I was still a child! To me, it seemed filled with light. My first purely religious emotion, so far as I can remember, goes back to my fifth or sixth year…The room was dark, but through a window-pane I saw thousands of stars shining in the sky. This was the first time, to my knowledge, that God spoke directly to me, in that vast, confused tongue which words have never been able to render. (Diary: 1928-1957 296).

Yet, in spite of himself, he could also sum up the most profound mysteries in brief and simple words:

What then did this book [Faith of Our Fathers, by Cardinal Gibbons] tell me? It revealed to me that even if I were alone in the world, Christ would come to save me. And it was the same for each of us. Why? For what reason? For love. God is love. When one has said that, one has said everything.  (Letter to Deal Hudson, 1995)

The contours of his spirituality were shaped by a number of writers. Among many others, we find the lingering presence of St. Augustine, Pascal, Fénelon, Newman, Bossuet, St. Francis of Assisi, the Carmelite doctors, the Jesuits, Jacques Maritain, Bloy, Claudel, Bernanos, and one rather important nun who is often overlooked: Mère Yvonne-Aimée de Jésus, of the Augustinian Monastery of Malestroit in Brittany. Dom Mark Daniel Kirby has an excellent post over at Vultus Christi outlining the connection between the nun and the writer. 

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Mère Yvonne-Aimée de Jésus. (Source)

Green maintained relationships with many communities over the course of his life. For instance, on October 25, 1947, he visited the famous Solesmes Abbey. He was impressed with the solemn chant and hymnody he heard there. Green had only the highest praise for the monastic vocation:

The monks in their black robes seem to glide over the surface of the floor like ghosts. On their faces, pax, as everywhere in this place. Peace and joy…It seems to me that Benedictine life is one hymn of happiness and love, in a rather slow mode, true enough, but what charm in this slowness and how precious it seems to me in a world that a passion for speed has made almost idiotic! A hymn, that’s what it is…It occurs to me at times that these monks live in a sort of great liturgical dream, whereas, in reality, they are the ones who see things as they are, and we are the ones who live in a dream always on the verge of turning into a nightmare. (Diary: 1928-1957 190).

No doubt, he wrote these words with a degree of wistful melancholy. In Green’s first flush of religious zeal, he had been received into the Church by one Father Crété, a Jesuit who also encouraged him to pursue a vocation as a Benedictine at Quarr Abbey, on the Isle of Wight (Kirby). That was the life he left behind when he came to America, stepped into Fitzhugh’s Latin class one day, and discovered that he bore “the Shame of Antiquity.”

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Green in his later years. He died just before his 98th birthday, only a few days prior to the Feast of the Assumption. (Source)

Julien Green would be worth remembering here at UVA if only because of his accomplishments as a writer. In the words of his obituary,

Green’s earlier novels – Mont-Cinere (1926), Adrienne Mesurat (1927), Leviathan (1929), L’Autre Sommeil (1931), Epaves (1932), Le Visionnaire (1934), Minuit (1936), Varouna (1940) – with their brooding melancholy and troubling sexual undertones, are masterpieces of psychological subtlety and crystal-clear but evocatively poetic style…But undoubtedly Green will chiefly be remembered for his extraordinary journals, the longest in French literature; those so far published cover 70 years (1926-96) while Gide’s cover 62 (1889-1951). There are more to follow…His prizes and honours are innumerable. (Kirkup).

But he offers so much more than a literary legacy. Julien Green’s star is fixed in the celestial canon of the greatest Christian artists the modern world has seen. He deserves a place alongside those other artists who share his temperament and spirituality: Flannery O’Connor, Graham Greene, Shusaku Endo, Paul Verlaine, Joris-Karl Huysmans, Georges Rouault, T.S. Eliot, and Fyodor Dostoevsky. His life story sits uneasily in the restrictive and politicized categories we draw to understand the sometimes dizzying diversity within the communion of saints. He and his work challenge us. Catholicsparticularly Catholics at the University of Virginiashould embrace that challenge.

But perhaps the most basic plea I can make is that Julien Green is one of us. He was a student at the University of Virginia. His experience in Charlottesville profoundly marked his soul and his art. It may not have been a happy time in his life, but it changed him forever and left him with a profound gratitude for Mr. Jefferson’s University. How many of us can say the same?

Green’s diary reveals that, years after he left UVA, he came to appreciate it in a much deeper way. On December 6, 1933, in anticipation of a return trip, he writes,

It has been eleven years since I left [the University], and I wonder if I will be sad or happy to see it once more. No doubt I did not know how to benefit from all it offered me; I did not quite understand the University, and it did not condescend to explain itself. It was only once I left that I realized how deeply I loved it and was unknowingly immensely indebted to it. But in 1920 I missed France too much. At twenty, in one of the most beautiful landscapes in the world, without a worry for the future, I contrived every day to think myself unhappy. Ah! if everything had to be lived over again, with the experience that I have acquired since! How many friendships were offered me and discouraged by my lack of sociability! (Diary 1928-1957 45).

For an undergraduate about to walk the Lawn at graduation, I can’t help but relate to Green’s introspection. The words he wrote on what was, I believe, his last visit, June 12, 1941, are particularly poignant. He composed that entry while in exile during World War II, but the questions he poses loom before all of us who are soon to move on. I would like to offer them for your consideration.

At the University, toward the close of the same day. All the students have gone; everything is given up to solitude and to memory. We strolled on the big lawn that spreads before the Rotunda: great trees whispered above our heads, rows of white columns glimmered in the twilight, and I had never been struck as now by the simple beauty of the “ranges.” I would have liked to linger there for years, but we had to leave, one always has to leave, no matter what or where. And then, what would I have done at the University? Where is my place? Where am I going to live? Where am I going to die? (Diary: 1928-1957 113).

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Julien Green in his productive old age. (Source)

 

The Fifteen Most Important Films I Have Watched at UVA

In my time at the University of Virginia, I’m grateful to have received an unofficial aesthetic education parallel to (and sometimes part of) what I was learning in class. As part of a series of somewhat nostalgic posts, I’d like to revisit some of these and perhaps leave you with a few recommendations.

Some of this will be review. A great deal will be personal narrative. “Important” here is not an absolute quality, but rather a relative one. These films have been the most important to me over my four years. Moreover, there will be occasional spoilersthough, as with No. 5 and No. 4 on my list, I don’t spoil very much.

Keeping those disclaimers in mind, let’s begin.

15. What We Do in the Shadows

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I watched this New Zealand horror comedy with a friend (whom I will call here and throughout by the name “Sherman Pine”). And I’m glad I did. What We Do in the Shadows is one of the best depictions of male friendship I have ever seen. Not only is the film by turns hilarious and macabre, it also manages to evoke the unique social pressures facing (post)modern man. It deals with issues of difference, acceptance, competition, and more.

And for anyone with a taste for blood – or at the very least, a good vampire story – the number of playfully subverted classic genre tropes in the film will certainly please.

WWDITS was also my introduction to Taika Waititi, whom some of you may recognize as the director of the upcoming Thor: Ragnarok.

14. Doctor Strange

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Before I came to UVA, I wasn’t a fan of the Marvel universe. While I wasn’t exactly a DC partisan, I never paid much attention to the Avengers. I disliked the only Iron Man movie I had seen, and I had never bothered to watch any of the Thor or Captain America films.

But then came Guardians of the Galaxy, The Avengers: Age of Ultron, and Captain America: Civil War. Those three films and the conversations with friends that they engendered drastically changed my perspective on Marvel.

None of those, however, reached the artistic or philosophical heights of Doctor Strange. The beautifully kaleidoscopic special effects never drown out the excellent performances by Benedict Cumberbatch, Tilda Swinton, Mads Mikkelsen, and Chiwetel Ejiofor. And the plot contains a number of religious themes. It’s one of the few superhero movies I’ve seen that embraces a quasi-Christian worldview (the climax involves a kind of harrowing of hell).

In short, I guess I can now say that I’m a fan of the Marvel universe. Doctor Strange is just the best reason why.

13. Silence

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Wrenching, problematic, and beautiful, Silence is the only Martin Scorsese film on this list. I saw it with friends from one of my oratorical societies. We all went in with different perspectives, and came out with different reactions. Mostly, I just felt numb. I couldn’t find any words at all, but like Job, felt it necessary to “lay mine hand upon my mouth” in awe (Job 40:4 KJV).

I could probably write at length about the various theological issues, cultural questions, and cinematic gems that the film poses. I won’t. I’ll merely say that, while I found it emotionally crushing, I appreciate that art doesn’t abide by the rules we try to set it. Good Christian art – even Sophianic art – never loses sight of the essential brokenness of our fallen world. If anything, perhaps the great take-away from Silence is something like the advice I was once given by a very holy priest: “Never despair of the mercy of God.”

I’ll add briefly that, as someone who wants to focus on early modern Catholicism, I found the film a helpful occasion to raise awareness about the history of Christian persecution in Japan. The reconstructed world of 17th century Japan is sumptuously simple. Every aesthetic note is perfectly put. It will almost certainly be remembered as Scorsese’s masterpiece.

12. Mulholland Drive

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We move from Silence to “Silencio.”

Last Fall, I decided to watch Twin Peaks. That process entailed a general inquiry into the works of David Lynch, whom I had long admired. I told Sherman Pine, who shares my appreciation of Lynch, that I had yet to see the director’s famous neo-noir Mulholland Drive, and he was kind enough to watch it with me.

I still don’t understand this movie. I won’t pretend to. But boy, is it a ride.

I’ll add that Lynch really smartly contrasts different musical styles, which mirrors the doubling in the plot (but I won’t spoil those details). I know of no other director who is so committed to staged performance as a portrayal of themes. Particularly as they relate to the underlying tensions of sex and gender present in much of his work.

11. Days of Heaven

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My first Terrence Malick movie, but not the only one on this list. Watching Days of Heaven was like stepping into an Edward Hopper or Andrew Wyeth painting. Like a few other films – say, August: Osage County or NebraskaDays of Heaven stands as one of the quietly towering cinematic monuments of Midwestern life.

I also happened to watch the film with a friend (the aforementioned Sherman Pine) wile I was enrolled in an Anthropology class called “Language and Cinema,” which meant that I was particularly attuned to the way Malick crafts his story through sound. No other film that I know of uses such a wide range of realistic sounds so artfully. You can’t hear all the dialogue, and what you can hear, you can’t always understand. The voice-over narration is spoken by a child in the working-class accent of 1916 Chicago.

Of course, being a Malick film, the visuals are also gorgeous. A swarm of locusts is an inherently mythic phenomenon, but I think that only Malick could make them as beautiful as the sunlight they block and the fields they devour.

10. Do the Right Thing

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Because I was in that “Language and Cinema” class, I had the opportunity to watch several films I had never seen before. A few worth mentioning include Zoot Suit, the 1939 edition of Stagecoach, and Smoke Signals. Of all of the films we watched, one that really stood out to me as an exceptional piece of art was Spike Lee’s famous 1989 movie, Do the Right Thing.

The script offers a remarkable variety of linguistic turns that make it a rich field of social analysis. The film also impressed me as a bitingly relevant commentary on racism and policing. As someone with no prior awareness of the issues surrounding police brutality in 1980’s New York City, the movie made me want to learn more about a dark and overlooked chapter of our history. Given the recent spate of police brutality incidents over the last few years, it seems to me that more people should return to this film, a movie that carefully treads the line between the two social values on Radio Raheem’s fists: love and hate.

9. Becket

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Becket is not the greatest Catholic film ever made, but it comes close. Gorgeously fabricated costumes, historically-conscious sets, a richly Romanesque liturgical sensibility, copious use of Gregorian Chant, and an excommunication scene that thrills the cockles of every cold Traditionalist heartwhat’s there not to love?

Beyond these largely aesthetic factors, Becket has two unique strengths. First, the movie lacks any of the problematic theology or complicated nuances that has marked more artistically impressive Catholic films (such as Silence and Calvary). Of course, there’s nothing wrong with art engaging in these questions, but occasionally a more affirming film can be helpful. Becket, like A Man for All Seasons, manages to unite faithfulness to the Church’s teachings with genuine artistry. The titular bishop often defends “the Honor of God” against a rapacious monarch. And that brings us to the movie’s second great strength: its depiction of a friendship gone awry. This is a theme that isn’t treated as often as it should be in movies.

Of course, I may be mistaking my own reading of the film and its objective strengths. I first saw Becket when I was in a similar situation. A friend had quickly and completely become an enemy, and I could relate to St. Thomas’s exasperated struggle against a corrupt king.

And on top of that, it’s about St. Thomas Becket, who is one of the coolest British saints.

8. The Witch

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If you know me personally, you know that I adore The Witch (aka The VVitch). It may well be one of the finest horror movies ever made. It features all the tropes of early modern witch lore, a soundtrack that evokes the terrors of the Puritan frontier, and dialogue in 17th century dialect (my jam). Its understated visual style allows the actors’ performances to shine through. And the goat! The goat! Just look at it!

This film rekindled my interest in the tradition of horror in New England, which I’ve blogged about before in relation to Lovecraft. It was also the first horror movie I had ever seen in a cinema. The Witch also established A24 in my mind as one of the leaders of the new horror, a genre trend that I hope it continues with the upcoming It Comes at Night.

I consider The Witch to be the greatest Protestant film ever made. Yes, the Satanic Temple really liked it. Yes, A24 consciously hyped the film’s satanic themes as part of its publicity efforts. Fine. But the movie’s horror works by letting us into the world of Puritan New England, a world where the devil is real, witches kill babies, and the livestock aren’t always what they seem. And we are meant to sympathize with these people. They’re not the dupes of McCarthyesque hysteria. They’re the victims of supernatural evil.

I also read The Witch as a cinematic meditation on original sin in its Calvinist interpretation. Everything in the movie happens because of the father’s pride. He’s unwilling to repent and submit to the colonial community, and as a result, the whole family is expelled into the wilderness. The subsequent deterioration and damnation mirrors our own condition under Adam.

Also, if you like Goya’s Black Paintings, you’ll really like The Witch.

7. Herz aus Glas

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I saw Herz aus Glas (Heart of Glass) while on a Nietzsche kick in my second year. It messed with my head and made me want to read obscure Continental writers. I’ve always seen it as somehow quintessentially German. At the very least, Herz aus Glas introduced me to the remarkable oeuvre of Werner Herzog, who is my favorite European nihilist director. Not quite as grim as Béla Tarr, not quite as operatically depraved as Lars von Trier.

The film itself tells the story of a glass-producing village in Bavaria that descends into madness after the death of its chief glassblower. A highland prophet delivers cryptic messages throughout. The conclusion comes out of nowhere. At the end of the day, it’s probably a commentary on the German experience of capitalism and fascism, but who knows? Don’t question it.

6. Curse of the Golden Flower

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I first saw Curse of the Golden Flower with fourth-year friends when I was a lowly first-year. For me, it will always be a symbol of the similarly golden days between Spring finals and graduation.

The film struck me then as one of the most visually striking movies I had ever seen. The highly stylized recreation of Tang Dynasty China probably speaks to that part of me that also takes a guilty pleasure in the orientalist paintings of Gérôme and Delacroix. Each shot is saturated with a carefully chosen array of colors. The costumes and set design work together to fashion a stunning aesthetic experience. Think Beijing Olympics Opening Ceremony, but with more swords and cloth-of-gold.

Everyone to whom I have showed it since has agreed with my own assessment. The action thrills, and all the actors put in excellent performances. I’d also highly recommend Curse of the Golden Flower to fans of Game of Thrones. The palace intrigue that makes up the bulk of the plot resonates with much of what goes on in Westeros.

5. The Great Beauty

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When I started composing this list, The Great Beauty was down several places. But the longer I’ve thought about it, the higher I’ve ranked this film by Paolo Sorrentino. Readers of this blog will know that I kinda have a thing for his recent HBO limited series, The Young Pope. That show prompted me to look at Sorrentino’s cinematic work. The Great Beauty was the first of his movies that I watched. I’ve had the chance to watch it twice, and I may go back for round three in the next few weeks.

The film depicts the life of Jep Gambardella, a fictional Italian author who moves through the boozy and hedonistic world of the Roman intelligentsia. We see his interactions with other writers, strippers, a floundering performance artist, the wreck of the Costa Concordia, and more. He searches for the titular “grande bellezza,” only to find it after encountering love, suffering, and simplicity.

There isn’t much plot, but there is a whole lot of character development. Ensconced in a party lifestyle, Jep can’t produce any more books; he feels stuck. When he receives word that his first love has died, he goes through a period of intense introspection. As he looks back upon his life, he realizes that he’s lost any meaningful sense of joy. He’s caught in a malaise of memory. Only the wise words of a Mother Theresa-like nun whom everyone refers to as “the Saint” unlocks his situation.

She asks, “Do you know why I only eat roots?” Jep replies that he doesn’t know. She turns back, and without even a smile, says to him, “Because roots are important.” The terse, spiritual one-liners of The Great Beauty are typical Sorrentino fare. Similar lines appear throughout The Young Pope.

I first saw the film in February. I’ve been ruminating on it ever since. It has stayed with me and fermented in my soul like few other films. I can’t help but relate to the protagonistand not just because we share a similar sleep cycle. Jep Gambardella, played masterfully by Tony Servillo, strikes me as a character who could relate to the strange feelings of nostalgia and loss that I’ve had in the Spring of my fourth year. So much so, that along with the next two films, I consider it one of the triad of movies that has defined my final year at the University.

Also, the music in this film is totally gorgeous, and has given me a renewed appreciation of the Holy Minimalists. The soundtrack features both of the songs I described in a recent post on the Light of Tabor and Lent.

So go see it, because it really is too great a beauty to pass up.

4. The Mission

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Although I had heard of The Mission years ago, I only became really determined to watch it as the result of a class I took last fall, “Reformation Europe.” I’m glad I did. It also had a profound impact on me. I don’t think I know of a Catholic film that more perfectly depicts the difficult realities of balancing missionary work and the demands of Christian peace. The tension between the Jesuits played by Robert de Niro and Jeremy Irons is only undone through the reconciliation implicit in the climactic scene. It is the Eucharist, and the Eucharist alone, which can effect true peace – especially in the face of martyrdom.

A few ancillary personal notes. First, as an aspiring early modernist, I found that the film disposed me to take a much deeper interest in colonial South America. It also made me take a much more serious look into Christian pacifism. The best art should do that. It captures the imagination and lead us on from the beautiful to the true or the good. Secondly, “Gabriel’s Oboe” is also, for my money, the most uplifting music from any of the films I have listed in this post. Finally, it confirmed Jeremy Irons in my mind as the Most Catholic Non-Catholic currently acting in Hollywood (see Brideshead Revisited, The Borgias).

3. The Tree of Life

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For years, friends told me that I had to watch The Tree of Life. That it was an incredible piece of art. That it could never be adequately described. That it might just induce a religious experience.

Having watched it recently, I concur. The film is too vast to try and capture in any depth here. I’ll simply say that it is the most sophianic piece of cinema I have ever seen, and that if I have any time in the future, I may try to analyze it from a sophiological perspective. But not without one more viewing.

2. Into Great Silence

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For a while, I made it a practice to watch Into Great Silence at least once per semester. I believe I first saw the film in the Fall of my First Year, and in that sense, it was my first real introduction to monastic spirituality. The simplicity and manifest holiness of the Carthusians in the movie captured my imagination. Their silence spoke to me.

Nothing happens. Insofar as there is a narrativeand I must emphasize, there really isn’t oneit’s the first year in the monastery of a newly-professed novice. But we don’t focus on him. Instead, we watch many of the monks as they go about life. We are brought into the rhythms of their own silence, the particular ways they fill it with prayer and work. When the monks do speak, they often drop deep little lines. The only interview in the documentary is conducted with an ancient, blind monk. At one point, he says,

The past, the present, these are human. In God there is no past. Solely the present prevails. And when God sees us, He always sees our entire life. And because He is an infinitely good being, He eternally seeks our well-being. Therefore there is no cause for worry in any of the things which happen to us.

These words are good theology, spoken by a saint, given for our practical sanctification. Or consider an even better, briefer quip spoken by a monk at recreation:

The symbols are not to be questionedwe are.

Words to live by.

If you are Catholic, the hauntingly beautiful scene that depicts the Carthusian night office will make you want to go to adoration at midnight. If you are not religious, the film will make you take the ascetic life more seriously. And if you are pondering the Catholic life, I can’t think of a better cinematic introduction to the Church’s spirituality.

Well, I suppose there’s Bishop Barron’s Catholicism series. But that’s a show, not a film.

  1. Baraka

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Without a doubt, this film has defined my time at UVA. I discovered Baraka by accident, and it stirred something in me that has never quite settled.

One part nature documentary, one part travelogue, one part blistering social criticism, Baraka can be summed up in one word: transcendent. Everything in the film points towards what is beyond it, towards what it dare not express in words. There is no dialogue. The central theme is that ritual and nature connect mankind with the mystery of his existence, and it proceeds to show how the way we break, deform, and reconstruct ritual in modernity has led to untold suffering. The film suggests that a return to the ancient wisdom of religion can restore the meaning we have lost in the 20th century.

Whether you buy into that traditionalist interpretationor its postmodernist, ecofeminist, anti-colonialist, or anti-capitalist variantsthe film will stun you. Director Ron Fricke cut his teeth as director of photography for Koyaanisqatsi (1982) and director of Chronos (1985), the film’s spiritual antecedents. He would later go on to direct a sequel to Baraka, another beautiful film called Samsara (the featured image at the top of this article is a still from that movie). While all are worth seeing, Baraka is the best of the lot. It has the most coherent spiritual vision, the best music, and the most striking visuals.

I encountered Baraka my third year, at a time in my life when I was under tremendous personal stress, as I alluded to in my discussion of Becket. Maybe that slight desperation opened me to a film of Baraka‘s sensibilities. I don’t know. But I don’t think I watched a film while at UVA that more profoundly shaped my worldview and aesthetic. I’d say that everyone who studies or practices religion should see it, but that would be a lie. Everyone should see itperiod.

Elsewhere: The Return of the Silverstream Podcast

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St. Benedict, his sons, and his rule. Source.

Rejoice! The best Catholic podcast has returned to the best Catholic blog. Over at Vultus Christi, Dom Mark Daniel Kirby of Silverstream Priory has announced that the podcast once again lives. I can’t recommend it highly enough. Dom Mark’s preaching, and that of his sons, is some of the most spiritually nourishing wisdom you can find online. Check it out.

In Defense of the “Twice-Blessed Asparagus”

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There’s a punchline here somewhere. Source.

Recently, a minor storm of controversy has erupted over an unusual proceeding at Worcester Cathedral. For those of us blissfully unaware of the agrarian culture of the British Isles, the local Asparagus Festival celebrating the fine crop of the Vale of Evesham just opened to considerable acclaim. While there are, admittedly, a few suspect elements of the Festival, it does seem to be rather harmless on the whole. The kind of thing that would make a nice weekend in the country.

The rustic peace of the celebration was soon shattered. As The Telegraph reports, organizers of the Festival asked the Dean of the Cathedral if they might have a blessing of the asparagus to kick off the harvest season. And so, at evensong on Sunday, the 23rd of April, in the Year of Our Lord Two Thousand and Seventeen, a block of the stuff was carried in a procession up the chancel alongside two costumèd festival mascots, St. George and Gus the Asparagus Man. While it was indeed St. George’s Day, we can only imagine that this is the first liturgical appearance of the humanoid Asparagacea. As we read in The Telegraph:

Angela Tidmarsh, co-founder of the festival and tourism officer for Wychavon, said the cathedral’s management had been “really enthusiastic” about the idea. “We had the asparagus blessed by the vicar of Bretforton and then we took it to the cathedral, so it’s twice-blessed asparagus,” she said. 

This really did happen in real life.

The reactions have been fairly predictable. Archbishop Cranmer has led the chorus of detractors, writing in an extremely English timbre,

Would the Church of England permit a man dressed up as a baked bean to process behind a Heinz tin of the things, and sanctify the mummery with a facade of thanksgiving? And why only adoration of asparagus? Where’s the sprout liturgy, or equality for mushrooms? Would the Dean really permit a walking fungus to participate in an act of divine worship?

In a note of (understandable) exasperation, he writes, “This is church, for God’s sake. Really, for His sake, can the Church of England not offer something clean and undefiled in the worship of God?”

While I would not normally wish to disagree with His Grace on issues of the liturgy (except, of course, when it comes to the validity of Anglican Orders), I must dissent from his wholesale condemnation of the procession. Yes, the costumes were silly in the extreme. Both St. George and Gus the Asparagus Man should have been excluded from any kind of religious ritual within the Cathedral. Insofar as His Grace and others assail the ceremony on those grounds, I agree.

Nevertheless, on principle, I think the blessing of the asparagusnay, even its double blessing!is a good thing. Along with Rod Dreher, I say, “Still, I am in my heart of hearts an Asparagus-Blesser; here I stand, I can do nothing other.”

There is good Biblical precedent for precisely this kind of rite. In the twenty sixth chapter of the Book of Deuteronomy, we read,

And when thou art come into the land which the Lord thy God will give thee to possess, and hast conquered it, and dwellest in it: Thou shalt take the first of all thy fruits, and put them in a basket, and shalt go to the place which the Lord thy God shall choose, that his name may be invocated there: And thou shalt go to the priest that shall be in those days, and say to him: I profess this day before the Lord thy God, that I am come into the land, for which he swore to our fathers, that he would give it us. And the priest taking the basket at thy hand, shall set it before the altar of the Lord thy God…And therefore now I offer the firstfruits of the land which the Lord hath given me. And thou shalt leave them in the sight of the Lord thy God, adoring the Lord thy God.

As a matter of Biblical principle, the good people of the Vale of Evesham ought to be allowed to bring their own first fruits to the Cathedral, the seat of their bishop, and receive the Lord’s blessing. Moreover, similar practices are not unknown in the Church Universal. Byzantine Catholics and Eastern Orthodox bring forth their first-fruits on Transfiguration Day to be blessed. Indeed, Orthodox priests have been caught blessing all manner of strange articles. And within Anglicanism, the Book of Common Prayer (1928) allows for the following pious sentence to be recited at the beginning of Morning Prayer on occasions of thanksgiving:

Honour the LORD with thy substance, and with the first-fruits of all thine increase: so shall thy barns be filled with plenty, and thy presses shall burst out with new wine. Prov. iii. 9,10.

It is unclear whether the same can be said of the Ordinariate, which inherited so much of the 1928 Prayer Book’s “patrimony.” Within the Roman Ritual, we find all kinds of blessings – including some for herbs and seeds, though these are tied to specific, Marian days in the Church kalendar. One could write an intriguing sophiological meditation on this liturgical feature – but I digress. I will merely say that, all in all, it makes perfect theological sense to offer the crop to God. The cosmic character of the liturgy, the way it gathers in all the world in the offertory, was an insight suggested by the C of E’s own Dom Gregory Dix and brought to fruition in the work of theologians like, inter alia, Alexander Schmemann, Joseph Ratzinger, and William T. Cavanaugh, though of course it is a much older idea. While this procession did not occur at the offertory of a Mass, its placement during evensong suggests the deeper implications of the Eucharistic liturgy.

There are, as I can tell, only a few concerns worth considering here:

1) Those ridiculous costumed figures in the procession – or even in the Cathedral to begin with. I wouldn’t want either at a liturgical function.

2) The blessing wasn’t tied to any liturgical date, such as the blessing of Roses on the Feast of St. Rita or the blessing of animals on the Feast of St. Anthony the Abbot.

3) It’s not clear that the blessing should have taken place at Choral Evensong, within the nave of the Cathedral, during a procession. Most of the similar traditions don’t seem to involve that kind of performative element within the temple.

Point 1 stands. The photo above speaks for itself.

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The least Gus the Asparagus Man could have done is make sure he was properly vested in cassock and surplice, which Rev. Gilbert has attempted with only partial success in this shot from “An Easter Carol.” Source.

However, I do think Points 2 and 3 can be open to discretion. Priests bless things all the time when they are asked, and while there are some regulations governing that act (such as those surrounding the imposition of the Brown Scapular), most priests bless freely and willingly. Nor am I convinced it’s a problem that the good folk of Worcestershire wanted to incorporate the Church into their festival. Indeed, they went so far as to have their prize vegetable blessed twice! After all, ought not the Church stand as an institution blessing the communal life of the people, correcting their morals, teaching them the Way of Life, and communicating sanctifying grace to them in the sacraments? While it is certainly an open question as to whether the Church of England does this effectively (or even has the power to do so), the principle remains one that the English have always cherished in their own, peculiar way. There is an earthiness to English communal spirituality. One cannot imagine the same scene happening in Ireland or France or even Spain (though possibly in Italy, as English Christianity since the 19th century has approximated Italian spirituality in various unexpected ways; as Dreher notes, the Church of Siena blesses the horses before the Palio, and within the temple!). I confess, my immediate reaction to the blessing of the asparagus was laughter. The whole thing struck me as, well, so very Chestertonian. G.K. even devoted a 1914 essay to the plant.

Of course, I ought to come clean about one of my own biases. Asparagus is my favorite vegetable. Steamed, grilled, or baked, I find it a surpassing delight. I suppose that the Good Lord, who so lovingly and approvingly gave it to us on the third day of creation, agrees with me. Whether He shares my amusement at the procession of the blessed asparagus is another matter, and one I don’t presume to find out any time soon.

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G.K. Chesterton: 100% would eat asparagus that has been blessed twice. Source.