At the Kilns: Best laid plans...

Perhaps the cause of my non-existent blogging as of late is because I have not fulfilled any of my “At the Kilns” goals from year end 2008.

What have I been doing? I am still reading the Iliad… My “almost finished” in the previous post was a bit hasty. I am still enjoying the masterfully written epic poem, even though it is incredibly gruesome, especially now that Achilles has entered the battle field. I am truly “almost finished” now.

Another delightful diversion from my reading goals is a UK travel book by Bill Bryson. A dear friend and colleague---also a Brit---gave me this “assigned reading” in order to prepare me for my March Break tour of Britain. The book is entitled, Notes from a Small Island. It is a hilarious and interesting read, peppered with the occasional expletive. Officially, I do NOT recommend the book.

My wife and I have also started reading Jane Austen’s Pride & Prejudice together. This was an idea that emerged during a particularly cozy and delightful tea time. She has read the Austen books countless times. I have watched the A&E Pride & Prejudice countless times. Now that we are reading P&P together, I can’t believe I settled this long with the mini-series. Oh, what I have been missing!

For school, I am re-reading Old School by Tobias Wolff. A student has "accidentally" picked up my clearly marked and personally annotated copy of the novel. There are no online aids or literary guides available, so I suspect a student settled for Mr. Johnston's notes... I also re-read Euripides' play The Bacchae for my Classical Civilization course. I should really blog about this play sometime. I also saw another Greek play, Medea, by Euripides at the Canon Theatre in Toronto. I should blog about that too... sometime...

My “At the Kilns” reading has been moved to “In the Loo” reading… Christian Reflections… “almost finished”… One thing I have learned from Lewis is that I still have a lot to learn from Lewis. Reading a paragraph of C.S. Lewis is like opening a trans-dimensional worm-hole to another galaxy populated by stars of illuminating insight and planets of "down-to-earth" wisdom. What a gift to Christendom he is. I am really looking forward to visiting Oxford in March; hopefully I will be able to be---literally---“At the Kilns” .

As I near March Break, I need to decide what travel reading I will bring... if I will take a Lewis book or two to wrap up my foray "At the Kilns" or if I am going to begin foraging "At L'Abri"... Perhaps I should be more concerned about what I should pack for clothes... but in the advice of Erasmus, who once wrote (loosely translated from Latin), "When I travel, I first pack my books, and if I have any room left over, I pack underwear and clothes." Wise words.

At the Kilns: Reading C.S. Lewis

Back in March, I started a blog series entitled, “At the Kilns”. The mantra of this series was “Learning from C.S. Lewis”; the plan was to immerse myself in the writings of C.S. Lewis. As this year draws to a close, I would like to review what I have read and what I still need to read before my yearlong endeavour concludes in March 2009.

At the Kilns: Learning form the Writings of C.S. Lewis
Books read in 2008

Fiction:
The Lion, the Witch and the Wardrobe
Prince Caspian
The Great Divorce

Lectures/Sermons/Apologetics:
The Weight of Glory
God in the Dock
Christian Reflections (nearly finished)

Christian Life:
The Four Loves
A Grief Observed

Letters:
selections from They Stand Together: C.S. Lewis to Arthur Greeves
Letters to an American Lady

Biography:
C.S. Lewis Remembered by H.L. Poe and R. W. Poe
Seeking the Secret Place: The Spiritual Formation of C.S. Lewis by Lyle Dorsett

Books unrelated to C.S. Lewis
Old School by Tobias Wolff
Glory and Honour: The Musical and Artistic Legacy of J.S. Bach by Gregory Wilbur
Iliad by Homer (nearly finished)

On the list for the next three months, I propose the following (based on the recommendations of a well-read Lewis fan):

That Hideous Strength (from The Cosmic Trilogy)
Till We Have Faces

This will take me to March. I may also be able to fit in The Abolition of Man. There is still a sizable corpus of Lewis’ writings I have yet to explore. Most of the books I read this year are among Lewis' shorter texts; nonetheless, I will have a lifetime, Lord willing, to read and re-read more of C.S. Lewis. After March break, however, I will leave the Kilns and begin a series on Francis Schaeffer… “At L’Abri”. The Kilns won't be left behind completely, mind you. Lewis has a way of appearing on my reading list every year.

God's answer to the Problem of Evil

We live in a dark and evil world. I am stunned every time I open a newspaper and glance over the headlines. Human creativity and ingenuity seems to be equally evident in the extent of our evil endeavours as well as our good endeavours. This is not pessimism; it is reality. Consequently, one of the most common objections to Christianity is the question of evil. “If God is supposedly good,” says the non-Christian, “then why does He allow evil to exist?” The dichotomy that is presented is this: either God is not strong enough to prevent evil or he is strong, but He is not good enough to want to prevent it. This objection is often called the Achilles’ heel of Christianity because it is perceived as a major weak point. There is no easy answer to this objection. Many scholars and theologians have contorted themselves and the Scriptures, often to the destruction of sound doctrine, in order to give an answer to this challenge.

As Christians and non-Christians consider this issue, we need some perspective. Dorothy Sayers, as quoted in A Ready Defence by Josh McDowell, writes

For whatever reason God chose to make man as he is—limited and suffering and subject to sorrows and death—[God] had the honesty and the courage to take his own medicine. He Himself has gone through the whole human experience, from the trivial irritations of family life and the cramping restrictions of hard work and lack of money to the worst horrors of pain and humiliation, defeat, despair and death. When He was a man, He played the man. He was born in poverty and died in disgrace and thought it well worth while” (413).

It is essential to remember in our discussion of evil that God Himself endured His “own medicine” as Sayers puts it. Often times we blame God as though He was aloof from the mess of the world. He suffered the greatest evil. For some reason, He “thought it well worth while.”

As we celebrate the birth of Jesus Christ this season, let us remember that God did not leave the problem of evil unanswered. He gave us a saviour.

The Power of Music: Bach's St. Matthew Passion & Mendelssohn

Recently, I led a five-part study on the “Music and Spirituality of J.S. Bach, Handel and Mendelssohn” for Pilgrim Baptist Fellowship. Although I have a great appreciation for music, I am an amateur on the subject. So, in my preparation for this series, I listened to a number of compositions by these musical geniuses. I was struck by the fact that I rarely “listen” to music; I simply hear it. Most of us “listen” to music as background noise while we do something else. No piece made this point more clear than Bach’s St. Matthew Passion. I was profoundly and deeply astounded by the richness, beauty and power in the music. In fact, I was moved to tears at one point in the piece. Bach’s adept arrangement of music and lyrics was incredibly affecting.
Bach’s St. Matthew Passion was written in German, but I borrowed from the library a copy of the work in English. I was mesmerized by the piece. Up to this point in my foray into classical music, I underestimated the power of music. I think the greatest testimony of the power of music—particularly Bach’s Passion—can be seen in the life of Jakob Ludwig Felix Mendelssohn Bartholdy (1809-1847).

When Bach died in 1750, he was all but forgotten as a composer. He was more famous in his day as an organist and musician. Although he remained known among contemporary scholars of music, most considered his compositions far too difficult to play.

A young Jewish composer, Felix Mendelssohn, rediscovered Bach’s St. Matthew Passion about 70 years after Bach’s death. He was moved by the musical and dramatic aspects of the work; eventually, when he conducted an orchestra and choir of 400 to put on the Passion in Berlin in 1829, Mendelssohn was also deeply moved by the presentation of the gospel in the piece.

Mendelssohn’s parents had made a superficial conversion from Judaism to Christianity for economic and political reasons. Mendelssohn yearned for answers to his spiritual questions, but he only began to find direction in the music of J.S. Bach. Ultimately his conversion to Christianity is a direct result of his contact with Christ through the music of J.S. Bach. In a time where Lutheran clergy had abandoned their first love and aligned themselves with the prevailing theological fads, Mendelssohn only had the Bible and Bach. Mendelssohn was anchored firmly in his faith; his subsequent spiritual growth was also aided by studying the life of Martin Luther and by his friendship to a young seminary student named Julius Schubring.

It is encouraging to think of the impact music can have on people’s lives. About the Bible, Mendelssohn wrote that “everything there is fresh and true, and the method of expression always as good and fresh as it could possibly be.” Therefore, Mendelssohn argued, the music inspired by the Word should also be as good and fresh as it could possibly be.

Bach’s St. Matthew Passion in English: Bach Choir and Thames Chamber Orchestra conducted by Sir David Willcocks, (Decca 1979, CD 2008)

Bach and Luther: Theology in Music

Johann Sebastian Bach is noted as the forefather of all Western music; without Bach, we wouldn’t have Mozart, Beethoven or Brahms. He lived in Germany from 1685-1750 during what has now become known as the Baroque period. Ironically, some musicologists suggest that without Martin Luther, the great German Reformer of the previous century, there would have been no Bach. The musical formations of Bach’s day grew out of the theological reformations of Luther’s day. It is not hard to see the connections between these two great men of God.

Bach’s family was incredibly musical; his family lineage shows seven generations of professional musicians. In some parts of Germany, the name “Bach” was synonymous with the word “musician”. But Bach’s family members were also faithful followers of Jesus Christ and they adhered to the reformed faith. Fleeing religious persecution, Bach’s family migrated to the region of Thuringia, a stronghold of reformed faith and a bastion of brilliant ecclesiastic music. This is where Bach grew up and attended school. This is also the region where Martin Luther spent his youth. Both Bach and Luther attended the same Latin School in Eisenach, albeit 200 years apart. Bach also spent his days in the shadows of Wartburg Castle, perched high above Eisenach, where in the previous century, Luther hid from his enemies and where he translated the Greek New Testament into German. These tangible reminders of Luther’s reformation must have left indelible impressions on the young Bach, but more powerful perhaps, was the influence of Luther’s view of church music.

Luther writes, “Next to the Word of God, music deserves the highest praise… I plainly judge, and do not hesitate to affirm, that except for theology, there is no art that could be put on the same level with music…” For Luther, music was an incredibly inspiring and powerful gift from God; however, it was not simply ‘music for music’s sake’. Luther believed that music aided and enhanced the Christian’s worship of the Great and Mighty Creator. “God has cheered our heart and minds through his dear Son, whom he gave us to redeem us from sin, death and the devil. He who believes this cannot be quiet about it. But he must gladly and willingly sing and speak about it so others also may come to hear it. And whoever does not want to sing and speak of it shows that he does not believe…”

Luther sought to apply his ideas about music and worship to actual church music; as a result, he was a prolific hymn writer. Luther’s hymns proved to be a great spiritual and musical inspiration to Bach throughout his life. He perused Luther’s hymns for comfort, theological instruction and for lyrics to articulate his own devotion to God. Bach adapted many of Luther’s hymns when composing his copious cantatas---he wrote over 200 cantatas! Bach was most influenced by Luther’s determination to incorporate music into the life of the church; this is why most of Bach’s church music was designed to be “accessible” to the congregations and why he incorporated vernacular chorales and familiar hymns into his cantatas.

Most notably, the mantra of the Reformation, “Sola Deo Gloria”, served as the basis of Bach’s conception of music; Bach writes, “The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.” For all the spiritual and theological benefits the Christian Church has reaped from God’s working through Martin Luther and the Reformation, we can thank God for the musical legacy of the Reformation as well. As we thank God for Luther, let us also thank God for Bach.

At the Kilns: Letters to an American Lady, grading papers and rediscovering Horatio

One of the things I have learned while reading C.S. Lewis is that grading papers is always a burden, no matter how much of a genius or master teacher one is. Perhaps, it is more of a burden for those who are geniuses and master teachers…

This point became clear after reading a short little book called Letters to an American Lady. It is a collection of letters C.S. Lewis wrote to an American woman over the course of a decade. She wrote to Lewis---at times incessantly---and Lewis responded faithfully to almost every single letter she wrote to him. During the course of years, academic terms and increasing illness on both their parts, Lewis recounts the demands on his time. Most prominent is grading papers.

I was encouraged, not by the fact that Lewis felt burdened by grading, but that I was not the only one who seemed to be feeling the pangs of poorly written prose. There is no easy way out of marking. It simply has to be waded through. During each stint of examinations, Lewis faithful trudged on despite his time being far more precious and valuable than mine. The other encouraging thing for me is that since Lewis inevitably finishes grading and is able to move on to other things he enjoys, so can I.

All this being said, I recently read a student essay that brought me some delight. I am currently wading through 80 essays on Hamlet… and I have encountered the usual themes of death, revenge and death-resulting-from-revenge and death-resulting-in-revenge sort of essays… This essay stood out because it focused on Horatio. My student writes, “readers have a tendency to direct much of their energy towards the main characters. However, secondary characters in a work should never be overlooked…” True enough. He goes on to write, “In a play full of deception, betrayal, revenge and strong passion, it is very important for the audience to be able to rely on a voice of reason and truth.” Very true. He continues, “In Hamlet, Horatio is this truth teller; he is an observer of action and a commentator. Horatio is the one character in the play who can be trusted not only by Hamlet but by the audience.” I was gripped. In teaching Hamlet, I address Horatio’s importance only in relation to how he functions in advancing the plot shedding certain light on Hamlet. I had never really considered Horatio for Horatio’s sake. When all other human beings in the play betray all forms of human relationships, Horatio is the steadfast and faithful one. He is the hope that remains after Pandora’s Box is opened and a torrent of death and mayhem are unleashed in the closing scene of the play.

Anyway, it was great to read something inspiring. Although it is making the rest of my marking more challenging. Revenge and death, death and revenge. Oh, the carnage of words, paper and Shakespeare. As I tread through the battlefields of intellectual promise and academic potential, I long for a truth teller, someone who can be trusted… I need another dose of Horatio.

Johann Sebastian Bach 1685-1750

When describing the foundations of Western music, some music scholars refer to the three B’s—Bach, Beethoven and Brahms—while others would simply say, there was Bach… and then everyone else. Bach was a prolific composer, brilliant organist and an inventive musical genius. His ability to act both as a conservator and innovator of music is what places him at the top of the list of musical giants. In his works, he excelled at traditional forms of music while expanding and transforming the forms to new heights, achieving “summa”—highest realised potential—in nearly every style of music known in Bach’s day.

When Mozart first encountered Bach’s music, he was “entranced” by it. According to Harold Schronberg, Mozart studied Bach’s compositions, “arranged some music, and was strongly influenced by Bachian counterpoint.” Beethoven and Brahms were also influenced by Bach. Brahms said, “Study Bach: there you will find everything.” Mozart said about Bach’s music, “Now there is music from which a man can learn something.” After hearing a performance of Bach’s music, Richard Wagner described it as “the most stupendous miracle in all music.” German poet, Goethe, described Bach’s music “as though eternal harmony were conversing with itself, as it may have happened in God’s bosom shortly before He created the world.” Robert Schuman writes, “Playing and studying Bach convinces us that we are all numbskulls.”

With such praise, it is surprising to discover that this musical giant was a humble and gracious man who devoted his life and talents to the glory of God. Over three quarters of his (astonishing) one thousand compositions consisted of music composed for worship in the church. Many scholars balk at the notion that Bach’s perceived Christianity had anything to do with his music; J.S. Bach, however, states plainly that “The aim and final end of all music should be none other than the glory of God and the refreshment of the soul.” Soli Deo Gloria—To God Alone be the Glory. The letters S.D.G. were inscribed on many of Bach’s compositions; he meant this Latin phrase as a testimony to those who would perform his music and to generations to come, that this music was for God’s glory, not Bach’s. He strove to live by Paul’s words: “Whether you eat or drink or whatever you do, do all to the glory of God.” Even on much of Bach’s “secular” compositions, we find inscribed the letters J.J., for Jesu, Juva (Jesus, help) or I.N.J., which stands for In Nomine Jesu (In the name of Jesus).

The life, music and legacy of J.S. Bach is a reminder to all Christians to use the gifts and talents God has given us for the Glory of God and the building up of His Church. For Bach, there was no dichotomy between secular and sacred. Whatever he did, for whatever purpose, he did for his Heavenly Father. To God Alone be the Glory.

The Wandering Blogger Posts Again...

As of late, I have been engaged with the start-up of the academic year. I am teaching Hamlet to my English students, The Odyssey to my Classical Civilization students and I am teaching about Roman poet Horace to my Latin students. I am delighted to say that I have a wonderful “batch” of students to work with this year.

In addition to school start-up, I am undergoing a crash course in music education. I have been busy researching and preparing a five-week study on the Spirituality and Music of J.S. Bach and George Handel for my church. Over the month of October, I will be presenting this series during the Wednesday Prayer meetings.

As a result, I have put my C.S. Lewis education on hold. My current foray into the world of music is incredibly illuminating. I am certain Lewis wouldn’t mind the short deviation from studying at the Kilns.

'blogspotting' blog of the week

Caroline Gill's blog Caroline at Coastguard has listed Galumphing as its "blogspotting" blog of the week. Thanks for the nod, Caroline!

Teaching Shakespeare as Literature

Shakespeare originally wrote his plays to be performed before a mostly uneducated and illiterate audience. Writing plays was Shakespeare’s “job”---he earned a modest living from writing and producing plays. He was not writing for “art’s sake” but for “food’s sake”. The old adage, “necessity is the father of invention” is particularly true in Shakespeare’s case. The point here is that Shakespeare’s plays were written to be performed on stage. Most of his plays did not appear in print until well after his death. For this reason, many gurus of education are arguing for a performance-based approach to teaching Shakespeare. If the plays were written for the stage, then they should be taught on a “stage”.

Peggy O’Brien from the Folger Library (one of the largest and most significant Shakespeare research centre in the world) writes, “Performing a Shakespearean scene or scenes is the single most important part of a student’s Shakespeare education. Period.” She may be right, but there is too much pressure on educators to use Shakespeare primarily as a drama unit rather than literature unit. The dramatic aspect of Shakespeare lends itself well to a performance-based approach. However, his plays run deep, much deeper than the average audience-goer would understand. This is the reason why Shakespeare can be, and should be, taught as literature. A student’s exposure to Shakespeare needs to be more than simply “working towards performance”.

Had Shakespeare been writing three hundred years later than his own time in history, he may have chosen to write novels as opposed to plays. His characters have a psychological complexity and depth that surpass most theatrical characters in Elizabethan drama; some of his characters are unsurpassed by present-day drama. Essentially, Shakespeare wrote his plays “deeper” than required for successful stage performance. In fact, I argue that some of Shakespeare’s plays “read” better than they are “performed”. So much of the “drama” in the play Macbeth, for example, is so internal and psychological that I have rarely watched a great on-stage performance of it (no fault to the performers or directors). It is a play, I believe, that is better read than watched. In some ways, Shakespeare is like a novelist trapped in a playwright’s body.

That being said, Shakespeare still works well on stage. The plays were as popular in Elizabethan England (for the most part) as they are now (if not more so). However, I find that my enjoyment of “Shakespeare performed” is different from “Shakespeare read”. Sometimes, my enjoyment of Shakespeare performed is, in part, due to the fact that I have read the play beforehand. As educators, it is important that we expose our students to both performance enjoyment and the enjoyment of a close reading. Why did Shakespeare include so much symbolism and metaphor in his plays, when so much of it would be lost on his audiences? Perhaps there is a bit of “art for art’s sake” in Shakespeare after all.

Three Days with the Bard

This week I was in Stratford (Ontario) attending a teacher conference at the Shakespeare Festival. The Stratford Shakespeare Festival is considered by theatre aficionados as North America’s premiere classical theatre. But, as they say, familiarity breeds contempt. While I was a student at the University of Western Ontario in London (ON), I took full advantage of the student rate ($20 at the time), and I saw numerous plays at the Festival. Now as a teacher, I catch a play or two every year with my students. I began to take the theatre for granted. I live and work next door to Stratford. This attitude of ingratitude, however, has changed this week for two reasons.

The first reason was the opportunity I had to work with teachers who came from places as far as Rochester NY, North Bay and New Brunswick! These teachers were thrilled to be in Stratford. I saw Stratford through their eyes. Would I drive six or eight hours to catch a Stratford play? Would I fly from New Brunswick? A different perspective on what you “have” makes all the difference.

The second reason was the fact that I really enjoyed the shows I watched this week. Part of the Teachers’ Conference included complimentary tickets to three Shakespearean plays. I also had the opportunity to workshop with some of the actors from the plays, most notably, Adrienne Gould, who plays Ophelia in Hamlet. The plays I saw were Romeo and Juliet, Hamlet and Taming of the Shrew. The best of the plays was Hamlet.

I have watched Hamlet on stage a few times, once previously at Stratford (starring Paul Gross in 2000). This particular stage production of Hamlet was great. Award winning Canadian actor Ben Carlson shines as Hamlet. Gould’s Ophelia is also the best I have seen on stage. I thoroughly enjoyed the performance. I was more than awake; I was engaged. Admittedly, there are odd bits in the production. One strange set piece is a gigantic pool table that miraculously appears after a blackout on stage. It is humongous. What made this especially odd is the fact that this huge table had little purpose. In the Kenneth Branagh film version of Hamlet (1996), there is also a pool table (I think?) in the identical scene. Claudius is---symbolically---a “pool shark”. He manipulates the situation, lures Laertes into his schemes and creates the ultimate set up. The symbol works well in the movie. On stage, the table is simply a colossal distraction---albeit a dazzlingly magnificent piece of furniture. The point is, the actors and the scene are lost behind the gorgeous oak pool table. Another reason making the table odd on-stage was the fact that Laertes, who just tragically lost both his father and his sister, and who almost raised a revolution in Denmark and nearly committed regicide, is in the next scene, playing snooker… In Branagh’s film it seems to work. Claudius is manipulating Laertes, distracting him from his rage. On stage, I couldn’t help but wonder how much that table cost, how did they get it on stage so fast and what are they going to do with it after the show is over?

There was also a piano on stage during the whole production. Although used cleverly throughout the performance, I found it a distraction as well. However, not enough of a distraction to cause me to miss Carlson’s Hamlet. He truly embodied Shakespeare’s most celebrated tragic hero. It was a risky manoeuvre, but Carlson’s and Gould’s performances redeem the show of all its flaws.
So, I appreciate Stratford a little more these days. I am looking forward to bringing my 90 Grade 12 English students to Stratford in order to see Hamlet. I feel confident this performance will not turn my students off the bard. It may do just the opposite. If you are in the neighbourhood, take advantage of Stratford’s Shakespeare Festival.

The Annotated Hobbit

Even though I have dedicated my reading time to C.S. Lewis over the course of this year, I have indulged in the occasional, “non-Lewis” reading material this summer. One of the books is The Annotated Hobbit. It is a beautifully annotated edition of J.R.R. Tolkien’s The Hobbit. I have looked at this book on numerous occasions while perusing Chapters bookstore, but I have not purchased the book (…it costs $60!). I recently found the book at our local library.

I am a big fan of reading annotation, particularly on a book I have re-read. There is much controversy among hard-line readers as to whether one should read annotations. I feel that they are useful to provide context or background information which I do not possess. Reading annotations provides a rich experience. This is especially true when reading ancient or historic literature. In addition, I always read with a pen, and the margins of my books are littered with my own comments, questions and reactions… my own informal annotations. I would feel like a hypocrite if I complained about annotations while writing my own!

This particular edition of The Hobbit provides rich commentary and cross references on all aspects of the story. It is very interesting and illuminating reading. For example, the annotator (Douglas Anderson) cites a hypothesis that Tolkien invented the name Baggins from the Lancashire English word “bagging”, a term that the Oxford English Dictionary defines as eating food “between regular meals”. In use, the word would be pronounced “baggin”, dropping the terminal “–g”. Tolkien was a philologist, and his interest and knowledge in language is crucial to his development of his Middle Earth mythology. The hypothesis about the origins of Baggins is given further weight by the citation Anderson provides from Walter E. Haigh’s A New Glossary of the Dialect of the Huddersfield (1928), which Tolkien himself “wrote an appreciative forward”. Haigh deifnes baggin as “a meal, now usually ‘tea,’ but formerly any meal; a bagging. Probably so called because workers generally carried their meals to work in a bag of some kind”.
Such is the nature of the annotations provided on Tolkien’s The Hobbit. The book also includes illustrations from various editions over the years, as well as references to the publishing history of the book. In short, it is a delightful book. If you can afford it, then buy it. If it is in your library, then borrow it.

The opening inscription in the book cites Horace: “What we read with pleasure, we read again with pleasure.” Reading The Annotated Hobbit is very pleasurable indeed!