My Lungs Swell Like a Ship’s Canvas

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Listen! Can you hear? The music … I can hear it everywhere … in the wind … in the air … in the light … it’s all around us … all you have to do is open yourself up … all you have to is listen!

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Have you seen August Rush (2007), this modern Oliver Twist fairy tale, where an orphaned musical prodigy uses his gift as a clue to finding his birth parents? Most critics have denounced it as “syrupy”, “sappy”,  or “melodramatic”, yet I love its music, especially the opening nature scene https://www.youtube.com/watch?v=7bCRYdLmduY and the City Rhapsody scene that  takes place when August arrives to New York and “feels” the music in city life sounds https://www.youtube.com/watch?v=N-Jf_SQaE-s   May we be blessed with such a savant-like ability to hear Music and discover Beauty, wherever, and follow them in our lives! Let us thus be deeply embedded in the Body of Christ and the Communion of Saints.

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“In the house of lovers, the music never stops, the walls are made of songs & the floor dances” (Rumi)

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“When I am silent, I fall into that place where everything is music”(Rumi)

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Music

By Charles Baudelaire

Music, like an ocean, often carries me away!
Through the ether far,
or under a canopy of mist, I set sail
for my pale star.
Breasting the waves, my lungs swollen
like a ship’s canvas,
night veils from me the long rollers,
I ride their backs:
I sense all a suffering vessel’s passions
vibrating within me:
while fair winds or the storm’s convulsions
on the immense deep
cradle me. Or else flat calm, vast mirror …

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To Music 

By Rainer Maria Rilke

Music: breathing of statues. Perhaps:

silence of paintings. You language where all language

ends. You time

standing vertically on the motion of mortal hearts.

 *

… You stranger: music. You heart-space

grown out of us. The deepest space in us,

which, rising above us, forces its way out,–

holy departure:

… pure,

boundless,

no longer habitable. …

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I want to be with those who know secret things. Or else, alone. (Rainer Maria Rilke)

 

Anam Cara

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“O Master, either bring my children with me into Your Kingdom, or else wipe me also out of Your book … I am bearing your burdens and your offences … You have become like a man sitting under a shady tree … I take upon myself the sentence of condemnation against you, and by the grace of Christ, I will not abandon you, either in this age or in the Age to Come.” (Abba Varsanuphius)

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St. Brigid and Anam Cara

A young cleric of the community of Ferns, a foster-son of Brigit’s, used to come to her with wishes. He was with her in the refectory, to partake of food. Once after coming to Communion she strikes a clapper. “Well, young cleric there,” says Brigit, “hast thou a soulfriend?” “I have,” replied the young cleric. “Let us sing his requiem,” says Brigit, “for he has died. I saw when half thy portion had gone, that thy quota was put into thy trunk, and thou without any head on thee, for thy soulfriend died, and anyone without a soulfriend is a body without a head; and eat no more till thou gettest a soulfriend.”

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Anam Cara (lit. “soul-friend”) originates in Celtic Orthodox monasticism where it was initially applied to a monk’s spiritual father and finds its best expression in the role of  the “Abba” or spiritual father for all faithful —whom the Greeks call “Geron” and the Russians “Starets” for all faithful.

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The Spiritual Father in Orthodox Christianity

by Bishop Kallistos Ware

“One who climbs a mountain for the first time needs to follow a known route; and he needs to have with him, as companion and guide, someone who has been up before and is familiar with the way. To serve as such a companion and guide is precisely the role of the “Abba” or spiritual father—whom the Greeks call “Geron” and the Russians “Starets”, a title which in both languages means “old man” or “elder”. [1]

The importance of obedience to a Geron is underlined from the first emergence of monasticism in the Christian East. St. Antony of Egypt said: “I know of monks who fell after much toil and lapsed into madness, because they trusted in their own work … So far as possible, for every step that a monk takes, for every drop of water that he drinks in his cell, he should entrust the decision to the Old Men, to avoid making some mistake in what he does.” [2]

This is a theme constantly emphasized in the Apophthegmata or Sayings of the Desert Fathers: “The old Men used to say: ‘if you see a young monk climbing up to heaven by his own will, grasp him by the feet and throw him down, for this is to his profit … if a man has faith in another and renders himself up to him in full submission, he has no need to attend to the commandment of God, but he needs only to entrust his entire will into the hands of his father. Then he will be blameless before God, for God requires nothing from beginners so much as self-stripping through obedience.’” [3]

This figure of the Starets, so prominent in the first generations of Egyptian monasticism, has retained its full significance up to the present day in Orthodox Christendom. “There is one thing more important than all possible books and ideas”, states a Russian layman of the 19th Century, the Slavophile Kireyevsky, “and that is the example of an Orthodox Starets, before whom you can lay each of your thoughts and from whom you can hear, not a more or less valuable private opinion, but the judgement of the Holy Fathers. God be praised, such Startsi have not yet disappeared from our Russia.” And a Priest of the Russian emigration in our own century, Fr. Alexander Elchaninov (+ 1934), writes: “Their held of action is unlimited… they are undoubtedly saints, recognized as such by the people. I feel that in our tragic days it is precisely through this means that faith will survive and be strengthened in our country.” [4]

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The Spiritual Father as a ‘Charismatic’ Figure

What entitles a man to act as a starets? How and by whom is he appointed?

To this there is a simple answer. The spiritual father or starets is essentially a ‘charismatic’ and prophetic figure, accredited for his task by the direct action of the Holy Spirit. He is ordained, not by the hand of man, but by the hand of God. He is an expression of the Church as “event” or “happening”, rather than of the Church as institution. [5]

There is, of course, no sharp line of demarcation between the prophetic and the institutional in the life of the Church; each grows out of the other and is intertwined with it. The ministry of the starets, itself charismatic, is related to a clearly-defined function within the institutional framework of the Church, the office of priest-confessor. In the Eastern Orthodox tradition, the right to hear confessions is not granted automatically at ordination. Before acting as confessor, a priest requires authorization from his bishop; in the Greek Church, only a minority of the clergy are so authorized.

Although the sacrament of confession is certainly an appropriate occasion for spiritual direction, the ministry of the starets is not identical with that of a confessor. The starets gives advice, not only at confession, but on many other occasions; indeed, while the confessor must always be a priest, the starets may be a simple monk, not in holy orders, or a nun, a layman or laywoman. The ministry of the starets is deeper, because only a very few confessor priests would claim to speak with the former’s insight and authority.

But if the starets is not ordained or appointed by an act of the official hierarchy, how does he come to embark on his ministry? Sometimes an existing starets will designate his own successor. In this way, at certain monastic centers such as Optina in 19th-century Russia, there was established an “apostolic succession” of spiritual masters. In other cases, the starets simply emerges spontaneously, without any act of external authorization. As Elchaninov said, they are “recognized as such by the people”. Within the continuing life of the Christian community, it becomes plain to the believing people of God (the true guardian of Holy Tradition) that this or that person has the gift of spiritual fatherhood. Then, in a free and informal fashion, others begin to come to him or her for advice and direction.

It will be noted that the initiative comes, as a rule, not from the master but from the disciples. It would be perilously presumptuous for someone to say in his own heart or to others, “Come and submit yourselves to me; I am a starets, I have the grace of the Spirit.” What happens, rather, is that—without any claims being made by the starets himself—others approach him, seeking his advice or asking to live permanently under his care. At first, he will probably send them away, telling them to consult someone else. Finally the moment comes when he no longer sends them away but accepts their coming to him as a disclosure of the will of God. Thus it is his spiritual children who reveal the starets to himself.

The figure of the starets illustrates the two interpenetrating levels on which the earthly Church exists and functions. On the one hand, there is the external, official, and hierarchial level, with its geographical organization into dioceses and parishes, its great centers (Rome, Constantinople, Moscow, and Canterbury), and its “apostolic succession” of bishops. On the other hand, there is the inward, spiritual and “charismatic” level, to which the startsi primarily belong. Here the chief centers are, for the most part, not the great primatial and metropolitan sees, but certain remote hermitages, in which there shine forth a few personalities richly endowed with spiritual gifts. Most startsi have possessed no exalted status in the formal hierarchy of the Church; yet the influence of a simple priest-monk such as St. Seraphim of Sarov has exceeded that of any patriarch or bishop in 19th-century Orthodoxy. In this fashion, alongside the apostolic succession of the episcopate, there exists that of the saints and spiritual men. Both types of succession are essential for the true functioning of the Body of Christ, and it is through their interaction that the life of the Church on earth is accomplished.

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Flight and Return: the Preparation of the Starets

Although the starets is not ordained or appointed for his task, it is certainly necessary that he should be prepared.The classic pattern for this preparation, which consists in a movement of flight and return, may be clearly discerned in the liyes of St. Antony of Egypt (+356) and St. Seraphim of Sarov (+1833).

St. Antony’s life falls sharply into two halves, with his fifty-fifth year as the watershed. The years from, early manhood to the age of fifty-five were his time of preparation, spent in an ever-increasing seclusion from the world as he withdrew further and further into the desert. He eventually passed twenty years in an abandoned fort, meeting no one whatsoever. When he had reached the age of fifty-five, his friends could contain their curiosity no longer, and broke down the entrance. St. Antony came out and, ‘for the remaining half century of his long life, without abandoning the life of a hermit, he made himself freely available to others, acting as “a physician given by God to Egypt.” He was beloved by all, adds his biographer, St. Athanasius, “and all desired to ‘have him as their father.” [6] Observe that the transition from enclosed anchorite to Spiritual father came about, not through any initiative on St. Antony’s part, but through the action of others. Antony was a lay monk, never ordained to the priesthood.

St. Seraphim followed a comparable path. After fifteen years spent in the ordinary life of the monastic community, as novice, professed monk, deacon, and priest, he withdrew for thirty years of solitude and almost total silence. During the first part of this period he, lived in a forest hut; at one point he passed a thousand days on the stump of a tree and a thousand nights of those days on a rock, devoting himself to unceasing prayer. Recalled by his abbot to the monastery, he obeyed the order without the slightest delay; and during the latter part of his time of solitude he lived rigidly enclosed in his cell, which he did not leave even to attend services in church; on Sundays the priest brought communion to him at the door of his room. Though he was a priest he didn’t celebrate the liturgy. Finally, in the last eight years of his life, he ended his enclosure, opening the door of his cell and receiving all who came. He did nothing to advertise himself or to summon people; it was the others who took the initiative in approaching him, but when they came—sometimes hundreds or even thousands in a single day—he did not send them empty away.

Without this intense ascetic preparation, without this radical flight into solitude, could St. Antony or St. Seraphim have acted in the same ‘degree as guide to those of their generation? Not that they withdrew in order to become masters and guides of others. ‘They fled, not, in order to prepare themselves for some other task, but out of a consuming desire to be alone with God. God accepted their love, but then sent them back” as instruments of healing in the world from which they had withdrawn. Even had He never sent them back, their flight would still have been supremely creative and valuable to society; for the monk helps the world not primarily by anything that he does and says but by what he is, by the state of unceasing prayer which has become identical with his innermost being. Had St. Antony and St. Seraphim done nothing but pray in solitude they would still have been serving their fellow men to the highest degree. As things turned out, however, God ordained that they should also serve others in a more direct fashion. But this direct and visible service was essentially a consequence of the invisible service which they rendered through their prayer.

“Acquire inward peace”, said St. Seraphim, “and a multitude of men around you will find their salvation.” Such is the role of spiritual fatherhood. Establish yourself in God; then you can bring others to His presence. A man must learn to be alone, he must listen in the stillness of his own heart to the wordless speech of the Spirit, and so discover the truth about himself and God. Then his work to others will be a word of power, because it is a word out of silence.

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What Nikos Kazantzakis said of the almond tree is true also of the starets: “I said to the almond tree, ‘Sister, speak to me of God,’ And the almond tree blossomed.”

Shaped by the encounter with God in solitude, the starets is able to heal by his very presence. He guides and forms others, not primarily by words of advice, but by his companionship, by the living and specific example which he sets—in a word, by blossoming like the almond tree. He teaches as much by his silence as by his speech. “Abba Theophilus the Archbishop once visited Scetis, and when the brethren had assembled they said to Abba Pambo, ‘Speak a word to the Pope that he may be edified.’ The Old Man said to them, ‘If he is not edified by my silence, neither will be he edified by my speech.’” [8] A story with the same moral is told of St. Antony. “It was the custom of three Fathers to visit the Blessed Antony once each year, and two of them used to ask him questions about their thoughts (logismoi) and the salvation of their soul; but the third remained completely silent, without putting any questions. After a long while, Abba Antony said to him, ‘See, you have been in the habit of coming to me all this time, and yet you do not ask me any questions’. And the other replied, ‘Father, it is enough for me just to look at you.’” [9]

The real journey of the starets is not spatially into the desert, but spiritually into the heart. External solitude, while helpful, is not indispensable, and a man may learn to stand alone before God, while yet continuing to pursue a life of active service in the midst of society. St. Antony of Egypt was told that a doctor in, Alexandria was his equal in spiritual achievement: “In the city there is someone like you, a doctor by profession, who gives all his money to the needy, and the whole day long he sings the Thrice-Holy Hymn with the angels.” [10] We are not told how this revelation came to Antony, nor what was the name of the doctor, but one thing is clear. Unceasing: prayer of the heart is no monopoly of the solitaries; the mystical and “angelic” life is possible in the city as well as the desert. The Alexandrian doctor accomplished the inward journey without severing his outward links with the community.

There are also many instances in which flight and return are not sharply distinguished in temporal sequence. Take, for example, the case of St. Seraphim’s younger contemporary, Bishop Ignaty Brianchaninov (t1867). Trained originally as an army officer, he was appointed at the early age of twenty-six to take charge of a busy and influential monastery close to St. Petersburg. His own monastic training had lasted little more than four years before he was placed in a position of authority. After twenty-four years as Abbot, he was consecrated Bishop. Four years later he resigned, to spend the remaining six years of his life as a hermit. Here a period of active pastoral work preceded the period of anachoretic seclusion. When he was made abbot, he must surely have felt gravely ill-prepared. His secret withdrawal into the heart was undertaken continuously during the many years in which he administered a monastery and a diocese; but it did not receive an exterior, expression until the very end of his life.

Bishop Ignaty’s career [11] may serve as a paradigm to many of us at the present time, although (needless to say) we fall far short of his level of spiritual achievement. Under the pressure of outward circumstances and probably without clearly realizing what is happening to us, we become launched on a career of teaching, preaching, and pastoral counselling, while lacking any deep knowledge of the desert and its creative silence. But through teaching others we ourselves begin to learn. Slowly we recognize our powerlessness to heal the wounds of humanity solely through philanthropic programs, common sense, and psychiatry. Our complacency is broken down, we appreciate our own inadequacy, and start to understand what Christ meant by the “one thing that is necessary” (Luke 10:42). That is the moment when we enter upon the path of the starets. Through our pastoral experience, through our anguish over the pain of others,’ we are brought to undertake the journey inwards, to ascend the secret ladder of the Kingdom, where alone a genuine solution to the world’s problems can be found. No doubt few if any among us would think of ourselves as a starets in the full sense, but provided we seek with humble sincerity to enter into the “secret chamber” of our heart, we can all share to some degree in the grace of the spiritual fatherhood. Perhaps we shall never outwardly lead the life of a monastic recluse or a hermit—that rests with God—but what is supremely important is that each should see the need to be a hermit of the heart.

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The Three Gifts of the Spiritual Father

Three gifts in particular distinguish the spiritual father. The first is insight and discernment (diakrisis), the ability to perceive intuitively the secrets of another’s heart, to understand the hidden depths of which the other is unaware. The spiritual father penetrates beneath the conventional gestures and attitudes whereby we conceal our true personality from others and from ourselves; and beyond all these trivialities, he comes to grips with the unique person made in the image and likeness of God. This power is spiritual rather than psychic; it is not simply a kind of extra-sensory perception or a sanctified clairvoyance but the fruit of grace, presupposing concentrated prayer and an unremitting ascetic struggle.

With this gift of insight there goes the ability to use words with power. As each person comes before him, the starets knows—immediately and specifically—what it is that the individual needs to hear. Today, we are inundated with words, but for the most part these are conspicuously not words uttered with power. [12] The starets uses few words, and sometimes none at all; but by these few words or by his silence, he is able to alter the whole direction of a man’s life. At Bethany, Christ used three words only: “Lazarus, come out” (John 11:43) and these three words, spoken with power, were sufficient to bring the dead back to life. In an age when language has been disgracefully trivialized, it is vital to rediscover the power of the word; and this means rediscovering the nature of silence, not just as a pause between words but as one of the primary realities of existence. Most teachers and preachers talk far too much; the starets is distinguished by an austere economy of language.

But for a word to possess power, it is necessary that there should be not only one who speaks with the genuine authority of personal experience, but also one who listens with attention and eagerness. If someone questions a starets out of idle curiosity, it is likely that he will receive little benefit; but if he approaches the starets with ardent faith and deep hunger, the word that he hears may transfigure his being. The words of the startsi are for the most part simple in verbal expression and devoid of literary artifice; to those who read them in a superficial way, they will seem jejune and banal.

The spiritual father’s gift of insight is exercised primarily through the practice known as “disclosure of thoughts” (logismoi). In early Eastern monasticism the young monk used to go daily to his father and lay before him all the thoughts which had come to him during the day. This disclosure of thoughts includes far more than a confession of sins, since the novice also speaks of those ideas and impulses which may seem innocent to him, but in which the spiritual father may discern secret dangers or significant signs. Confession is retrospective, dealing with sins that have already occurred; the disclosure of thoughts, on the other hand, is prophylactic, for it lays bare our logismoi before they have led to sin and so deprives them of their, power to harm. The purpose of the disclosure is not juridical, to secure absolution from guilt, but self-knowledge, that each may see himself as he truly is. [13]

Endowed with discernment, the spiritual father does not merely wait for a person to reveal himself, but shows to the other thoughts hidden from him. When people came to St. Seraphim of Sarov, he often answered their difficulties before they had time to put their thoughts before him. On many occasions the answer at first seemed quite irrelevant, and even absurd and irresponsible; for what St. Seraphim answered was not, the question his visitor had consciously in mind, but the one he ought to have been asking. In all this St. Seraphim relied on the inward light of the Holy Spirit. He found it important, he explained, not to work out in advance hat he was going to say; in that case, his words would represent merely his own human judgment which might well be in error, and not the judgment of God.

In St. Seraphim’s eyes, the relationship between starets and spiritual child is stronger than death, and he therefore urged his children to continue their disclosure of thoughts to him even after his departure to the next life. These are the words which, by his on command, were written on his tomb: “When I am dead, come to me at my grave, and the more often, the better. Whatever is on your soul, whatever may have happened to you, come to me as when I was alive and, kneeling on the ground, cast all your bitterness upon my grave. Tell me everything and I shall listen to you, and all the bitterness will fly away from you. And as you spoke to me when I was alive, do so now. For I am living, and I shall be forever.”

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The second gift of the spiritual father is the ability to love others and to make others’ sufferings his own. Of Abba Poemen, one of the greatest of the Egyptian gerontes, it is briefly and simply recorded: “He possessed love, and many came to him.” [14] He possessed love—this is indispensable in all spiritual fatherhood. Unlimited insight into the secrets of men’s hearts, if devoid of loving compassion, would not be creative but destructive; he who cannot love others will have little power to heal them.

Loving others involves suffering with and for them; such is the literal sense of compassion. “Bear one anothers burdens and so fulfill the law of Christ” (Galatians 6:2). The spiritual father is ‘the one who par excellence bears the burdens of others. “A starets”, writes Dostoevsky in The Brothers Karamazov, “is one who takes your soul, your will, unto his soul and his will…. ” It is not enough for him to offer advice. He is also required to take up the soul of his spiritual children into his own soul, their life into his life. It is his task to pray for them, and his constant intercession on their behalf is more important to them than any words of counsel. [15] It is his task likewise to assume their sorrows and their sins, to take their guilt upon himself, and to answer for them at the Last Judgment.

All this is manifest in a primary document of Eastern spiritual direction, the Books of Varsanuphius and John, embodying some 850 questions addressed to two elders of 6th-century Palestine, together with their written answers. “As God Himself knows,” Varsanuphius insists to his spiritual children, “there is not a second or an hour when I do not have you in my mind and in my prayers … I care for you more than you care for yourself … I would gladly lay down my life for you.” This is his prayer to God: “O Master, either bring my children with me into Your Kingdom, or else wipe me also out of Your book.” Taking up the theme of bearing others’ burdens, Varsanuphius affirms: “I am bearing your burdens and your offences … You have become like a man sitting under a shady tree … I take upon myself the sentence of condemnation against you, and by the grace of Christ, I will not abandon you, either in this age or in the Age to Come.” [16]

Readers of Charles Williams will be reminded of the principle of ‘substituted love,’ which plays a central part in Descent into Hell. The same line of thought is expressed by Dostoevsky’s starets Zosima: “There is only one way of salvation, and that is to make yourself responsible for all men’s sins… To make yourself responsible in all sincerity for everything and for everyone.” The ability of the starets to support and strengthen others is measured by his willingness to adopt this way of salvation.

Yet the relation between the spiritual father and his children is not one-sided. Though he takes the burden of their guilt upon himself and answers for them before God, he cannot do this effectively unless they themselves are struggling wholeheartedly for their own salvation. Once a brother came to St. Antony of Egypt and said: “Pray for me.” But the Old Man replied: “Neither will I take pity on you nor will God, unless you make some effort of your own.” [17]

When considering the love of a starets for those under his care, it is important to give full meaning to the word “father” in the title “spiritual father”. As father and offspring in an ordinary family should be joined in mutual love, so it must also be within the “charismatic” family of the starets. It is primarily a relationship in the Holy Spirit, and while the wellspring of human affection is not to be unfeelingly suppressed, it must be contained within bounds. It is recounted how a young monk looked after his elder, who was gravely ill, for twelve years without interruption. Never once in that period did his elder thank him or so much as speak one word of kindness to him. Only on his death-bed did the Old Man remark to the assembled brethren, “He is an angel and not a man.” [18] The story is valuable as an indication of the need for spiritual detachment, but such an uncompromising suppression of all outward tokens of affection is not typical of the Sayings of the Desert Fathers, still less of Varsanuphius and John.

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A third gift of the spiritual father is the power to transform the human environment, both the material and the non-material. The gift of healing, possessed by so many of the startsi, is one aspect of this power: More generally, the starets helps his disciples to perceive the world as God created it and as God desires it once more to be. “Can you take too much joy in your Father’s works?” asks Thomas Traherne. “He is Himself in everything.” The true starets is one who discerns this universal presence of the Creator throughout creation, and assists others to discern it. In the words of William Blake, “If the doors of perception were cleansed, everything will appear to man as it is, infinite.” For the man who dwells in God, there is nothing mean and trivial: he sees everything in the light of Mount Tabor. “What is a merciful heart?” inquires St. Isaac the Syrian. “It is a heart that burns with love for ‘the whole of creation—for men, for the birds, for the beasts, for the demons, for every, creature. When a man with such a heart as this thinks of the creatures or looks at them, his eyes are filled with tears; An overwhelming compassion makes his heart grow! small and weak, and he cannot endure to hear or see any suffering, even the smallest pain, inflicted upon any creature. Therefore he never ceases to pray, with tears even for the irrational animals, for the enemies of truth, and for those who do him evil, asking that they may be guarded and receive God’s mercy. And for the reptiles also he prays with a great compassion, which rises up endlessly in his heart until he shines again and is glorious like God.”’ [19]

An all-embracing love, like that of Dostoevsky’s starets Zosima, transfigures its object, making the human environment transparent, so that the uncreated energies of God shine through it. A momentary glimpse of what this transfiguration involves is provided by the celebrated conversation between St. Seraphim of Sarov and Nicholas Motovilov, his spiritual child. They were walking in the forest one winter’s day and St. Seraphim spoke of the need to acquire the Holy Spirit. This led Motovilov to ask how a man can know with certainty that he is “in the Spirit of God’:

Then Fr. Seraphim took me very firmly by the shoulders and said: “My son, we are both, at this moment in the Spirit of God. Why don’t you look at me?”

“I cannot look, Father,” I replied, “because your eyes are flashing like lightning. Your face has become brighter than the sun, and it hurts my eyes to look, at you.”

“Don’t be afraid,” he said. “At this very moment you have yourself become as bright as I am. You are yourself in the fullness of the Spirit of God at this moment; otherwise you would not be able to see me as you do… but why, my son, do you not look me iii the eyes? Just look, and don’t be afraid; the Lord is with us.”

After these words I glanced at his face, and there came over me an even greater reverent awe. Imagine in the center of the sun, in the dazzling light of its mid-day rays, the face of a man talking to you. You see the movement of his lips and the changing expression of his eyes and you hear his voice, you feel someone holding your shoulders, yet you do not see his hands, you do not even see yourself or his body, but only a blinding light spreading far around for several yards and lighting up with its brilliance the snow-blanket which covers the forest glade and the snowflakes which continue to fall unceasingly [20].

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Obedience and Freedom

Such are by God’s grace, the gifts of the starets. But what of the spiritual child? How does he contribute to the mutual relationship between father and son in God?

Briefly, what he offers is his full and unquestioning obedience. As a classic example, there is the story in the Sayings of the Desert Fathers about the monk who was told to plant a dry stick iii the sand and to water it daily. So distant was the spring from his cell that he had to leave in the evening to fetch the water and he only returned in the following morning. For three years he patiently fulfilled his Abba’s command. At the end of this period, the stick suddenly put forth leaves and bore fruit. The Abba picked the fruit, took it to the church, and invited the monks to eat, saying, “Come and taste the fruit of obedience.” [21]

Another example of obedience is the monk Mark who was summoned by his Abba, while copying a manuscript, and so immediate was his response that he did not even complete the circle of the letter that he was writing. On another occasion, as they walked together, his Abba saw a small pig; testing Mark, he said, “Do you see that buffalo, my child?” “Yes, Father,” replied Mark. “And you see how powerful its horns are?” “Yes, Father”, he answered once more without demur. [22] Abba Joseph of Panepho, following a similar policy, tested the obedience of his disciples by assigning ridiculous tasks to them, and only if they complied would he then give them sensible commands. [23] Another geron instructed his disciple to steal things from the cells of the brethren; [24] yet another told his disciple (who had not been entirely truthful with him) to throw his son into the furnace. [25]

Such stories are likely to make a somewhat ambivalent impression on the modern reader. They seem to reduce the disciple to an infantile or sub-human level, depriving him of all power of judgment and moral choice. With indignation we ask: “Is this the ‘glorious liberty of the children of God’?” (Rom. 8:21)

Three points must here be made. In the first place, the obedience offered by the spiritual son to his Abba is not forced but willing and voluntary. It is the task of the starets to take up our will into his will, but he can only do this if by our own free choice we place it in his hands. He does not break our will, but accepts it from us as a gift. A submission that is forced and involuntary is obviously devoid of moral value; the starets asks of each one that he offer to God his heart, not his external actions.

The voluntary nature of obedience is vividly emphasized in the ceremony of the tonsure at the Orthodox rite of monastic profession. The scissors are placed upon the Book of the Gospels, and the novice must himself pick them up and give them to the abbot. The abbot immediately replaces them on the Book of the Gospels. Again the novice take the scissors, and again they are replaced. Only when the novice him the scissors for the third time does the abbot proceed to cut hair. Never thereafter will the monk have the right to say to the abbot or the brethren: “My personality is constricted and suppressed here in the monastery; you have deprived me of my freedom”. No one has taken away his freedom, for it was he himself who took up the scissors and placed them three times in the abbot’s hand.

But this voluntary offering of our freedom is obviously something that cannot be made once and for all, by a single gesture; There must be a continual offering, extending over our whole life; our growth in Christ is, measured precisely by the increasing degree of our self-giving. Our freedom must be offered anew each day and each hour, in constantly varying ways; and this means that the relation between starets and disciple is not static but dynamic, not unchanging but infinitely diverse. Each day and each hour, under the guidance of his Abba, the disciple will face new situations, calling for a different response, a new kind of self-giving.

In the second place, the relation between starets and spiritual child is not one- but two-sided. Just as the starets enables the disciples to see themselves as they truly are, so it is the disciples who reveal the starets to himself. In most instances, a man does not realize that he is called to be a starets until others come to him and insist on placing themselves under his guidance. This reciprocity continues throughout the relationship between the two. The spiritual father does not possess an exhaustive program, neatly worked out in advance and imposed in the same manner upon everyone. On the contrary, if he is a true starets, he will have a different word for each; and since the word which he gives is on the deepest level, not his own but the Holy Spirit’s, he does not know in advance what that word will be. The starets proceeds on the basis, not of abstract rules but of concrete human situations. He and his disciple enter each situation together; neither of them knowing beforehand exactly what the outcome will be, but each waiting for the enlightenment of the Spirit. Each of them, the spiritual father as well as the disciple, must learn as he goes.

The mutuality of their relationship is indicated by certain stories in the Sayings of the Desert Fathers, where an unworthy Abba has a spiritual son far better than himself. The disciple, for example, detects his Abba in the sin of fornication, but pretends to have noticed nothing and remains under his charge; and so, through the patient humility of his new disciple, the spiritual father is brought eventually to repentance and a new life. In such a case, it is not the spiritual father who helps the disciple, but the reverse. Obviously such a situation is far from the norm, but it indicates that the disciple is called to give as well as to receive.

In reality, the relationship is not two-sided but triangular, for in addition to the starets and his disciple there is also a third partner, God. Our Lord insisted that we should call no man “father,” for we have only one father, who is in Heaven (Matthew 13:8-10). The starets is not an infallible judge or a final court of appeal, but a fellow-servant of the living God; not a dictator, but a guide and companion on the way. The only true “spiritual director,” in the fullest sense of the word, is the Holy Spirit.

This brings us to the third point. In the Eastern Orthodox tradition at its best, the spiritual father has always sought to avoid any kind of constraint and spiritual violence in his relations with his disciple. If, under the guidance of the Spirit, he speaks and acts with authority, it is with the authority of humble love. The words of starets Zosima in The Brothers Karamazov express an essential aspect of spiritual fatherhood: “At some ideas you stand perplexed, especially at the sight of men’s sin, uncertain whether to combat it by force or by humble love. Always decide, ‘I will combat it by humble love.’ If you make up your mind about that once and for all, you can conquer the whole world. Loving humility is a terrible force; it is the strongest of all things and there is nothing like it.”

Anxious to avoid all mechanical constraint, many spiritual fathers in the Christian East refused to provide their disciples with a rule of life, a set of external commands to be applied automatically. In the words of a contemporary Romanian monk, the starets is “not a legislator but a mystagogue.” [26] He guides others, not by imposing rules, but by sharing his life with them. A monk told Abba Poemen, “Some brethren have come to live with me; do you want me to give them orders?” “No,” said the Old Man. “But, Father,” the monk persisted, “they themselves want me to give them orders.” “No”, repeated Poemen, “be an example to them but not a lawgiver.” [27] The same moral emerges from the story of Isaac the Priest. As a young man, he remained first with Abba Kronios and then with Abba Theodore of Pherme; but neither of them told him what to do. Isaac complained to the other monks and they came and remonstrated with Theodore. “If he wishes”, Theodore replied eventually, “let him do what he sees me doing.” [28] When Varsanuphius was asked to supply a detailed rule of life, he refused, saying: “I do not want you to be under the law, but under grace.” And in other letters he wrote: “You know that we have never imposed chains upon anyone… Do not force men’s free will, but sow in hope, for our Lord did not compel anyone, but He preached the good news, and those who wished hearkened to Him.” [29]

Do not force men’s free will. The task of the spiritual father is not to destroy a man’s freedom, but to assist him to see the truth for himself; not to suppress a man’s personality, but to enable him to discover himself, to grow to full maturity and to become what he really is. If on occasion the spiritual father requires an implicit and seemingly “blind” obedience from his disciple, this is never done as an end in itself, nor with a view to enslaving him. The purpose of this kind of shock treatment is simply to deliver the disciple from his false and illusory “self”, so that he may enter into true freedom. The spiritual father does not impose his own ideas and devotions, but he helps the disciple to find his own special vocation. In the words of a 17th-century Benedictine, Dom Augustine Baker: “The director is not to teach his own way, nor indeed any determinate way of prayer, but to instruct his disciples how they may themselves find out the way proper for them … In a word, he is only God’s usher, and must lead souls in God’s way, and not his own.” [30]

In the last resort, what the spiritual father gives to his disciple is not a code of written or oral regulations, not a set of techniques for meditation, but a personal relationship. Within this personal relationship the Abba grows and changes as well as the disciple, for God is constantly guiding them both. He may on occasion provide his disciple with detailed verbal instructions, with precise answers to specific questions. On other occasions he may fail to give any answer at all; either because he does not think that the question needs an answer, or because he himself does not yet know what the answer should be. But these answers—or this failure to answer—are always given the framework of a personal relationship. Many things cannot be said in words, but can be conveyed through a direct personal encounter.

In the Absence of a Starets

And what is one to do, if he cannot find a spiritual father?

He may turn, in the first place, to books. Writing in 5th-century Russia, St. Nil Sorsky laments the extreme scarcity of qualified spiritual directors; yet how much more frequent they must have been in his day than in ours! Search diligently, he urges, for a sure and trustworthy guide. “However, if such a teacher cannot be found, then the Holy Fathers order us to turn to the Scriptures and listen to Our Lord Himself speaking.” [31] Since the testimony of Scripture should not be isolated from the continuing witness of the Spirit in the life of the Church, the inquirer will also read the works of the Fathers, and above all the Philokalia. But there is an evident danger here. The starets adapts his guidance to the inward state of each; books offer the same advice to everyone. How is the beginner to discern whether or not a particular text is applicable to his own situation? Even if he cannot find a spiritual father in the full sense, he should at least try to find someone more experienced than himself, able to guide him in his reading.

It is possible to learn also from visiting places where divine grace has been exceptionally manifested and where prayer has been especially concentrated. Before taking a major decision, and in the absence of other guidance, many Orthodox Christians will goon pilgrimage to Jerusalem or Mount Athos, to some monastery or the tomb of a saint, where they will pray for enlightenment. This is the way in which I have reached the more difficult decisions in my life.

Thirdly, we can learn from religious communities with an established tradition of the spiritual life. In the absence of a personal teacher, the monastic environment can serve as guru; we can receive our formation from the ordered sequence of the daily program, with its periods of liturgical and silent prayer, with its balance of manual labor, study, and recreation. [32] This seems to have be en the chief way in which St. Seraphim of Sarov gained his spiritual training. A well-organized monastery embodies, in an accessible and living form, the inherited wisdom of many starets. Not only monks, but those who come as visitors for a longer or shorter period, can be formed and guided by the experience of community life.

It is indeed no coincidence that the kind of spiritual fatherhood that we have been describing emerged initially in 4th-century Egypt, not within the fully organized communities under St. Pachomius, but among the hermits and in the semi-eremitic milieu of Nitria and Scetis. In the former, spiritual direction was provided by Pachomius himself, by the superiors of each monastery, and by the heads of individual “houses” within the monastery. The Rule of St. Benedict also envisages the abbot as spiritual father, and there is no provision for further development of a more “charismatic” type. In time, of course, the coenobitic communities incorporated many of the traditions of spiritual fatherhood as developed among the hermits, but the need for those traditions has always been less intensely felt in the coenobia, precisely because direction is provided by the corporate life pursued under the guidance of the Rule.

Finally, before we leave the subject of the absence of the starets, it is important to recognize the extreme flexibility in the relationship between starets and disciple. Some may see their spiritual father daily or even hourly, praying, eating, and working with him, perhaps sharing the same cell, as often happened in the Egyptian Desert. Others may see him only once a month or once a year; others, again, may visit a starets on but a single occasion in their entire life, yet this will be sufficient to set them on the right path. There are, furthermore, many different types of spiritual father; few will be wonder-workers like St. Seraphim of Sarov. There are numerous priests and laymen who, while lacking the more spectacular endowments of the startsi, are certainly able to provide others with the guidance that they require.

Many people imagine that they cannot find a spiritual father, because they expect him to be of a particular type: they want a St. Seraphim, and so they close their eyes to the guides whom God is actually sending to them. Often their supposed problems are not so very complicated, and in reality they already know in their own heart what the answer is. But they do not like the answer, because it involves patient and sustained effort on their part: and so they look for a deus ex machina who, by a single miraculous word, will suddenly make everything easy. Such people need to be helped to an understanding of the true nature of spiritual direction.

Contemporary Examples

In conclusion, I wish briefly to recall two startsi of our own day, whom I have had the happiness of knowing personally. The first is Father Amphilochios (+1970), abbot of the Monastery of St. John on the Island of Patmos, and spiritual father to a community of nuns which he had founded not far from the Monastery. What most distinguished his character was his gentleness, the warmth of his affection, and his sense of tranquil yet triumphant joy. Life in Christ, as he understood it, is not a heavy yoke, a burden to be carried’ with resignation, but a personal relationship to be pursued with eagerness of heart. He was firmly opposed to all spiritual violence and cruelty. It was typical that, as he lay dying and took leave of the nuns under his care, he should urge the abbess not to be too severe on them: “They have left everything to come here, they must not be unhappy.” [33] When I was to return from Patmos to England as a newly-ordained priest, he insisted that there was no need to be afraid of anything.

My second example is Archbishop John (Maximovich), Russian bishop in Shanghai, in Western Europe, and finally in San Francisco (+1966). Little more than a dwarf in height, with tangled hair and beard, and with an impediment in his speech, he possessed more than a touch of the “Fool in Christ.” From the time of his profession as a monk, he did not lie down on a bed to sleep at night; he went on working and praying, snatching his sleep at odd moments in the 24 hours. He wandered barefoot through the streets of Paris, and once he celebrated a memorial, service among the tram lines close to the port of Marseilles. Punctuality had little meaning for him. Baffled by his unpredictable behavior, the more conventional among his flock sometimes judged him to be unsuited for the administrative work of a bishop. But with his total disregard of normal formalities he succeeded where others, relying on worldly influence and expertise, had failed entirely—as when, against all hope and in the teeth of the “quota” system, he secured the admission of thousands of homeless Russian refugees to the U.S.A.

In private conversation he was very gentle, and he quickly won the confidence of small children. Particularly striking was the intensity of his intercessory prayer. When possible, he liked to celebrate the Divine Liturgy daily, and the service often took twice or three times the normal space of time, such was the multitude of those whom he commemorated individually by name. As he prayed for them, they were never mere names on a lengthy list, but always persons. One story that I was told is typical. It was his custom each year to visit Holy Trinity Monastery at Jordanville, N.Y. As he left, after one such visit, a monk gave him a slip of paper with four names of those who were gravely ill. Archbishop John received thousands upon thousands of such requests for prayer in the course of each year. On his return to the monastery some twelve months later, at once he beckoned to the monk, and much to the latter’s surprise, from the depths of his cassock Archbishop John produced the identical slip of paper, now crumpled and tattered. “I have been praying for your friends,” he said, “but two of them”—he pointed to their names—’are now dead and the other two have recovered.” And so indeed it was.

Even at a distance he shared in the concerns of his spiritual children. One of them, superior of a small Orthodox monastery in Holland, was sitting one night in his room, unable to sleep from anxiety over the problems which faced him. About three o’dock in the morning, the telephone rang; it was Archbishop John, speaking from several hundred miles away. He had rung to say that it was time for the monk to go to bed.”

*

Such is the role of the spiritual father. As Varsanuphius expressed it, “I care for you more than you care for yourself.”

*

 Source: Bishop Kallistos Ware, “The Spiritual Father in Orthodox Christianity” at http://orthodoxinfo.com/praxis/spiritualfather.aspx)
* For a non-religious, secular analysis of “anam cara” read Anam Cara and the Essence of True Friendship, by Maria Popova

A Wise Man or a Fool?

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An African fable (UGANDA)

*

ONCE upon a time there was a potter and his wife who had one child, a little boy, and as he grew older they were grieved to see that he was different from all other children.

He never played with them, or laughed, or sang; he just sat alone by himself, he hardly ever spoke to his parents, and he never learnt the nice polite manners of the other children in the village. He sat and thought all day, and no one knew what he thought about, and his parents were very sad.

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The other women tried to comfort the potter’s wife. They said: “Perhaps you will have another baby, and it will be like other children.” But she said:

“I don’t want another baby; I want this one to be nice.” And the men of the village tried to cheer the potter. “Queer boys often become great men,” they said. And one old man said: “Leave the boy alone; we shall see whether he is a wise man or a fool.”

The potter went home and told his wife what the men had said, and the boy heard him, and it seemed to wake him up, and he thought it over for a few days, and at last one morning at dawn he took his stick in his hand and went into the forest to think there.

All day he wandered about, and at last he came to a little clearing on the side of a hill from which he could look down over the country. The Sun was setting over the distant blue hills, and everything was touched with a pink and golden light, and deep shadows lay on the banana gardens and forests in the distance, but the boy saw none of these things; he was footsore and weary and miserable, and he sat down on a fallen log, tired out with his long day.

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Suddenly a lion came out on to the clearing.

“What are you doing here all alone?” he said severely.

“I am very miserable,” said the boy, “and I have come into the forest to think, for I do not know whether I am a wise man or a fool.”

“Is that all you think about?” said the lion.

“Yes,” answered the boy, “I think about it night and day.”

“Then you are a fool,” said the lion decidedly. “Wise men think about things that benefit the country.” And he walked away.

Then an antelope came bounding out on the clearing and stopped to stare at the boy.

“What are you doing here?” he asked.

“I am very miserable,” answered the boy; “I don’t know whether I am a wise man or a fool.”

“Do you ever eat anything?” said the antelope.

“Yes,” said the boy, “my mother cooks twice a day, and I eat.”

“Do you ever thank her?” said the antelope.

“No, I have never thought of that,” answered the boy.

“Then you are a fool,” said the antelope. “Wise men are always grateful.” And he bounded off into the forest again.

AM I A WISE MAN OR A FOOL? ASKED THE POTTER'S SON

Then a leopard came up and looked suspiciously at him.

“What are you doing here?” he asked crossly.

“I am very miserable,” answered the boy; “I don’t know if I am a wise man or a fool.”

“Do they love you in your village?” asked the leopard.

“No, I don’t think they do,” said the boy. “I am not like other boys. I don’t know them very well.”

“Then you are a fool,” said the leopard. “All boys are nice; I often wish I were a boy; wise men mix with their fellows and earn their respect.” And he walked on sniffing.

Just then the big grey elephant came shuffling along the forest path, swinging his tail as he walked, and picking a twig here and a leaf there as he passed under the trees.

“What are you doing here all alone in the jungle when the Sun is setting?” he asked. “You should be at home in your village.”

“I am very miserable,” said the boy. “I don’t know if I am a wise man or a fool.”

“What work do you do?” asked the elephant.

“I don’t do any work,” said the boy.

“Then you are a fool,” said the elephant. “All wise men work.” And he swung away down the path which leads to the pool in the forest where the animals go to drink, and the boy put his head down in his hands and cried bitterly, as if his heart would break, for he did not know what to do.

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After a little while he heard a gentle voice by his side: “My little brother, do not cry so; tell me your trouble.” The boy raised his tear-stained face and saw a little hare standing by his side.

“I am very miserable,” he said. “I am not like other people, and nobody loves me. I came into the forest to find out whether I am a wise man or a fool, and all the animals tell me I am a fool.” And he put his head in his hands again and cried more bitterly than ever.

The hare let him cry on for a little while, and then he said: “My little brother, do not cry any more. What the animals have told you is true; they have told you to think great thoughts, to be grateful and kind to others, and, above all, to work. All these things are great and wise. The animals are never idle, and they marvel to see how men, with all their gifts, waste their lives. Think how surprised they are to see a boy like you, well and strong, doing nothing all day, for they know that the world is yours if you will make it so.”

The Sun had set behind the distant hills and the soft darkness was falling quickly over the forest, and the hare said: “Soon it will be chilly here; you are tired and hungry, and far from your village; come and spend the night in my home and we will talk of all these things.”

So they went into the forest again, and the hare brought the boy water in a gourd and wonderful nuts to eat, and made him a soft bed of dry leaves.

And they talked of many things till the boy said: “My father is a potter, and I think I should like to be a potter too.” “If you are, you must never be content with poor work,” said the hare. “Your pottery must be the best in the country; never rest until you can make really beautiful things; no man has any right to send imperfect work out into the world.” “Nobody will believe in me when I go home; they will think I am mad,” said the boy. And the little hare answered: “Man’s life is like a river, which flows always on and on; what is past is gone for ever, but there is clear water behind; no man can say it is too late, and you are only a boy with your life before you.”

“They will laugh at me,” said the boy.

“Wise men don’t mind that,” said the hare; “only fools are discouraged by laughter; you must prove to them that you are not a fool. I will teach you a song to sing at your work; it will encourage you:

“When the shadows have melted in silver dawn,
Farewell to my dreams of play.
The forest is full of a waking throng,
And the tree-tops ring with the birds’ new song,
And the flowers awake from their slumber long,
And the world is mine to-day.”My feet are sure and my hands are strong.
Let me labour and toil while I may.
When the Sun shall set in a sea of light,
And the shadows lengthen far into the night,
I shall take the rest which is mine by right,
For I’ll win the world to-day.”

… So the boy went back to his village, and he found his mother digging in the garden, and he knelt down and greeted her as all nice Baganda children do, and he saw how pleased she was. Then he went to his father, and said: “I want to be a potter; teach me your work and I will try to learn it.” And the potter was very much pleased to think that he would have a son to take on his trade after him, and all the people in the village heard and they rejoiced with the potter and his wife.

And the boy worked hard, and in after years he became a famous potter, and people came from all parts of the country to buy his pottery, for everyone knew that he never sold anything that was not beautiful and well made.

*

Source:  THE KING OF THE SNAKES AND OTHER FOLK-LORE STORIES FROM UGANDA

http://digital.library.upenn.edu/women/baskerville/king/king.html#XXVII

Eros, Philia, Agape

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Love 

* This is by far the most famous neo-classical sculpture ever commissioned. It was sculpted by Antonio Canova. It was first commissioned in 1787.

*
“What type of love do you mean: Eros, Philia or Agape?”
The man looked at him without understanding a word.
“There are three words in Greek to designate love,” Petrus said. “Today you are seeing the manifestation of Eros, that sentiment between two persons.”

“The two seem to love one another. In a short time they will be fighting alone for life, establishing themselves in a house and taking part in the same adventure: that’s what makes love grand and dignified. He will pursue his career, she probably knows how to cook and will make an excellent housewife because since she was a little girl she was brought up to do that. She will accompany him, they will have children and they will manage to build something together, they will be happy for ever.”

“Al of a sudden, however, this story could happen the other way around. He is going to feel that he is not free enough to show all the Eros, all the love that he has for other women. She may begin to feel that she has sacrificed a career and a brilliant life to accompany her husband. So, instead of creating together, each of them will feel robbed in their way of loving. Eros, the spirit that joins them, will start to display only his bad side. And what God had meant to be man’s most noble sentiment will begin to be a source of hatred and destruction.”

“Notice how odd it is,” continued my guide. “Despite being good or bad, the face of Eros is never the same in all persons.”

Then he continued, pointing to an elderly couple:
“Look at those two: they haven’t let themselves be affected by hypocrisy, like so many others. They look like they are a couple of farm workers: hunger and need have obliged them to overcome many a difficulty together. They have discovered love through work, which is where Eros shows his most beautiful face, also known as Philia.”
“What’s Philia?”
“Philia is love in the form of friendship. It’s what I feel for you and others. When the flame of Eros no longer able to shine, it’s Philia who keeps couples together.”

“And what about Agape?”
“Agape is total love, the love that devours those that experience it. Whoever knows and experiences Agape sees that nothing else in this world is of any importance, only loving. This was the love that Jesus felt for humanity, and it was so great that it shook the stars and changed the course of man’s history.”
“During the millennia of the history of civilization, many people have been smitten by this Love that Devours. They had so much to give – and the world demanded so little – that they were obliged to seek out the deserts and isolated places because love was so great that it transfigured them. They became the hermit saints that we know today.”
“For me and you who have experienced another form of Agape, this life here may seem hard and terrible. Yet the Love that Devours makes everything lose its importance: these men live only to be consumed by their love.”
He took a pause.
“Agape is the Love that Devours,” he repeated once more, as if this was the phrase that best defined that strange type of love. “Luther King once said that when Christ spoke of loving our enemies he was referring to Agape. Because according to him, it was impossible to like our enemies, those who do us harm and try to make our daily suffering all the worse.”
“But Agape is a lot more than liking. It is a sentiment that invades everything, fills all the cracks and makes any attempt at aggression turn to dust.”
“There are two forms of Agape. One is isolation, life dedicated only to contemplation. The other is precisely the opposite: contact with other human beings, and enthusiasm, the sacred sense of work. Enthusiasm means trance, ecstasy, connecting with God. Enthusiasm is Agape directed at some idea, something.”
“When we love and believe in something from the bottom of our soul, we feel stronger than the world and we are imbued with a serenity that comes from the certainty that nothing can conquer our faith. This strange force makes us always make the right decisions at the right time, and we are surprised at our own capacity when we fulfill our objective.”
“Enthusiasm usually manifests itself in all its power in the early years of our life. We still have a strong tie with the divinity and we give ourselves with such zeal to our toys that dolls take on a life of their own and little tin soldiers manage to march. When Jesus said that the kingdom of Heaven belonged to the children, he was referring to Agape in the form of Enthusiasm. The children reached him without paying any attention to his miracles, his wisdom, the Pharisees and the apostles. They came happily, driven by Enthusiasm.”


taken from THE PILGRIMAGE by Paulo Coehlo

“May you never lose your enthusiasm at any moment for the rest of your life: it’s your greatest strength, intent on the final victory. You cannot let it slip through your fingers just because as time passes we have to face some small and necessary defeats.”

Source:  Paulo Coehlo Writer Official Site http://paulocoelhoblog.com/2013/04/05/love-as-eros-philos-and-agape/

The Colour of Love

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                                           Chagall’s wisdom

In our life there is a single color, as on an artist’s palette, which provides the meaning of life and art. It is the color of love. All colors are the friends of their neighbors and the lovers of their opposites.

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When I am finishing a picture I hold some God-made object up to it / a rock, a flower, the branch of a tree or my hand / as a kind of final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it is bad art.

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If I create from the heart, nearly everything works; if from the head, almost nothing. Will God or someone else give me the strength to breathe the breath of prayer and mourning into my paintings, the breath of prayer for redemption and resurrection?

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The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world. In this long vigil he often has to vary his methods of stimulation; but in this long vigil he is also himself striving against a continual tendency to sleep.

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Only love interests me, and I am only in contact with things that revolve around love. 

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Marc Chagall (July 1887 – March 1985) was a Russian artist of a devout Jewish family, born in Vitebsk.

Source: http://paulocoelhoblog.com/2014/05/07/character-of-the-week-marc-chagall/

Simplicity, the Ultimate Sophistication

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Leonardo da Vinci. “Simplicity is the ultimate sophistication.”
In Paulo Coelho’s brilliant little book, The Alchemist, the author tells of a young lad sent by his father to a wise man to discover the secret of happiness. The wise man lived in a magnificent, faraway castle complete with sweet music, beautiful artwork, delicious food, and sprawling gardens. It was a wonder of the world. After a long journey to the castle and waiting for hours to speak to the sage, the boy finally gained an audience. The wise man listened to the boy’s explanation for his visit, then answered, “I do not have time to reveal the secret of happiness to you.” Instead, he handed the boy a teaspoon with two tiny drops of oil in it, and instructed him to wander around the castle for two hours without spilling the oil.

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The lad did as instructed, carefully climbing the high stairwells and creeping down the long hallways of the palace, his eyes always fixed on the teaspoon. When he returned to the wise man, he was asked, “Did you see my Persian tapestries, my extravagant gardens, my parchments in the library?” Embarrassed, the boy replied that he had not. He had been focused solely on the drops of oil in the spoon. With this confession the boy was sent back to tour the castle, and this time he focused all his attention on the beauty that surrounded him. He returned to the wise man with excitement, thrilled at all he had seen. The wise man then asked, “And where are the two drops of oil I gave you?”

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The boy realized that he had spilt them along the way. The wise man then revealed his “secret” to happiness: “Happiness lies in looking at all the wonders of the world and never forgetting the two drops of oil in the spoon.” This parabolic story calls for a much needed balance: Joy is the product of being in tune with the world around us, while caring for the few precious things we have been given to carry on our journey. We cannot ignore the realities of our surroundings, and we cannot ignore our personal responsibilities.

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But the real brains of Coelho’s story is that the wise man gave the boy only two drops to carry in his spoon; not a quart of oil, not a five-gallon bucket full, and certainly not a heavy, back-breaking tank of the stuff. It was only a couple of drops, revealing that happiness is maintained by keeping our personal load as light as possible. Do you want to be happy? Lighten your load and simplify your life. The most deeply spiritual thing that some of us could do is have a garage sale. Purge our calendars. Resign from a few of our many activities. Our unhappiness isn’t related to a poor prayer life, the lack of reading the Scriptures, or going to church too little.

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We are carrying too much baggage. We are trying to manage too much stuff. We have too many possessions, too many obligations, and too many batons juggling in the air. This is an unqualified recipe for misery. Because all of these weights and concerns of life — most of which we have assumed (they haven’t been put upon us by anyone else) — are choking out any real chance at being happy, as we simply cannot carry our self-loaded burdens or lift our heads to see the beauty around us.

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None of us can live our lives, worship our God, enjoy our world, or take care of those who have been given to us to love (these are the few, priceless drops in the spoon by the way), if we are constantly looking at our own shoelaces, burdened with ourselves and our many concerns. Thus, when we simplify, we are doing much more than getting rid of physical possessions or conserving our precious time. We are sharpening our emotional focus; we are making spiritual space. We are choosing to be happy. Happiness, after all, is an intentional choice, and it is the wisest choice of all.

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“The Wisdom of Simplicity” by Ronnie McBrayer at http://www.wilsoncountynews.com/article.php?id=50850&n=keeping-faith-ronnie-mcbrayer-keeping-faith-wisdom-simplicity

Music Swims Back To Us

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“Landfill Harmonic Is A Film about the Love of Music”

Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley

Before you proceed to the film review, let me tell you that to truly understand what happened in Cateura, you should watch an absolutely brilliant, fascinating classical music lesson by Benjamin Zander, a famous Ted talk on “The transformative power of classical music” at https://www.ted.com/talks/benjamin_zander_on_music_and_passion
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… “Landfill Harmonic” was a film that took me straight out of that lull. It made my soul smile, and I’m willing to bet that it will do the same to each and every one of you. Rarely does a film come by that touches you so purely. This is exactly what happened to me. “Landfill Harmonic” is a film that will inspire you, embrace your soul, and prove that magic can be found in the most unexpected places.

You can view the teaser for the film below:

I was given the privilege to see this film while attending SXSW this year, and it was amazing. I was touched by the plight of these people, and entranced at the ingenuity of them. To steal a line from “Jurassic Park”, “Life finds a way.” Humanity is a wonderful species, and “Landfill Harmonic” is one of the best examples of this.

There are too many instances where we discredit people due to race, gender, and circumstance, but given the opportunity, we all have the potential to shine. I highly suggest seeing this film when it releases. As some of you know, I have been a musician for most of my life, and “Landfill Harmonic” made me want to play. I don’t really have the words to describe this feeling, except to say that the film inspired me, and made me want to create something as beautiful as what I had just witnessed.

Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley

Here is the official SXSW synopsis of the film:

“Landfill Harmonic” follows the Recycled Orchestra of Cateura, a Paraguayan musical group that plays instruments made entirely out of garbage. When their story goes viral, the orchestra is catapulted into the global spotlight. Under the guidance of idealistic music director Favio Chavez, the orchestra must navigate a strange new world of arenas and sold-out concerts. However, when a natural disaster strikes their country, Favio must find a way to keep the orchestra intact and provide a source of hope for their town. The film is a testament to the transformative power of music and the resilience of the human spirit.

The way that these kids play their instruments is delightful and their passion for music is incredible. Favio Chavez is their teacher and mentor, and I had the opportunity to shake his hand. I really could tell him nothing except thank you. I don’t even think that thank you could begin to sum up my appreciation for him and what he has done in Paraguay. The funny thing is that he seemed to understand exactly what I was saying. This is one of the wonderful things about music.

Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley

The most impressive thing about the film is how the community has banded together to help these children. The children’s music brings them hope, and allows them to see that they can all change their stars.

“Landfill Harmonic” needs your help. Spread the word about this film. Be proactive and help contribute. Part of the proceeds from the film will go to the Recycled Orchestra. They take donated instruments as well. You can get all of the information that you need on the official site for the film, Landfillharmonicmovie.com.

Directed by Brad Allgood and Graham Townsley, “Landfill Orchestra” is a lesson in how precious life is, and why we should not take music and art for granted. I applaud everyone that has contributed to the making of the film, and especially Favio Chavez and the children. You keep on making brilliant music, because I get butterflies in my stomach every time I hear you play it.

Below, are some images from the film:

Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley Landfill Harmonic, Directors:: Brad Allgood, Graham TownsleyLandfill Harmonic, Directors:: Brad Allgood, Graham Townsley Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley Landfill Harmonic, Directors:: Brad Allgood, Graham Townsley

By “Landfill Harmonic Will Touch Your Soul” by  at http://flicksided.com/2015/03/20/landfill-harmonic-will-touch-your-soul/#respond

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Be sure not to miss their inspiring Ted talk at http://ed.ted.com/on/p2vivxdA

Raptures of Old Age and Art

Astonishing Film of Arthritic Impressionist Painter, Pierre-Auguste Renoir (1915)
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You may never look at a painting by Pierre-August Renoir in quite the same way again after seeing this three-minute film. It didn’t show in his artwork, but Renoir suffered from severe rheumatoid arthritis during the last three decades of his life. He worked in constant pain, right up until the day he died.

Pierre-Auguste Renoir – Filmed Painting at Home (1919)

His hands were terribly deformed. His rheumatism had made the joints stiff and caused the thumbs to turn inward towards the palms, and his fingers to bend towards the wrists. Visitors who were unprepared for this could not take their eyes off his deformity. Though they did not dare to mention it, their reaction would be expressed by some such phrase as “It isn’t possible! With hands like that, how can he paint those pictures? There’s some mystery somewhere.”

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The film of Renoir was made by 30-year-old Sacha Guitry, who appears midway through the film sitting down and talking with the artist. Guitry was the son of the famous actor and theatre director Lucien Guitry, and would go on to even greater fame than his father as an actor, filmmaker and playwright. When a group of German intellectuals issued a manifesto after the outbreak of World War I bragging about the superiority of German culture, Guitry was infuriated. As an act of patriotism he decided to make a film of France’s great men and women of the arts. It would be released as Ceux de Chez Nous, or “Those of Our Land.” Guitry and Renoir were already friends, so when the young man embarked on his project he travelled to Renoir’s home at Cagnes-sur-Mer, in the Provence-Alpes-Côte d’Azur region. The date was shortly after June 15, 1915, when Renoir’s wife Aline died.

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In Sacha Guitry: The Last Boulevardier, writer James Harding describes the scene:

The choice of time was unfortunate. That very day Renoir’s wife was to be buried. Sacha went to the old man who sat huddled arthritically in his wheel chair and murmured: ‘It must be terribly painful, Monsieur Renoir, and you have my deepest sympathy.’ ‘Painful?’ he replied, shifting his racked limbs, ‘you bet my foot is painful!’ They pushed him in his chair up to a canvas, and, while Sacha leaned watching over his shoulder, Renoir jabbed at the picture with brushes attached to hands which had captured so much beauty but which now were shrivelled like birds’ claws. The flattering reminder that he was being filmed for posterity had no effect on the man who, on being awarded the cravat of a Commandeur of the Légion d’Honneur, had said: ‘How can you expect me to wear a cravat when I never wear a collar?’

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Renoir died four years after the film was made, on December 3, 1919. He lived long enough to see some of his paintings installed in the Louvre. When a young Henri Matisse asked the suffering old man why he kept painting, Renoir is said to have replied, “The pain passes, but the beauty remains.”

Source: http://www.openculture.com/2012/07/astonishing_film_of_arthritic_impressionist_painter_pierre-auguste_renoir_1915.html

The Magic of Nowness

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Sidewalk Flowers is a poem without words, a picture book that speaks to us.

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A little girl and her father are taking a walk in the city. The father is pre-occupied, worried, texting on his phone. He does not have time to look around.

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The little girl finds tiny flowers growing out of cracks in the sidewalk and she gathers them, each one a little treasure.

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She is the only colour in a black and white city, dressed in a red cloak, a fairy-tale girl in an urban desert. At first only the flowers she picks are coloured, then gradually other objects are given colour and Life by the poet-artist-author of the book.

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The little girl gives away all her tiny flowers and keeps none for herself. A man sleeping on a park bench, a friendly dog, a dead bird.

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She saves some for her family too.

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In a very symbolic final gesture she puts a flower behind her ear and looks up at the sky. We have the choice too. To look at the sky and to gather flowers, or to attach ourselves to our mobile phones and electronic devices.

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The book was inspired by the experience of the author-artist and his own little daughter.

Balinese ‘Dancing’ Jesus

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I have long been eager to get acquainted with nonwestern Christian art, especially artworks representing Christ and Bible themes by Asian artists. So, I got very excited when I discovered the Asian Christian Arts Association or the ACAA, established in Bali, where Christian artists and theologians from all over Asia meet, exchange ideas and inspire each other. Nyoman Darsane, a fascinating Balinese artist who depicts Biblical characters as traditional Balinese dancers, employing various Balinese symbolisms in his images, was one of the first Asian ‘Christian’ artists to attract my attention. Then, I came across Victoria Jones’ post at The Jesus Question about him. Darsane is an incredibly talented painter who masterfully combines the joy of the Gospel with his Balinese culture, and Victoria’s post is thoroughly researched, offers excellent commentary and insights and does him justice!

Victoria Emily Jones's avatarThe Jesus Question

Balinese artist Nyoman Darsane was born in 1939 and raised as a Hindu.  At age seventeen, he became a Christian and as a result was ostracized by his family and village community.  But because he so persistently strove, through his art, to give Christianity a Balinese shape, they eventually decided to accept him back in.  They saw that he still loved and respected the culture; he was still “one of them,” even though his religious beliefs took a different turn.  Does he feel that, as a Balinese Christian, his identity is divided, that he cannot fully embrace both at once?  Not at all.  “Bali is my body; Christ is my life,” he says.  In other words, Jesus Christ is his all, but can he not pray to and worship and express his love for Jesus Christ in a Balinese fashion?  And can he not picture Jesus as a fellow Balinese…

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