Category Archives: Liturgy

Xunzi’s Take on Ritual: Part 2

Here’s the second part of my presentation for the Society of Scholar Priests. Part 1 introduces Xunzi as a pre-modern person interested in how ritual practice forms virtue; part 2 is here, part 3 is looking at classical Anglican liturgy with Xunzi’s thoughts in mind.

(Production on the next Liturgical Look Forward is running behind, but it should be up at some point today…)


 

I’m going to abstract out of Xunzi’s thought four big picture points.

  1. Human nature is bad; because it’s bad it must be corrected by means of external tools following an external pattern.

  2. The efficacy of ritual lies chiefly in its ability to channel emotion and shape affect.

  3. Ritual is essential, but for ritual to be most effective requires teachers.

  4. Ritual creates a harmonious society by inculcating proper relationships

 

1. Human nature is bad; because it’s bad it must be corrected by means of external tools following an external pattern.

Mengzi—a Confucian teacher in the previous generation—teaches that human nature is good. Since it’s good, in order to know what is good, we simply have to look within ourselves. Goodness is inate. While our good nature may be corrupted by society or through some other problem, it’s always there and its development is a natural process. Thus, meditation and introspection are key tools for forming the virtues because they enable us to look inwardly and tap into that inherent good nature. As a result, Mengzi can use the metaphor of growth. So, seeds of virtue within human nature will naturally grow. It’s one-directional process and there’s a certain natural inevitability to it. Just like a plant, if human nature is given what it needs and is not interfered with, virtue is going to grow. So, Mengzi can use agricultural metaphors.

Xunzi doesn’t. He’s deliberately setting himself up against Mengzi and he uses no agricultural metaphors for the human spirit or for the acquisition of virtue. Instead of being agricultural, all of his metaphors are about crafts; they’re technological. A piece of clay is never inherently going to become a pot. If you don’t do anything to it, it’s just going to sit there.  In the same way a piece of wood is never going to spontaneously turn into a wheel. Instead, it requires an artisan to steam the wood and use a jig to shape and bend it into a new configuration. These are the metaphors he employs before turning to the construction of virtue within humans.

Someone may ask: if man’s nature is evil, then where do ritual principles come from? I would reply: all ritual principles are produced by the conscious activity of the sages; essentially they are not products of man’s nature. A potter molds clay and makes a vessel, but the vessel is the product of the conscious activity of the potter, not essentially a product of his human nature. A carpenter carves a piece of wood and makes a utensil, but the utensil is the product of the conscious activity of the carpenter, not essentially a product of his human nature. The sage gathers together his thoughts and ideas, experiments with various forms of conscious activity, and so produces ritual principles and sets forth laws and regulations. Hence, these ritual principles and laws are the products of the conscious activity of the sage, not essentially products of his human nature. (Burton, 160)

[All quotations come from Burton Watson’s translation of sections of the Xunzi whom he romanizes as Hsun Tzu]

So—there are two external things at work here. There is the tool and then there’s the pattern. So, there’s the means by which character is shaped, then there’s the pattern of what you’re trying to shape it to. So where do these come from? This is directly related to the question that Lizette Larson-Miller raised in her talk: if liturgy is primary theology, where does liturgy come from? What’s it’s initial source? Xunzi invokes the sage kings of antiquity and points to the rites handed down in the traditional documents:

In ancient times the sage kings realized that man’s nature is evil, and that therefore he inclines toward evil and violence and is not upright or orderly. Accordingly they created ritual principles and laid down certain regulations in order to reform man’s emotional nature and make it upright, in order to train and transform it and guide it into the proper channels. In this way they caused all men to become orderly and conform to the Way. (158)

Well, ok, great—but where did the principles come from?

The former kings looked up and took their model from heaven, looked  down and took their model from the earth, looked about and took their rules from mankind. Such rules represent the ultimate principle of community harmony and unity. (107-108)

Xunzi is invoking a received pattern here. The Five Classics refer to a triad between heaven, earth, and humanity. Each of these has a Way, a Dao. As far as the Daoists—like Laozi and Zhuangzi–were concerned, these three ways are interwoven into one great unnameable indescribable Dao and human virtue consists of cooperating with and conforming one’s life to the Dao of heaven and earth. You align your pattern with the cosmic pattern. Xunzi says, no, that’s not going to work—because if you look at heaven and earth, things aren’t perfect, orderly, and harmonious. The natural world has lots and lots of disorder in it. So as far as he’s concerned, you can extract some principles of right living by the observation of heaven and earth, but humans are the ones who bring order to both heaven and earth. Our job isn’t to passively float along accord to their Dao; instead, we need to discern the patterns, figure out how order needs to be brought, then to accomplish it. Thus the first job of the sage kings is to ask—what’s the cosmic pattern supposed to look like. Where is it orderly and harmonious, and where is it not? What are the patterns that do work? So—from that work of observation the sage kings figure out what the patterns of humanity are supposed to look like.

Next, the tools. Then they abstracted from that big-picture goal what rites and rituals and ceremonies are needed to do the work of shaping people to create virtue. Ok—so how do they figure this out? Here we get to Xunzi’s anthropological principles and to his functional approach to ritual and that leads to our second point:

 

2. The efficacy of ritual lies chiefly in its ability to channel emotion and shape affect.

Emotion is at the heart of Xunzi’s anthropology: “The basic nature of man is that which he receives from Heaven. The emotions are the substance of the nature and the desires are the responses of the emotions” (151).So, Xunzi sees us principally as emotional beings. We act out of our emotions and our emotions give rise to our desires. Alright so what’s the problem here? Well—here’s where we get to why he says human nature is bad:

Hence any man who follows his nature and indulges his emotions will inevitably become involved in wrangling and strife, will violate the forms and rules of society, and will end as a criminal. Therefore, man must first be transformed by the instructions of a teacher and guided by ritual principles, and only then will he be able to observe the dictates of courtesy and humility, obey the forms and rules of society, and achieve order. (157)

So, this is where I’m going to qualify his language a bit. When Xunzi says that human nature is bad, a precise way to frame it is that human nature is inherently anti-social because our tendency is to follow our desires regardless of the consequences for ourselves or for anyone else around us. That’s our nature: we’re selfish and will live a disordered existence in order to satisfy these desires.

[In many ways, I see his perspective as parallel with an Augustinian post-lapsarian anthropology: while humanity is created good in the image of God, the corruption of Original Sin does make us inherently selfish and disordered—a condition from which we need to be redeemed. Obviously, we and Xunzi disagree on how that redemption happens!]

What do we do about desire? Well, some philosophies said that desires can be extinguished—whether through force of will or meditative training, desire can be stopped. Xunzi had a very clear teaching on this point: “Beings that possess desire and those that do not belong to two different categories— the living and the dead” (150). Desire is not the kind of thing that can be extinguished. Instead, it can be channeled and directed and modulated:

What is the origin of ritual? I reply: man is born with desires. If his desires are not satisfied for him, he cannot but seek some means to satisfy them himself. If there are no limits and degrees to his seeking, then he will inevitably fall to wrangling with other men. From wrangling comes disorder and from disorder comes exhaustion. The ancient kings hated such disorder, and therefore they established ritual principles in order to curb it, to train men’s desires and to provide for their satisfaction. They saw to it that desires did not overextend the means for their satisfaction, and material goods did not fall short of what was desired. Thus both desires and goods were looked after and satisfied. This is the origin of rites. (89)

If the people have emotions of love and hatred, but no ways to express their joy or anger, then they will become disordered. Because the former kings hated such disorder, they reformed the actions of the people and created proper music for them, and as a result the world became obedient. (115)

Music and ritual, then, are the means by which emotions are channeled and expressed in appropriate ways. They take the urges that are going to arise in humans naturally, but they place boundaries and limits on them. He points in particular to the way that burial and mourning rituals function:

Rites trim away what is too long and stretch out what is too short; eliminate surplus and repair deficiency. Extend the forms of love and reverence, and step by step bring to fulfilment the beauties of proper conduct Beauty and ugliness, music and weeping, joy and sorrow are opposites, and yet rites make use of them all, bringing forth and employing each in its turn. (100)

So—rites and music don’t suppress feeling, they direct it. They guide it. Sometimes they may need to temper it, but Xunzi’s starting place is with humans as emotional animals whose responses and anti-social tendencies can be remedied by means of ritual patterns that can model and inculcate proper desires and proper social relationships.

3. Ritual is essential, but for ritual to be most effective requires teachers. 

So—rites are essential. But, they are not self-evident. They can lead individuals in certain directions but are going to be less efficacious if they are not fully understood. You can’t just be self-reflective. You can’t look into yourself and figure out they are or aren’t working because the principles are external to you. You need a teacher to get the most out of them. Here’s the long version:

In learning, nothing is more profitable than to associate with those who are learned. Ritual and music present us with models but no explanations; the Odes and Documents deal with ancient matters and are not always pertinent; the Spring and Autumn Annals are terse and cannot be quickly understood. But if you make use of the erudition of others and the explanations of gentlemen, then you will become honored and may make your way anywhere in the world. Therefore I say that in learning nothing is more profitable than to associate with those who are learned, and of the roads to learning, none is quicker than to love such men. Second only to this is to honor ritual. If you are first of all unable to love such men and secondly are incapable of honoring ritual, then you will only | be learning a mass of jumbled facts, blindly following the Odes and Documents, and nothing more. In such a case you may study to the end of your days and you will never be anything but a vulgar pedant. If you want to become like the former kings and seek out benevolence and righteousness, then ritual is the very road by which you must travel. (20-21)

Learning by itself is no guarantee of virtue. You’ve got to have a teacher. Here’s the short version:

Ritual is the means by which to rectify yourself; the teacher is the means by which the ritual is rectified. If you are without ritual, how can you rectify yourself? If you have no teacher, how can you understand the fitness of ritual? If you unerringly do as ritual prescribes, it means that your emotions have found rest in ritual. If you speak as your teacher speaks, it means that your understanding has become like that of your teacher. If your emotions find rest in ritual and your understanding is like that of your teacher, then you have become like a sage. Hence to reject ritual is to be without law and to reject your teacher is to be without a guide. . . . Therefore learning means learning to regard ritual as your law. The teacher makes himself the standard of proper conduct and values that in himself which finds rest in ritual. (30)

4. Ritual creates a harmonious society by inculcating proper relationships 

Confucian thought is not modern Western thought. It is not egalitarian. Instead it is inherently hierarchical and, indeed, hierarchy is very much seen as a good thing. Kongzi [aka Confucius) himself laid out five fundamental relationships between unequals that must be kept in correct relationship in order to ensure the smooth functioning of society. Xunzi insists that the correct relationships are embedded within ritual:

Heaven and earth are the beginning of life, ritual principles are the beginning of order, and the gentleman is the beginning of ritual principles. Acting on them, practicing them, guarding them, and loving them more than anything else—this is the beginning of the gentleman. Therefore Heaven and earth produce the gentleman and the gentleman brings order to Heaven and earth. The gentleman forms a triad with Heaven and earth; he is the controller of all things, the father and mother of the people. Without the gentleman, Heaven and earth will lack order and ritual principles will lack unity. There will be no true ruler or leader above, no true father or son below. This is what is called the extreme of chaos. The correct relationships between ruler and subject, father and son, elder and younger brother, and husband and wife begin and are carried through to the end, end and begin again. They share the order of Heaven and earth, they last for ten thousand generations. They are what is called the great foundation. The rules that govern mourning and sacrificial rites and the ceremonies of the court and the army are based upon this single foundation.  (44-45)

Men, once born, must organize themselves into a society. But if they form a society without hierarchical divisions, then there will be quarreling. . . . This is why I say that ritual principles must not be neglected even for a moment. He who can follow them in serving his parents is called filial; he who can follow them in serving his elder brothers is called brotherly. He who can follow them in serving his superiors is called obedient; he who can follow them in employing his inferiors is called a ruler. (46)

The patterns in ritual lay out the social scripts for how one is supposed to behave towards those arrayed around you in social relationships. If we live into the ritual then we will be taught the proper kinds of actions and the proper kinds of attitudes that we should use for people all of the way up and down the social scale. This happens most powerfully in full scale, whole community ritual activities.

Most of the time that Xunzi talks about ritual it’s rather generic and in passing. There are only a few specific rites that he goes into detail on. Otherwise he just assumes that we’re familiar with the ritual environment of 3rd century BC China. The two he does dig into in detail have very specific social hierarchy connects. One is burial and mourning rites for parents, the other is a community feast that takes place at a village school. He describes how the host treats the guest of honor, and then how all of the people in attendance are served. He ends his description of it and summarizes the ceremony like this:

When the distinction between eminent and humble is made clear, when the complexity or | simplicity of the ritual is adjusted to distinctions of rank, when there is harmonious pleasure without abandoned behavior, drinking according to distinctions of age but with no one left out, and drinking and feasting without disorder—when these five types of conduct are achieved, they will be sufficient to insure moral training to the individual and peace to the state, and when the state is peaceful, the world will be peaceful. (119-120)

I find this significant. His ideal ceremony for describing what a well-ordered society looks like and how a well-ordered society is formed in the first place is a community feast where everything is done in good order and where no one is left out. It’s really hard for me to read this and not to make the move to the Eucharist! So—let’s go ahead and do that. Let’s move away from Classical China and move into Classical Anglicanism. After making one over-arching concluding point.

For Xunzi, ritual is about moral formation, virtue acquisition, through training a new habitus formed in and through ritual action. Even though there’s a lot of talk about learning, and a teacher is essential to get the deepest meaning out of ritual patterns, the most important thing about ritual is to do it and to gain a new way of being through ritual action. We perform our way into virtue. We don’t think it. Our emotions are trained and modulated and the affections are shaped. This is an incarnate and incarnational process. We’ve mentioned muscle memory several times across presentations. And here it is again. The renewing and redirection of desire is trained through ritual participation and the way we relate to one another is formed through deliberate patterning. Ok—now that we have that piece in place—let’s take a look at some Classic Anglican patterns and practices and see if we can find anything new…

Serious Liturgical Geekery: Part 1

I often post sections or entireties of presentations that I give for various groups—this is one of them.

I was invited to present at the Annual Meeting of the Society of Scholar-Priests this past month on the broad & general topic of the liturgy and formation. This gave me an opportunity to play around with a concept that has been bouncing around in my head for several years and to re-attack something that I had been previously from a new angle.  Because I’m reworking some stuff here that I originally wrote for the SCP conference in Detroit several years ago, there is material here that some long-time readers will likely recognize, particularly in the latter stages. However, there’s a lot of new things too and the new things make the old things more interesting! (I think so, at least…)

This is part 1 of 3; part 2 is looking at Xunzi’s arguments about what ritual is and how it functions; part 3 is looking at classical Anglican liturgy with Xunzi’s thoughts in mind.

So, without further ado…


Whenever I take on a big topic—and Liturgy and formation is a very big topic—I always like to try and get some outside perspective. We tend to get caught up with the usual authorities and in the usual takes on the situation as laid down by the usual authorities based on the usual stances and approaches. So my reflex is to go find somebody else. Somebody who does not share all of the fundamental assumptions that we start from and that isn’t locked into the philosophical constructs of late post/modernity and the combined academic and ecclesial culture of the Episcopal seminary. But yet—still has something interesting and compelling to offer. So, someone disconnected from our conversations but who still has a perspective worth engaging.

Our liturgy and its liturgical cycles are the product of a pre-industrial, pre-enlightenment world. Not pre-technological, not pre-philosophical, but thoroughly pre-modern but in no way does that mean primitive. So, in order to understand the motivations and spirit that had a hand in the construction of our liturgical cycles, I like to find interesting thinkers who were thinking about these topics—ritual, ceremonial, what it all means and why we do it—who are pre-industrial, pre-enlightenment, and pre-modern yet are dealing with these topics in interesting and sophisticated ways.

As a result, I’d like to introduce you to a thinker who will most likely be a new acquaintance to most of the folks here. Xunzi was a philosopher writing in the Confucian tradition right around the fall of the Zhou dynasty and the rise of the Qin. Born around 313 BC, he died in about 238 BC. We don’t have a lot of biographical data about him. He was born in the state of Zhao which is in the northern part of China up on Yellow River. Like many of the sages of the time he bounced around between the governments of the various warring states that existed before the rise of the dynasty that would unite China under a single Emperor, Shi Huangdi, in 221 BC. He was a teacher, a ritual specialist, and a magistrate before losing his position when his patron was assassinated in 238. He retired into obscurity before his own death. His writings are collected in a book known by his name, the Xunzi, divided into 32 essay-length chapters.

To put him in philosophical context, Confucian thought begins with the writings of Kongzi (Confucius) who died in 479 BC and whose writings focused on building a strong and virtuous society grounded in traditionalism, right relationships amongst and within a stratified society, ethical improvement that classified people on a spectrum from petty to gentleman to sage based on their investment in ethical progress. Much of the thought of Kongzi consists of reflection on older books of learning, histories, poetry, and ritual thought to be written by the philosopher kings of old. These are referred to collectively as the Five Classics. So references to the sage kings or the former kings refer to this body of traditional material that was seen as a quasi-divine revelation.

Around the same time as Xunzi, you have the philosopher Mengzi (or Mencius), also a Confucian thinker who advocated a human nature is essentially good and offered a moral and ethic program based on self-reflection. Since your nature is good, all you have to do is look inside yourself to know what is right. Mengzi becomes the central bearer of the Confucian tradition going forward and he is considered one of the four great sages of China along with Kongzi and two other later thinkers who will not appear in this paper.

Also at this same general time was Zhuangzi, whose book bearing his name would become one of the fundamental texts of the Daoist tradition. His basic concept is that there is a way (Dao) or fundamental pattern woven into the cosmos that can be discerned. The true sage is the one who conforms to this great Dao agreeing with Mengzi that human society is often responsible for people losing their way morally and ethically.

So—why is Xunzi interesting at all? Why bother going through all of this? Xunzi represents Confucian heterodoxy—his is the path not taken, and it’s because he fundamentally disagreed with Mengzi. Whereas Mengzi developed his moral thought based on the premise that human nature is good, Xunzi went in the opposite direction. He states clearly, repeatedly, that human nature is bad. I’m going to nuance that in a little bit—that’s his language, which is intended to be deliberately provocative, not mine. What Xunzi does believe is that because human nature is bad, it must be corrected and the ritual is the key. Of all the Confucian writers, he is the one who speaks the most and the most clearly about ritual and about Confucian metapraxis: why ritual should be done, why ritual is important, and how ritual functions as a formative tool to create virtuous individuals and a virtuous society. So here we have a 3rd century BC voice explaining what ritual is, how it functions, and how it creates virtue. He is thoroughly uninvested in our arguments and language games and in our philosophical constructions.

One other very important point about him: Xunzi denies any supernatural efficacy to ritual acts. As far as he is concerned either the gods and ancestors don’t exist or they do not care to intervene in human affairs—he’s kind of analogous to the Epicureans in that respect. Rather, he is arguing that ritual does what it does on its own terms and by its own means—not because a god or ancestor or spirit is functioning supernaturally through it. So, what I’d like to do is get a sense of where Xunzi is coming from, and then take a look at some components of Classical Anglican liturgy from the perspective that he shows us. I’m not proposing any sort of syncretism, of course; in fact, I disagree with Xunzi on some really important points. What I’m suggesting is that looking at how a pre-modern, pre-industrial, pre-enlightenment ethical thinker deeply invested in ritual and ceremony can break us out of our boxes and give us new eyes with which to look at our familiar practices.

Evensong Handout, Rite I for Lent

Evensong Handout, Rite I for Lent

Over on the Rubric Facebook page there was a question about whether any churches do Evensong from the prayer book any more. The answer is, yes, they do…

Just to distinguish, there are three main kinds of evening prayer services:

  • Evening Prayer where the service is prayer from the Book of Common Prayer,
  • (Congregational) Evensong where the officiant and the people sing the service together (the appointed psalms may either be read or sung—I’ve seen it both ways), or
  • Choral Evensong where the service is sung between the officiant and the choir. The congregation may chime in on the canticles or hymns—or not. Usually everything is sung and it uses either the 1928 or the 1662 format.

M’s church has been doing a congregational evensong during Lent and Advent. Attendance varies, sometimes it’s as high as 15, sometimes it’s just been 3 or 4. Usually it’s in the 10 or 11 range, but numbers aren’t the driving goal—offering Evensong is.

For several of the participants over the last couple of seasons, it was the first time they’d ever been to an Evensong. Too, sometimes M invited others to lead—once a priest from another congregation, and once our younger daughter H wanted to give it a try.  It worked because we used a format that was pretty easy. My preference is always to use the book, but I don’t find that practical in this instance because you have to know when and what to sing and when to move from hymnal to prayer book. Instead, we worked up a 1-page front-and-back sheet that contained the main body of the Office without hymns, psalms, or canticles. This allowed us to make one run of sheets that we could laminate and use over and over throughout the season.

Also, when you get into hymns and such you start running afoul of copyright regulations. Virtually all of the hymns and much of the composed service music is under copyright.  Both the text and tunes found in the hymnal for the specific service texts for Evening Prayer are in the public domain because, in the case of the prayer book, the texts are explicitly in the public domain. In the case of the tunes, they are traditional and have been used for hundreds of years. What *is* copyrighted is the typesetting of them in the hymnal. That’s why you can’t copy-and-paste from the hymnal without a license: the image of the contents are copyrighted even if the contents are not.

While M’s church does have one of the big rubber-stamp music licenses because they livestream and YouTube their service (which you can watch here), I opted to dispense with the issue altogether by setting the music myself with a basic music notation font and judicious use of the Paint utility.

So—what you’ll find here is a Rite I Evensong for Lenten congregational use that fits on a one-pager. [Now, with all the notes in the Dismissal!] Officiants will need their prayer books as some of their texts are partial or missing to save space and, of course, no propers are included.

The Confession is included and there’s a reason for that… When M first started this, she was doing it with a clergy colleague. We handed out the sheets, and he began with the Confession—which wasn’t on the sheets. This caused unintentional chaos, so I added it and it’s been on since. (As a basic rule, if you’ve given a handout for an unfamiliar service, you’d be advised to go with what’s on the handout even if it’s not the way you’d normally do it. Finish the service, then address the handout; don’t deviate in the middle [or beginning] and confuse everybody…)

Year B Gospel Canticle Antiphons for the Daily Office

I had a post in the works that got into discussions of the Anglican Missal and Breviary* and such that got long and windy and such so I’ll just keep this brief and cut to the chase…

Of course, I like the Anglican Missal and Breviary but there’s one obvious problem with using them as direct supplements to the ’79 BCP: our current use is grounded in a three-year Eucharistic lectionary. These venerable resources are grounded in a one-year lectionary.

One of the key elements of continuity between the Mass and Office in Western liturgy was the use of bits and pieces of the Gospel and Epistle for the nearby feasts in successive days of the Office and chief among these is the Gospel Canticle Antiphon which was typically taken from the Gospel lection. I have two different cycles of Gospel Canticle Antiphons in the St. Bede’s Breviary, but this is a post to alert you to another…

Friend-of-the-blog Charlie Heeley has put up a set for use with Year B of the Revised Common lectionary that also includes some appropriate Chapter passages for use with Noon Prayer as well. It’s a compact, six-page (printed front & back) booklet that puts these texts right at your fingers. It’s in a Google Doc that can be found here.

Let me know what you think!

Crowd-Sourced Bewilderment

I’m well aware there’s a range of opinions on things like Lent Madness. Some say it trivializes the saints, others argue that it’s a means for educating people. Entirely apart from that, I found the comments on Lent Madness posts to be an interesting channel for getting in touch with the ways that “ordinary” laypeople think about sanctity in the Episcopal Church.

Much of what I discovered was disheartening, mind you, but it was informative…

I’m having a similar experience being part of the Rubrics and BCP Revision Suggestion Facebook groups. (And huge thanks and shout-outs to Frs. Chris and Bob et al. who keep those running!)

They are both interesting channels for getting in touch with what people are thinking about a variety of things related to the prayer book.

Here are the three most interesting things I’ve discovered recently…

  1. [This actually comes from a widely distributed Scott Gunn post] There’s a lot more love expressed for Prayer D than I expected. I find this interesting because I hear Prayer D actually used so infrequently. As far as I know, Prayer D is chiefly used on Major Feasts, but not on “regular” Sundays. Am I off-base here? See—this is precisely why I think a bulletin collection project would be useful…
  2. One of the biggest fights I’ve seen recently was around the use of Latin titles for the Canticles. Such a relatively minor thing, especially given the general decline in public Morning Prayer since the ’79, but provoking so much passion! It was fascinating to me how quickly some wanted to turn this into a discussion of social class. Again—I truly believe that most liturgy/prayer book fights are proxy fights over identity.
  3. There’s a difference between being King Of The World and being beholden to a vast diverse community. Many of the suggestions on the Revision page come across as “King of the World” requests: here’s what I’d do to make the book the way I like it. And there’s definitely a place for that. We need to hear what people are thinking. But there’s a big difference between what individuals want and what communities need. I think I could come up with a pretty awesome King Of The World list of changes to the BCP—but I’m under no illusions that that book would be good, useful, or edifying for the Episcopal Church as a whole! The very concept of revision seems to bring out the innovator in all of us, and gets people excited for change that may or may not happen, change that should or should not happen…

What are your thoughts or questions or findings?

 

On Language for the Liturgy, II

One of the issues that’s on the table when it comes to liturgy is the balance between poetry and prose. These two are not discrete things that stand apart from one another but, rather, describe two points on a spectrum of language use. On the prose end, the language ought to be clear, direct, and unmistakable. On the poetic end, language should be allusive/elusive and multivalent. Neither option is “good” or “bad”; instead, they serve different functions for different purposes. As a result, every piece of writing can fall somewhere on the spectrum between poetry and prose, some being more on one side of the spectrum than another.

Placing things on the spectrum is a matter of analyzing a number of qualities in a composition. Poetry tends to use ornamented language, elevated diction, archaic or antiquated language or constructions, and figures of thought and speech. Figures of speech include the subcategory of aural figures that most people commonly associate with the purer forms of poetry: alliteration (matching initial sounds), assonance (matching internal sounds), rhyme (matching ending sounds), and cadence (if it has a regular and/or repetitive flow).  A chief function of poetry is to communicate mood, feeling, or expression. Prose at its most prosaic is simple, clear, and direct. A chief function of prose is the communication of data or information. Most forms of writing that modern Westerners encounter tend to be prose or to be on the prose side of the spectrum; we tend to read more for information. However, even basic prose usually has some ornaments to spice it up and make it a bit more interesting.

Out of all of these various characteristics of both prose and poetry, I want to focus us on one in particular: valence. That is, how wide is the range of meanings that a word/phrase/sentence/paragraph can contain without the interpretation becoming strained or overtly non-literal? Another way to say this could be, where does the interpretive work fall? Is it on the part of the author and the text to communicate meaning and to make it clear or is it more on the part of the reader to interpret and find the possibilities inherent in the text?

Valence becomes particularly important when we talk about things like genre (what kind of writing it is) or purpose. Generally speaking, I’m a guy who loves poetry—but I have absolutely no tolerance for it in things like recipes or route directions! I don’t want to have to interpret how much salt I should put in a recipe: I vastly prefer “a teaspoon” to “a moonbeam’s worth.”  However, when I’m reading something that is designed to make me think, to make me reconsider how and why I live, to make me see the possibility in the worlds around me, I crave multivalent language, language that can mean many different things at once. Part of the fun of reading good writing is playing within the act of interpretation and teasing out the possibilities that fill the words and grammar.

So—to approach more closely to the topic at hand, how do we like our religious writing? Because I’m a guy who likes to think in poetry, I want the sermons I hear to have a good amount of the poetic within them. I don’t want them to be too flowery to the point where I have to do all of the interpretive work, but I’d rather have it make me think and consider than be too heavily on the prose side. Other people I know are the opposite. They ask for something different from sermons: cut the crap, tell me what to do. I think my brother is much more this way. And, for that reason, I see this to be—at least in part—a matter of hard-wiring. Some people prefer the more poetic, some the more prosaic. It’s not a value judgement, it’s human difference.

So—what about the liturgy? Where should it fall on the spectrum?

I think that this is one of the arguments that we are having but don’t stop to realize it, consider it, or properly ponder the implications.

As I see it, hear it, and feel it, a hallmark of classical Anglican liturgy is a high degree of poetry. The sound of it is important, the cadences, the assonance, the way words and sounds play off one another, the way the liturgy plays hide-and-seek with the words, meanings, and intentions of Scripture (particularly King James Scripture—a version where the translators were also poets and read it aloud amongst themselves before approving it.) The choice of diction, the vocabulary used is elevated. The language of both the King James Version and the prayer book betrayed some archaic qualities even in the time when they were written. Certainly for the KJV, this is due in some measure to the Tyndale and Lollard versions of the English that the translators looked back upon as they went about their work. The ’79 prayer book’s Rite I feels inherently more poetic to my modern ears precisely because of its archaic character and intentionally elevated diction (paging “inestimable” and “bewail!”)

But it’s not just sound and grammar, either. Consider the kinds of figures of thought that appear: Surely it is no accident that the Morning Prayer confession mentions that “we have erred and strayed from thy ways like lost sheep” in a prayer that appears just before the invitatory psalm where we recall that “he is the Lord our God, and we are the people of his pasture and the sheep of his hand (Venite)” or “we are his people and the sheep of his pasture (Jubilate).”

Alright—so that’s my contention, that classical Anglican liturgy falls very much on the poetic end of the scale. So, what does that have to do with the present situation and discussion of revision and of the best kinds of language to use in the liturgy?

My own feeling is that one of the arguments that we’re not necessarily aware that we’re having is between those who want a more prosaic, didactic liturgy and between those who want a more poetic liturgy. Those who want to use the liturgy to convey information to be a teaching tool are going to want it more directly communicative and less multivalent. Those who want the liturgy to convey an elevated presence and experience of the mysteries of God are going to want it to be more ornamented and poetic. (This is not and probably shouldn’t be a strict either/or; like the poetic-prosaic spectrum there’s probably a spectrum here too…but I think there are definitely sides and preferences tending in these two directions.)

What should the liturgy be?

For my part, I’ll go back to Scripture to take my lead. Again, there’s a balance of poetry and prose in the pages of Scripture—Genesis and Acts, more prosey; Song of Songs and Revelation, more poetry. But I find our true paradigm in the Psalms. And I have in the past and will in the future make the argument that the Psalter is the first and truest language that the Church chose for Christian spirituality. The Psalms are poetry. The Psalms—given their central place in the Daily Office—have served as the guides for Anglican liturgy for centuries.

If revision happens, if the language of our liturgy changes, we must retain the poetic mode: this is the past, present, and future of Anglican liturgy and we risk altering the linguistic and spiritual balance at our peril.

On Language for the Liturgy, I

There has been a certain amount of discussion in various Facebook groups about revisions to the prayer book. I include here the obligatory reminder that the Episcopal Church is not currently in the process of revising the BCP, there is merely discussion over the possibility of revision…

That having been said, one of the issues that has popped up several times is about the issue of language, specifically, the use of the English language in the prayer book and what constitutes “language understood by the people.”

When these discussions break out, it seems to me that several arguments are going on and within some of these arguments some important distinctions are being either conflated or being ignored altogether.

One of the discussions involves levels of literacy. To what degree should the English used in the liturgy be intelligible to people of various degrees of literacy? What happens when a multisyllabic or difficult vocabulary word appears in a liturgical text? A fine example here would be one of my favorite words in the Rite I General Thanksgiving: “inestimable.” This is a long word that some people do not know and that people with limited English literacy (children, non-native speakers) might have trouble with. The framers of Rite II weighed in by altering it to “immeasurable.” It’s still just as long, but has a more common and easily understood root (measure). To clarify, what is at issue in this kind of argument is literal comprehensibility.

A second discussion involves technical terms. There is a distinct science of Christian theology. Like any other science, it uses technical terms in order to apply linguistic precision to its discussions. Words like “consubstantiation,” “perichoretic,” or “eschatological” or a phrase like “prevenient grace” are examples of technical terms. Generally speaking, these words are not largely used outside of Christian or religious discourse.

A third discussion involves “terms of art,” a phrase that can shade into the word “jargon” used in a technical rather than pejorative sense. A term of art is a word that is used within the wider language but that has a specific and more closely circumscribed meaning when used by a particular field, discipline, or community. An example would be the word “cult.” In standard English, a cult is a negative term to speak about a small religious movement characterized by manipulation and a leader who demands total obedience, often for nefarious ends. When used by scholars of religion, though, “cult” simply refers to the worship practices of a group or worship towards a particular deity; it has no negative meaning. Or, to come closer to the topic at hand, people in the church will refer to a wafer as a “host.” While this word has a given meaning in standard English, its church use differs from the standard usage.

Most of the discussions about language are imprecise arguments around whether Christian liturgy ought to use technical terms or terms of art. Often this is couched in the language of hospitality and inclusion: is it exclusive to use language that non-Christians will not understand?

A key problem here is how we define “standard” English and how we identify when a given term become unintelligible. For instance, I have heard arguments that words like “redemption,” “repentance,” “forgiveness,” “sin,” and “salvation” are insider words that the church needs to avoid. I’m constantly confused by this because I hear these words plenty in popular American music. Can you really make the argument that a word is not understood by regular speakers when it shows up frequently in pop music or mainstream rock? The only way this argument makes sense to me is if you posit—and can demonstrate—that the meaning between a “popular” use and “church” use has drifted so far that the one is unintelligible to the other.

Far more frequently, I think something else is at work here especially as it tends to pop up around works like “sin” and “sacrifice.” These words have a meaning, and it is flavored by centuries of use within the church. When church people suggest that they are unintelligible and exclusive to non-church people, I wonder if the meaning is not clear or if they don’t like the meaning that the term currently has. I wonder if a desire for new language is an attempt to make an aspect of the faith more palatable to the church people who take issue with a term.

Bottom line: if you take issue with the use of the word “sin” in the liturgy, your root problem may not be that visitors can’t understand it…

There’s more to be said about this topic, though, especially around what kind of language liturgies can or ought to be written in. I’ll get around to those shortly.

 

Experimental Code for Morning Prayer

As promised earlier, here is a link for Morning Prayer in the new experimental version of the St. Bede’s Breviary code base:

http://breviary.stbedeproductions.com/test/Morning_79_BCP.html

As you’ll see, most of the usual breviary options are present. The two main areas that I intend to get to but have not yet fully addressed are the Calendar/commemorations and a mechanism to save individual options. However, on the latter I think you see that selecting options is no longer the hassle it could be with the earlier editions.

There are probably still some bugs lurking in it, some I’ve discovered, a few I probably haven’t. I am working on the ones I know about in addition to getting Evening Prayer up on line too. Let me know what you think of the new interface and if you run into any problems…