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Wednesday, April 29, 2015
Thursday, April 23, 2015
The "Scandal of Peculiarity"
"For Jesus Christ is unique – unique among gods and men. There have been incarnate gods a-plenty, and slain-and-resurrected gods not a few; but He is the only God who has a date in history. And plenty of founders of religions have had dates, and some of them have been prophets or avatars of the Divine; but only this one of them was personally God. There is no more astonishing collocation of phrases than that which, in the Nicene Creed, sets these two statements flatly side by side: “Very God of very God. . . . He suffered under Pontius Pilate.” All over the world, thousands of times a day, Christians recite the name of a rather undistinguished Roman pro-consul – not in execration (Judas and Caiaphas, more guilty, get off with fewer reminders of their iniquities), but merely because that name fixes within a few years the date of the death of God.
"In the light of that remarkable piece of chronology we can see an additional reason why the writer of realistic Gospel plays has to eschew the didactic approach to his subject. He has to display the words and actions of actual people engaged in living through a piece of recorded history. He cannot, like the writer of purely liturgical or symbolic religious drama, confine himself to the abstract and universal aspect of the life of Christ. He is brought up face to face with the “scandal of particularity”. Ecce homo – not only Man-in-general and God-in-His-thusness, but also God-in-His-thisness, and this Man, this person, of a reasonable soul and human flesh subsisting, who walked and talked then and there, surrounded, not by human types, but by those individual people. This story of the life and murder and resurrection of God-in-Man is not only the symbol and epitome of the relations of God and man throughout time; it is also a series of events that took place at a particular point in time. And the people of that time had not the faintest idea that it was happening.
"Of all examples of the classical tragic irony in fact or fiction, this is the greatest – the classic of classics. Beside it, the doom of Oedipus is trifling, and the nemesis of the Oresteian blood-bath a mere domestic incident. For the Christian affirmation is that a number of quite commonplace human beings, in an obscure province of the Roman Empire, killed and murdered God Almighty – quite casually, almost as a matter of religious and political routine, and certainly with no notion that they were doing anything out of the way. Their motives, on the whole, were defensible, and in some respects praiseworthy. There was some malice, some weakness, and no doubt some wresting of the law – but no more than we are accustomed to find in the conduct of human affairs. By no jugglings of fate, by no unforeseeable coincidence, by no supernatural machinations, but by that destiny which is character, and by the unimaginative following of their ordinary standards of behaviour, they were led, with a ghastly inevitability, to the commission of the crime of crimes. We, the audience, know what they were doing; the whole point and poignancy of the tragedy is lost unless we realise that they did not. It is in this knowledge by the audience of the appalling truth which is hidden from all the agonists in the drama that the tragic irony consists."
--From the Introduction to The Man Born to be King (1943), by Dorothy L. Sayers.
"In the light of that remarkable piece of chronology we can see an additional reason why the writer of realistic Gospel plays has to eschew the didactic approach to his subject. He has to display the words and actions of actual people engaged in living through a piece of recorded history. He cannot, like the writer of purely liturgical or symbolic religious drama, confine himself to the abstract and universal aspect of the life of Christ. He is brought up face to face with the “scandal of particularity”. Ecce homo – not only Man-in-general and God-in-His-thusness, but also God-in-His-thisness, and this Man, this person, of a reasonable soul and human flesh subsisting, who walked and talked then and there, surrounded, not by human types, but by those individual people. This story of the life and murder and resurrection of God-in-Man is not only the symbol and epitome of the relations of God and man throughout time; it is also a series of events that took place at a particular point in time. And the people of that time had not the faintest idea that it was happening.
"Of all examples of the classical tragic irony in fact or fiction, this is the greatest – the classic of classics. Beside it, the doom of Oedipus is trifling, and the nemesis of the Oresteian blood-bath a mere domestic incident. For the Christian affirmation is that a number of quite commonplace human beings, in an obscure province of the Roman Empire, killed and murdered God Almighty – quite casually, almost as a matter of religious and political routine, and certainly with no notion that they were doing anything out of the way. Their motives, on the whole, were defensible, and in some respects praiseworthy. There was some malice, some weakness, and no doubt some wresting of the law – but no more than we are accustomed to find in the conduct of human affairs. By no jugglings of fate, by no unforeseeable coincidence, by no supernatural machinations, but by that destiny which is character, and by the unimaginative following of their ordinary standards of behaviour, they were led, with a ghastly inevitability, to the commission of the crime of crimes. We, the audience, know what they were doing; the whole point and poignancy of the tragedy is lost unless we realise that they did not. It is in this knowledge by the audience of the appalling truth which is hidden from all the agonists in the drama that the tragic irony consists."
--From the Introduction to The Man Born to be King (1943), by Dorothy L. Sayers.
Wednesday, April 22, 2015
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Tuesday, April 21, 2015
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