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Resurrection: From Theology to Music and Back Again by N.T. Wright

Resurrection:FromTheologytoMusicandBackAgain
(OriginallypublishedinJ.Begbie,ed.,SoundingtheDepths:TheologyThroughtheArts,2002,(London: SCMPress),193202.Reproducedbypermissionoftheauthor.)

N.T.WRIGHT Beginnings ThesecondweekofMay1998wasatypicalweekinthelifeofLichfieldCathedral. Worship,preaching,meetings,visitsandmoremeetings.Andoneofthosemeetings,on Wednesday13May,hadeffectsmorefarreachingthanwecouldhaveimagined. ThemeetingwascalledbyPaulSpicertoplantheLichfieldFestivalforJuly2000.Paul waskeentocommissionalargescaleworkthatwouldsimultaneouslycommemoratethe Millennium(socalledIhavemademyviewsonthatsubjectwellenoughknown[1]),the 1,300thanniversaryofthefirstfoundingofLichfieldCathedral,andthe250thanniversary ofthedeathofJohannSebastianBach.Webrainstormedthesubjectforawhilewithtwo colleagues(CanonCharlesTaylor,thePrecentorofLichfieldCathedral,andJimBerrow,a memberoftheFestivalBoard).Aswetalkedthroughvariousoptions,wesoonrejectedthe ideaofaPassiononthelinesofBachsownMatthewandJohnPassions.Theyaretoowell knownthecomparisonwouldbetooobviousanyway,thethemehardlyfittedasummer festival.ForsimilarreasonsasettingoftheChristmasstory,oralargescaleMass,seemed inappropriate.ButanEasterOratorio? Bachwroteasmallpiecewiththatname(BWV249),butinterestinglyitwasntonthe scaleofhisPassions.Buttherewascertainlyapotentialprojectinthatarea,providedwe chosetherightGospel.Marksresurrectionnarrative(16.18)isnotoriouslycurtailed,with thelongerending(vv.920)beingalmostcertainlyalateraddition,andinanycasenot providingmuchtogladdentheheartofeitheralibrettistoracomposer.Matthewsstory(ch. 28)isabitfuller,butstillwithoutthedramaticpotentialnecessaryforamusicalsetting. Lukesnarrative(ch.24)isfulleragain,andcontainstheincomparableEmmausRoadstory (24.1335).Butthatstoryitselfposesaproblem:itsverylength,andextraordinarypower, overshadowtherestofthechapter.Thusallthesignspointedinonedirection:Johns Gospel.ItisJohnwhoprovidesnotonlythemostEastermaterialbutalsoasuccessionof vividpersonalencounterswithsharpcharacterizationanddialogue.Johnwasnotonlythe onepossiblecontenderhistwoEasterchaptersofferedsplendidpossibilities. ThemeetingbrokeupinsomeexcitementasPaulSpiceragreedtosearchfora composerandlibrettisttotakeonthetask.Imyself,asajeudesprit,roughedoutthat afternoonafreshtranslationofJohn20and21dividedintotherelevantparts:Evangelist, Christ,Peter,Maryandsoon,withsuggestionsofwhereonemightaddchoruses,arias,and soonforwhichwewouldofcourseneedfreshtext,thatis,alibrettotogowiththe materialfromJohnsGospel. Wewerethenovertakenbythesummersevents,includingthatyearsFestivalitself,and suchthings(notunconnectedinmymindatleast)astheJubilee2000meetingswhichthe Cathedralhostedintherunuptothe1998LambethConference.Then,inSeptember,Paul wrotetome.Hehadbeenunabletofindacomposerorlibrettistwhowasbothavailable andaffordableontheFestivalslimitedbudget.Heproposedthatthetwoofusdoit together:he,ofcourse,towritethemusic,Ithelibretto. Iwasshockedandexcited,realizingboththatIwasinunchartedterritory(scholarsand preachersmaywritepoemsinprivate,buttheyarentusuallyinvitedtomakethempublic
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Resurrection: From Theology to Music and Back Again by N.T. Wright

andhavethemsettomusic),andthatifIdeclinedIwouldkickmyselffortherestofmy life.ButIhadthegermofanidea.Ihadlongbeenfascinated(notleastthroughreading HansUrsvonBalthasarsbookonHolySaturday[2])bytheideathatGodsSabbathrest aftercreation(Gen.2.23)somehowforeshadowsJesusrestinthetombonHolySaturday. ThefinalgreatchorusofBachsStJohnPassionisRuhtWohl,layingthedeadSaviourto restafterhisworkhasbeencompleted.That,Ithought,waswhereanEasterOratoriobased onStJohnoughttobegin,pickingupthethemewhereBachhadleftit. So:howtodoit?Thatevening,duringChoralEvensonginLichfieldCathedral,there flashedintomymindanewtwistonanoldhymn: OsabbathrestbyCalvary Ocalmoftombbelow... AndbeforeIknewitIhadthewholefirstchorusinmyhead,thenonpaperandthrough Paulsfrontdoor.Fromthatpointtherewasnoturningback.Itooktheprojectwithmeon acoupleofforeigntripsandscribbledlinesandversesonaeroplanesandinhotelrooms.By earlyDecemberIhadadrafttodiscusswithfriendsand,rathertomyalarm,Paulhad alreadybegunsettingittomusic.BythetimeIcamebacktohimwithtextualrevisions, someofthewordsIhadcontemplatedchangingwerealreadysettomusicthatwasgathering paceandpower.PaulandIwerebothnervousofourhugeundertaking,butthebackingof somegeneroussponsorsandtheenthusiasmoffriendsandcolleaguessustainedusatevery step.Ihappilyrecordourgratitudetothemall,notleastTheologyThroughtheArts.[3] Words,musicandideas Fromthenonitwasamatterofcreativedialogues:betweenPaulandmyselfonseveral mattersofdetailbetweenthetwoofusandDrJeremyBegbie,theothermemberofour podgroupand,mostimportantly,betweenthesubjectmatterofbothStJohn,andthe themeofresurrectionitself,ontheonehand,andtheformandsubstanceofthemusical workontheother.That,itseemstome,iswheretherealcreativityofsuchaprojectlies, andhencealsoitshugepotentialforfurthertheologicalreflection. IhaddeterminedearlyonthatifweweregoingtowriteaboutEaster,itwouldtrulybe Easterwewouldwriteabouttheemptytomb,theastonishingrisenbodyofJesus,the puzzlesofnewcreationburstinginupontheoldratherthansomeetiolatedversionofthe Eastermessagehavingtodoonlywiththepromiseofadisembodiedheavenafterdeath. Thequestionofhowtoexpressthatnotonlyinthewordsofindividualpoemsbutinthe structureandflowofthewholeworkwasoneofmyprincipalconcerns.Paul,tomy delight,wasgivingthataimmusicalsubstancenotleastinhisthroughcomposingoflarge sections.HewascatchingtheexcitementanddramaofJohnstextandturningitintonotes, butalsomuchmorethannotes:amood,aresponsetothemysteryofthetext,whichinturn mademethink,andstillmakesmethink,abouttheunderlyingthemeandthequestionsit continuestoraise. Atthestructurallevel,theobviousdivisionofthetwohalves,coveringJohn20and21 respectively,lentitselftotheoverarchingthemes:TheNewDayforPartOne,andThe NewCallingforPartTwo.JohnhimselftellsthestoryofEasterinsuchawaythat,though thethemesoverlapbothchapters,chapter20highlightsthenewcreationasparticularly significant(Johnrepeatsthefirstdayoftheweekinverses1,19,andwhenJohndoes somethinglikethatweshouldtakeitseriously),andchapter21focusesonthepuzzlementof thedisciplesabouttheirnewvocation,whichisresolvedbyJesusforgivingand recommissioningofPeter. PaulSpicerhas,Ithink,broughtthisoutnotleastbythechoruseswhichopenboth parts.Reflectingonhissettingshashelpedmetoseemoreofwhatwasthereinthetext
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itself. PartOnebeginswithOntheseventhdayGodrested,startinglowandmysteriousin thedarknessofthetomb,risingtoitsclimaxwiththebroodingoftheSpirit(loversof GerardManleyHopkinswillknowwherethatcamefrom)andpreparingthewayforMarys visittothetomb.TherunningmotifintheEvangelistsdescriptionofMary(whichPaul marksurgently,breathlessthelatterpresumablynotaliteralinstructiontothesinger!) saysitall:theexcitementofthenewday,thenewcreation,burstingout,troublingatfirst, thenchallenging,thenallembracingasthebeloveddisciplesawandbelieved.Inlistening toPaulssettingshere(andonlyspacepreventsfurtherappreciativeexposition)Ifindmyself notonlyconfirmedinmyreadingbutsensingthemoodofJohn20inmoredimensionsthan before. PartTwobeginswiththechorusIntothatstrange,unmappednewland.The marvellouswoodwindscoringoftheopening,andthehauntingthemeofthesungentry,set thetoneandreinforceJohnstext:thedisciplesdontknowwhattodonext,andare stumblingforwardsintothenewworldwithoutunderstandingGodsplan,orthemeaningof thestrangeeventstheyhavewitnessed.Thecomedyofthefishingscene(Allnightwe worked)blendswiththemusicsstrangesenseofserenitywhichclothesJesus reappearanceontheshoreandhisinvitationtobreakfast.Breakfastitself,cookedonthe charcoalfirewhichremindsusofthepreviousfireintheHighPriestshall,wherePeter deniedJesus,setsthesceneforthealmostunbearablydramaticreconciliationbetweenPeter andJesus,andJesuscalmbutchallengingorderstohiswaywardlieutenant:feedmylambs, lookaftermysheep,tendmysheep.Allofthis,asInowcomebacktothetexttwoyears later,isbathedinnewlightbyPaulsmusic.HehasnotonlycaughtthemoodIhopedto createwithmywords,buthasenhanceditandgivenitwings. Onequestionofcontentwasaconcernofmineallthrough.Iwantedtokeepthepoems tightlyJohannine,topreventthemfromsprawlingintotoomanywidertheologicalideas. Hence,inthefirsttwelvelinesoftheopeningchorus,themajorthemesoftheGospel(word, water,bread,andsoon)cometogetherindescribingJesusdeath.WhereIhavedeparted fromJohn,ithasbeen,sotospeak,withhispermission:thus,forinstance,intheduetand chorusIwillsingtotheLord,IpickuptheparallelbetweenJesusandMaryinthegarden andMosesandMiriam(theHebrewforMary)bytheRedSeaaftertheExodusandthe defeatoftheEgyptians.ThisisofcoursearegularEastermotif,highlightedinthehymn whichfollows.Then,bywayoftheExodus,wemovetotheThomasscene,whereThomas firstexpresseshisdoubtsintermsofthechildrenofIsraelbeingafraidtocrossthesea(No. 26): Theseaistoodeep, Theheavenstoohigh, Icannotswim, Icannotfly Imuststayhere, Imuststayhere, HerewhereIknow HowIcanknow, HerewhereIknow WhatIcanknow. andthenmovestowardsfaithinTheseahasparted(No.28): Theseahasparted.Pharaohshosts Despair,anddoubt,andfear,andpride
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Nolongerfrightenus.Wemust Crossovertotheotherside. Theheavenbowsdown.Withwoundedhands OurexiledGod,ourLordofshame Beforeus,living,breathing,stands TheWordisnear,andcallsourname. Newknowingforthedoubtingmind, Newseeingoutofblindnessgrows Newtrustingmaythescepticfind, Newhopethroughthatwhichfaithnowknows. Thisdrawstogethertwootherbiblicalcontexts.InRom.10.69,PaulquotesDeut.30.12 14:thepromiseoftheWordbeingnearyou,neitherhighinheavennorfarawayacrossthe abyss,hasbeenfulfilledinJesusChrist.This,obviously,tiesbackintoJohnscontrolling themeoftheWordmadeflesh,which,thoughnotexplicitinchapters20and21,isclearly intendedbythePrologue(1.118)tobeinmindthroughout.Anotherexampleofarelated pointiswhere,inthenewhymnattheendofthefirstPart,IhaveusedIsaiahspictureofthe WordofGodcomingdownlikerainorsnow,producingnewcreation,asacontrolling imageforcelebratingtheresurrectionitself.Inallthis,thethematictightnessIwasstriving forismorethanmatched,ofcourse,bythesamequalityinthemusic. Fromdoubttofaithandbeyond Thisleadsmetoreflectonthetwopassageswhichpromptedthemostdialogue,oneof whichstillengagesus,theotherofwhichwascompletelyresolved.Thefirstistheariajust mentioned.No.28,Theseahasparted.WhenIwrotethisIintendeditasastatementof Thomashavingalreadycometofaith.InNo.26(seeabove)Thomasnotonlycannot believethatJesusisrisen,butintendstoremainepistemologicallyinthesameplace:he wantstostaywhereheknowsbothwhathecanknow(e.g.,thatresurrectionisimpossible) andhowhecannow(i.e.,throughordinarysenseperception).ButwhenJesusstandsbefore him,andinviteshimtotouchandsee,hefindsanewmodeofknowing,aswellknowledge itself:Newknowingforthedoubtingmind,/Newseeingoutofblindnessgrows/New trustingmaythescepticfind,/Newhopethroughthatwhichfaithnowknows.Thisthen leadsintoThomasactualconfessionoffaith(No.29). PaulSpicer,however,readNo.28(seeabove)asreferringtoThomasstillgroping towardsfaith,ratherthanhisarrival.Thepiecestaysintheminor,withanagonizedtone thatawaitstheresolutionwhichnowcomesintheconfessionoffaithwhichfollows:My LordandmyGod!,oneofthemostdramaticmusicalmomentsinthewholefirsthalf.This issoeffectivethatIcanhardlygrumbleyetandhereisthecreativetensionofa collaborationlikethisIfindmyselfstilltornbetweenwhatIhadhadinmindandPauls verydifferentreadingnotonlyoftheprocesswherebyThomasstrugglesthroughdarkness towardsfaithbutalsoofmywordsaboutit!Thishas,inevitably,causedmetoreflect furtheronmyownunderstandingofdoubtandfaithandtheirrespectiveepistemologies,a processofreflectionwhichcontinuestothisdayasIworkelsewhereonthethemeofthe resurrection.Ithasalsocausedmetothinkabitmoreaboutthewholedialogue,whichisof coursecentraltoculturalstudiestoday,betweenauthorialintentandreaderresponse.[4] Thesecondquestionthatoccupiedusforsomewhilewashowtoendthewholework.I shallcommentpresentlyonthehymnswehaddecidedtoemployatstrategicpoints.We hadthought,fromearlyon,thattheworkshouldfinishwithoneofthegreatEasterhymns, andwehadmoreorlesschosenYechoirsofnewJerusalemforthisrole.But,as completionandperformancedrewnearer,Paulraisedaquestionwhich,thoughgenerated
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(asfarasIknow)byhisthinkingthroughthesituationofaliveperformance,worked backwardsfromthereintothetheologicalunderstandingoftheentirepiece.Paulfeltand thetwoperformancessofarhavesurelybornethisoutthatitwouldbequitewrongto endthepiecesimplywiththatgreathymn,withtheaudiencestandingupasacongregation, andwithagreatbangonthefinalAlleluia!Amen!.Quiteapartfromtheartificialityof contrivingastandingovationattheendofthework,[5]Paulsmusicalinstinctledhimto thetheologicalinsightthatsuchanendingwouldbedeeplyuntruetothestrange,open endednatureofJohn20andparticularlyJohn21,withthecallofJesustoPetertofollow himintotheunknown.John21doesntofferatriumphantclosurewithallthelooseendstied up.ItpointsintoGodsfuture,from(tobesure)thesecurebaseofJesusresurrectionand Godsnewday,butwithoutspecifyinghowpreciselyeverythingwillbeworkedout. Itookthispointcompletely,andwediscussedvariouswaysofsolvingit.Irememberat onepointsuggestingaparallelwithDvoraksNewWorldsymphony,whosefinalchord lingerson,pointingintothefuture.Wedidntwanttoaddanotherchorusorequivalentafter thefinalhymnbutYechoirsofnewJerusalem,fortunately,gavePaulaclue.Sinceit endswithAlleluia,Amen,herequeststheaudiencetositdownagainassoonasthehymn isover,whilethechoircontinueswithAlleluias,gettingfainterandfainter,liketheangels disappearingattheendofGlorytoGodinHandelsMessiah(exceptthat,there,theyare goingbackintoheaven,whereasheretheAlleluiasaredisappearingintothestillunknown futureperhapsthosearetwowaysofsayingthesamething?).Theworkfinallysettlesback onthegreatpedalCwhereithadbeguntwohoursearlier. Onlynowwiththisdifference,whichcatchesandexpressesthesenseofwaitingand expectancywithwhichJohnsGospeldoesindeedclose:asthepedalCdiesaway,the tubularbellsplayaBflat,resonatingagainstitwithanunresolvedseventh,pointingintothe future.Thesolidachievementofthecrossandresurrectionnowgivesrise,nottothefeeling ofWell,thatsallrightthen,whichmanyofustheologians,lefttoourselves,mighthave beentemptedtooffer,buttonewquestions,newopportunities,toafutureasyetunknown butbeckoning.Thewholeprocessofdiscussion,withPaulsbrilliantsolution,wasformea matterofrichtheologicallearningaswellasmusicalexcitement. Imighthighlightoneotherpointwhichwasinstructivetomeasacollaborator.The climaxofNo.20,ThePriceofPeace,hadbotheredmeforawhile,becausethe penultimatelinewasweakerpoeticallythanIintended(Jesusisrisenfromthedead,which doesnttellusanythingnewatthispoint).IactuallyalteredittoThemastercraftsmans costlyworkisdone,whichwasprintedintheprogrammeforthefirstperformance.Butby thetimeImadethealterationPaulhadalreadytakentheweakestpointofmypoemand turneditintoitsstrongestmusicalmoment:thenumberstartsquietlyandmeditatively,but thenbuildsuptoaterrificclimaxpreciselyontheJesus.Noquestionofchangingthe wordsafterthat!Thatwasalessonaboutgracethetransformationoftheweakpointinto themomentofglorywhichitwasgoodforatheologiantolearnbysuchmeans. Ineachofthesedifferentinstancesapointemergeswhichmaybeofinteresttothewider projectofTheologyThroughtheArts.Ishallreturntoitbelowbutwanttoflagitupnow. PaulSpicer,astheartistinthisproject,hadquitesimplyakeensenseforwhatwouldwork. Themusicmustcarryitsownintegrity.Butthisintegrityisnotsomethingremovedfromthe theologicalintegrityofasustainedmeditationonthegospelstory.AsDorothySayers arguedinTheMindoftheMaker,[6]thereisaGodgivenresonancebetweenthedifferent levelsartisticandtheologicalbecause(toputitatitsmostbasic)humansaremadein Godsimage.ThoughIamnotsoconfidentasSayersthatonecanargueakindofnatural theologybystartingwithartisticintegrityandgoingrightthewayuptotheChristian doctrineofGod,IamcertainlypreparedandthewholeexperienceofworkingwithPaul hasenabledmetoarticulatethistothinkintermsoftherevelationofGodinJesusandthe
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Spiritmovingtowardsusandmeetingartisticintegritycomingtheotherway.Withoutthe first,theartistisindangerofproducingformwithoutsubstance,aclassicproblemofboth modernityandpostmodernity.Butwithoutthesecondthetheologianandpreacher, strugglingtohearwhattheSpiritissayingtothechurches,mighteasilyfailtospeakthefull truth. TheEasterhymns Thisleadsmetosomereflectionsaboutthehymnsinthework.Wedecidedearlyonthat,as J.S.Bachgothisaudiencestoparticipatebysingingchoraleswhichtheyalreadyknewwe woulddothesamewithsomeofthegreatEasterhymns.(ThechoralesinSpicerswork, whichareallnew,andmaygoontobecomesmallhymnsintheirownright,areatthe momentdesignedforchoiralone.)ButwhenIsetaboutselectingthehymns,Iwas surprised,andsomewhatdepressed,todiscoverhowcomparativelyfewofthewellknown Easterhymnsreallyexpressthesubjectmatteroftheresurrectionnarratives,notleastofJohn 20and21inotherwords.Godsnewcreation,thenewday,thenewcalling.Manyof themarecontenttogoalongwiththeviewthatEasterissimplyaboutlifeafterdeaththe openingofheaven,andsoon,ratherthantherobustnewcreationtheologyoftheNew Testament.However,wefoundfivewhichfittedthebill.Theyare:No.13,Comeye faithful,raisethestrain/OftriumphantgladnessNo.18,Nowthegreenbladeriseth/From theburiedgrain,whichatthefirstperformancewassungbychoiraloneNo.31,Theday ofresurrection!/Earth,tellitoutabroadNo.50,Alleluya!Alleluya!Heartstoheavenand voicesraise,andNo.67,YechoirsofnewJerusalem.[7]Wealsowroteacompletely newhymntoclosethefirsthalf,basedonthetriumphantsongofnewcreationinIsaiah55: Youshallgooutwithjoy.Thistoo,beingnew,wassungbythechoiralone. These,obviously,provideachancefortheaudiencetobecomeacongregationforafew minutes,respondinginpraiseanddelighttowhattheyhaveheard.ButthewayPaulhasset thehymnsenablesthemtodotwootherthingsaswell.Ineachcase,thehymnisintroduced withoutabreakfromthepreviousnumber.Likeatravellerturningacornerintheroadand suddenlycominguponabeautifulvista,thelistenersaresweptforward,caughtupinthe drama,andfindthemselvesontheirfeetandsinging,allinoneunbrokensweepofmusic. Or,tochangetheimage,itislikesomeoneseabathingwho,whilewatchingwavesbreakat adistance,findsthatonecomessweepingtowardshimandcarrieshimoff.Thehymnsare notboltedontotheoutsideofthepiece.Theyriseup,liketheswellingofthesea,fromthe greatdrama,thegreatturningofthetide,thatthestoryitselfanditsmusicalsettingisall about.Thesenseofexcitementeachtimetheaudiencerosetoitsfeethadsomethingofthat power. Oncesinging,though,Paulagainenhancedtheexperiencewithaddedcolour,inviting freshunderstanding.ThespinetinglingdescantsinNos.13and50,thewindingeditationof No.18,thefinalverseharmoniesofNo.33,andthesheermagicandpowerofNo.67,all leaveworshipperandtheologianmoreawareofthewordsandtheirmanylayeredmeaning thanwewerebefore.Thesethingsmayseemobvious,butshouldnotbeoverlooked.Ina Churchwhichvaluesmusicandlovestosing,thecomposermayhaveasmuchtheological influenceasthepreacher.NotmanyeighteenthcenturypreacherstaughttheChurchas muchasJohannSebastianBach. FromBachtoHowellstoSpicer AndyetevenJ.S.BachhimselfdidnotwriteanEasterpieceofthiskind.Thisleadsmeto somereflectionsonthetheologicalsignificanceofPaulSpicercomposingsuchaworkat thistime.Paulclearlystandsin(onestrandatleastof)thegreattraditionsofEnglishchurch music,whoserootsgobackbothtosixteenthcenturyEnglishchoralwriting,whichitself grewoutofitsmediaevalandplainchantrootsand,viaBach,Handelandothers,to
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seventeenthandeighteenthcenturyGermany,anditsLutheran,pietistandmystical elements.ThoughIamevenmoreoutofmydepthherethanelsewhere,Iwouldliketo suggestthatPaulsworkrepresentsaturninanewdirection(not,ofcourse,withoutparallel, butsignificantinitselfforallthat)fromwithinthesetraditions. BachsownEasterOratorio(BWV249),whichImentionedbefore,isashortwork, withoutbiblicalnarrativesorquotations,andishardlyknowntoday.[8]Itmayevenbethe casethatBachhimselfwasnotveryinterestedbythemessageofEasterseeninrobustNew Testamenttermsasbodilyresurrection,newcreation.Godsrenewalofthewholeworld.If AlbertSchweitzeristobebelieved,thecentreofBachsownfaithwasneitherdogmatic Lutheranism(thoughhepossessedacompleteeditionofLuthersworks)northefashionable pietismoftheday(thoughmanyofthepoemswhichheusedaslibrettosintheCantatasand thePassionswereofpietistorigin),butmysticism.WhatpreciselySchweitzermeantby thistermisitselfcontroversial,notleastthroughhisdevelopmentofitinhisclassicbookon Paul.[9]Butinthepresentcasehehadthistosay: Thisrobustman...wasinwardlydeadtotheworld.Hiswholethoughtwas transfiguredbyawonderful,serene,longingfordeath.Againandagain,wheneverthe textaffordstheleastpretextforit,hegivesvoicetothislonginginhismusicand nowhereishisspeechsomovingasinthecantatasinwhichhediscoursesonthe releasefromthebodyofthisdeath.[10] Ifthisisindeedthecaseandnodoubtmanywouldwanttocontestititgoessomeway toexplainingwhatcouldbeseenasaremarkablelacunainBachswork.PerhapsBachwas simplynotinterestedinthepossibilityofalifebeyondlifeafterdeath,aresurrectionofthe bodyatsomefuturedate,toshareinthekindofnewcreationthatStJohnseemedtohavein mind.And,ifthisisthecase,thewritingofanEasterOratoriowhichsharestheformofhis greatPassionsmayinfactrepresentalargesteptowardsafillingout,aroundingout,ofhis theologicalvision. ButifthefactofPaulSpicerwritingthisOratorioisastepbeyondtheBachwhomwe wereaimingtocommemorate,somethingmoreremarkableagainishappeninginSpicers owndevelopmentfromwithinthetraditionrepresentedbyhisteacher,HerbertHowells, whosebiography,writtenbyPaul,waspublishedin1998,aroundthetimetheOratoriowas startingtogerminateinourminds.[11]ThoughHowellscouldanddidwritesome wonderfullyupliftingmusicinvariousgenres,thosewhohavecometoknowandlovehis churchmusicwillbeaware,overandoveragain,ofamelancholystrain(think,forinstance, ofthewonderfulanthemLikeasthehart,andsomeofthefamousMagnificatswherethe gloryonlyreallyemergesintheGloriaattheend).Howells,ofcourse,spentafairamount ofhislifegrievingforhisbelovedsonMichael,whodiedofpolioin1935attheageof9. Howellshimselfseemsnottohavehadareligiousfaith,certainlynothinginthewayofa robustChristianbeliefineitherlifeafterdeathoraneventualresurrection.Thatisnotto denythecelestialwondersof,forinstance,hisHymnusParadisiandotherpiecesonlyto drawattentiontohisabidinglackofcomfortinthefaceofthelossofonesodear.[12] PaulSpicersEasterOratorioachieves,Ibelieve,somethingapproachingthe redemptionofthistradition.Ofcourse,Howellsisbynomeanstheonlyinfluenceonhim likemostgoodstudents,hehaslongoutgrownhisteacher.ButinsofarasIunderstand thesethingsIthinkhehassownanewseedinthesoilwhereHowellsgrewsomeofhis plants.Theseedhassprouted,blossomedandbornefruitinsomethingHowellsnever imagined:therichandhardwonaffirmationthatGodissovereignoverdeathitself.Though comfortisnotcheap,ornecessarilyquick(thinkofourdebatesaboutThomas!),andthough questionsremain(thinkoftheendingofthepiece),itisrealandsolid,andburststhroughthe wallofdoubtinablazeoffaithandhope.Indeed,theThomassequencemayafterallreflect
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preciselythis:thelongstrugglefromwithinamusicaltraditiontoturndespairintofaith, inconsolablegriefintonewbornhope. Allthisleadstosomefurtherandwiderquestionsabouttheresurrectionand epistemology. Resurrectionandhowweknowthings Ihavespentthelastfewyears,onandoff,thinking,praying,reading,lecturing,preaching andwritingabouttheresurrection.[13]Withinmyownfieldoneofthemajorquestionsto befacedhereisnotjustwhatwecanknowbut,aswithThomasquestioninNo.26,how wecanknowit.Christianthinkershavebeendividedforsometimeonthisquestion.Some havemoved,withmoreorlesscaution,towardssayingthatthebodilyresurrectionis,in somesense,historicallyverifiable.[14]Othershavedeniedthisapriorifortworeasons: eitherbecause,theysay,itisnotinthatsenseahistoricalevent(i.e.,itwasaneventonlyin themindsofthedisciples)[15]orbecause,theysay,toassessthetruthoftheresurrectionon thebasisofpostEnlightenmenthistoricalmethodistograntthelatterasupremeposition overtheresurrection,whereastheresurrectionitselfmustbethestartingpoint, epistemologicallyaswellasontologically,foreverythingelse.[16] Letmebecautiousbutclearatthispoint.Ihavebecomeconvincedthatwecanand mustargueahistoricalcase,tobedefendedongroundsthatpeopleofanyfaithandnone mightlegitimatelyrecognize,that(a)thetombofJesuswasemptyonEastermorning,and (b)thedisciplesreallydidseeJesusaliveagaininwhatgaveeveryappearanceofbeinga physical,thoughtransformed,body.Onlythiswillmakesenseofthefactthattheearly ChristiansreallydidbelieveJesuswasbodilyraised(apointwhich,thoughsometimes challenged,isinmyviewabsolutelysecurehistorically).Iftheyhadonlyfoundanempty tomb,theywouldhaveconcludedthatthebodyhadbeenstoleniftheyhadseenJesusa fewtimes,especiallywithhimcomingandgoingthroughlockeddoorsandnotalways beinginstantlyrecognized,theywouldhaveconcludedthattheywerehallucinating.Itwas thetwotogetheremptytombplusappearancesthatconvincedthemthathewastruly alive,thathehadgonethroughthevalleyofdeathand,afterabriefrest,wasfullyand bodilyaliveagain,indeedevenmoresothanbefore,sincenowdeathcouldnevertouchhim again. Canwemovefurtherthanthat,andifsohow?Christianapologistscanlegitimately challengetheircriticstoexplainhowthesetwothingshappenedonanyothersupposition exceptthattheearlyChristianswerespeakingthetruth.Itisremarkablehowthin,andfull ofspecialpleading,areallthealternativeexplanationsthathavebeenofferedoverthelast twocenturiesbyingeniousapologistsforapostEnlightenmentworldview,often masqueradingasneutralorobjectiveobserversorhistorians.[17]CanaChristian apologeticdoanybetter?Canit,onhistoricalgroundsalone,compelsomeonetotakethe finalstepanddeclarethattheytoonowbelieveJesuswastrulyraisedfromthedeadon Easterday?Ithinknot.Wecanpoint,likeanarchaeologist,totwopillarswhichlook,by theirshapingatthetop,asthoughtheyweredesignedtosupportanowmissingarch.We canshowthat,despiteyearsofenergeticattemptstosuggestanalternative,nothingelse explainsthosepillarsnearlyaswellasanarchthatis,thatnothingelseexplainsboththe emptytombandtheappearances(whichthemselvesexplainearlyChristianbelief)nearlyas wellasthebodilyresurrection.Forsomethathasbeensufficientforinstance,thewell knownFrankMorison,whowroteWhoMovedtheStoneasaresult.[18]ButtothisextentI thinkFreiandothersmayhaveatleastagrainoftruth:thestoryandfactoftheresurrection itself,ratherthanapostEnlightenmentpositivism,carriesthepowertoleaddoubting Thomasestodeclarethattheybelievethearchreallyexisted. Ithuscautiouslyagreewiththosetheologianswhohaveinsistedthattheresurrection,if
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true,mustbecomenotonlythecornerstoneofwhatwenowknowbutalsothekeytohow weknowthings,thefoundationofallourknowing,thestartingpointforaChristian epistemology.Thisisnottosaythatallotherepistemologiesarerenderednullandvoid. PreciselybecauseitistheresurrectionofthecrucifiedJesusthatmightnowformthe startingpointforourthinkingandknowing,itwillaffirmtheproperplaceandpowerof otherepistemologies,astheresurrectionaffirmsthegoodnessnotonlyofJesusbutofGods presentcreationhowevermuchthatpresentcreationissubjecttocorruption,decayand death.Aresurrectionbasedepistemology,inotherwords,whilebeingsignificantlynew, mightneverthelessaffirmthegoodnessofnonresurrectionbasedhistoricalknowledge,even whilerecognizing,assuchknowledgeitselfsometimesinsists,thatitcannotreachbeyonda naturalisticandevenreductionisticaccountsuchaswefindinTroeltsch.Thisargumentis thusparalleltothatofferedbyOliverODonovan,inhisfamousbook,inrelationtomoral order.[19]Toputitquitesharply:Historyraisesthequestion,Grantedthatonlyanempty tombandappearancesofJesuswillexplaintheriseofChristianfaith,whatwillinturn explainthesetwosatisfactorily?WhenChristianfaith,arisingfromthewholegospelstory, says,thebodilyresurrectionofJesusfromthedead,historymayreply,Well,Icouldnt havecomeupwiththatmyselfbutnowthatyousayit,itmakesalotofsense.And perhapsatthatpointhistoryitselfthemodeofourknowingundergoessomekindof redemptivetransformation. WorkingwithPaulSpicerontheOratoriohascausedmetoreflectonthisfromseveral angles,ofwhichoneinparticularcontributes,Ithink,totheongoingdiscussion.Ihavesaid alittle,above,ofwhatIhavelearntfromthisworkbuthowhaveIlearntit?Wasthesource ofmynewlearningScripture,tradition,reason,orwhat? ThebasisoftheprojectwasScripturebutmyreading,translationofandmeditationon ScripturehadnotshownmeallthatInowthinkIseethere.Theworkstandsinatradition, but,asIhavesuggested,itchallengesandchangesitasitgoesforward.Onlybya considerablestretchcouldreasonbesaidtohavecontributedmateriallytothework,or, throughit,tomyfreshunderstanding.Ofcourse,wethoughtthroughwhatweweredoing, butwhatmatteredwasaesthetic,not(intheeighteenthcenturysense)rational,judgment.(A falseantithesis,mostlikely,butIamheredeliberatelyusingtraditionalandoverwooden categories.)Atthispointsomemightwanttoinvokeexperienceasourguide,oreven feelingbutneitherofthosenotoriouslyslipperytermswilldojusticetowhatIthinkwas goingon.Mymemoryoftheprocesssuggeststhatatthecentreofitwasthemeeting,and dialogue,betweentherevelationinScriptureontheonehand(tellingthestoryofthe ultimaterevelation,thatoftheWordmadeflesh,inhistory)andthedemandsofartisticand aestheticintegrityontheother.Theremight,ofcourse,beasenseofreasonwhichwould happilyincludethose,butthatisnt,Ithink,whatmostpeoplemeanbytheword.[20] Thisisbynomeansamatterofintegratingleftbrainandrightbrainactivity,asitis sometimessimplisticallyput.Intermsoftheolderandsomewhatoutdateddistinction, readingandunderstandingScriptureisanart,notjustascienceandanyonewhohasseena composeratworkknowsthatthereisahugeamountofscienceandtechnologyrequired,not justinspiration,iftheworkistocometobirth!NorwasitasimplematterofWright bringingscripturetothemixtureandSpicerbringingartfarfromit.Paulsownfaith,and myownfeeblestrugglesafterart,werebothimportantaswell,andIhonourPaulsparticular spiritualinsightsashehasbeengraciousenoughtohonourmypoetry.Yetheasa professionalmusician,andIastheprofessionalexegete,metmostnaturallyalongthelines wherethosetwodisciplinesconfrontoneanother,astheyhavedonethroughoutmuchof churchhistory,certainlyintheWesternChurchforthelasthalfmillennium. Isthisthenareinforcement,fromamusicalpointofview,forDorothyL.Sayersthesis inTheMindoftheMaker,towhichIreferredearlier?IstherethenindeedaTrinitarian
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patterntotheworkoftheartistorwriterwhich,reflectedback,providessomekindof evidenceofwhoGodmaybe?Iamnotsurethatthisthesiscanbesustainedbyitself,or thatanaturaltheologybuiltupbythatmeanswithouthelpfromelsewherewouldarriveat anythingapproximatingtotheGodandFatherofJesus,thegiveroftheSpirit.Butwhenthe creativeandaestheticprojectmeetsthescripturalrevelationmediated,ofcourse,through thethinkingofthehouseholdoffaiththenthetwocanperhapsatleastbe complementary.IhaveexploredelsewherewhatIhavecalledanepistemologyoflove,in whichthesterileoppositionbetweenobjectiveandsubjectivereductionsofknowingare transcended.[21]Ithink,andhope,thatwhatPaulSpicerandIdiscoveredinourworkon theOratoriowassomethinglikethat:aloveforthesubjectmatter,aloveworkedoutinart andscholarship,throughwhichwebothlearnedandgrewandgraspedafreshsomeofthe centralmattersofChristianfaith.Andifthisistrueitmaybeapointertosomethingelse somethingwhichthewholeTheologyThroughtheArtsprojectisallabout:thenon reducible,andnotmerelydecorative,functionofimaginationwithinhistoricalwork(as Collingwoodinsisted)andalsotheologicalendeavour,aswellasinmusicalcompositionand performance. IrealizethatIhavethusarrived,asanonspecialist,atmoreorlesswhatAquinassaysin hisfamousformulation:Asgracedoesnotdestroybutperfectsnature,itisrightthatnatural reasonshouldservefaithjustasthenaturallovingtendencyofthewillservescharity.[22] Thereisofcourseadangerouscircularityaboutreachingthatconclusionaboutmethod preciselybyengaginginwhat,Ihope,mightbeaninstanceofithappeninginpractice.But IthinkIhavesaidenoughtoshowthatthisisafruitfulareaforfurtherenquiryand experiment,especiallyifthoughthiswouldbeamatterforspecialiststoenlightenme furtherwhatAquinasmeantbynaturalreasonisalargeenoughcategorytoembrace aestheticandartisticintegrity,thecomposersandconductorssenseofwhatworks. Certainlyinthiscasethecomposersandconductorsaestheticandartisticintegrity servedfaithinawaythatmakestheordinaryjobbingtheologianandpreacherjealous.If alltheology,allsermons,hadtobesettomusic,ourteachingandpreachingwouldnotonly bemoremellifluousitmightalsoapproximatemorecloselytoGodstruth,thetruth revealedinandastheWordmadeflesh,crucifiedandrisen. Relatedwebsites: EasterOratorio EasterOratoriolibretto(68KPDF) PaulSpicer

[1]SeemyTheMythoftheMillennium,London:SPCK,1999. [2]HansUrsvonBalthasar,MysteriumPaschale:TheMysteryofEaster,Edinburgh:T&TClark,1990 [1970]. [3]IalsonotemygratitudetomysonJulianforhisshrewdcommentsonanearlydraftofthischapter, particularlyitsfinalsection,thoughheshouldnotbeheldresponsiblefortheuseIhavemadeofhisadvice. [4]Forarecentstimulatingtreatmentofthiswholearea,seeMarkAllanPowell,ChasingtheEasternStar: AdventuresinBiblicalReaderResponseCriticism,Louisville:Westminster/JohnKnoxPress,2001. [5]AmericanreadersmayliketoknowthatBritishaudiencesarefarmoresparingwithsuchthingsthan theirgenerousheartedAmericancousins.

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[6]DorothySayers,TheMindoftheMaker,London:Methuen,1941. [7]ComeyefaithfulandThedayofresurrectionareJ.M.Nealestranslationsofeighthcenturypoems byStJohnofDamascusNowthegreenbladeisbyJ.M.C.Crum(18721958)Alleluya!Alleluya!isby BishopChristopherWordsworth(180785)YechoirsofnewJerusalemisRoyCampbellstranslationofa poemofStFulbertofChartres(d.1028).Thereisfoodforthoughtinthecomparativelackofrobustnew creationEasterhymns,Wordsworthexcepted,intheeighteenth,nineteenthandtwentiethcenturiesand Wordsworthwas,ofcourse,agreatbiblicalandpatristicscholar. [8]Itisbrieflydescribed,alongwiththelittleknownresurrectionoratoriosofSchtzandHandel,byJohn Bowden,ResurrectioninMusic,inStephenBartonandGrahamStanton,(eds).Resurrection:Essaysin HonourofLeslieHoulden ,London:SPCK,1994,pp.18897.Bowdenwiselyconcentrates,forhismain material,onsettingsoftheresurrectionmaterialintheCreedsofsomeofthegreatMasses,andonMahlers Second(Resurrection)Symphony. [9]AlbertSchweitzer,TheMysticismofPaultheApostle,NewYork:SeaburyPress,1968Germanorig., 1931.Onmysticismsee,e.g.,RichardWoods,(ed.),UnderstandingMysticism,London:AthlonePress, 1981PhilipSheldrake,SpacesfortheSacred ,London:SCMPress,2001,ch.5andtheclassicstudiesof, e.g.,E.Underhill,Mysticism:TheNatureandDevelopmentofSpiritualConsciousness,1911(repr.Oxford: OneWorldPublications,1993)F.vonHgel,TheMysticalElementinReligion ,1923(repr.London:James Clarke,1927). [10]AlbertSchweitzer,J.S.Bach ,London:Black,1923(Frenchorig.,1905). [11]PaulSpicer,HerbertHowells,Bridgend:Seren,1998. [12]Seeesp.Spicer,HerbertHowells,p.98,pp.10910. [13]MymajorworkTheResurrectionoftheSonofGod isstillinpreparationatthetimeofwriting. AdvancestatementsofsomepartsoftheargumentmaybefoundinTheMeaningofJesus:TwoVisions (withMarcusJ.Borg),London:SPCK,1999,ch.7,andTheChallengeofJesus,London:SPCK,2000,chs. 68. [14]ThemostimpressivecaseisthatofW.Pannenberg,e.g.,SystematicTheology,Vol.2,GrandRapids: Eerdmans,Edinburgh:T&TClark,1994(Germanorig.,1991),pp.34363,withreferencetoearlier discussions.Thereisofcourseamoreenthusiastic(inbothsenses)andalmostpositivistcaseregularly madebyevangelicalapologists. [15]ThebestknownexampleisRudolfBultmann:e.g.,TheNewTestamentandMythology,inH.W. Bartsch(ed.),KerygmaandMyth:ATheologicalDebate,NewYork:Harper,1961[1953],pp.144cf.p.42: TherealEasterfaithisfaithinthewordofpreachingwhichbringsillumination.IftheeventofEasterDay isinanysenseanhistoricaleventadditionaltotheeventofthecross,itisnothingelsethantheriseoffaith intherisenLord...Theresurrectionitselfisnotaneventofpasthistory. [16]IthinkhereparticularlyoftheworkofHansW.Frei,TheIdentityofJesusChrist:TheHermeneutical BasesofDogmaticTheology,Philadelphia:FortressPress,1975. [17]E.g.G.Ldemann,TheResurrectionofJesus:History,Experience,Theology,London:SCMPress, 1994. [18]London:Faber&Faber,1930 [19]OliverODonovan,ResurrectionandMoralOrder:AnOutlineforEvangelicalEthics,Leicester:Inter VarsityPress,1986. [20]SeethediscussionofAquinas,below. [21]Wright,TheChallengeofJesus,pp.1502. [22]SummaTheologica ,Iq.Ia.8ad.2.
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