Looking Toward the Second Sunday of Lent: Thinking About the Transfiguration (Reprise)

Transfiguration by Lewis Bowman

Have you ever been walking along a well-known road and suddenly had a bed of flowers take on a vividness which takes your breath away? Similarly, have you ever been walking along or sitting quietly outside when a breeze rustles some leaves above your head and you were struck breathless by an image of the Spirit moving through the world? I have had both happen, and, in the face of God's constant presence, what is in some ways more striking is how infrequent such peak moments are.

Scientists tell us we see only a fraction of what goes on all around us. In part it depends upon our expectations. In an experiment with six volunteers divided into two teams in either white or black shirts, observers were asked to concentrate on the number of passes of a basketball that occurred as players wove in and out around one another. In the midst of this activity a woman in a gorilla suit strolls through, stands there for a moment, thumps her chest, and moves on. At the end of the experiment observers were asked two questions: 1) how many passes were there, and 2) did you see the gorilla? Fewer than 50% saw the gorilla. Expectations drive perception and can produce blindness. Even more shocking, these scientists tell us that even when we are confronted with the truth we are more likely to insist on our own "knowledge" and justify decisions we have made on the basis of blindness and ignorance. We routinely overestimate our own knowledge and fail to see how much we really do NOT know.

For the past two weeks we have been reading the central chapter of Matthew's Gospel --- the chapter that stands right smack in the middle of his version of the Good News. It is Matt's collection of Jesus' parables --- the stories Jesus tells to help break us open and free us from the common expectations, perspectives, and wisdom we hang onto so securely so that instead we might commit to the Kingdom of God and the vision of reality it involves. Throughout this collection of parables Jesus takes the common, too-well-known, often underestimated and unappreciated bits of reality which are right at the heart of his hearers' lives. He uses them to reveal the extraordinary God who is also right there in front of his hearers. Stories of tiny seeds, apparently completely invisible once they have been tossed about by a prodigal sower, clay made into works of great artistry and function, weeds and wheat which reveal a discerning love and judgment which involves the careful and sensitive harvesting of the true and genuine --- all of these and more have given us the space and time to suspend our usual ways of seeing and empower us to adopt the new eyes and hearts of those who dwell within the Kingdom of God.

Taking Offense at Jesus:

It was the recognition of the unique authority with which Jesus taught, the power of his parables in particular which shifted the focus from the stories to the storyteller in the Gospel passage we heard last Friday. Jesus' family and neighbors did not miss the unique nature of Jesus' parables; these parables differ in kind from anything in Jewish literature and had a singular power which went beyond the usual significant power of narrative. They saw this clearly. But they also refused to believe the God who revealed himself in the commonplace reality they saw right in front of them. Despite the authority Jesus possessed which they could not deny, they chose to see only the one they expected to see; they decided they saw only the son of Mary, the son of Joseph and "took offense at him." Their minds and hearts were closed to who Jesus really was and to the God he revealed. Similarly, Jesus' disciples too could not really accept an anointed one who would have to suffer and die. Peter especially refuses to accept this.

It is in the face of these situations that we hear today's Gospel of the Transfiguration. Jesus takes Peter, James, and John up on a mountain apart. He takes them away from the world they know (or believe they know) so well, away from peers, away from their ordinary perspective, and he invites them to see who he really is. In the Gospel of Luke Jesus' is at prayer --- attending to the most fundamental relationship of his life --- when the Transfiguration occurs. Matthew does not structure his account in the same way. Instead he shows Jesus as the one whose life is a profound dialogue with God's law and prophets, who is in fact the culmination and fulfillment of the Law and the Prophets, the culmination of the Divine-Human dialogue we call covenant. He is God-with-us in the unexpected and even unacceptable place. This is what the disciples are called to see --- not so much a foretelling of Jesus' future glory as the reality which stands right in front of them --- if only they have the eyes to see.

Learning to See With New Eyes:

I watched a video today of a man who was given Enchroma glasses --- a form of sunglasses that allows colorblind persons to see color, often for the first time in their lives. By screening out certain wavelengths of light, someone who has seen the world in shades of brown their whole lives are finally able to see things they have never seen before; browns are transformed into yellows and reds and purples and suddenly trees look truly green and three-dimensional or the colorful fruit of these trees no longer simply blend into the same-color background. The man was overwhelmed and overcome by what he had been missing; he could not speak, did not really know what to do with his hands, was "reduced" to tears and eventually expressed it all as he hugged his wife in love and gratitude. Meanwhile, family members were struck with just how much they themselves may have taken for granted as everyday they moved through their own world of "ordinary" color and texture. The entire situation involved a Transfiguration almost as momentous as the one the disciples experienced in today's Gospel.

For most of us, such an event would overwhelm us with awe and gratitude as well. But not Peter --- at least it does not seem so to me! Instead he outlines a project to reprise the Feast of Tabernacles right then and there. In this story Peter reminds me some of those folks (myself included!) who want so desperately to hang onto and even control amazing prayer experiences --- immediately making them the basis for some ministerial project or other; unfortunately, in doing so, they, in acting too quickly and even precipitously, fail to appreciate these experiences fully or learn to live from them! Peter is, in some ways, a kind of lovable but misguided buffoon ready to similarly build booths for Moses, Elijah and Jesus in a way which is consistent with his tradition --- while neglecting the qualitative newness and personal challenge of what has been revealed and needs to be processed in personal conversion. In some way Matt does not spell out explicitly, Peter has missed the point. And in the midst of Peter's well-meaning activism comes God's voice, "This is my beloved Son. Listen to him!" In my reflection on this reading this last weekend, I heard something more: "Peter! Sit down! Shut up! This is my beloved Son! Listen to him!!!"

Like Peter, and like the colorblind man who needed to wear the glasses consistently enough to allow his brain to really begin to process colors in a new way, we must take the time to see what is right in front of us. We must see the sacred which is present and incarnated in ordinary reality. We must listen to the One who comes to us in the Scriptures and Sacraments, the One who speaks to us through every believer and the whole of creation. We must really be the People of God, the "hearers of the Word" who know how to listen and are obedient in the way God summons us to be. This is true no matter who we are or what our usual station in life. Genuine obedience empowers new life, new vision, new perspectives and reverence for the ordinary reality God makes Sacramental. 

There is a humility involved in all of this. It is the humility of the truly wise, the truly knowing person. We must be able to recognize how very little we see, how unwilling or unable we often are to be converted to the perspective of the Kingdom, how easily we justify our blindness and deafness with our supposed knowledge, and how even our well-intentioned activism can prevent us from seeing and hearing the unexpected, sometimes scandalous God of newness (kainetes) standing there right in the middle of our reality.

Reflections on the Eremitical Vocation from the perspective of Allegri's "Miserere Mei, Deus"

Recently, in part because of the question I was asked about whether or not a hermit could or should sing office, I have been thinking more about the various tensions that exist in the eremitical vocation, especially the tension that exists between ecclesiality and solitude and also that between physical silence and what canon 603 calls "the silence of solitude". While I was listening to a favorite piece of music -- Allegri's Miserere Mei, Deus done by the Tenebrae Choir  under the direction of Nigel Short -- I thought I could see a perfect representation of these elements and the tensions that exist between them at work in what is one of the most beautiful pieces I know. In some ways they reflect in a more vivid way the dynamics I know personally not only from living as a hermit with an ecclesial vocation, but also from playing violin both alone and in chamber groups and orchestras. I'll say a little about what I heard and saw in this production that was helpful to me in thinking about these central vocational elements and tensions below, but for now you might listen to this piece once or twice before reading on.

 

What struck me first is the dialogical nature of the work --- dialogical in a broad yet still profoundly personal sense of the term. Each and every person is dedicated to listening and responding on a number of levels, first of all to the composer and his music, notations, and text, but also to the director who interprets these realities and communicates this to the singers in gestures and expressions.  Every person is listening not only to themselves and the quality of sound they are producing, but to every other person in the ensemble. Each person is listening to a pulse within themselves which moves through the music and silences (rests) as well as to a mental sense of the music-as-heard over many different and differing performances. These will all guide the music each singer makes in response as they perform or live this work with personal and musical integrity.

What also struck me about this particular performance is the way one can hear the massed sound of all the voices but also clearly distinguish the individual voices (sometimes with the aid of one's eyes as different singers enunciate different syllables and/or notes in time --- we listen with all of our senses). The singers blend perfectly but they only do so insofar as they sing their own part in careful response to the the dynamic context which lets them be themselves alone in relationship. I was reminded most of the ecclesial nature of the eremitical vocation as I thought about this --- the way a beautiful performance is enhanced and completed only as it is sung/lived as an integral part of the whole. I thought this was especially true of the young male soloist whose silence was as critical to the balance and completion of the music as were his solos.

The way the schola in the main stands apart from the larger choir and at times is entirely silent but still very much part of the music as they listen so as to respond appropriately also made me think of the distinction between physical silence and the silence of solitude. And again, that was even more clear to me with the single voice of the young man standing up and "apart" in the arches above the nave and schola. His voice was often "heard" only in its silence and always in relation to others' welcoming  or receptive silence. How very much more than simple physical silence is this listening and participative silence!! It is foundational to the whole piece. When I think as well of the hidden but still-startlingly pervasive presence of the composer, his music, notations (not always easy to imagine what is meant here or there!), and depth of meaning of the text he is communicating, I think of the presence and place of God in the hermit's life --- and again, of the meaning of being bound to obedience in all of the myriad ways we must each allow and achieve if the music we are called to be is to be realized in all of its potential.

And finally, I was struck (and moved with a kind of poignant joy) at the way the now-silent soloist remained apart but very much present in the performance as the schola moved closer to the choir during the last portion of the piece and joined them in singing it. Again, a striking symbol or image for me of the profound difference between eremitical solitude or eremitical anachoresis (withdrawal) and being a lone person or individualist. It is the distinction between belonging integrally to the choir while making music in one's silence and merely standing apart mutely. It is this kind of silence the hermit brings to the Church as a whole, the charism or gift quality of eremitical life c 603 calls "the silence of solitude". As I have written here before, my very first experience of solitude (as opposed to isolation) and also of genuine community was of playing violin, both alone and in orchestra. That was in grade school when I was nine or ten. Now, all these years later music is still the most vivid symbol for my own understanding the nature of eremitical life and what canon 603 could well refer to instead as "the deep music of personal wholeness and holiness in God".

N.B., I am aware there were things which struck me about the Allegri which I haven't mentioned here --- not least the incredible control, power, and brilliance of the diminutive soprano doing the very high solo line. I thought how incredibly suited the human voice is for this and what an incredible instrument God has made in us as I watched and listened to her sing. In this way too we are language events. I was also struck afresh at how it is the way tensions are created and resolved in music that makes the most wonderful harmonies and create moments of real transcendence. Perhaps some of you will have other observations or reflections on the way the piece resonates with your own understanding of eremitical life or prayer, etc.

The text in both Latin and English can be found online (or cf. Psalm 51). Gregorio Allegri: Miserere Mei, Deus