And they that heard it wondered at the things which the shepherds told.
But Mary kept all these things, and pondered them in her heart.
Luke 2: 18-19
And they that heard it wondered at the things which the shepherds told.
Luke 2: 18-19
is a Japanese word meaning, literally, “forest bathing,” and it refers to the therapeutic effects of time spent in the woods. We’re very familiar with this concept in MIchigan, though I don’t think we have such a cool word for it. These particular trees are in Hartwick Pines state park. They’re old growth and by a happenstance have never been logged.
A young man in his blue linen cloak paces the dimly-lit room, then looks out the window at the crowd gathering in the village square. His ambitions exceed his current station, but he expects that to change after today. He is a lawyer, which is to say he occupies a lower rung in the religious order. He steps down the mud brick stairs of his house to the courtyard, then walks through the arch and onto the street.
Shielding his eyes against the sun, now glowing white in a molten sky, he can clearly see the plaza. There are more people than he expected. Surprises irritate the young man, but he consoles himself that the larger audience suits his purpose. He walks briskly to the village square–he always moves briskly–thinking over his scheme to confront, and perhaps trap, the itinerant rabbi from distant Nazareth. His superiors cannot fail to be impressed.
Near the well, Jesus is talking to a small circle of men. As the lawyer approaches the crowd, he feels his hands sweating. Moving through the throng, he strides up to face the rabbi. After a modest introduction, he asks, “How can I attain eternal life, Teacher?” He expects that Jesus’ answer will offend the orthodox and prove his undoing. The crowd is silenced by the lawyer’s boldness, just as he had hoped.
Jesus’ expression takes no note of the lawyer’s sarcastic tone and his voice is mild as he turns the question back on his inquisitor, offering him a dialogue. The lawyer knows the law by rote and so he confidently quotes its letter. Jesus’ response, now provocative, exposes a chink in the lawyer’s armor. The lawyer tries an evasion. “Who is my neighbor, that I am to love?”
The crowd waits for their teacher to take up the challenge, perhaps with a sermon like the ones they have heard him deliver. Jesus smiles thinly, a knowing smile, but in his eyes there is a flash of anger. He has faced so many of these inquisitions–meant to trap him into some blasphemy–over the last year. The rekindled memories leave him inwardly seething. He has thought about the answer to this question, or one very like it, through cool, dark velvet nights with only the flickering fire as companion, and so He retains his composure.
Masking his anger with an even voice, Jesus tells a tale of two pious men who pass by a wounded stranger on the robber-plagued Jericho road, not even approaching him to see if alive or dead; and of the third traveler who stops to assist the man, bathing his wounds in oil and taking him to an inn for shelter. Jesus faces the lawyer, but the crowd is his real audience–and when mentioning the solicitous man, He calls him a Samaritan. Even his close followers glance at each other–did he really say Samaritan? According to Jewish tradition, Samaritans are despised outcasts; there is bitterness and enmity between the two peoples. A Samaritan as role model does not sit agreeably with the crowd, but Jesus had warned his followers that he had come to bring a sword.
His parable completed, Jesus asks the lawyer, “Which of these three, do you think, sir, was neighbor to him that fell among the thieves?” In the telling of the tale, his anger has faded; his voice is almost serene.
The lawyer’s arrogance has wilted in the Light. “He that showed mercy,” he replies, leaving unspoken the distasteful name, Samaritan.
Jesus’ voice is a friendly invitation. “Go and do likewise.”
As the Samaritan ministered to the injured man, so Jesus discerned the wounded spirit of the lawyer inside the cynical shell. He treated his foe with acceptance, but with the parable challenged him to think anew. In so doing, He placed before his audience a gift, allowing them to see, if they chose, that the quality of mercy is for outcasts as well as members of the tribe, for the reproachful as well as the faithful.
Sometimes a story’s meaning is inside, like a kernel in a husk; and other times the story’s most eloquent message is revealed by the manner of the narrator.
Three views from a quiet cove along northern Michigan’s Au Sable River, as its swift current slows on the journey to Lake Huron.
Photo Challenge: Place
“The hope symbolized by light from the heavens is that renewal awaits us, if only we remain open to the mystery and take the opportunity to appreciate the wisdom abiding in the spiritual.”
The arts offered a space where we could pause for reflection, and perhaps glimpse a faint glow from over the horizon, amidst the malaise weighing on 1970s America. That most innovative of film makers, Steven Spielberg, slipped the bonds of science fiction’s conventions in a visionary movie. He portrayed an alien spaceship with a spiritual aura, like those Renaissance religious paintings where the radiance from above promises a hopeful future and a chance of renewal.
When the 1977 film Close Encounters opens, a luminous space ship dazzles airline pilots by its unearthly maneuvers, while air traffic controllers in the American heartland try to make sense of what they see on their screens. Unable to reconcile what they are witnessing with their familiar experience, they dismiss the extraordinary, rather than seeking its meaning. As the story unfolds, an aged Mexican villager with a beatific smile tells scientists that the sun came out at night and sang to him, as a Madonna might to her child. When the scene shifts back to Indiana, the specter reappears, and Spielberg sends a curious, not fearful, child chasing an elusive orange vapor into the prairie night. What is hidden from the wise and learned is sometimes revealed to children. As Spielberg later explained, “Close Encounters is all about children opening doors to beautiful sources of light.” It is difficult to imagine a more numinous response to the angst then afflicting America.
In Close Encounters, the viewer is from the opening drawn into a world of light, music, and wonder, which captivates the senses more than the intellect. Instead of intrepid explorers, we meet ordinary people, tentative in their search for the strangers. They are warm and approachable, unlike the steely glint of heroism. The viewer can identify with their uncertainty in the face of the astonishing. Close Encounters shares Hamlet’s response to the dreams and phantoms of other worlds: as strangers, give them welcome.
As the story begins, a utility company repairman, Roy Neary (Richard Dreyfuss), heads out in his truck when the spaceship’s over flight turns out the lights and plunges Muncie, Indiana into an eerie darkness. He gets lost in the outer burbs, but the aliens seem to find him, and he looks up to a dazzling white glare before the ship glides off into the night sky. Although rattled, Neary listens to the cacophony of voices on his CB radio so he can track the ship’s path, and pursue it. Throughout the movie, this Everyman follows his inner voice, strange and compulsive though it may be, to search for the unknowable. Does obsession lurk in the shadows of the deepest religious experience? Implicit in the movie is this ambivalence.
Although the events in the film unfold as seen by the Everyman character, we have to focus elsewhere to approach the essence of the film. A marvelous work of art, or an idyllic scene in nature, when truly taken in by the viewer, can inspire a sense of awe, but a more profound appreciation flows from knowledge. Similarly, a childlike wonder may inspire a quest for the mysterious light, and Neary’s obsession may pursue it, but only an enlightened guide can enrich the numinous experience.
In Close Encounters, the awareness is provided by a scientist, Claude Lacombe–although what variety of scientist remains nebulous. The actor is an icon of French New Wave cinema, Francois Truffaut, who had expanded the frontiers of film creativity in the 1960s. As the refrain in the movie goes, this means something.
Lacombe’s point of view gives permission to the viewer to reflect on the mystical light. “The light shineth in darkness, and the darkness comprehended it not.” Through Lacombe’s perspective, we are invited to wonder and perhaps to begin to understand; what the radiance might represent is left to us. Given the increasingly materialist and secular outlook that was emerging in the 1970s, and since then has become increasingly dominant, this signifies a counter vision.
Consider that Lacombe is not an American pragmatist, but a French intellectual with a philosophical hue. He is drawn to the mystery, and his métier is the illuminating question. Yet, he is neither conducting an investigation nor solving a problem–that is the province of the technician. Lacombe might well agree with Einstein that scientific thinking involves a free play with concepts. He has the brilliant intuition to use several musical tones as the language to reach out to the aliens, relying on child’s play in the most fateful of communications. Recall the Mexican villager’s description of the ship: the sun that sang. Where a film involving space travel might well focus on the technology, the crucial tool in Close Encounters is simple music, and the goal is communication with strangers.
The scientist has set out on a quest—as have the child, Neary’s everyman, and, through identifying with the film’s characters, the audience. Each has taken a risk, even if it is only the hazard of unsettling their comfortable thinking, in hope of being renewed.
Lacombe’s philosophy accepts the possibility that there are things in heaven and earth that dwell beyond the realm of facts. He is like Einstein, who once said that he developed his relativity theory because he was still able to ask childlike questions about space and time. Lacombe has retained the child’s sense of wonder, yet he has cultivated the detachment necessary for insight into the shining enigma. William Blake wrote that the child’s toys and the old man’s reasons are but the fruits of the two seasons. Close Encounters’ script mirrors this: Lacombe is the adult companion to the Indiana boy who opens the door to the beautiful light. Not by force of logical argument, but through being open to creativity and inspiration, he calmly persuades his colleagues of the potential inherent in reaching out to the visitors. Lacombe is a prophet without self-righteousness.
With the majestic arrival of the mother ship at Devil’s Tower, a light from above shining in the darkness, time seems to be suspended, and the spiritual quest of Close Encounters reaches its apotheosis. We are by now alerted to the interplay of light and music that bounces back and forth between the ship and human technology. Emerging at last, the aliens appear, bathed in a diffuse white light. Neary and other explorers ascend into the ship, but the viewer does not follow them into the inner sanctum. What waits beyond the pale is left to the imagination, as each individual’s spiritual vision is her own. We no longer look through a glass darkly, but we are not yet seeing face to face. In Close Encounters, there is enlightenment, but no revelation—no definitive answers, only intimations. The hope symbolized by the light from the heavens is that renewal awaits us, if only we remain open to the mystery and take the opportunity to appreciate the wisdom abiding in the spiritual.
© Tom Schultz, 2017. Unauthorized use and/or duplication of this material without express consent from this blog’s author is prohibited.
Last night, I went to see the Detroit Symphony Orchestra play one of my favorite pieces, Beethoven’s 6th, or Pastorale. The Michigan climate did not mirror the music–the April evening was more like February, complete with snow and blustery winds. The music, by contrast, brought a warm glow to the hall. The sublime melodies of Beethoven not only foretold spring and summer days to come, but gave voice, if only briefly, to that spark of Divinity we can touch if we are open to it.