A brief introduction to Pope Benedict XVI at the Vatican … almost missed by the cameras in the days before ‘selfies’ became acceptable and sophisticated
Patrick Comerford
Soon after Cardinal Joseph Ratzinger was elected Pope Benedict XVI, Michael McGough recalled a joke in the Los Angeles Times about three German-speaking theologians who all died on the same day.
Karl Rahner, Hans Küng and Joseph Ratzinger all arrived at the pearly gates at the same time and are sent together to Saint Peter’s office to find out their fates.
Saint Peter points at Rahner and says ‘Karl! In my office.’
Four hours later, the office door opens, and Karl Rahner comes out. He is distraught, mumbling, ‘Oh my, that was the hardest thing I’ve ever done! How could I have been so wrong! So sorry.’ He stumbles off into heaven, a testament to the mercy of God.
Hans Küng goes in next. After eight hours, the door opens, and Küng is near collapse. He too is mumbling, ‘How could I have been so wrong!’ as he lurches into heaven, another testament to God’s mercy.
Saint Peter finally calls in Joseph Ratzinger. Twelve hours later, the door opens and Saint Peter stumbles out, mumbling, ‘How could I have been so wrong?’
Many years ago, when I was chair of the Dublin University Far Eastern Mission, an old mission agency founded in TCD to work in Chinam I was taking part in a conference in Rome in September 2005 on the Church in China. I was part of a small group who were invited to sit in the front row at the top steps of Saint Peter’s Basilica in Rome, and I was introduced – unexpectedly and albeit very briefly – by Cardinal Desmond Connell to Pope Benedict XVI.
It was an opportunity to bring greetings from Archbishop John Neill of Dublin, and this short message was conveyed graciously to the Pope by Cardinal Connell.
It is with humour that I can still recall how it was almost a missed photo opportunity too. It was the day when ‘selfies’ were still seen as selfish and were not as sophisticated and as acceptable as they are today, and another Irish priest who had a camera that day captured the moment only after we had shaken hands, as I pulled my hand back and the Pope moved on to greet some Chinese delegates to the conference.
The photograph and reports of the meeting were later carried in a number of Church publications in Ireland, including the Church of Ireland Gazette and the Church Review.
It is more than 17 years since that conference in Rome and that brief papal handshake in the Vatican that was never properly caught by the cameras. But it came to mind this morning (31 December 2022) when I heard the news that the former Pope Benedict XVI has died.
Another figure in Michael McGough’s joke, the celebrated but controversial Swiss theologian and priest Hans Küng also died recently (6 April 2021) at his home in Tübingen at the age of 93. He has lived with Parkinson’s disease for the past eight years and who lived, taught and lectured for more than 40 years in Germany.
He engaged in dialogue with Buddhism, Chinese religions, Hinduism, Islam and Judaism, became the most prominent Catholic theologian to speak in China and the first theologian to address a group of astrophysicists. His popularity was directly related to his readability, clarity, erudition, honesty, fearlessness. He was profound yet popular, intellectual yet understandable, said and wrote what he thought needed to be expressed and was passionate in his search for truth.
After seven years studying philosophy and theology in Latin at the Gregorian University in Rome, Küng was ordained a priest in Rome in 1954 and celebrated his first Mass in Saint Peter’s Basilica. He completed a further three years of study in French for his doctorate at the Sorbonne and the Institut Catholique in Paris, where he wrote his thesis on Justification.
In his doctoral dissertation on Justification, Küng concluded an agreement in principle was possible between Catholic theology as set down at the Council of Trent in the 16th century and 20th century Reformation theology found in the work of Karl Barth’s Church Dogmatics was possible.
At 34, he was the youngest expert at Vatican II, soon joined by the Dominicans Edward Schillebeeckx of Belgium and Yves Congar of France; the German priests Joseph Ratzinger and Karl Rahner, and John Courtney Murray, George Higgins, John Quinn, Gustave Weigel and Vincent Yzermans from the US.
His Infallible?: An Inquiry caused an uproar across the Catholic world in 1971, and made him l’enfant terrible of the Catholic Church. He questioned his Church’s teachings on infallibility, celibacy, contraception and the ordination of women as well as men.
His most popular book, On Being a Christian (Christ sein) was a best-seller when it was published in 1974, an unusual achievement for a work of scholarly theology. I bought – and I still have – the first edition in English that year.
At the end of 1979, the Vatican revoked his missio canonical or license to teach as a Catholic theologian at the University of Tübingen, where he had been Professor of Dogmatic Theology from 1963. In the end, he retained his professorship in the university's secular Institute for Ecumenical Research, which he had founded and directed since the early 1960s.
Cardinal Joseph Ratzinger was involved in removing his teaching license. As dean of theology at Tübingen in the early 1960s, Küng had offered – and Ratzinger accepted – a professorship at Tübingen. But the future Pope left academia, and later headed the Congregation for the Doctrine of the Faith, the successor to the Inquisition, for 25 years under Pope John Paul II.
By the time I became a post-graduate student at the Irish School of Ecumenics (1982-1984), Hans Küng was seen as one the most influential theologians in the world. I was doubly blessed, because one of my lecturers, the late Revd Dr Robin Boyd, had been a doctoral student under yet another great German-speaking Swiss theologian, Karl Barth.
Many of my colleague priests remember Hans Küng’s visit to Dublin in 1985, and still regard his lecture in Trinity College Dublin during that visit as one of the seminal moments in their theological lives.
In the 1990s, Küng took on the task of preparing a ‘Declaration Toward a Global Ethic’ for the Parliament of the World Religions in Chicago in 1993. The most referenced part of the declaration was the proposition that there can be no peace among the nations without peace among the religions.
Little did I realise when I met Küng at that lecture in TCD almost 30 years ago that I would later share the distinction of contributing to a book with him.
In 2000, to mark the millennium in a particularly Christian way, The Irish Times ran a monthly series of features, commissioned by Patsy McGarry. The series opened with a contribution from Hans Küng, and continued each month with distinguished contributors who followed in his wake, including Jerome Murphy O’Connor, Mary Robinson, Desmond Tutu, Sean Freyne and Andrew Greely. Each month, I completed the features with a series that built up into ‘A brief history of Christianity.’
The features were collected and edited by Patsy McGarry in a book, Christianity, published by Veritas in 2001. The opening chapter was Hans Küng’s opening feature, and the second half of the book was my ‘Brief History of Christianity.’ The cover illustration was an icon I had bought in Rethymnon in Crete in 1989.
To the surprise of many, Küng requested a meeting with Ratzinger shortly after his election as Pope Benedict XVI in 2005. The two had retained a distant respect for one another and maintained a limited correspondence over 45 years.
In On Being a Christian, Küng quoted the German physicist and philosopher Carl Friedrich von Weizsäcker, who said: ‘There is one thing I would like to tell the theologians: something which they know and others should know. They hold the sole truth which goes deeper than the truth of science, on which the atomic age rests. They hold a knowledge of the nature of man that is more deeply rooted than the rationality of modern times. The moment always comes inevitably when our planning breaks down and we ask and will ask about the truth.’
With the Revd Dr Alan McCormack (then Dean of Residence, Trinity College Dublin), and Archbishop Nikitas (Lulias) of Thyateira and Great Britain (then Archbishop of Hong Kong) at the conference on the Churches and China in Rome in September 2005
31 December 2022
Praying at Christmas through poems
and with USPG: 31 December 2022
’What we call the beginning is often the end …’ – TS Eliot. A lakeside winter scene on the Farnham Estate in Co Cavan (Photograph: Patrick Comerford)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
As we prepare to say farewell to 2022 and to welcome 2023, once again I am reminded of TS Eliot’s words in ‘Little Gidding’:
For last year’s words belong to last year’s language
And next year’s words await another voice …
And to make an end is to make a beginning.
‘… last year’s words belong to last year’s language/ And next year’s words await another voice’ – TS Eliot ... tangled bicycles abandoned in the snow in Dublin’s Temple Bar, Dublin (Photograph: Patrick Comerford)
And so, for my Christmas poem this morning, I have chosen the last part of Eliot’s ‘Little Gidding,’ the fourth and final poem in his Four Quartets. The Four Quartets – ‘Burnt Norton’ (1936), ‘East Coker’ (1940), ‘The Dry Salvages’ (1941) and ‘Little Gidding’ (1942) – are best understood within the framework of Christian thinking, theology, tradition and history. In these four poems, Eliot draws on the theology, art, symbolism and language of such figures as Dante, and mystics, such as Saint John of the Cross and Julian of Norwich.
The ‘deeper communion’ sought in ‘East Coker,’ the ‘hints and whispers of children, the sickness that must grow worse in order to find healing,’ and the exploration that inevitably leads us home all point to the pilgrim’s path along the road to sanctification.
Nicholas Ferrar of Little Gidding and Bishop Hugh Latimer (right) in the north window of the Chapel in Clare College (Photograph: Patrick Comerford)
Eliot visited the village of Little Gidding in Cambridgeshire only once, in May 1936. Three centuries earlier, it had been the home of a religious community established in 1626 by Nicholas Ferrar, and the Ferrar household lived there according to High Church principles and the Book of Common Prayer. Charles I visited the community in 1633, and he returned in 1646, fleeing Parliamentary troops.
The community at Little Gidding maintained 24 hours of prayer, including long hours of night vigils. Little Gidding was a place ‘where prayer has been valid’ and where ‘prayer is more/Than an order of words’:
… You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
Eliot started writing ‘Little Gidding’ after completing ‘The Dry Salvages.’ However, his work on ‘Little Gidding’ was delayed because of his declining health and his dissatisfaction with earlier drafts. ‘Little Gidding’ was not finished until September 1942, and was published the following month in the New English Weekly.
In ‘Little Gidding,’ Eliot relies on ideas also found in ‘In Memoriam,’ written by Alfred Lord Tennyson in 1850. But he also imagines at the beginning a meeting with meets Dante; and there are hints throughout the poem too of Shakespeare, Swift, Shelley, Mallarmé, Ezra Pound and WB Yeats.
As he imagines meeting Dante in the fires of war-time London, Eliot also recalls Brunetto Latini in the depths of Hades who had cried out to Dante in Canto XV of the Inferno. The dead master warns Eliot of the fate of his poetry:
and pray they [your words] be forgiven
By others, as I pray you to forgive
Both Bad and good. Last season’s fruit is eaten
And the fullfed beast shall kick the empty pail.
The tomb of Lancelot Andrewes in Southwark Cathedral (Photograph: Patrick Comerford, 2022)
In ‘Little Gidding,’ Eliot draws deeply on the Catholic faith as set out by the Caroline Divines, particularly by Bishop Lancelot Andrewes (1555-1626), who also influenced his Ariel poem, ‘Journey of the Magi’ (1930). Andrewes was also one of the key translators of the Authorised Version of the Bible.
He echoes Lancelot Andrewes in his Christmas Sermon of 1618 – which Eliot constantly draws on in his work – in paradoxical lines that crystallise the significance of the Incarnation:
What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.
… A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments.
Set in mid-winter, which is like a ‘spring is its own season,’ when ‘the short day is brightest, with frost and fire,’ ‘Little Gidding’ speaks of this ‘dark time of the year,’ with its ‘windless cold,’ hedgerows that are white from snow rather than the May bloom.
But, while Eliot’s one and only visit to Little Gidding was in May 1936, the poem has hints of being set in these days shortly after Christmas:
‘Last season’s fruit is eaten
And the fullfed beast shall kick the empty pail.
For last year’s words belong to last year’s language
And next year’s words await another voice
It is possible too read back into these lines hints of the later London Blitz, for Eliot was an air raid warden when the most devastating strike his London on the evening of 29 December 1940. German aircraft attacked the City of London that night with incendiary and high explosive bombs, causing a firestorm that has been called the ‘Second Great Fire of London.’
‘... You are here to kneel/ Where prayer has been valid’ – TS Eliot … the Church of Saint John the Evangelist in Little Gidding
Stepping through the devastation, Eliot imagines revisiting the chapel where Nicholas Ferrar and his community had lived and prayed in the past:
… You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
…
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.
The destruction of the Little Gidding Community 300 years earlier did not bring an end to either prayer or hope. Just as he is caught between two years, Eliot sees himself caught between war and peace, between devastation and the promise of new life, between two worlds, between two periods of time, but with the promise of renewal and transfiguration:
… History may be servitude,
History may be freedom. See, now they vanish,
The faces and places, with the self which, as it could, loved them,
To become renewed, transfigured, in another pattern.
Despite the destruction all around him, Eliot is reassured by the words of Julian of Norwich:
All shall be well, and
All manner of thing shall be well.
He links the end of the year, with the end of Christ’s life on the Cross, imagining ‘three men ... on the scaffold.’
In ‘Little Gidding’, Eliot emphasises, time and again, time and our place within it. He focuses on the unity of the past, the present, and the future, and sees how the eternal is found in the present and how history exists in a pattern.
He concludes that in sacrifice an individual may die into new life. But out of the frost and fire come life, the fire of destruction and the rose of perfection are united, and the rose of the soul can blossom, for then ‘the fire and the rose are one.’
Remembering Little Gidding
‘And all shall be well and/ All manner of thing shall be well/ When the tongues of flame are in-folded/ Into the crowned knot of fire /And the fire and the rose are one’ … a candle and a rose on a dinner table in Minares restaurant on Vernardou Street in Rethymnon (Photograph: Patrick Comerford)
Eliot was buried in East Coker, but in 1967, on the second anniversary of his death, he was commemorated in Poets’ Corner in Westminster Abbey with the installation in the floor of a large stone inscribed with words from ‘Little Gidding’:
... the communication
Of the dead is tongued with fire beyond
the language of the living.
The Society of the Friends of Little Gidding was founded in 1946 by Alan Maycock, with TS Eliot as one of the members, to celebrate the life of Nicholas Ferrar and his community in Little Gidding, to help maintain the church there, and to arrange pilgrimages, visits and hospitality.
A trust was founded in the 1970s to buy the farmhouse for a new community and as a place of retreat. This community became the Society of Christ the Sower, but was dissolved in 1998. The Society of the Friends of Little Gidding was re-established in 2003. Ferrar House is owned by the Little Gidding Trust, while the church is the responsibility of the Parochial Church Council. The friends also work closely with the TS Eliot Society.
Little Gidding V, by TS Eliot
‘And all shall be well and/ All manner of thing shall be well/ When the tongues of flame are in-folded/ Into the crowned knot of fire /And the fire and the rose are one’ ... sunset on the beach at Paltanias in Rethymnon (Photograph: Patrick Comerford, 2021)
V
What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea’s throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.
With the drawing of this Love and the voice of this Calling
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
‘… all shall be well and / All manner of thing shall be well’ … sunset in Rethymnon (Photograph: Patrick Comerford, 2021)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us give thanks for the ‘Anti-Human Trafficking’ programme run by the Diocese of Durgapur. May we give generously to the Journey to Freedom campaign and make a difference.
Yesterday’s reflection
Continued tomorrow
‘Through the unknown, unremembered gate / When the last of earth left to discover / Is that which was the beginning’ (TS Eliot, ‘Little Gidding’) … there is only one, unnumbered house on Cavafy Street in Rethymnon (Photograph: Patrick Comerford)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
As we prepare to say farewell to 2022 and to welcome 2023, once again I am reminded of TS Eliot’s words in ‘Little Gidding’:
For last year’s words belong to last year’s language
And next year’s words await another voice …
And to make an end is to make a beginning.
‘… last year’s words belong to last year’s language/ And next year’s words await another voice’ – TS Eliot ... tangled bicycles abandoned in the snow in Dublin’s Temple Bar, Dublin (Photograph: Patrick Comerford)
And so, for my Christmas poem this morning, I have chosen the last part of Eliot’s ‘Little Gidding,’ the fourth and final poem in his Four Quartets. The Four Quartets – ‘Burnt Norton’ (1936), ‘East Coker’ (1940), ‘The Dry Salvages’ (1941) and ‘Little Gidding’ (1942) – are best understood within the framework of Christian thinking, theology, tradition and history. In these four poems, Eliot draws on the theology, art, symbolism and language of such figures as Dante, and mystics, such as Saint John of the Cross and Julian of Norwich.
The ‘deeper communion’ sought in ‘East Coker,’ the ‘hints and whispers of children, the sickness that must grow worse in order to find healing,’ and the exploration that inevitably leads us home all point to the pilgrim’s path along the road to sanctification.
Nicholas Ferrar of Little Gidding and Bishop Hugh Latimer (right) in the north window of the Chapel in Clare College (Photograph: Patrick Comerford)
Eliot visited the village of Little Gidding in Cambridgeshire only once, in May 1936. Three centuries earlier, it had been the home of a religious community established in 1626 by Nicholas Ferrar, and the Ferrar household lived there according to High Church principles and the Book of Common Prayer. Charles I visited the community in 1633, and he returned in 1646, fleeing Parliamentary troops.
The community at Little Gidding maintained 24 hours of prayer, including long hours of night vigils. Little Gidding was a place ‘where prayer has been valid’ and where ‘prayer is more/Than an order of words’:
… You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
Eliot started writing ‘Little Gidding’ after completing ‘The Dry Salvages.’ However, his work on ‘Little Gidding’ was delayed because of his declining health and his dissatisfaction with earlier drafts. ‘Little Gidding’ was not finished until September 1942, and was published the following month in the New English Weekly.
In ‘Little Gidding,’ Eliot relies on ideas also found in ‘In Memoriam,’ written by Alfred Lord Tennyson in 1850. But he also imagines at the beginning a meeting with meets Dante; and there are hints throughout the poem too of Shakespeare, Swift, Shelley, Mallarmé, Ezra Pound and WB Yeats.
As he imagines meeting Dante in the fires of war-time London, Eliot also recalls Brunetto Latini in the depths of Hades who had cried out to Dante in Canto XV of the Inferno. The dead master warns Eliot of the fate of his poetry:
and pray they [your words] be forgiven
By others, as I pray you to forgive
Both Bad and good. Last season’s fruit is eaten
And the fullfed beast shall kick the empty pail.
The tomb of Lancelot Andrewes in Southwark Cathedral (Photograph: Patrick Comerford, 2022)
In ‘Little Gidding,’ Eliot draws deeply on the Catholic faith as set out by the Caroline Divines, particularly by Bishop Lancelot Andrewes (1555-1626), who also influenced his Ariel poem, ‘Journey of the Magi’ (1930). Andrewes was also one of the key translators of the Authorised Version of the Bible.
He echoes Lancelot Andrewes in his Christmas Sermon of 1618 – which Eliot constantly draws on in his work – in paradoxical lines that crystallise the significance of the Incarnation:
What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.
… A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments.
Set in mid-winter, which is like a ‘spring is its own season,’ when ‘the short day is brightest, with frost and fire,’ ‘Little Gidding’ speaks of this ‘dark time of the year,’ with its ‘windless cold,’ hedgerows that are white from snow rather than the May bloom.
But, while Eliot’s one and only visit to Little Gidding was in May 1936, the poem has hints of being set in these days shortly after Christmas:
‘Last season’s fruit is eaten
And the fullfed beast shall kick the empty pail.
For last year’s words belong to last year’s language
And next year’s words await another voice
It is possible too read back into these lines hints of the later London Blitz, for Eliot was an air raid warden when the most devastating strike his London on the evening of 29 December 1940. German aircraft attacked the City of London that night with incendiary and high explosive bombs, causing a firestorm that has been called the ‘Second Great Fire of London.’
‘... You are here to kneel/ Where prayer has been valid’ – TS Eliot … the Church of Saint John the Evangelist in Little Gidding
Stepping through the devastation, Eliot imagines revisiting the chapel where Nicholas Ferrar and his community had lived and prayed in the past:
… You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
…
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.
The destruction of the Little Gidding Community 300 years earlier did not bring an end to either prayer or hope. Just as he is caught between two years, Eliot sees himself caught between war and peace, between devastation and the promise of new life, between two worlds, between two periods of time, but with the promise of renewal and transfiguration:
… History may be servitude,
History may be freedom. See, now they vanish,
The faces and places, with the self which, as it could, loved them,
To become renewed, transfigured, in another pattern.
Despite the destruction all around him, Eliot is reassured by the words of Julian of Norwich:
All shall be well, and
All manner of thing shall be well.
He links the end of the year, with the end of Christ’s life on the Cross, imagining ‘three men ... on the scaffold.’
In ‘Little Gidding’, Eliot emphasises, time and again, time and our place within it. He focuses on the unity of the past, the present, and the future, and sees how the eternal is found in the present and how history exists in a pattern.
He concludes that in sacrifice an individual may die into new life. But out of the frost and fire come life, the fire of destruction and the rose of perfection are united, and the rose of the soul can blossom, for then ‘the fire and the rose are one.’
Remembering Little Gidding
‘And all shall be well and/ All manner of thing shall be well/ When the tongues of flame are in-folded/ Into the crowned knot of fire /And the fire and the rose are one’ … a candle and a rose on a dinner table in Minares restaurant on Vernardou Street in Rethymnon (Photograph: Patrick Comerford)
Eliot was buried in East Coker, but in 1967, on the second anniversary of his death, he was commemorated in Poets’ Corner in Westminster Abbey with the installation in the floor of a large stone inscribed with words from ‘Little Gidding’:
... the communication
Of the dead is tongued with fire beyond
the language of the living.
The Society of the Friends of Little Gidding was founded in 1946 by Alan Maycock, with TS Eliot as one of the members, to celebrate the life of Nicholas Ferrar and his community in Little Gidding, to help maintain the church there, and to arrange pilgrimages, visits and hospitality.
A trust was founded in the 1970s to buy the farmhouse for a new community and as a place of retreat. This community became the Society of Christ the Sower, but was dissolved in 1998. The Society of the Friends of Little Gidding was re-established in 2003. Ferrar House is owned by the Little Gidding Trust, while the church is the responsibility of the Parochial Church Council. The friends also work closely with the TS Eliot Society.
Little Gidding V, by TS Eliot
‘And all shall be well and/ All manner of thing shall be well/ When the tongues of flame are in-folded/ Into the crowned knot of fire /And the fire and the rose are one’ ... sunset on the beach at Paltanias in Rethymnon (Photograph: Patrick Comerford, 2021)
V
What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea’s throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.
With the drawing of this Love and the voice of this Calling
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
‘… all shall be well and / All manner of thing shall be well’ … sunset in Rethymnon (Photograph: Patrick Comerford, 2021)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us give thanks for the ‘Anti-Human Trafficking’ programme run by the Diocese of Durgapur. May we give generously to the Journey to Freedom campaign and make a difference.
Yesterday’s reflection
Continued tomorrow
‘Through the unknown, unremembered gate / When the last of earth left to discover / Is that which was the beginning’ (TS Eliot, ‘Little Gidding’) … there is only one, unnumbered house on Cavafy Street in Rethymnon (Photograph: Patrick Comerford)
‘May it be your will, Lord our God … to
renew for us a happy and sweet year’
Patrick Comerford
We are coming to the end of another year, and tomorrow is New Year’s Eve (31 December 2022).
Hanukkah and Christmas overlap every few years, but the confluence of the two holidays this year was indeed unusual. Hanukkah this year began on 18 December and ended last Monday, 26 December.
It has been an unusual year for me, with a mixture of sorrows and happiness, difficulties and challenges, health scares and the joys of love, changes in home and ministry, the end of some old certainties and setting out in new directions.
On this Friday evening, in my prayers and reflections, I am thinking about some Jewish customs associated with the Jewish New Year.
Of course, the Jewish New Year or Rosh haShanah falls earlier in the year, in autumn: this year, Rosh haShanah fell three months, beginning on the evening of 25 September and ending on the evening of 27 September. But the customs associated with Rosh haShanah are worth contemplating as we come to the end of one year and prepare for the beginning of another.
Customs vary from community to community, but there is a shared Jewish custom at Rosh haShanah of eating traditional foods such as apples and honey at the start of a New Year. This involves eating apples dipped in honey as a sign of a ‘sweet New Year.’ Other traditions include eating carrots, leeks, beets, dates, gourds, pomegranates, fish, or even the head of a sheep. Each custom has its own symbolism and associated prayer.
In Judaism, the beginning of something contains within it the potential of the whole, and what we experience on the first day of the year is a token of the days to come. Tasting the sweetness of the apple and the honey, prayers are said for the rest of the year too, that it will bring sweetness.
‘May it be your will, Lord our God … to renew for us a happy and sweet year’ (Photograph: Patrick Comerford, 2022)
Commentators note that the prayers on Rosh haShanah speak of exalted things: God’s sovereignty over the universe, and his judgment of our lives. As the former Chief Rabbi, the late Lord (Jonathan) Sacks wrote, ‘We do not pray for material blessings; rather, we do so, obliquely and gently, at the table while eating symbolic food. The custom mitigates the severity of the day and serves as a reminder that all we enjoy comes to us from God.’
Another custom associated with the Jewish New Year is Tashlich or ‘the casting.’ It is a custom to go to the shore of the sea, the bank of a river, or other running stream of water, as a symbolic enactment of the words of the Prophet Micah: ‘He will cast (tashlich) into the depths of the sea all their sins’ (Micah 7: 19).
A variety explanations has been given for this tradition. But the first mention of this custom is in the early 15th century in the Sefer Maharil of Rabbi Jacob Moellin, who died in 1425.
Water is a symbol in Jewish tradition of the knowledge that leads to virtue and peace: ‘They will neither harm nor destroy on all My holy mountain, for the earth will be full of the knowledge of the Lord as the waters cover the sea’ (Isaiah 11: 9).
Rivers are a symbol of tears (Avot de-Rabbi Nathan 31) and so a sign of repentance and remorse: ‘By the rivers of Babylon, there we sat and wept as we remembered Zion’ (Psalm 137: 1). Flowing water is also a symbol of time, mortality and the shortness of life: ‘One generation goes, another comes ... All streams flow into the sea, yet the sea is never full’. A consciousness of mortality is a fundamental theme of Rosh haShanah, the Jewish New Year (‘Write us in the Book of Life’).
Some Jewish families and communities have the custom of shaking the hems of their clothing, in accordance with Nehemiah 5: 13, ‘Also I shook out my lap, and said: So may God shake out …’ (Machzor Oholei Yaakov).
Kiddush on the evening of Rosh Hashanah includes the prayers:
‘Blessed are you, Lord our God, King of the Universe, who created the fruit of the vine …’
‘Blessed are you, Lord our God, King of the Universe, who has given us life, sustained us, and brought us to this time …’
‘Blessed are you, Lord our God, King of the Universe, who created the fruit of the tree …’
‘May it be your will, Lord our God and God of our ancestors, to renew for us a happy and sweet year …’
Shabbat Sahlom
Happy New Year
Hanukkah and Christmas came close this year … a rare occurrence (Graphic Design: Rosanna Kuruppu)
30 December 2022
Praying at Christmas through poems
and with USPG: 30 December 2022
Cloister Court in Sidney Sussex College, Cambridge, in the snow … Clement Paman was a student here in the 1620s and 1630s (Photograph: Patrick Comerford)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
This second last day of the year, 30 December, has no other name, number or commemoration in the calendar, apart from being the ‘sixth day of Christmas’ when my true love sent to me ‘six geese a-laying.’
But even by today, most people fail to get that far in this Christmas song, if they ever remembered that many lines.
And so, for my Christmas poem this morning I have chosen ‘On Christmas Day to My Heart,’ a poem written around 1660 or 1661 by Clement Paman (ca 1612-1664) and was first published in Dublin in 1663. Paman and his poetry are largely forgotten today – forgotten more than today’s ‘six geese a-laying’ may be. But I have chosen him because of his links with the Caroline Divines, with the Church of Ireland and with Sidney Sussex, College, Cambridge, where I have stayed regularly over the years.
This poem is difficult, almost turgid, to read today, with a now-awkward reference to stretching tight by turning a screw, especially to increase the tension or pitch of a musical instrument by winding up the screws or keys:
Today,
Then, screw thee high,
My heart, up to
The angels’ cry;
Sing ‘glory’, do
The reference is so awkward that it needed a footnotes in the programme for the Service of Nine Lessons and Carols at King’s College, Cambridge, in 1999. Yet this poem also contains these memorably beautiful lines:
Today,
A shed that’s thatched
(Yet straws can sing)
Holds God.
As a poet, Paman is sometimes associated with the ‘Cavalier Poets,’ who include Ben Jonson, Robert Herrick and Thomas Carew, and he has been described as ‘perhaps the most talented poet of the 17th century never to have had a poem published over his name.’
The Pamans appear to have been well-off, untitled Suffolk gentry, and Clement Paman was born in Chevington, Suffolk, in 1610 or 1611. His name is sometimes spelled Payman in Church of Ireland records. The Paman family is listed in the parish registers of Chevington, and his father, Robert Paman, probably lived at Dunstall Green in Dalham. He may have been related to the physicist, Henry Paman of Saint John’s College, who was at Cambridge at the same time.
Sidney Sussex College, Cambridge, in the snow ... here Clement Paman was a student of Samuel Ward (Photograph: Patrick Comerford)
Clement Paman was educated at Lavenham School and Bury School. At the age of 16, he was admitted on 16 February 1628 to Sidney Sussex College, which at first had been a Puritan foundation. Earlier students at Sidney Sussex included Oliver Cromwell, who left in 1617 without taking a degree, and Edward Montagu, 2nd Earl of Manchester, who graduated in 1622 and who was a key commander of the Parliamentary forces in the English Civil War.
But Paman was not unusual among Sidney Sussex students for his political and religious views: John Bramhall, who had been there ahead of Cromwell, became the Archbishop of Armagh at the Caroline Restoration.
At Sidney Sussex, Paman was a student of Samuel Ward (1572-1643), Lady Margaret Professor of Divinity at Cambridge. Ward began life as a moderate Calvinist, but as a loyal Anglican he suffered persecution during the Civil War. When Ward died after being imprisoned in Saint John’s College, he was buried in the chapel in Sidney Sussex.
Paman obtained his BA in 1632, his MA in 1635 and later became a Doctor of Divinity at Cambridge University, and received the degree DD ad eundem at Trinity College Dublin in 1661. One of his earliest works is a tribute written after the death of a young Irish poet who was his contemporary in Cambridge: ‘Poem on the Death of Edward King.’ King, who was also the subject of John Milton’s ‘Lycidas,’ was born in Ireland in 1612, and was admitted to Christ’s College, Cambridge, in 1626. Four years later, he was elected a fellow in 1632, and he intended to proceed to ordination. But his career was cut short by the tragedy that inspired Paman’s and Milton’s poems. In 1637, he set out for Ireland to visit his family, but on 10 August the ship struck a rock off the Welsh coast, and King was drowned.
Some sources say Paman first came to Ireland along with John Bramhall as the chaplain to the Lord Deputy, Thomas Wentworth, 1st Earl of Strafford. But this detail is confusing as Strafford was Lord Deputy from 1632 to 1639, while Paman was still in Cambridge.
But Paman seems to have arrived in Ireland by 1640 at the latest, for David Crookes, in his Clergy of Kilmore, Elphin and Ardagh identiifes Clement Paman with Cleremont Panham, who was Rector of Saint John’s, Sligo, in 1640. However, this rectory was lost in a subsequent dispute, and he returned to England.
John Cleveland’s epitaph on the death of the Earl of Strafford, ‘Here lies Wise and Valiant Dust’ (1647), has recently been ascribed to Paman:
Here lies wise and valiant dust
Huddled up ’twixt fit and just,
Strafford, who was hurried hence
’Twixt treason and convenience.
He spent his time here in a mist,
A Papist, yet a Calvinist;
His Prince’s nearest joy and grief,
He had, yet wanted all relief;
The prop and ruin of the state;
The people’s violent love and hate;
One in extremes loved and abhorred.
Riddles lie here, or in a word –
Here lies blood; and let it lie
Speechless still and never cry.
From 1648 to 1653, Paman was Vicar of Thatcham in Berkshire, in the Diocese of Oxford. During that time, he wrote of how he was inspired by Edward Benlowes’s poetic masterpiece Theophila, or Love’s Sacrifice, a Divine Poem (1652): ‘All my pleasure is, yt I have obeyed you, & somewhat rays’d my owne heart wth these imaginations.’
In 1653, Paman’s right to his Berkshire vicarage was disputed. He lost the living, and remained without a church appointment until the end of the Cromwellian era and his return to Ireland in 1661.
Following the end of the Civil War and the Caroline Restoration, Paman was appointed Prebendary of Monmohenock in Saint Patrick’s Cathedral, Dublin, in 1661, and he was Dean of Saint Mary’s Cathedral, Elphin, in Co Roscommon, and Vicar of Saint John’s, Sligo, from 1661, and Vicar of Castledermot, Co Kildare, in the Diocese of Glendalough, from 1662 until his death in 1664.
During his time as Dean of Elphin, the cathedral – which had been destroyed during the rebellion of 1641 – was rebuilt by Bishop John Parker (1661-1667), and in the following century the poet Oliver Goldsmith (1728-1774) attended the school attached to the cathedral.
After his death, a memorial to him was erected in the chapel of Sidney Sussex College, although I have failed to find it over the years.
The chapel and Chapel Court in Sidney Sussex College, Cambridge, in the snow (Photograph: Patrick Comerford)
Peter Davidson, in his introduction to Poetry and Revolution, describes Paman as a ‘moderate Protestant.’ However, in Christian Humanism and the Puritan Social Order, Margo Todd calls him an ‘ultra-royalist cleric.’ She says his writings on Christian charity are liberal for their time, and cites his idea that alms should be given ‘even to the loose and impious.’
While he was Dean of Elphin, Paman published Poems by Several Hands in Dublin in 1663. However, only three of his poems were published in the 17th century and the majority of his poems remained in manuscript collections in the Bodleian Library in Oxford.
His poems are mainly of a devotional nature. Perhaps the best-known is ‘On Christmas Day to My Heart,’ a poem written ca 1660. His other poems include ‘Good Friday,’ ‘On Christmas Day 1661,’ and ‘On his death.’ He also wrote a lengthy tribute to the dramatist and poet Ben Jonson (1572-1637). Peter Davidson notes that Paman’s style is complex, ‘abounding in extended metaphors’ and more ‘overly Baroque’ than some of his contemporaries, being a development of the ‘epigrammatic style of Jonson.’
King’s College, Cambridge ... ‘On Christmas Day to My Heart’ was included in the Festival of Nine Lessons and Carols on Christmas Eve 1999 (Photograph: Patrick Comerford)
This morning’s poem, ‘On Christmas Day to My Heart,’ was included in the Oxford Book of Christian Verse (1940) and in Norman Ault’s collection, A Treasury of Unfamiliar Lyrics (1938). But until the 1990s, Paman remained unknown except among scholars interested in the manuscript collections of 17th century poetry.
There was a renewed interest in his work with the publication of the anthology, Poetry and Revolution: An Anthology of British and Irish Verse (1998). A year later, ‘On Christmas Day to My Heart’ was set to music by Richard Rodney Bennett for the Festival of Nine Lessons and Carols in the Chapel of King’s College, Cambridge in 1999.
On Christmas Day to My Heart by Clement Paman
Today,/ A shed that’s thatched/ (Yet straws can sing)/ Holds God … the altarpiece by the Venetian painter Giovanni Pittoni in the chapel of Sidney Sussex College, Cambridge (Photograph: Patrick Comerford)
Today,
Hark! Heaven sings;
Stretch, tune, my heart!
(For hearts have strings
May bear their part)
And though thy lute were bruised i’ the fall,
Bruised hearts may reach an humble pastoral.
Today,
Shepherds rejoice,
And angels do
No more: thy voice
Can reach that too:
Bring them at least thy pipe along,
And mingle consort with the angels’ song.
Today,
A shed that’s thatched
(Yet straws can sing)
Holds God; God matched
With beasts; beasts bring
Their song their way: for shame then raise
Thy notes! lambs bleat, and oxen bellow praise.
Today,
God honoured man
Not angels: yet
They sing; and can
Raised man forget?
Praise is our debt to-day, now shall
Angels (man’s not so poor) discharge it all?
Today,
Then, screw thee high,
My heart, up to
The angels’ cry;
Sing ‘glory’, do:
What if thy strings all crack and fly?
On such a ground, music ’twill be to die.
Looking into the ruins of Elphin Cathedral ruins from the ruins of the tower (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for those involved in rescue missions to find the missing. May they be sustained by courage and resolve to restore freedom to those captured and detained.
Yesterday’s reflection
Continued tomorrow
Bicycles in the snow at Sidney Sussex College, Cambridge (Photograph: Patrick Comerford)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
This second last day of the year, 30 December, has no other name, number or commemoration in the calendar, apart from being the ‘sixth day of Christmas’ when my true love sent to me ‘six geese a-laying.’
But even by today, most people fail to get that far in this Christmas song, if they ever remembered that many lines.
And so, for my Christmas poem this morning I have chosen ‘On Christmas Day to My Heart,’ a poem written around 1660 or 1661 by Clement Paman (ca 1612-1664) and was first published in Dublin in 1663. Paman and his poetry are largely forgotten today – forgotten more than today’s ‘six geese a-laying’ may be. But I have chosen him because of his links with the Caroline Divines, with the Church of Ireland and with Sidney Sussex, College, Cambridge, where I have stayed regularly over the years.
This poem is difficult, almost turgid, to read today, with a now-awkward reference to stretching tight by turning a screw, especially to increase the tension or pitch of a musical instrument by winding up the screws or keys:
Today,
Then, screw thee high,
My heart, up to
The angels’ cry;
Sing ‘glory’, do
The reference is so awkward that it needed a footnotes in the programme for the Service of Nine Lessons and Carols at King’s College, Cambridge, in 1999. Yet this poem also contains these memorably beautiful lines:
Today,
A shed that’s thatched
(Yet straws can sing)
Holds God.
As a poet, Paman is sometimes associated with the ‘Cavalier Poets,’ who include Ben Jonson, Robert Herrick and Thomas Carew, and he has been described as ‘perhaps the most talented poet of the 17th century never to have had a poem published over his name.’
The Pamans appear to have been well-off, untitled Suffolk gentry, and Clement Paman was born in Chevington, Suffolk, in 1610 or 1611. His name is sometimes spelled Payman in Church of Ireland records. The Paman family is listed in the parish registers of Chevington, and his father, Robert Paman, probably lived at Dunstall Green in Dalham. He may have been related to the physicist, Henry Paman of Saint John’s College, who was at Cambridge at the same time.
Sidney Sussex College, Cambridge, in the snow ... here Clement Paman was a student of Samuel Ward (Photograph: Patrick Comerford)
Clement Paman was educated at Lavenham School and Bury School. At the age of 16, he was admitted on 16 February 1628 to Sidney Sussex College, which at first had been a Puritan foundation. Earlier students at Sidney Sussex included Oliver Cromwell, who left in 1617 without taking a degree, and Edward Montagu, 2nd Earl of Manchester, who graduated in 1622 and who was a key commander of the Parliamentary forces in the English Civil War.
But Paman was not unusual among Sidney Sussex students for his political and religious views: John Bramhall, who had been there ahead of Cromwell, became the Archbishop of Armagh at the Caroline Restoration.
At Sidney Sussex, Paman was a student of Samuel Ward (1572-1643), Lady Margaret Professor of Divinity at Cambridge. Ward began life as a moderate Calvinist, but as a loyal Anglican he suffered persecution during the Civil War. When Ward died after being imprisoned in Saint John’s College, he was buried in the chapel in Sidney Sussex.
Paman obtained his BA in 1632, his MA in 1635 and later became a Doctor of Divinity at Cambridge University, and received the degree DD ad eundem at Trinity College Dublin in 1661. One of his earliest works is a tribute written after the death of a young Irish poet who was his contemporary in Cambridge: ‘Poem on the Death of Edward King.’ King, who was also the subject of John Milton’s ‘Lycidas,’ was born in Ireland in 1612, and was admitted to Christ’s College, Cambridge, in 1626. Four years later, he was elected a fellow in 1632, and he intended to proceed to ordination. But his career was cut short by the tragedy that inspired Paman’s and Milton’s poems. In 1637, he set out for Ireland to visit his family, but on 10 August the ship struck a rock off the Welsh coast, and King was drowned.
Some sources say Paman first came to Ireland along with John Bramhall as the chaplain to the Lord Deputy, Thomas Wentworth, 1st Earl of Strafford. But this detail is confusing as Strafford was Lord Deputy from 1632 to 1639, while Paman was still in Cambridge.
But Paman seems to have arrived in Ireland by 1640 at the latest, for David Crookes, in his Clergy of Kilmore, Elphin and Ardagh identiifes Clement Paman with Cleremont Panham, who was Rector of Saint John’s, Sligo, in 1640. However, this rectory was lost in a subsequent dispute, and he returned to England.
John Cleveland’s epitaph on the death of the Earl of Strafford, ‘Here lies Wise and Valiant Dust’ (1647), has recently been ascribed to Paman:
Here lies wise and valiant dust
Huddled up ’twixt fit and just,
Strafford, who was hurried hence
’Twixt treason and convenience.
He spent his time here in a mist,
A Papist, yet a Calvinist;
His Prince’s nearest joy and grief,
He had, yet wanted all relief;
The prop and ruin of the state;
The people’s violent love and hate;
One in extremes loved and abhorred.
Riddles lie here, or in a word –
Here lies blood; and let it lie
Speechless still and never cry.
From 1648 to 1653, Paman was Vicar of Thatcham in Berkshire, in the Diocese of Oxford. During that time, he wrote of how he was inspired by Edward Benlowes’s poetic masterpiece Theophila, or Love’s Sacrifice, a Divine Poem (1652): ‘All my pleasure is, yt I have obeyed you, & somewhat rays’d my owne heart wth these imaginations.’
In 1653, Paman’s right to his Berkshire vicarage was disputed. He lost the living, and remained without a church appointment until the end of the Cromwellian era and his return to Ireland in 1661.
Following the end of the Civil War and the Caroline Restoration, Paman was appointed Prebendary of Monmohenock in Saint Patrick’s Cathedral, Dublin, in 1661, and he was Dean of Saint Mary’s Cathedral, Elphin, in Co Roscommon, and Vicar of Saint John’s, Sligo, from 1661, and Vicar of Castledermot, Co Kildare, in the Diocese of Glendalough, from 1662 until his death in 1664.
During his time as Dean of Elphin, the cathedral – which had been destroyed during the rebellion of 1641 – was rebuilt by Bishop John Parker (1661-1667), and in the following century the poet Oliver Goldsmith (1728-1774) attended the school attached to the cathedral.
After his death, a memorial to him was erected in the chapel of Sidney Sussex College, although I have failed to find it over the years.
The chapel and Chapel Court in Sidney Sussex College, Cambridge, in the snow (Photograph: Patrick Comerford)
Peter Davidson, in his introduction to Poetry and Revolution, describes Paman as a ‘moderate Protestant.’ However, in Christian Humanism and the Puritan Social Order, Margo Todd calls him an ‘ultra-royalist cleric.’ She says his writings on Christian charity are liberal for their time, and cites his idea that alms should be given ‘even to the loose and impious.’
While he was Dean of Elphin, Paman published Poems by Several Hands in Dublin in 1663. However, only three of his poems were published in the 17th century and the majority of his poems remained in manuscript collections in the Bodleian Library in Oxford.
His poems are mainly of a devotional nature. Perhaps the best-known is ‘On Christmas Day to My Heart,’ a poem written ca 1660. His other poems include ‘Good Friday,’ ‘On Christmas Day 1661,’ and ‘On his death.’ He also wrote a lengthy tribute to the dramatist and poet Ben Jonson (1572-1637). Peter Davidson notes that Paman’s style is complex, ‘abounding in extended metaphors’ and more ‘overly Baroque’ than some of his contemporaries, being a development of the ‘epigrammatic style of Jonson.’
King’s College, Cambridge ... ‘On Christmas Day to My Heart’ was included in the Festival of Nine Lessons and Carols on Christmas Eve 1999 (Photograph: Patrick Comerford)
This morning’s poem, ‘On Christmas Day to My Heart,’ was included in the Oxford Book of Christian Verse (1940) and in Norman Ault’s collection, A Treasury of Unfamiliar Lyrics (1938). But until the 1990s, Paman remained unknown except among scholars interested in the manuscript collections of 17th century poetry.
There was a renewed interest in his work with the publication of the anthology, Poetry and Revolution: An Anthology of British and Irish Verse (1998). A year later, ‘On Christmas Day to My Heart’ was set to music by Richard Rodney Bennett for the Festival of Nine Lessons and Carols in the Chapel of King’s College, Cambridge in 1999.
On Christmas Day to My Heart by Clement Paman
Today,/ A shed that’s thatched/ (Yet straws can sing)/ Holds God … the altarpiece by the Venetian painter Giovanni Pittoni in the chapel of Sidney Sussex College, Cambridge (Photograph: Patrick Comerford)
Today,
Hark! Heaven sings;
Stretch, tune, my heart!
(For hearts have strings
May bear their part)
And though thy lute were bruised i’ the fall,
Bruised hearts may reach an humble pastoral.
Today,
Shepherds rejoice,
And angels do
No more: thy voice
Can reach that too:
Bring them at least thy pipe along,
And mingle consort with the angels’ song.
Today,
A shed that’s thatched
(Yet straws can sing)
Holds God; God matched
With beasts; beasts bring
Their song their way: for shame then raise
Thy notes! lambs bleat, and oxen bellow praise.
Today,
God honoured man
Not angels: yet
They sing; and can
Raised man forget?
Praise is our debt to-day, now shall
Angels (man’s not so poor) discharge it all?
Today,
Then, screw thee high,
My heart, up to
The angels’ cry;
Sing ‘glory’, do:
What if thy strings all crack and fly?
On such a ground, music ’twill be to die.
Looking into the ruins of Elphin Cathedral ruins from the ruins of the tower (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for those involved in rescue missions to find the missing. May they be sustained by courage and resolve to restore freedom to those captured and detained.
Yesterday’s reflection
Continued tomorrow
Bicycles in the snow at Sidney Sussex College, Cambridge (Photograph: Patrick Comerford)
A walk through the fields
near Stony Stratford and
Wolverton to Warren Park
Walking in the fields and countryside around Stony Stratford and Wolverton at dusk (Photograph: Patrick Comerford, 2022)
Patrick Comerford
The people who walked in darkness
have seen a great light (– Isaiah 9: 2)
These days after Christmas Day have been relaxing and the days have been dry at times and almost sunny, with weather that has encouraged the two of us to go for walks in the fields and countryside around Stony Stratford and Wolverton.
The Balancing Lake between Wolverton and Stony Stratford is one of a pair of small balancing lakes near Wolverton Mill that connect to the wider Ouse Valley Park. This area was once agricultural land and the balancing lakes were created to help prevent flooding in nearby areas.
The water levels in the balancing lakes can be raised to store water and to reduce the peaks of river flow, a process that reduces flood risk in downstream areas. The lakes are fed and controlled by a complex system of sluice gates and weirs.
The Balancing Lake between Wolverton and Stony Stratford is one of a pair of small balancing lakes near Wolverton Mill (Photograph: Patrick Comerford, 2022)
Many older trees still stand in the park, and at dusk their bare branches stood silhouetted against the dark blue skies. They serve as reminders that although we are close to the A5 this was once rich agricultural land before Milton Keynes was created half a century ago.
Walking through the fields and parkland earlier this week, Charlotte and I crossed a fence and found ourselves in Warren Park, on the outskirts of Stony Stratford and Wolverton and about three miles from the centre of Milton Keynes.
Warren Park is a purpose-built campus office development arranged in two courtyards, developed around Warren House and with extensive landscaped grounds incorporating Victorian fishponds.
Modern offices at Warren Park reflected in one of the Victorian fishponds (Photograph: Patrick Comerford, 2022)
There were six significant farms on the Wolverton Estate in the 19th century: Wolverton House, Wolverton Park, Manor Farm, Stonebridge House, Stacey Bushes and Brick Kiln. Other farms included Debbs Farm, then no more than 90 acres, and later absorbed by the new Warren farm.
The farms on the Wolverton Estate were inherited as family concerns, with sons succeeding fathers as tenants. Thomas Harrison at Wolverton House farmed about 400 acres. After he died in 1809, the house and farm passed to his son Richard Harrison. When Richard Harrison died in 1858, the farm was managed by his widow Grace until 1869, and then by their son Spencer Harrison until 1892.
When Spencer Harrison gave up the farm in 1892, the Radcliffe Trust separated Wolverton House from the farm and rented it as a large country house. Warren Farm was created that year and the trust rebuilt the farmhouse in the field once known as the Warren.
Henry Barrett was the first tenant and he remained at Warren Farm until he died in 1917. The Turney family then took over the tenancy of the farm. They stayed there until 1970 when the entire estate was sold to Milton Keynes Development Corporation.
Warren House or Warren Farm Cottage dates from the 18th century (Photograph: Patrick Comerford, 2022)
Warren House or Warren Farm Cottage dates from the 18th century. This is a stone-built house that has two storeys at the front or south-west side, and three storeys and an attic at the rear or north-east side.
The south-west front has two widely spaced windows on each floor, with three-light casements and glazing bars, and a closed, stone-built porch that is gabled, with a tile roof. There is a blind window recess above the porch.
The coursed dressed rubble north-east front has a lower floor half-basement. There are four windows with keys on each floor and they have glazing bar sashes. There is one hipped dormer and the house has a steep, old tile roof and two brick chimneys.
The north-east front of Warren House and the lower floor half-basement (Photograph: Patrick Comerford, 2022)
Today, Warren Park is a purpose-built campus office development, with a mixture of traditional properties and modern buildings. The courts and yards are atmospheric and intimate in their layout and design, with a mix of brick, stone and timber board elevations, all beneath pitched and tiled roofs.
Canon Harnett Close and Canon Harnett Drive leading into Warren Park are named after Canon WHL Harnett resigned as rector of Wolverton in the 1930s after 40 years.
Warren Park has a variety of businesses as tenants. The external landscaped areas include the Victorian fish ponds, and the onsite facilities include post boxes, electric vehicle charging points and a Greek café.
Warren Park is a purpose-built campus office development, with a mixture of traditional properties and modern buildings (Photograph: Patrick Comerford, 2022)
When we arrived at dusk, that part of me that is Greek was disappointed that the Greek Grill Café was closed. But it offers one of many excuses to return soon again and to explore Warren Park further.
We walked back to Galley Hill as dusk turned to evening darkness under a crescent moon and a sky decorated with bright stars.
The people who sat in darkness have seen a great light,
and for those who sat in the region and shadow of death
light has dawned (– Matthew 4: 16)
Dusk turns to evening darkness in Warren Park (Photograph: Patrick Comerford, 2022)
Patrick Comerford
The people who walked in darkness
have seen a great light (– Isaiah 9: 2)
These days after Christmas Day have been relaxing and the days have been dry at times and almost sunny, with weather that has encouraged the two of us to go for walks in the fields and countryside around Stony Stratford and Wolverton.
The Balancing Lake between Wolverton and Stony Stratford is one of a pair of small balancing lakes near Wolverton Mill that connect to the wider Ouse Valley Park. This area was once agricultural land and the balancing lakes were created to help prevent flooding in nearby areas.
The water levels in the balancing lakes can be raised to store water and to reduce the peaks of river flow, a process that reduces flood risk in downstream areas. The lakes are fed and controlled by a complex system of sluice gates and weirs.
The Balancing Lake between Wolverton and Stony Stratford is one of a pair of small balancing lakes near Wolverton Mill (Photograph: Patrick Comerford, 2022)
Many older trees still stand in the park, and at dusk their bare branches stood silhouetted against the dark blue skies. They serve as reminders that although we are close to the A5 this was once rich agricultural land before Milton Keynes was created half a century ago.
Walking through the fields and parkland earlier this week, Charlotte and I crossed a fence and found ourselves in Warren Park, on the outskirts of Stony Stratford and Wolverton and about three miles from the centre of Milton Keynes.
Warren Park is a purpose-built campus office development arranged in two courtyards, developed around Warren House and with extensive landscaped grounds incorporating Victorian fishponds.
Modern offices at Warren Park reflected in one of the Victorian fishponds (Photograph: Patrick Comerford, 2022)
There were six significant farms on the Wolverton Estate in the 19th century: Wolverton House, Wolverton Park, Manor Farm, Stonebridge House, Stacey Bushes and Brick Kiln. Other farms included Debbs Farm, then no more than 90 acres, and later absorbed by the new Warren farm.
The farms on the Wolverton Estate were inherited as family concerns, with sons succeeding fathers as tenants. Thomas Harrison at Wolverton House farmed about 400 acres. After he died in 1809, the house and farm passed to his son Richard Harrison. When Richard Harrison died in 1858, the farm was managed by his widow Grace until 1869, and then by their son Spencer Harrison until 1892.
When Spencer Harrison gave up the farm in 1892, the Radcliffe Trust separated Wolverton House from the farm and rented it as a large country house. Warren Farm was created that year and the trust rebuilt the farmhouse in the field once known as the Warren.
Henry Barrett was the first tenant and he remained at Warren Farm until he died in 1917. The Turney family then took over the tenancy of the farm. They stayed there until 1970 when the entire estate was sold to Milton Keynes Development Corporation.
Warren House or Warren Farm Cottage dates from the 18th century (Photograph: Patrick Comerford, 2022)
Warren House or Warren Farm Cottage dates from the 18th century. This is a stone-built house that has two storeys at the front or south-west side, and three storeys and an attic at the rear or north-east side.
The south-west front has two widely spaced windows on each floor, with three-light casements and glazing bars, and a closed, stone-built porch that is gabled, with a tile roof. There is a blind window recess above the porch.
The coursed dressed rubble north-east front has a lower floor half-basement. There are four windows with keys on each floor and they have glazing bar sashes. There is one hipped dormer and the house has a steep, old tile roof and two brick chimneys.
The north-east front of Warren House and the lower floor half-basement (Photograph: Patrick Comerford, 2022)
Today, Warren Park is a purpose-built campus office development, with a mixture of traditional properties and modern buildings. The courts and yards are atmospheric and intimate in their layout and design, with a mix of brick, stone and timber board elevations, all beneath pitched and tiled roofs.
Canon Harnett Close and Canon Harnett Drive leading into Warren Park are named after Canon WHL Harnett resigned as rector of Wolverton in the 1930s after 40 years.
Warren Park has a variety of businesses as tenants. The external landscaped areas include the Victorian fish ponds, and the onsite facilities include post boxes, electric vehicle charging points and a Greek café.
Warren Park is a purpose-built campus office development, with a mixture of traditional properties and modern buildings (Photograph: Patrick Comerford, 2022)
When we arrived at dusk, that part of me that is Greek was disappointed that the Greek Grill Café was closed. But it offers one of many excuses to return soon again and to explore Warren Park further.
We walked back to Galley Hill as dusk turned to evening darkness under a crescent moon and a sky decorated with bright stars.
The people who sat in darkness have seen a great light,
and for those who sat in the region and shadow of death
light has dawned (– Matthew 4: 16)
Dusk turns to evening darkness in Warren Park (Photograph: Patrick Comerford, 2022)
29 December 2022
Praying at Christmas through poems
and with USPG: 29 December 2022
Saint Thomas Becket (or Saint William of York?) in the Saint Thomas Window in All Saints’ Church, North Street, York (Photograph: Patrick Comerford, 2022)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Today, 29 December, in the Calendar of the Church of England commemorates Saint Thomas Becket (1170), Archbishop of Canterbury and Martyr.
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
Two plaques on a street corner in London recall Saint Thomas Becket, Archbishop of Canterbury, who was murdered on 29 December 1170 (Photographs: Patrick Comerford)
This year has marked the 100th anniversary of the publication of The Waste Land by TS Eliot in 2022. Christmas has a significance throughout Eliot’s work, not only in the Ariel poems, but in his verse play Murder in the Cathedral, where Thomas à Becket preaches his Christmas sermon.
Murder in the Cathedral was first staged in the Chapter House in Canterbury Cathedral over 87 years ago, on 15 June 1935. This verse drama is based on the events leading to the murder in Canterbury Cathedral of Thomas Becket, Archbishop of Canterbury, on 29 December 1170.
The play was written at the prompting of the Bishop of Chichester, George Bell, a friend of the martyred German theologian Dietrich Bonhoeffer, and later one of the key critics of the excesses of violence unleashed in World War II.
The dramatisation in this play of opposition to authority was prophetic at the time, for it was written as fascism was on the rise in Central Europe and Bishop Bell had chosen wisely when he suggested Eliot should write this play.
The play is set in the days leading up to the martyrdom of Thomas Becket at the behest of King Henry II, and the principal focus is on Becket’s internal struggles.
As he reflects on the inevitable martyrdom he faces, his tempters arrive, like characters in a Greek drama, or like Job’s comforters, and they question the archbishop about his plight, echoing in many ways Christ’s temptations in the wilderness when he has been fasting for 40 Days.
The first tempter offers Becket the prospect of physical safety:
The easy man lives to eat the best dinners.
Take a friend’s advice. Leave well alone,
Or your goose may be cooked and eaten to the bone.
The second tempter offers him power, riches and fame in serving the king so that he can disarm the powerful and help the poor:
To set down the great, protect the poor,
Beneath the throne of God can man do more?
The third tempter then suggests the archbishop should form an alliance with the barons and seize a chance to resist the king:
For us, Church favour would be an advantage,
Blessing of Pope powerful protection
In the fight for liberty. You, my Lord,
In being with us, would fight a good stroke
At once, for England and for Rome.
Finally, the fourth tempter urges Thomas to look to the glory of martyrdom:
You hold the keys of heaven and hell.
Power to bind and loose: bind, Thomas, bind,
King and bishop under your heel.
Becket responds to all his tempters and specifically addresses the immoral suggestions of the fourth tempter at the end of the first act:
Now is my way clear, now is the meaning plain:
Temptation shall not come in this kind again.
The last temptation is the greatest treason:
To do the right deed for the wrong reason.
In the saint’s mouth in the interlude in Murder in the Cathedral, Eliot puts Christmas peace in the context of the feast days on the days that follow of the martyrs, Saint Stephen and the Holy Innocents.
The Archbishop preaches in the Canterbury Cathedral on Christmas Morning 1170:
‘Glory to God in the highest, and on earth peace, good will toward men.’
The fourteenth verse of the second chapter of the Gospel according to Saint Luke.
In the Name of the Father, and of the Son, and of the Holy Ghost. Amen.
Dear children of God, my sermon this morning will be a very short one. I wish only that you should ponder and meditate the deep meaning and mystery of our masses of Christmas Day. For whenever Mass is said, we re-enact the Passion and Death of Our Lord; and on this Christmas Day we do this in celebration of His Birth. So that at the same moment we rejoice in His coming for the salvation of men, and offer again to God His Body and Blood in sacrifice, oblation and satisfaction for the sins of the whole world. It was in this same night that has just passed, that a multitude of the heavenly host appeared before the shepherds at Bethlehem, saying, ‘Glory to God in the highest, and on earth peace, good will toward men’; at this same time of all the year that we celebrate at once the Birth of Our Lord and His Passion and Death upon the Cross. Beloved, as the World sees, this is to behave in a strange fashion. For who in the World will both mourn and rejoice at once and for the same reason? For either joy will be overborne by mourning, or mourning will be cast out by joy; so it is only in these our Christian mysteries that we can rejoice and mourn at once for the same reason. ‘But think for a while on the meaning of this word ‘peace.’ Does it seem strange to you that the angels should have announced Peace, when ceaselessly the world has been stricken with War and the fear of War? Does it seem to you that the angelic voices were mistaken, and that the promise was a disappointment and a cheat?
Reflect now, how Our Lord Himself spoke of Peace. He said to His disciples ‘My peace I leave with you, my peace I give unto you.’ Did He mean peace as we think of it: the kingdom of England at peace with its neighbours, the barons at peace with the King, the householder counting over his peaceful gains, the swept hearth, his best wine for a friend at the table, his wife singing to the children? Those men His disciples knew no such things: they went forth to journey afar, to suffer by land and sea, to know torture, imprisonment, disappointment, to suffer death by martyrdom. What then did He mean? If you ask that, remember then that He said also, ‘Not as the world gives, give I unto you.’ So then, He gave to His disciples peace, but not peace as the world gives.
Consider also one thing of which you have probably never thought. Not only do we at the feast of Christmas celebrate at once Our Lord’s Birth and His Death: but on the next day we celebrate the martyrdom of His first martyr, the blessed Stephen. Is it an accident, do you think, that the day of the first martyr follows immediately the day of the Birth of Christ? By no means. Just as we rejoice and mourn at once, in the Birth and in the Passion of Our Lord; so also, in a smaller figure, we both rejoice and mourn in the death of martyrs. We mourn, for the sins of the world that has martyred them; we rejoice, that another soul is numbered among the Saints in Heaven, for the glory of God and for the salvation of men.
Beloved, we do not think of a martyr simply as a good Christian who has been killed because he is a Christian: for that would be solely to mourn. We do not think of him simply as a good Christian who has been elevated to the company of the Saints: for that would be simply to rejoice: and neither our mourning nor our rejoicing is as the world’s is. A Christian martyrdom is no accident. Saints are not made by accident. Still less is a Christian martyrdom the effect of a man’s will to become a Saint, as a man by willing and contriving may become a ruler of men. Ambition fortifies the will of man to become ruler over other men: it operates with deception, cajolery, and violence, it is the action of impurity upon impurity. Not so in Heaven. A martyr, a saint, is always made by the design of God, for His love of men, to warn them and to lead them, to bring them back to His ways. A martyrdom is never the design of man; for the true martyr is he who has become the instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in submission to God. The martyr no longer desires anything for himself, not even the glory of martyrdom. So thus as on earth the Church mourns and rejoices at once, in a fashion that the world cannot understand; so in Heaven the Saints are most high, having made themselves most low, seeing themselves not as we see them, but in the light of the Godhead from which they draw their being.
I have spoken to you today, dear children of God, of the martyrs of the past, asking you to remember especially our martyr of Canterbury, the blessed Archbishop Elphege; because it is fitting, on Christ’s birth day, to remember what is that Peace which He brought; and because, dear children, I do not think I shall ever preach to you again; and because it is possible that in a short time you may have yet another martyr, and that one perhaps not the last. I would have you keep in your hearts these words that I say, and think of them at another time.
In the Name of the Father, and of the Son, and of the Holy Ghost. Amen.
Selskar Abbey, Wexford … Henry II is said to have spent Lent 1172 here in penance after the murder of Saint Thomas Becket (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for human traffickers and all who exploit others for their own gain. May they be brought to justice, have a change of heart and find a righteous path.
Yesterday’s reflection
Continued tomorrow
Saint Thomas Becket … a 13th century window in Canterbury Cathedral
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Today, 29 December, in the Calendar of the Church of England commemorates Saint Thomas Becket (1170), Archbishop of Canterbury and Martyr.
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
Two plaques on a street corner in London recall Saint Thomas Becket, Archbishop of Canterbury, who was murdered on 29 December 1170 (Photographs: Patrick Comerford)
This year has marked the 100th anniversary of the publication of The Waste Land by TS Eliot in 2022. Christmas has a significance throughout Eliot’s work, not only in the Ariel poems, but in his verse play Murder in the Cathedral, where Thomas à Becket preaches his Christmas sermon.
Murder in the Cathedral was first staged in the Chapter House in Canterbury Cathedral over 87 years ago, on 15 June 1935. This verse drama is based on the events leading to the murder in Canterbury Cathedral of Thomas Becket, Archbishop of Canterbury, on 29 December 1170.
The play was written at the prompting of the Bishop of Chichester, George Bell, a friend of the martyred German theologian Dietrich Bonhoeffer, and later one of the key critics of the excesses of violence unleashed in World War II.
The dramatisation in this play of opposition to authority was prophetic at the time, for it was written as fascism was on the rise in Central Europe and Bishop Bell had chosen wisely when he suggested Eliot should write this play.
The play is set in the days leading up to the martyrdom of Thomas Becket at the behest of King Henry II, and the principal focus is on Becket’s internal struggles.
As he reflects on the inevitable martyrdom he faces, his tempters arrive, like characters in a Greek drama, or like Job’s comforters, and they question the archbishop about his plight, echoing in many ways Christ’s temptations in the wilderness when he has been fasting for 40 Days.
The first tempter offers Becket the prospect of physical safety:
The easy man lives to eat the best dinners.
Take a friend’s advice. Leave well alone,
Or your goose may be cooked and eaten to the bone.
The second tempter offers him power, riches and fame in serving the king so that he can disarm the powerful and help the poor:
To set down the great, protect the poor,
Beneath the throne of God can man do more?
The third tempter then suggests the archbishop should form an alliance with the barons and seize a chance to resist the king:
For us, Church favour would be an advantage,
Blessing of Pope powerful protection
In the fight for liberty. You, my Lord,
In being with us, would fight a good stroke
At once, for England and for Rome.
Finally, the fourth tempter urges Thomas to look to the glory of martyrdom:
You hold the keys of heaven and hell.
Power to bind and loose: bind, Thomas, bind,
King and bishop under your heel.
Becket responds to all his tempters and specifically addresses the immoral suggestions of the fourth tempter at the end of the first act:
Now is my way clear, now is the meaning plain:
Temptation shall not come in this kind again.
The last temptation is the greatest treason:
To do the right deed for the wrong reason.
In the saint’s mouth in the interlude in Murder in the Cathedral, Eliot puts Christmas peace in the context of the feast days on the days that follow of the martyrs, Saint Stephen and the Holy Innocents.
The Archbishop preaches in the Canterbury Cathedral on Christmas Morning 1170:
‘Glory to God in the highest, and on earth peace, good will toward men.’
The fourteenth verse of the second chapter of the Gospel according to Saint Luke.
In the Name of the Father, and of the Son, and of the Holy Ghost. Amen.
Dear children of God, my sermon this morning will be a very short one. I wish only that you should ponder and meditate the deep meaning and mystery of our masses of Christmas Day. For whenever Mass is said, we re-enact the Passion and Death of Our Lord; and on this Christmas Day we do this in celebration of His Birth. So that at the same moment we rejoice in His coming for the salvation of men, and offer again to God His Body and Blood in sacrifice, oblation and satisfaction for the sins of the whole world. It was in this same night that has just passed, that a multitude of the heavenly host appeared before the shepherds at Bethlehem, saying, ‘Glory to God in the highest, and on earth peace, good will toward men’; at this same time of all the year that we celebrate at once the Birth of Our Lord and His Passion and Death upon the Cross. Beloved, as the World sees, this is to behave in a strange fashion. For who in the World will both mourn and rejoice at once and for the same reason? For either joy will be overborne by mourning, or mourning will be cast out by joy; so it is only in these our Christian mysteries that we can rejoice and mourn at once for the same reason. ‘But think for a while on the meaning of this word ‘peace.’ Does it seem strange to you that the angels should have announced Peace, when ceaselessly the world has been stricken with War and the fear of War? Does it seem to you that the angelic voices were mistaken, and that the promise was a disappointment and a cheat?
Reflect now, how Our Lord Himself spoke of Peace. He said to His disciples ‘My peace I leave with you, my peace I give unto you.’ Did He mean peace as we think of it: the kingdom of England at peace with its neighbours, the barons at peace with the King, the householder counting over his peaceful gains, the swept hearth, his best wine for a friend at the table, his wife singing to the children? Those men His disciples knew no such things: they went forth to journey afar, to suffer by land and sea, to know torture, imprisonment, disappointment, to suffer death by martyrdom. What then did He mean? If you ask that, remember then that He said also, ‘Not as the world gives, give I unto you.’ So then, He gave to His disciples peace, but not peace as the world gives.
Consider also one thing of which you have probably never thought. Not only do we at the feast of Christmas celebrate at once Our Lord’s Birth and His Death: but on the next day we celebrate the martyrdom of His first martyr, the blessed Stephen. Is it an accident, do you think, that the day of the first martyr follows immediately the day of the Birth of Christ? By no means. Just as we rejoice and mourn at once, in the Birth and in the Passion of Our Lord; so also, in a smaller figure, we both rejoice and mourn in the death of martyrs. We mourn, for the sins of the world that has martyred them; we rejoice, that another soul is numbered among the Saints in Heaven, for the glory of God and for the salvation of men.
Beloved, we do not think of a martyr simply as a good Christian who has been killed because he is a Christian: for that would be solely to mourn. We do not think of him simply as a good Christian who has been elevated to the company of the Saints: for that would be simply to rejoice: and neither our mourning nor our rejoicing is as the world’s is. A Christian martyrdom is no accident. Saints are not made by accident. Still less is a Christian martyrdom the effect of a man’s will to become a Saint, as a man by willing and contriving may become a ruler of men. Ambition fortifies the will of man to become ruler over other men: it operates with deception, cajolery, and violence, it is the action of impurity upon impurity. Not so in Heaven. A martyr, a saint, is always made by the design of God, for His love of men, to warn them and to lead them, to bring them back to His ways. A martyrdom is never the design of man; for the true martyr is he who has become the instrument of God, who has lost his will in the will of God, not lost it but found it, for he has found freedom in submission to God. The martyr no longer desires anything for himself, not even the glory of martyrdom. So thus as on earth the Church mourns and rejoices at once, in a fashion that the world cannot understand; so in Heaven the Saints are most high, having made themselves most low, seeing themselves not as we see them, but in the light of the Godhead from which they draw their being.
I have spoken to you today, dear children of God, of the martyrs of the past, asking you to remember especially our martyr of Canterbury, the blessed Archbishop Elphege; because it is fitting, on Christ’s birth day, to remember what is that Peace which He brought; and because, dear children, I do not think I shall ever preach to you again; and because it is possible that in a short time you may have yet another martyr, and that one perhaps not the last. I would have you keep in your hearts these words that I say, and think of them at another time.
In the Name of the Father, and of the Son, and of the Holy Ghost. Amen.
Selskar Abbey, Wexford … Henry II is said to have spent Lent 1172 here in penance after the murder of Saint Thomas Becket (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for human traffickers and all who exploit others for their own gain. May they be brought to justice, have a change of heart and find a righteous path.
Yesterday’s reflection
Continued tomorrow
Saint Thomas Becket … a 13th century window in Canterbury Cathedral
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Calverton Limes and one
family’s links with the Irish
Famine and social reform
Calverton Limes on London Road, Stony Stratford, was designed by the local architect Edward Swinfen Harris (Photograph: Patrick Comerford, 2022)
Patrick Comerford
Calverton Limes is one of the many major houses in Stony Stratford designed by the local architect Edward Swinfen Harris. Until recently, this landmark building at 18 and 20 London Road was known to many as the Working Men’s Social Club, but it also has interesting links with the Trevelyan family, who lived for a time in the house.
The story of the Trevelyan family has links with the Irish Famine, colonialism in India, and social and educational reforms in Stony Stratford and Wolverton.
Calverton Limes is dated 1870, and was designed in an ornate and mannered Victorian ‘vernacular’ style. It was built in two and three storeys in three irregular blocks, faced in cobbled, herringbone and upright-laid limestones divided by rubble lacing courses.
The brick dressings and quoins are offset by a low plinth, there are scallop tiles laid in horizontal colour bands, and a crested ridge, with a ridged chimney on No 18.
The left-hand block, No 20, has a gable end to the street. The architectural features include a bargeboard, a bay window with sash windows.
The recessed central block has raised top-lighting. There are two high windows with terracotta shafts and slightly pointed heads. The ground floor projects with a lean-to roof. The central ornamental entrance has a pointed arch, roof shafts, buttresses and raised gable, and there are panelled double doors.
No 18, the right hand block, breaks forward again. This part of the building is of two storeys, with two attic windows with pointed relieving arches.
There are light sashes on the first floor, with a brick mullion on the left. The ground floor has a five-light rectangular bay to the right. There are three light sashes in the attic with half-timbered gables.
The return on the north-west side has much decorative brick work and a half-timbered gable with a moulded wood bargeboard.
The Revd William Pitt Trevelyan (1812-1905) lived for a time at Calverton Limes (Photograph: Patrick Comerford, 2022)
Calverton Limes was built for William Cole Daniell, a local surgeon. Later, the Revd William Pitt Trevelyan (1812-1905) lived there. Subsequently, it became the home of Colonel LC Hawkins, a local magistrate. In more recent decades, this was the Working Men’s Club. It has since been converted into apartments.
But Calverton Limes also provides an introduction to the interesting story of the Revd William Pitt Trevelyan, who was the Rector of both Old Wolverton and Calverton.
William Pitt Trevelyan was born on 31 March 1812, the youngest of nine children of the Ven George Trevelyan (1764-1827), Archdeacon of Taunton, and Harriet (née Neave). Four of those sons were priests in the Church of England, although the most famous son was undoubtedly Sir Charles Edward Trevelyan (1807-1886), a prominent civil servant and colonial administrator who was instrumental in reforming the Civil Service in the 1850s.
However, Charles Trevelyan’s reforming legacy is largely overshadowed by his controversial role in the government response to the potato blight in Ireland and the subsequent Great Famine in the 1840s, when he expressed anti-Irish racist sentiments while administrating Famine relief.
Trevelyan, who was Assistant Secretary to the Treasury (1840-1859), was slow to disburse direct government food and monetary aid because of his strong belief in laissez-faire economics and the free hand of the market. He wrote highly disparagingly about Irish people, claiming ‘the judgement of God sent the calamity to teach the Irish a lesson.’
He is named in the song ‘The Fields of Athenry’ written in 1979 by Pete St John, a popular anthem for all Irish sports fans. The lyrics say the convict’s crime was that he ‘stole Trevelyan’s corn.’
The Revd William Pitt Trevelyan (1812-1905) of Stony Stratford was the Vicar of Wolverton (1856-1872) and of Calverton (1859-1881)
Charles Trevelyan’s youngest brother, the Revd William Pitt Trevelyan (1812-1905) of Stony Stratford, had very different social and economic values. He was born in Nettlecombe, Somerset, where his father was rector, and was educated at Eton and Worcester College, Oxford (BA 1855, MA 1857). He was the perpetual curate or vicar of Broomfield, Somerset (1853-1856), before becoming the Vicar of Wolverton (1856-1872) and of Calverton (1859-1881), both in Buckinghamshire and in the Diocese of Oxford.
Before coming to Stony Stratford, Trevelyan married Maria Pleydell-Bouverie, daughter of the Hon Philip Pleydell-Bouverie and Maria à Court, in 1852. She was closely related to one of the leading figures in the Oxford Movement, the Revd Edward Bouverie Pusey (1800-1882): her grandfather was his first cousin.
When Trevelyan came to Calverton, it covered the west side of Stony Stratford and was known as one of the first Tractarian parishes in this part of Buckinghamshire. Many of the Tracts for the Times were planned in the old vicarage, where the regular visitors included Cardinal Henry Manning; both Newman and Pusey preached from the pulpit and Pusey celebrated at the altar in All Saints’ Church.
The neighbouring Parish of Wolverton covered much of the east and south sides of Stony Stratford, and in 1868 the parish established Saint Mary the Virgin on London Road as a daughter church. The church was designed by the architect Sir George Gilbert Scott, and a vicarage, two curate’s houses, now known as Jesuan House, and a Parish Hall were built also.
Saint Mary’s became a parish in its own right, and its priests were supporters of the Tractarian and Anglo-Catholic movements in the Church of England. Some of the priests were persecuted for what were regarded as ‘ritual offences’ and one was deprived of his living for these practices.
Wolverton Saint Mary Church on London Road, Stony Stratford … now the Greek Orthodox Parish Church of Saint Ambrosios and Saint Stylianos (Photograph: Patrick Comerford, 2022)
In Stony Stratford, Trevelyan began to develop the lower end of London Road, part of the new parish of Wolverton Saint Mary, and contributed to building Saint Mary’s Church and the church schools. With Lady Mary Russell and the Radcliffe Trust, he was one of the principal benefactors in building Saint Mary’s Church on London Road in 1864.
Trevelyan was instrumental, alongside John Worley and others, in inaugurating the Stony Stratford Dispensary and the Cottage Hospital, although the cottage hospital later closed and was replaced by a hospital fund.
Maria (Pleydell-Bouverie) Trevelyan died on 9 October 1903; William Pitt Trevelyan was 93 when he died on 22 December 1905 in Potterspury, Northamptonshire. Three of their four children were priests in the Church of England.
Calverton Limes was built in 1870 and designed by Edward Swinfen Harris (Photograph: Patrick Comerford, 2022)
Trevelyan’s eldest son, the Revd William Bouverie Trevelyan (1853-1929), was born in Calverton. He was educated at Trinity College, Cambridge (BA 1876, MA 1879), and was ordained deacon in 1877 and priest in 1878. He was his father’s curate in Calverton and then Vice-Principal of Ely Theological College, before becoming Vicar of Saint Matthew’s, Westminster, for 23 years (1884-1907).
His incumbency marked a period of much development at Saint Matthew’s and he built on the foundations laid by his two predecessors. CB Mortlock in Famous London Churches (1934) says it was Trevelyan ‘who was to make Saint Matthew’s famous.’
Trevelyan’s curate there from 1896 to 1898 was Frank Weston, who would become Bishop of Zanzibar and one of the foremost leaders of the Anglo-Catholic movement and an inspirational figure in the Universities’ Mission to Central Africa (UMCA), now part of the Anglican mission agency USPG (United Society Partners in the Gospel).
Weston’s combination of incarnational and sacramental theology with radical social concerns formed the keynote of his address to the Anglo-Catholic Congress in 1923. He believed that the sacramental focus gave a reality to Christ’s presence and power that nothing else could.
A Bishop of London said: ‘Trevelyan was a true saint, if ever there was one, I always felt even to look at him did one good.’ He was an Anglo-Catholic, but he was tolerant of other views in the Church, and once said: ‘I have always recognised that the Prayer Book is capable of two interpretations and if I am allowed scope for mine, I cheerfully allow other people to have theirs.’
After leaving Saint Matthew’s, Westminster, Trevelyan was Warden of Liddon House and warden of the retreat house at Beaconsfield, Kidlington, Oxford (1914-1927). He died in 1929.
Saint Matthew’s Church, Westminster, and the Clergy House … an integral part of inner-city mission for 170 years (Photograph: Patrick Comerford)
William Pitt Trevelyan’s second son, the Revd John Charles Trevelyan (1857-1944), was born in Old Wolverton and was educated at Trinity Hall, Cambridge. He was curate of Saint Philip and Saint James, Oxford (1889-1891), curate of Christ Church, Luton, Bedfordshire (1891-1893), Vicar of Saint Saviour’s, Luton (1893-1915), Rector of Yaxham, Norfolk (1915-1927), and Vicar of Saint Veep’s, Kennington, Berkshire (1929-1937).
Throughout their lives, John Charles Trevelyan and his brothers were in correspondence with their cousin the historian George Macaulay Trevelyan (1876-1962), Regius Professor of History at Cambridge (1927-1943), Master of Trinity College, Cambridge (1940-1951), and Chancellor of Durham University. Their correspondence is archived in Trinity College, Cambridge.
William Pitt Trevelyan’s third son, the Revd George Philipp Trevelyan (1858-1937), was born in Wolverton. He was also Vicar of Wolverton Saint Mary’s in Stony Stratford from 1885. Later, he was Vicar of Saint Alban’s, Hindhead, in Surrey, and Saint Stephen’s, an Anglo-Catholic parish in the centre of Bournemouth (1911-1928).
His son, Humphrey Trevelyan (1905-1985), Baron Trevelyan, was a leading colonial administrator, diplomat and writer. He began his career in India, and moved to the Diplomatic Service at Indian independence in 1947, and had a distinguished career during which he was ambassador in Beijing after the Revolution, Egypt during the Suez crisis, Iraq during the attempt to annex Kuwait in 1961, and the Soviet Union, and the last high commissioner of Aden.
The members of the Trevelyan family in the 19th and 20th centuries provided interesting links between church life in Stony Stratford, Calverton and Wolverton not only with ‘Trevelyan’s Corn’ and the Irish Famine, but also with political, social and economic life across the globe.
Calverton Limes and the Trevelyan family offer interesting links between church life in Stony Stratford and global changes over the last two centuries (Photograph: Patrick Comerford, 2022)
Patrick Comerford
Calverton Limes is one of the many major houses in Stony Stratford designed by the local architect Edward Swinfen Harris. Until recently, this landmark building at 18 and 20 London Road was known to many as the Working Men’s Social Club, but it also has interesting links with the Trevelyan family, who lived for a time in the house.
The story of the Trevelyan family has links with the Irish Famine, colonialism in India, and social and educational reforms in Stony Stratford and Wolverton.
Calverton Limes is dated 1870, and was designed in an ornate and mannered Victorian ‘vernacular’ style. It was built in two and three storeys in three irregular blocks, faced in cobbled, herringbone and upright-laid limestones divided by rubble lacing courses.
The brick dressings and quoins are offset by a low plinth, there are scallop tiles laid in horizontal colour bands, and a crested ridge, with a ridged chimney on No 18.
The left-hand block, No 20, has a gable end to the street. The architectural features include a bargeboard, a bay window with sash windows.
The recessed central block has raised top-lighting. There are two high windows with terracotta shafts and slightly pointed heads. The ground floor projects with a lean-to roof. The central ornamental entrance has a pointed arch, roof shafts, buttresses and raised gable, and there are panelled double doors.
No 18, the right hand block, breaks forward again. This part of the building is of two storeys, with two attic windows with pointed relieving arches.
There are light sashes on the first floor, with a brick mullion on the left. The ground floor has a five-light rectangular bay to the right. There are three light sashes in the attic with half-timbered gables.
The return on the north-west side has much decorative brick work and a half-timbered gable with a moulded wood bargeboard.
The Revd William Pitt Trevelyan (1812-1905) lived for a time at Calverton Limes (Photograph: Patrick Comerford, 2022)
Calverton Limes was built for William Cole Daniell, a local surgeon. Later, the Revd William Pitt Trevelyan (1812-1905) lived there. Subsequently, it became the home of Colonel LC Hawkins, a local magistrate. In more recent decades, this was the Working Men’s Club. It has since been converted into apartments.
But Calverton Limes also provides an introduction to the interesting story of the Revd William Pitt Trevelyan, who was the Rector of both Old Wolverton and Calverton.
William Pitt Trevelyan was born on 31 March 1812, the youngest of nine children of the Ven George Trevelyan (1764-1827), Archdeacon of Taunton, and Harriet (née Neave). Four of those sons were priests in the Church of England, although the most famous son was undoubtedly Sir Charles Edward Trevelyan (1807-1886), a prominent civil servant and colonial administrator who was instrumental in reforming the Civil Service in the 1850s.
However, Charles Trevelyan’s reforming legacy is largely overshadowed by his controversial role in the government response to the potato blight in Ireland and the subsequent Great Famine in the 1840s, when he expressed anti-Irish racist sentiments while administrating Famine relief.
Trevelyan, who was Assistant Secretary to the Treasury (1840-1859), was slow to disburse direct government food and monetary aid because of his strong belief in laissez-faire economics and the free hand of the market. He wrote highly disparagingly about Irish people, claiming ‘the judgement of God sent the calamity to teach the Irish a lesson.’
He is named in the song ‘The Fields of Athenry’ written in 1979 by Pete St John, a popular anthem for all Irish sports fans. The lyrics say the convict’s crime was that he ‘stole Trevelyan’s corn.’
The Revd William Pitt Trevelyan (1812-1905) of Stony Stratford was the Vicar of Wolverton (1856-1872) and of Calverton (1859-1881)
Charles Trevelyan’s youngest brother, the Revd William Pitt Trevelyan (1812-1905) of Stony Stratford, had very different social and economic values. He was born in Nettlecombe, Somerset, where his father was rector, and was educated at Eton and Worcester College, Oxford (BA 1855, MA 1857). He was the perpetual curate or vicar of Broomfield, Somerset (1853-1856), before becoming the Vicar of Wolverton (1856-1872) and of Calverton (1859-1881), both in Buckinghamshire and in the Diocese of Oxford.
Before coming to Stony Stratford, Trevelyan married Maria Pleydell-Bouverie, daughter of the Hon Philip Pleydell-Bouverie and Maria à Court, in 1852. She was closely related to one of the leading figures in the Oxford Movement, the Revd Edward Bouverie Pusey (1800-1882): her grandfather was his first cousin.
When Trevelyan came to Calverton, it covered the west side of Stony Stratford and was known as one of the first Tractarian parishes in this part of Buckinghamshire. Many of the Tracts for the Times were planned in the old vicarage, where the regular visitors included Cardinal Henry Manning; both Newman and Pusey preached from the pulpit and Pusey celebrated at the altar in All Saints’ Church.
The neighbouring Parish of Wolverton covered much of the east and south sides of Stony Stratford, and in 1868 the parish established Saint Mary the Virgin on London Road as a daughter church. The church was designed by the architect Sir George Gilbert Scott, and a vicarage, two curate’s houses, now known as Jesuan House, and a Parish Hall were built also.
Saint Mary’s became a parish in its own right, and its priests were supporters of the Tractarian and Anglo-Catholic movements in the Church of England. Some of the priests were persecuted for what were regarded as ‘ritual offences’ and one was deprived of his living for these practices.
Wolverton Saint Mary Church on London Road, Stony Stratford … now the Greek Orthodox Parish Church of Saint Ambrosios and Saint Stylianos (Photograph: Patrick Comerford, 2022)
In Stony Stratford, Trevelyan began to develop the lower end of London Road, part of the new parish of Wolverton Saint Mary, and contributed to building Saint Mary’s Church and the church schools. With Lady Mary Russell and the Radcliffe Trust, he was one of the principal benefactors in building Saint Mary’s Church on London Road in 1864.
Trevelyan was instrumental, alongside John Worley and others, in inaugurating the Stony Stratford Dispensary and the Cottage Hospital, although the cottage hospital later closed and was replaced by a hospital fund.
Maria (Pleydell-Bouverie) Trevelyan died on 9 October 1903; William Pitt Trevelyan was 93 when he died on 22 December 1905 in Potterspury, Northamptonshire. Three of their four children were priests in the Church of England.
Calverton Limes was built in 1870 and designed by Edward Swinfen Harris (Photograph: Patrick Comerford, 2022)
Trevelyan’s eldest son, the Revd William Bouverie Trevelyan (1853-1929), was born in Calverton. He was educated at Trinity College, Cambridge (BA 1876, MA 1879), and was ordained deacon in 1877 and priest in 1878. He was his father’s curate in Calverton and then Vice-Principal of Ely Theological College, before becoming Vicar of Saint Matthew’s, Westminster, for 23 years (1884-1907).
His incumbency marked a period of much development at Saint Matthew’s and he built on the foundations laid by his two predecessors. CB Mortlock in Famous London Churches (1934) says it was Trevelyan ‘who was to make Saint Matthew’s famous.’
Trevelyan’s curate there from 1896 to 1898 was Frank Weston, who would become Bishop of Zanzibar and one of the foremost leaders of the Anglo-Catholic movement and an inspirational figure in the Universities’ Mission to Central Africa (UMCA), now part of the Anglican mission agency USPG (United Society Partners in the Gospel).
Weston’s combination of incarnational and sacramental theology with radical social concerns formed the keynote of his address to the Anglo-Catholic Congress in 1923. He believed that the sacramental focus gave a reality to Christ’s presence and power that nothing else could.
A Bishop of London said: ‘Trevelyan was a true saint, if ever there was one, I always felt even to look at him did one good.’ He was an Anglo-Catholic, but he was tolerant of other views in the Church, and once said: ‘I have always recognised that the Prayer Book is capable of two interpretations and if I am allowed scope for mine, I cheerfully allow other people to have theirs.’
After leaving Saint Matthew’s, Westminster, Trevelyan was Warden of Liddon House and warden of the retreat house at Beaconsfield, Kidlington, Oxford (1914-1927). He died in 1929.
Saint Matthew’s Church, Westminster, and the Clergy House … an integral part of inner-city mission for 170 years (Photograph: Patrick Comerford)
William Pitt Trevelyan’s second son, the Revd John Charles Trevelyan (1857-1944), was born in Old Wolverton and was educated at Trinity Hall, Cambridge. He was curate of Saint Philip and Saint James, Oxford (1889-1891), curate of Christ Church, Luton, Bedfordshire (1891-1893), Vicar of Saint Saviour’s, Luton (1893-1915), Rector of Yaxham, Norfolk (1915-1927), and Vicar of Saint Veep’s, Kennington, Berkshire (1929-1937).
Throughout their lives, John Charles Trevelyan and his brothers were in correspondence with their cousin the historian George Macaulay Trevelyan (1876-1962), Regius Professor of History at Cambridge (1927-1943), Master of Trinity College, Cambridge (1940-1951), and Chancellor of Durham University. Their correspondence is archived in Trinity College, Cambridge.
William Pitt Trevelyan’s third son, the Revd George Philipp Trevelyan (1858-1937), was born in Wolverton. He was also Vicar of Wolverton Saint Mary’s in Stony Stratford from 1885. Later, he was Vicar of Saint Alban’s, Hindhead, in Surrey, and Saint Stephen’s, an Anglo-Catholic parish in the centre of Bournemouth (1911-1928).
His son, Humphrey Trevelyan (1905-1985), Baron Trevelyan, was a leading colonial administrator, diplomat and writer. He began his career in India, and moved to the Diplomatic Service at Indian independence in 1947, and had a distinguished career during which he was ambassador in Beijing after the Revolution, Egypt during the Suez crisis, Iraq during the attempt to annex Kuwait in 1961, and the Soviet Union, and the last high commissioner of Aden.
The members of the Trevelyan family in the 19th and 20th centuries provided interesting links between church life in Stony Stratford, Calverton and Wolverton not only with ‘Trevelyan’s Corn’ and the Irish Famine, but also with political, social and economic life across the globe.
Calverton Limes and the Trevelyan family offer interesting links between church life in Stony Stratford and global changes over the last two centuries (Photograph: Patrick Comerford, 2022)
28 December 2022
Praying at Christmas through poems
and with USPG: 28 December 2022
‘The Killing of the Holy Innocents, by Giotto (ca 1304-1306), in the Scrovegni Chapel in Padua’ … 28 December is marked in the Church Calendar as the feast day of the Holy Innocents (Photograph: Patrick Comerford)
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Today, 28 December, is marked in the Church Calendar as the feast day of the Holy Innocents, sometimes described as the first martyrs for Christ.
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
Appropriately, the Christmas poem I have chosen for today is ‘The Holy Innocents’ by Laurence Housman (1865-1959).
Today’s commemoration first appears in the calendar of the Western Church in the Leonine Sacramentary around the year 485, and this day was sometimes known as Childermas.
This day recalls the story of the children who were murdered because of Herod’s rage against Christ (Matthew 2: 16-17). In Saint Matthew’s Gospel, after the visit of the Magi, Herod, in rage and jealousy, slaughtered all the baby boys in Bethlehem and the surrounding countryside in an attempt to destroy his perceived rival, the infant Messiah.
Christian art, poetry and popular piety have treated their memory with tenderness and sympathy, sentiments that have also been accompanied by feelings of indignation against the violence with which they were killed.
On this day it also seems to be appropriate to remember the children who are innocent victims of exploitation, abuse and war throughout the world, and those who suffer violence that threatens their lives, their dignity and their rights.
The poem ‘Holy Innocents’ by Christina Rossetti (1830-1894) was written ca 1877. Like so many of her poems, including ‘In the bleak mid-winter,’ which I discussed on Christmas Eve, and her poems about Saint John which I discussed yesterday, her poem ‘Holy Innocents’ was not published until ten years after her death, when it was included in 1904 in The Poetical Works of Christina Georgina Rossetti:
They scarcely waked before they slept,
They scarcely wept before they laughed;
They drank indeed death’s bitter draught,
But all its bitterest dregs were kept
And drained by Mothers while they wept.
From Heaven the speechless Infants speak:
Weep not (they say), our Mothers dear,
For swords nor sorrows come not here.
Now we are strong who were so weak,
And all is ours we could not seek.
We bloom among the blooming flowers,
We sing among the singing birds;
Wisdom we have who wanted words:
here morning knows not evening hours,
All’s rainbow here without the showers.
And softer than our Mother’s breast,
And closer than our Mother’s arm,
Is here the Love that keeps us warm
And broods above our happy next.
Dear Mothers, come: for Heaven is best.
A second, later poem, but also called ‘Holy Innocents,’ was written before 1893, and was published in the same collection in 1904:
Unspotted lambs to follow the one Lamb,
Unspotted doves to wait on the one Dove;
To whom Love saith, ‘Be with Me where I am,’
And lo their answer unto Love is love.
For tho’ I know not any note they know,
Nor know one word of all their song above,
I know Love speaks to them, and even so
I know the answer unto Love is love.
A third poem, also called ‘Holy Innocents’ but dated 1 July 1853, was published in the same volume, but appears to be about the early death of a child rather about the Holy Innocents commemorated on this day:
Sleep, little baby, sleep;
The holy Angels love thee,
And guard thy bed, and keep
A blessed watch above thee.
No spirit can come near
Nor evil beast to harm thee:
Sleep, Sweet, devoid of fear
Where nothing need alarm thee.
The Love which doth not sleep,
The eternal Arms surround thee:
The Shepherd of the sheep
In perfect love hath found thee.
Sleep through the holy night,
Christ-kept from snare and sorrow,
Until thou wake to light
And love and warmth to-morrow.
John Hutton’s ‘Screen of Saints and Angels’ at the entrance to Coventry Cathedral ... the Coventry Carol, dating from the 16th century, recalls the story of the slaughter of the Holy Innocents (Photograph: Patrick Comerford)
Much earlier than these Victorian poems is ‘The Coventry Carol,’ which tells the story of the slaughter of the Innocents. This carol dates from the 16th century, and is all that survives from a mystery play:
Lully, lullay, Thou little tiny Child,
Bye, bye, lully, lullay.
Lullay, thou little tiny Child,
Bye, bye, lully, lullay.
O sisters too, how may we do,
For to preserve this day
This poor youngling for whom we do sing
Bye, bye, lully, lullay.
Herod, the king, in his raging,
Charged he hath this day
His men of might, in his own sight,
All young children to slay.
That woe is me, poor Child for Thee!
And ever mourn and sigh,
For thy parting neither say nor sing,
Bye, bye, lully, lullay.
Also dating from the 16th century, or perhaps even earlier from the late 14th century, is the hymn ‘Unto us is born a son.’ It has been translated by both George R Woodward and Percy Dearmer. I have heard the Woodward version of this hymn at carol services in Christ Church Cathedral, Dublin, including the third stanza:
This did Herod sore affray,
And grievously bewilder;
So he gave the word to slay,
And slew the little childer.
However, the Christmas poem I have chosen for today is ‘The Holy Innocents’ by Laurence Housman. He was born in Bromsgrove, Worcestershire, a younger brother of the poet AE Housman (1859-1936), who is best known for A Shropshire Lad, including the ‘Six Songs’ and the poem ‘Wenlock Edge,’ set to music by Ralph Vaughan Williams.
Laurence Housman first worked as a book illustrator in London, and the first authors he illustrated included the poet Christina Rossetti. At the same time, he also wrote and published several volumes of poetry and a number of hymns and carols.
His first literary successes came with the novel An Englishwoman’s Love-Letters (1900), and the drama Bethlehem (1902). Some of his plays caused scandals because of his depiction of biblical characters and living members of the royal family, and in 1937 the Lord Chamberlain ruled that no British sovereign could be portrayed on the stage until 100 years after the beginning of his or her reign.
Housman also wrote socialist and pacifist pamphlets and edited his brother’s poems which were published posthumously. For the last three or four decades of his life he lived in Street, Somerset.
In 1945, he opened Housman’s Bookshop in Shaftesbury Avenue, London, founded in his honour by the Peace Pledge Union, of which he was a sponsor. The Peace Pledge Union, one of the earliest pacifist organisations in England, was founded in 1934 by Housman’s close friend, Canon Dick Sheppard (1880-1937) of Saint Paul’s Cathedral, a former Vicar of Saint Martin-in–the-Fields (1914-1926) and former Dean of Canterbury (1929-1931) who had been radicalised by his experiences as a slum priest in the East End of London.
In 1959, shortly after his death, the shop moved to 5 Caledonian Road, London, a two-minute walk from all the King’s Cross and Saint Pancras stations. In 1974, an IRA bomb blew up the pillar box directly outside the shop – the building once housed the local King’s Cross Post Office, from the late 19th century until the 1930s. The explosion destroyed the first issue of the newsletter of the Campaign Against Arms Trade, which had just been posted.
Harry Mister in Housman’s Bookshop before his death
I was first introduced to Housman’s Bookshop two years later in 1976 by its co-founder and its manager until that year, Harry Mister, after meeting him with Bruce Kent at the Hayes Conference Centre in Swanwick, Derbyshire, that year. Harry died on my birthday in 1996, less than a fortnight after his own 92nd birthday; Bruce Kent died earlier this year (8 June 2022). Housman’s Bookshop remains a prime source of literature on pacifism and other radical values, and passing the shopfront on the morning of Bruce Kent's funeral evoked many nostalgic memories.
The Peace Pledge Union has ‘consistently condemned the violence, oppression and weapons of all belligerents.’ It has opposed the Vietnam War and the Soviet invasion of Afghanistan, it has promoted the ideals of pacifists such as Tolstoy, Gandhi and Martin Luther King, it played an active role in the first Aldermaston marches, and its members were active in the formation of the Campaign for Nuclear Disarmament (CND).
And so, given Housman’s association, even long after his death, with campaigns against war, it is appropriate to select his poem, ‘The Holy Innocents,’ on this day.
The Holy Innocents by Laurence Housman
When Christ was born in Bethlehem,
Fair peace on earth to bring,
In lowly state of love He came
To be the children’s King.
And round Him, then, a holy band
Of children blest was born,
Fair guardians of His throne to stand
Attendant night and morn.
And unto them this grace was giv’n
A Saviour’s name to own,
And die for Him Who out of Heav’n
Had found on earth a throne.
O blessèd babes of Bethlehem,
Who died to save our King,
Ye share the martyrs’ diadem,
And in their anthem sing!
Your lips, on earth that never spake,
Now sound th’eternal word;
And in the courts of love ye make
Your children’s voices heard.
Lord Jesus Christ, eternal Child,
Make Thou our childhood Thine;
That we with Thee the meek and mild
May share the love divine.
A detail from The Killing of the Holy Innocents, by Giotto (ca 1304-1306), in the Scrovegni Chapel in Padua (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for children who are trafficked and exploited. May we be enraged by injustice and seek to protect the vulnerable.
Yesterday’s reflection
Continued tomorrow
The Slaughter of the Innocents by Domenico Ghirlandaio: the fresco is part of a series of panels in the Cappella Tornabuoni in the Church of Santa Maria Novella, dating from 1486-1490
Patrick Comerford
Christmas is not a season of 12 days, despite the popular Christmas song. Christmas is a 40-day season that lasts from Christmas Day (25 December) to Candlemas or the Feast of the Presentation (2 February).
Today, 28 December, is marked in the Church Calendar as the feast day of the Holy Innocents, sometimes described as the first martyrs for Christ.
Throughout the 40 days of this Christmas Season, I am reflecting in these ways:
1, Reflecting on a seasonal or appropriate poem;
2, a prayer from the USPG prayer diary, ‘Pray with the World Church.’
Appropriately, the Christmas poem I have chosen for today is ‘The Holy Innocents’ by Laurence Housman (1865-1959).
Today’s commemoration first appears in the calendar of the Western Church in the Leonine Sacramentary around the year 485, and this day was sometimes known as Childermas.
This day recalls the story of the children who were murdered because of Herod’s rage against Christ (Matthew 2: 16-17). In Saint Matthew’s Gospel, after the visit of the Magi, Herod, in rage and jealousy, slaughtered all the baby boys in Bethlehem and the surrounding countryside in an attempt to destroy his perceived rival, the infant Messiah.
Christian art, poetry and popular piety have treated their memory with tenderness and sympathy, sentiments that have also been accompanied by feelings of indignation against the violence with which they were killed.
On this day it also seems to be appropriate to remember the children who are innocent victims of exploitation, abuse and war throughout the world, and those who suffer violence that threatens their lives, their dignity and their rights.
The poem ‘Holy Innocents’ by Christina Rossetti (1830-1894) was written ca 1877. Like so many of her poems, including ‘In the bleak mid-winter,’ which I discussed on Christmas Eve, and her poems about Saint John which I discussed yesterday, her poem ‘Holy Innocents’ was not published until ten years after her death, when it was included in 1904 in The Poetical Works of Christina Georgina Rossetti:
They scarcely waked before they slept,
They scarcely wept before they laughed;
They drank indeed death’s bitter draught,
But all its bitterest dregs were kept
And drained by Mothers while they wept.
From Heaven the speechless Infants speak:
Weep not (they say), our Mothers dear,
For swords nor sorrows come not here.
Now we are strong who were so weak,
And all is ours we could not seek.
We bloom among the blooming flowers,
We sing among the singing birds;
Wisdom we have who wanted words:
here morning knows not evening hours,
All’s rainbow here without the showers.
And softer than our Mother’s breast,
And closer than our Mother’s arm,
Is here the Love that keeps us warm
And broods above our happy next.
Dear Mothers, come: for Heaven is best.
A second, later poem, but also called ‘Holy Innocents,’ was written before 1893, and was published in the same collection in 1904:
Unspotted lambs to follow the one Lamb,
Unspotted doves to wait on the one Dove;
To whom Love saith, ‘Be with Me where I am,’
And lo their answer unto Love is love.
For tho’ I know not any note they know,
Nor know one word of all their song above,
I know Love speaks to them, and even so
I know the answer unto Love is love.
A third poem, also called ‘Holy Innocents’ but dated 1 July 1853, was published in the same volume, but appears to be about the early death of a child rather about the Holy Innocents commemorated on this day:
Sleep, little baby, sleep;
The holy Angels love thee,
And guard thy bed, and keep
A blessed watch above thee.
No spirit can come near
Nor evil beast to harm thee:
Sleep, Sweet, devoid of fear
Where nothing need alarm thee.
The Love which doth not sleep,
The eternal Arms surround thee:
The Shepherd of the sheep
In perfect love hath found thee.
Sleep through the holy night,
Christ-kept from snare and sorrow,
Until thou wake to light
And love and warmth to-morrow.
John Hutton’s ‘Screen of Saints and Angels’ at the entrance to Coventry Cathedral ... the Coventry Carol, dating from the 16th century, recalls the story of the slaughter of the Holy Innocents (Photograph: Patrick Comerford)
Much earlier than these Victorian poems is ‘The Coventry Carol,’ which tells the story of the slaughter of the Innocents. This carol dates from the 16th century, and is all that survives from a mystery play:
Lully, lullay, Thou little tiny Child,
Bye, bye, lully, lullay.
Lullay, thou little tiny Child,
Bye, bye, lully, lullay.
O sisters too, how may we do,
For to preserve this day
This poor youngling for whom we do sing
Bye, bye, lully, lullay.
Herod, the king, in his raging,
Charged he hath this day
His men of might, in his own sight,
All young children to slay.
That woe is me, poor Child for Thee!
And ever mourn and sigh,
For thy parting neither say nor sing,
Bye, bye, lully, lullay.
Also dating from the 16th century, or perhaps even earlier from the late 14th century, is the hymn ‘Unto us is born a son.’ It has been translated by both George R Woodward and Percy Dearmer. I have heard the Woodward version of this hymn at carol services in Christ Church Cathedral, Dublin, including the third stanza:
This did Herod sore affray,
And grievously bewilder;
So he gave the word to slay,
And slew the little childer.
However, the Christmas poem I have chosen for today is ‘The Holy Innocents’ by Laurence Housman. He was born in Bromsgrove, Worcestershire, a younger brother of the poet AE Housman (1859-1936), who is best known for A Shropshire Lad, including the ‘Six Songs’ and the poem ‘Wenlock Edge,’ set to music by Ralph Vaughan Williams.
Laurence Housman first worked as a book illustrator in London, and the first authors he illustrated included the poet Christina Rossetti. At the same time, he also wrote and published several volumes of poetry and a number of hymns and carols.
His first literary successes came with the novel An Englishwoman’s Love-Letters (1900), and the drama Bethlehem (1902). Some of his plays caused scandals because of his depiction of biblical characters and living members of the royal family, and in 1937 the Lord Chamberlain ruled that no British sovereign could be portrayed on the stage until 100 years after the beginning of his or her reign.
Housman also wrote socialist and pacifist pamphlets and edited his brother’s poems which were published posthumously. For the last three or four decades of his life he lived in Street, Somerset.
In 1945, he opened Housman’s Bookshop in Shaftesbury Avenue, London, founded in his honour by the Peace Pledge Union, of which he was a sponsor. The Peace Pledge Union, one of the earliest pacifist organisations in England, was founded in 1934 by Housman’s close friend, Canon Dick Sheppard (1880-1937) of Saint Paul’s Cathedral, a former Vicar of Saint Martin-in–the-Fields (1914-1926) and former Dean of Canterbury (1929-1931) who had been radicalised by his experiences as a slum priest in the East End of London.
In 1959, shortly after his death, the shop moved to 5 Caledonian Road, London, a two-minute walk from all the King’s Cross and Saint Pancras stations. In 1974, an IRA bomb blew up the pillar box directly outside the shop – the building once housed the local King’s Cross Post Office, from the late 19th century until the 1930s. The explosion destroyed the first issue of the newsletter of the Campaign Against Arms Trade, which had just been posted.
Harry Mister in Housman’s Bookshop before his death
I was first introduced to Housman’s Bookshop two years later in 1976 by its co-founder and its manager until that year, Harry Mister, after meeting him with Bruce Kent at the Hayes Conference Centre in Swanwick, Derbyshire, that year. Harry died on my birthday in 1996, less than a fortnight after his own 92nd birthday; Bruce Kent died earlier this year (8 June 2022). Housman’s Bookshop remains a prime source of literature on pacifism and other radical values, and passing the shopfront on the morning of Bruce Kent's funeral evoked many nostalgic memories.
The Peace Pledge Union has ‘consistently condemned the violence, oppression and weapons of all belligerents.’ It has opposed the Vietnam War and the Soviet invasion of Afghanistan, it has promoted the ideals of pacifists such as Tolstoy, Gandhi and Martin Luther King, it played an active role in the first Aldermaston marches, and its members were active in the formation of the Campaign for Nuclear Disarmament (CND).
And so, given Housman’s association, even long after his death, with campaigns against war, it is appropriate to select his poem, ‘The Holy Innocents,’ on this day.
The Holy Innocents by Laurence Housman
When Christ was born in Bethlehem,
Fair peace on earth to bring,
In lowly state of love He came
To be the children’s King.
And round Him, then, a holy band
Of children blest was born,
Fair guardians of His throne to stand
Attendant night and morn.
And unto them this grace was giv’n
A Saviour’s name to own,
And die for Him Who out of Heav’n
Had found on earth a throne.
O blessèd babes of Bethlehem,
Who died to save our King,
Ye share the martyrs’ diadem,
And in their anthem sing!
Your lips, on earth that never spake,
Now sound th’eternal word;
And in the courts of love ye make
Your children’s voices heard.
Lord Jesus Christ, eternal Child,
Make Thou our childhood Thine;
That we with Thee the meek and mild
May share the love divine.
A detail from The Killing of the Holy Innocents, by Giotto (ca 1304-1306), in the Scrovegni Chapel in Padua (Photograph: Patrick Comerford)
USPG Prayer Diary:
The theme in the USPG Prayer Diary this week is the USPG Christmas Appeal: Journey to Freedom. The Journey to Freedom campaign supports the anti-human trafficking programme of the Diocese of Durgapur in North India.
The USPG Prayer Diary invites us to pray today in these words:
Let us pray for children who are trafficked and exploited. May we be enraged by injustice and seek to protect the vulnerable.
Yesterday’s reflection
Continued tomorrow
The Slaughter of the Innocents by Domenico Ghirlandaio: the fresco is part of a series of panels in the Cappella Tornabuoni in the Church of Santa Maria Novella, dating from 1486-1490
Labels:
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pacifism,
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Saint Matthew's Gospel,
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Vaughan Williams,
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