And the Word Became Flesh

And the Word became flesh and dwelt among us—Emmanuel, God with us. Some beheld Jesus’ glory. All will someday behold His glory.

He is full of grace and truth. To all those who receive Him—to those believing in Jesus’ name—He gives authority to become God’s children. Grace and truth comes through Jesus Christ.

God with us. Christ with us.

Christ with me.

Ambiguous Signs

While driving the other day I saw this sign:

HITCHHIKERS MAY BE ESCAPING CONVICTS

Given that there is a ‘corrections’ facility nearby, this probably means, “Hitchhikers may be escapees from prison.” The word ESCAPING is functioning as an adjective—specifically, an adjectival participle—modifying the noun CONVICTS. Therefore, it means:

HITCHHIKERS MAY BE CONVICTS THAT ARE ESCAPING

But the way the sign is written, ESCAPING could be interpreted as a verb rather than the intended adjective:

HITCHHIKERS MAY BE ESCAPING FROM CONVICTS

This places an entirely different meaning over what was intended!

Should those responsible for creating this sign see this blog post, I hope they are convicted . . . of their unintended ambiguity. That is, I hope the writers would come under conviction for their imprecise wording. Making one minor change would alleviate the ambiguity:

HITCHHIKERS MAY BE ESCAPED CONVICTS

If convicts are hitchhiking, they have already escaped! So, changing the adjectival participle from present (-ing) to past (-ed) would convey the message properly.

Praising Polysemy

But sometimes ambiguity is intentionally employed as a linguistic device to enrich a text. It can take the form of polysemy, in which a text plays on a particular word’s myriad shades of meanings (also known as multivalence). Our Scriptures contain quite a few instances of such. An example is in John 1:5:¹

1:₁ In the beginning the Word existed, and the Word was with God, and the Word was God. ₂ He was in the beginning with God. ₃ Through Him all things came to be, and without Him not even one thing came to be that has come to be. ₄ In Him was life, and that life was the Light of humanity. ₅ The Light shines in the darkness, yet the darkness did not apprehend [katelaben] it.

D. A. Carson calls 1:5 “a masterpiece of planned ambiguity”.² A newcomer to John’s Gospel may only see the creation event of Genesis 1-2 here. But, of course, the Gospel writer intends much more than that.³

The final verb katelaben [aorist active indicative form] is a compound word consisting of the preposition kata and the verb lambanō. The former means ~down, the latter take or receive. But as with many words prefixed with a preposition, the resulting word acquires intensification and an additional nuance. Its basic definition is grasp, as in either hostile (seize) or non-hostile (secure), though, alternatively, it can carry the idea of mental grasping (perceive).⁴ Danker asserts that the writer in this context intends the combined “sense of grasp as seize and comprehend.”⁵ The translation “apprehend” above is an attempt to capture this perceived polysemy.

On first reading, one could understand all of 1:1-5 cosmologically, such that the darkness of Genesis 1:2 would not overcome the light of Genesis 1:3. But after having read through John’s Gospel, a subsequent reading of the prologue (John 1:1–18) may prompt the reader to see an allusion to Genesis 3.⁶ More likely, the light/darkness dichotomy exhibited throughout the Gospel will bring the reader to perceive a connection between v. 5 and vv. 10-11.⁷ While the Light continued and continues to shine (imperfective aspect) in order to illuminate the darkness (John 8:12; 9:5), the darkness chose to remain in darkness (John 3:19-21), failing to comprehend the true nature of the Light (John 11:9-10; 12:35-36, 46).⁸ Those in darkness can be brought to the Light through the continuous shining of the Light, but the darkness itself remains.

Continuing in this light (pun intended), the reader can see an illusion to Revelation 12:4: And the dragon [darkness] stood before the woman who was about to give birth [to the Light], so that when she gave birth he might devour her child. Yet despite the dragon’s best efforts, Christmas did come!

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¹ My translation.

² D. A. Carson, The Gospel According to John, Pillar New Testament Commentary, D. A. Carson, gen. ed. (Grand Rapids, MI: Eerdmans, 1991), p 119. [I am also reminded of one of my favorite lyric lines: well-defined ambiguity (from “Straight Jacket”, written by Mike Watt, as performed and recorded by Minutemen, The Punch Line, SST records, SST-004, 1981.)]

³ Carson, Gospel, states, “it is quite possible that John, subtle writer that he is, wants his readers to see in the Word both the light of creation and the light of the redemption the Word brings in his incarnation” (p 120).

⁴ F. W. Danker, The Concise Greek-English Lexicon of the New Testament (Chicago, IL: Chicago, 2009), p 191.

⁵ Ibid; emphasis in original. Cf. Craig S. Keener, The Gospel of John: A Commentary, two volumes (Peabody, MA: Hendrickson, [2003] 2010 [1^st softcover ed.]), p 1.387. Contra, e.g., Andreas J. Köstenberger, Encountering John, Encountering Biblical Studies Series (Grand Rapids, MI: Baker, 1999), p 55, in which the author opines that “overcome” is the primary meaning, though “understand” may be ‘latent’ (my word) in the verse “in preparation of 1:10-11”.

⁶ See Raymond E. Brown, The Gospel According to John I-XII, The Anchor Yale Bible; (New Haven: Yale University Press, 1974), p 8. Under this understanding the aorist κατέλαβεν, katelaben is interpreted as a one-time past event.

⁷ See C. K. Barrett, The Gospel According to St. John: An Introduction with Commentary and Notes on the Greek Text, 2^nd ed. (Philadelphia: Westminster, 1978), p 158.

⁸ See Keener, Gospel of John, pp 1.382-387 for fuller discussion of light, including light as Wisdom and Torah; cf. Brown, John I-XII, pp 519-522.

Thanking God in Failure: Arvo Pärt | Litany | Orient & Occident

“…It was July 25^th, 1976. I was sitting in the [Pühtitsa] monastery’s yard on a bench, in the shadow of the bushes, with my notebook. ‘What are you doing; what are you writing there?’ The girl, who was around ten, asked me. ‘I’m trying to write music, but it’s not turning out well.’ I said. And then the unexpected words from her, ‘Have you thanked God for this failure already?’”¹

During the Soviet control of Estonia, composer Arvo Pärt found himself at odds with Moscow numerous times. One of these occurred with the premiere of his 1968 work Credo, which contains the words (Latin), Credo in Jesum Christum—I believe in Jesus Christ. Consequently, Pärt was unofficially censured. “[T]he composition was hushed up and further performances were banned.”²

The middle section of Credo was structured “to imitate chaos and destruction”, in order to juxtapose an eye for an eye, a tooth for a tooth, with but I say to you, do not resist evil (Matt 5:38–39).³ As Pärt relates, this could have been interpreted as “the collapse of the Soviet regime”.⁴

Tensions increased to the point the composer realized it was becoming economically infeasible to continue in his profession while under Soviet rule.⁵  Shortly thereafter, a ‘recommendation’ prompted him to leave his homeland, as his wife, Nora recounts:

“A leading member of the Central Committee visited us at home in autumn 1979; he recommended that we leave the country. It was supposed to look like a voluntary decision—but in fact it was an expulsion which, at that time, was irreversible; we boarded the train to Vienna shortly afterwards.”⁶

Residing now in the West, freed from Soviet shackles, Pärt increasingly undergirded his works with Christian-themed texts. After the Soviet Union disintegrated, Pärt eventually returned to his homeland, Estonia.⁷

Born September 11, 1935 in Paide, Estonia to an Orthodox father and a Lutheran mother, Arvo Pärt was raised as a Protestant, though not especially religious as a youth.⁸ At conservatory, during his studies of Western composers, particularly their sacred texts, he was moved by the works’ spiritual nature. This, in turn, motivated him to pursue his own spirituality, to the extent it would inextricably intertwine with his music.⁹

Pärt formally converted to the Orthodox Church in 1972.¹⁰

Two album releases post-expulsion (and Soviet disintegration) are reviewed below:

Litany (ECM New Series 1592, BMG 78118-21592, © ECM Records, 1996)
Orient & Occident (ECM New Series 1795, Universal Classics 289 472 080, © ECM Records, 2002)

Litany consists of three pieces. The first (title piece Litany) features the Tallinn Chamber Orchestra (Tõnu Kaljuste conducting), Estonian Philharmonic Chamber Choir, and the Hilliard Ensemble (vocal quartet). The second and third pieces are instrumental, featuring the Lithuanian Chamber Orchestra (Saulius Sondeckis conducting). Disappointingly, besides the text for the title piece, Litany, no explanatory liner notes are provided; so, information had to be obtained through other research.

—Litany is set to the (King James) English text of 4^th century theologian John Chrysostom’s hourly prayers—24, for each hour of the day. At nearly 23 minutes long, it comprises a bit over half the length of the entire disc. Each prayer begins with the vocative, “O, Lord…” Due to differing lengths, Pärt scored the music asymetrically, in order to match the specific pattern of each one.

It reaches its climax during the singing of the 24^th. This prayer reads, O Lord, Thou knowest that Thou dost as Thou wilt, let then Thy will be done in me, a sinner, for blessed art Thou unto the ages. Amen. I find the 23^rd the most poignant: O Lord, shelter me from certain men, from demons and passions, and from any other unbecoming thing. (Click on the hyperlinked title above [and those below] to listen to the entire piece.)

—Psalom (Slavonic, Psalm): The Slavonic text of Psalm 112 LXX (aka Septuagint) underlies this fully instrumental work. The Orthodox Psalter sources the Greek LXX (rather than the Hebrew Masoretic Text), so the equivalent text in typical Protestant versions is Psalm 113. Its words are exchanged for musical notation. Separating each verse-as-music are long pauses (rests), which provide space for reflection.

—Trisagion (Greek, Tri-Holy, Thrice Holy): “Although it is an instrumental piece, the parameters of this text in Church Slavonic (number of syllables per word, accentuations etc.) are the determining factor in the composition.”¹¹ Part of Orthodox liturgy, the Trisagion text itself contains portions of Scripture, beginning with the Tri-aspect of Matthew 28:19, which is then followed by Luke 18:13 (be merciful to me, a sinner). Its middle reads, “O Holy God, Holy Strong, Holy Immortal, have mercy on us”, which is thrice recited. It concludes with ‘The Lord’s Prayer’, aka ‘Our Father’. In the score this text is written under the notes, in order to guide the musicians.¹²

All in all, I rate Litany a 4.5 out of 5. Well programmed, with Psalom providing a welcome break after the more demanding listen of the title piece and Trisagion fitting as a finale. Perhaps a good place for the Pärt novice to begin.

The Orient & Occident release consists of three pieces. All tracks feature the Swedish Radio Symphony Orchestra and the Swedish Radio Choir, with Tõnu Kaljuste conducting. At over 30 minutes, the five piece suite of the final work Como cierva sedienta constitutes two-thirds of the disc’s duration.

—Wallfahrtslied / Pilgrims’ Song: The version here is for men’s choir and string orchestra (2001). It was originally written (1984—for tenor or baritone voice and string orch) after the death of friend Grigori Kromanov, Estonian film and stage director. Pärt’s musical intent here is to bridge the chasm now forged between the two—between time and timelessness, temporality and eternality. The orchestra musically represents the time side; the men’s choir, the other. The text, sung in German, is Psalm 121 (LXX), which begins, “I will lift up mine eyes unto the hills…”

Orient & Occident (East & West): As Psalom and Trisagion in the earlier (above) release, the text here speaks through the music. The underlying words come from the Old Slavonic of the Niceno-Constantinopolitan Creed (381).¹³ This Creed is “among the few religious texts that are the same in the Western and Eastern Church.”¹⁴ The music is a commingling of Eastern and Western styles.¹⁵ The composition appears to reflect Pärt’s Christian ecumenism—a seeming desire that Christians be, perhaps, less sectarian.¹⁶

Como cierva sedienta (Spanish, like a thirsty deer): The text here is Psalms 42–43 (LXX), sung in Spanish, featuring Helena Olsson, soprano.

Why art thou cast down, O my soul?
And why art thou disquieted within me?

David’s refrain here is universal in appeal. We all feel this from time to time. “My soul” represents the soul of each of us. Yet, David’s solution to his plight is distinctive:

Hope thou in God:
For I shall yet praise Him

Given the length of Como cierva sedienta, Orient & Occident stands or falls on its relative merits. Candidly, much in the way I dislike sustained high register trumpeting, I do not much care for sustained high pitched soprano singing. It’s just a bit too much for these ears at times. But my assessment is, of course, subjective. You may quite like it. And that’s not to say the piece has no merits. It certainly does. That said, I still prefer the first two works, the first especially. Overall I’d rate this release a 4 out of 5.

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¹ Taken from Arvo Pärt’s commencement speech at St. Vladimir’s Orthodox Theological Seminary, May 31, 2014.

² Arvo Pärt Centre > Timeline > 1968 > Premiere of Credo in November.

³ “I Seek a Common Denominator”, Italian musicologist Enzo Restagno’s interview with Nora and Arvo Pärt, 2010, as taken from Arvo Pärt Centre.

⁴ Ibid.

⁵ Ibid.

⁶ Ibid.

⁷ Peter C. Bouteneff, Arvo Pärt: Out of Silence (Yonkers, NY: St. Vladimir’s Seminary Press, 2015), p 51.

⁸ Bouteneff, Out of Silence, p 48.

⁹ Bouteneff, Out of Silence, pp 48–51.

¹⁰ Bouteneff, Out of Silence, p 48.

¹¹ “Works: Trisagion”, as taken from the short description from Arvo Pärt Center site; see hyperlink at main text.

¹² Text obtained from Universal Edition’s page for Trisagion, page 2.

¹³ See description under the hyperlink at the beginning of this paragraph.

¹⁴ Ibid.

¹⁵ Ibid.

¹⁶ These are my own thoughts, extrapolated from various sources. See, e.g., Bouteneff, Out of Silence, pp 50, 51–53; cf. source at footnote 3 above.