Category: Serving Mentally Ill Christians

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Two O’ Clock in the Morning Poetry, #7

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Søren Aabye Kierkegaard (/ˈsɔrən ˈkɪərkəɡɑrd/ or /ˈkɪərkəɡɔr/; Danish: [ˈsɶːɐn ˈkiɐ̯ɡəɡɒːˀ] ( listen)) (5 May 1813 – 11 November 1855) was a Danish philosopher, theologian, poet, social critic, and religious author who is widely considered to be the first existentialist philosopher.[5] He wrote critical texts on organized religion, Christendom, morality, ethics, psychology and philosophy of religion, displaying a fondness for metaphor, irony and parables. Much of his philosophical work deals with the issues of how one lives as a “single individual”, giving priority to concrete human reality over abstract thinking, and highlighting the importance of personal choice and commitment.[6] He was a fierce critic of idealist intellectuals and philosophers of his time, such as Swedenborg,[7] Hegel, Goethe, Fichte, Schelling, Schlegel, and Hans Christian Andersen.

Kierkegaard’s Insight into Creative People

“A poet is an unhappy being whose heart is torn by secret sufferings, but whose lips are so strangely formed that when the sighs and the cries escape them, they sound like beautiful music and then people crowd about the poet and say to him: “Sing for us soon again;” that is as much as to say, “May new sufferings torment your soul.”‘

For a person who gives out creatively means to sweat drops of blood; it is torment that teaches us new words. Pain comes surely as the morning sun rises. There maybe a hint of duplicity as the patron sees the pain– but demands his art, nevertheless.

Søren Kierkegaard

Some of Kierkegaard’s key ideas include the concept of “Truth as Subjectivity“, the knight of faith, the recollection and repetition dichotomy, angst, the infinite qualitative distinction,faith as a passion, and the three stages on life’s way. Kierkegaard’s writings were written in Danish and were initially limited to Scandinavia, but by the turn of the 20th century, his writings were translated into major European languages, such as French and German. By the mid-20th century, his thought exerted a substantial influence on philosophy,[16]theology,[17] and Western culture.[18]

Soren-Kierkegaard-quote“Revelation is marked by mystery, eternal happiness by suffering, the certitude of faith by uncertainty, easiness by difficulty, truth by absurdity; if this is not maintained, then the esthetic and the religious merge in common confusion. … The religious lies in the dialectic of inwardness deepening and therefore, with regard to the conception of God, this means that he himself is moved, is changed. An action in the eternal transforms the individual’s existence.”

This was part of Kierkegaard’s theory of “indirect communication.” He wrote:

“No anonymous author can more slyly hide himself, and no maieutic can more carefully recede from a direct relation than God can. He is in the creation, everywhere in the creation, but he is not there directly, and only when the single individual turns inward into himself (consequently only in the inwardness of self-activity) does he become aware and capable of seeing God.” Concluding Unscientific Postscript, Hong 1992 p. 243

Despite everything people ought to have learned about my maieutic carefulness, in addition to proceeding slowly and continually letting it seem as if I knew nothing more, not the next thing — now on the occasion of my new upbuilding discourses they will probably bawl out that I do not know what comes next, that I know nothing about sociality. You fools! Yet on the other hand I owe it to myself to confess before God that in a certain sense there is some truth in it, only not as men understand it — namely, that when I have first presented one aspect sharply, then I affirm the other even more strongly. Now I have my theme of the next book. It will be called: Works of Love. Journals of Soren Kierkegaard VIII 1A4 ~~source, Wikipedia

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Two O’ Clock in the Morning Poetry, #5

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~Victor Hugo – Les Miserables 

“Deep hearts, wise minds, take life as God has made it. It is a long trial; An unintelligible preparation for an unknown destiny. This destiny, the true one, begins for man at the first step in the interior of the tomb.”

“There he begins to discern the definite. The definite, think of this word! The living see the infinite; the definite reveals itself only to the dead. Meantime, love and suffer, hope and contemplate. “

“Woe, alas! to him who shall have loved forms, bodies, appearances only. Death will take all from him. Try to love souls, you shall find them again.”

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Victor Marie Hugo (French pronunciation: ​[viktɔʁ maʁi yɡo]; 26 February 1802 – 22 May 1885) was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best known French writers. In France, Hugo’s literary fame comes first from his poetry but also rests upon his novels and his dramatic achieveme’
nts. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem. Outside France, his best-known works are the novels Les Misérables, 1862, and Notre-Dame de Paris, 1831 (known in English as The Hunchback of Notre-Dame).
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Rolling Stones Theology

I was time travelling today.  I journeyed back to Christmas, 1972.  I had told my parents that life could only have meaning, if I could have just one thing.  I held out in hope that on Christmas morning, that I would open up a “rock tumbler.”

I was an 11 year old boy, and I imagined that I could turn gravel from the driveway into polished gems.  I would make jewelry for my mom, and then I would go on to know the thrill of turning ugly stones into precious jewels.  Somehow, doing this would give me a profound purpose. I guess I wanted to become a alchemist– turning gravel into gems.

This is all I wanted.  I dreamed of having my polisher– a rock tumbler that would be all and everything I wanted.  I was fixated, and just knew this was my destiny.  I would become a lapidarist! Today, I haven’t changed, I am always looking for the right stone.

Opening up our gifts, I had eyes only for my new rock tumbler.  I ripped open my present and tore into the box.  Within 10 minutes I had it up and going.

The principle was simple:

  • Step 1— Add the stones, and the “grit.” Resist putting in too many stones.
  • Step 2— Measure out the water.  The idea is to make a “slurry.”
  • Step 3— Let the machine run, don’t open the drum every 30 minutes. This takes time, and patience.
  • Step 4— A trick– add a tablespoon of sugar to the final polishing stage. It adds an extra gleam.

The Church is a lot like a rock tumbler.  The Holy Spirit places us in a fellowship with others.  We are rough and drab, we show nothing that would suggest a polish or gleam.  There is nothing beautiful about us.  We really understand this.

We join others who have been picked up.  Different grit is then added.  There are special types– some are very coarse and others are quite fine.  Water is added.  (The whole process is to parallel what happens at the beach, but purposefully accelerating it in your drum.)

As the drum rotates, things are constantly changing as they move.  The water and grit roll between the stones.  The stones themselves move with each other, sometime counter, but they smooth out all roughness and coarseness.  Some rocks are harder, and not easily polished.  Sometimes, the grit will need to be changed to speed up the process.  Whatever happens, we need to trust Him to do the right thing.

I really don’t want to bore you with all the different details.  But each step has a connection to authentically spiritual things.  We are a mixture of stones with different shapes and angles. There are a lot of variables, and it gets tedious.  The polishing takes a lot of time. There is the need for patience.  We often bring ‘a thirst for the instant,’ and for the quick work.  Polishing a rock takes a lot of time– months.  And we take years– maybe sometimes even decades.

“And you are living stones that God is building into his spiritual temple. What’s more, you are his holy priests. Through the mediation of Jesus Christ, you offer spiritual sacrifices that please God.”  1Peter 2:5, NLT

We are all in this process, what is hidden is being revealed.  We may bounce off each other, (here comes that ‘flinty’ sister again!)  But the Spirit is the superintendent of the process.  He will change the grit, add more water, or add others to the tumbler. He knows exactly what He is doing. No one will get overlooked.

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Two O’ Clock in the Morning Poetry, #3

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Middle Parts of Fortune, by Frederic Manning

“The air was alive with the rush and flutter of wings; it was ripped by screaming shells, hissing like tons of molten metal plunging suddenly into water, there was the blast and concussion of their explosion, men smashed, obliterated in sudden eruptions of earth, rent and strewn in bloody fragments, shells that were like hell-cats humped and spitting, little sounds, unpleasantly close, lie the plucking of tense strings, and something tangling his feet, tearing at his trousers and puttees as he stumbled over it, and then a face suddenly, an inconceivably distorted face, which raved and sobbed at him as he fell with it into a shell-hole.”

(Accounts of The Great War) 
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FredricmanningManning was an Australian aspiring intellectual, already in his mid-30s when he enlisted as a private soldier in 1915. His prewar existence in England was dogged by unfulfilled literary hopes and emotional confusions. He served for only a few months in France, and his military career ended in alcoholism and disgrace. But in 1929 he composed a novel, obviously autobiographical, about three soldiers’ experience of the trench nightmare, which is outstanding. Almost certainly the finest work of its kind to emerge from the war. (Penguin)
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Manning continued to write. In 1917 he published a collection of poems under the title Ediola. This was a mixture of verse predominantly in his former style alongside war poems heavily influenced by the imagism of Pound, which deal introspectively with personal aims and ideals tempered in the crucible of battle. He contributed to anthologies, for example, The Monthly Chapbook which appeared in July 1919 edited by Harold Monro, containing twenty-three poems by writers including John Alford, Herbert Read, Walter De La Mare, Osbert Sitwell, Siegfried Sassoon, D. H. Lawrence, Edith Sitwell, Robert Nichols, Rose Macaulay and W. H. Davies alongside Manning and Aldington. He wrote for periodicals, including The Criterion, which was produced by T. S. Eliot.

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Poetry did not pay, and so in 1923 Manning took a commission from his publisher John Murray to write The Life of Sir William White, a biography of the man who, as Director of Naval Construction, led the build-up of the Royal Navy in the last years of the nineteenth century. Galton had died in 1921, which not only left Manning effectively homeless, but also lacking a forceful directing influence in his life. He lived for much of the time at the Bull Hotel in Bourne, apart from a short spell when he owned a farmhouse in Surrey. At this time he was friendly with T. E. Lawrence, then serving in the Royal Air Force at RAF Cranwell, some twenty miles (a motorcycle ride) from where Manning was living. In 1926 he contributed the introduction to an edition of Epicurus’s Morals: Collected and faithfully Englished by Walter Charleton, originally published in 1656, published in a limited edition by Peter Davies. — from Wikipedia and Penguin

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Bonus–

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“Her Privates We” 1930, Cover art
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