After W.H. Auden had visited the Musées Royaux des Beaux-Arts de Belgique in Brussels, and seen Pieter Brueghel the Elder’s c.1558 work,
Landscape with the Fall of Icarus, he went away and penned the following cynical words:
About suffering they were never wrong,
The Old Masters; how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.
In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
had somewhere to get to and sailed calmly on.
William Willimon recalls Brueghel’s painting, and Auden’s poem, in his book
On a Wild and Windy Mountain, wherein he observes that we trudge past bleeding crosses with a shrug of the shoulders, that Good Fridays are so commonplace among us as to be unnoteworthy, and that tragedy achieves nobility only in the theater. ‘Everydayness and ordinariness’, he writes, ‘become our best defenses, the most effective relativizers of the tragic in our midst. Some young Icarus falls from the sky every day, so one had best get on with the business at hand until the extraordinary comes. For now, go to work, eat, make friends, make money, make love, mind your business – that’s the best way to cope, for the time being, with the expectedness of the tragic. The old masters knew best’ (p. 15).
Willimon proceeds to compare
Landscape with the Fall of Icarus with another of the Dutch masters' works:
Numbering at Bethlehem. He notes the ordinariness of the depiction, a day mundane and unpromising – in its highlights at least – and nothing beyond the expected.
But then … they appear.
They appear. ‘An inconspicuous, thoroughly ordinary young woman on a little donkey led by a stoop-shouldered, bearded peasant who carries a saw. Here is Mary, with Joseph the carpenter, come to town to be counted. They are so easily overlooked in the midst of ordinariness. Old masters like Brueghel’, Willimon rightly suggests (and we might add Rembrandt), ‘were never wrong’. Rather, they understood, and bore witness to in their work, the truth of Emmanuel, the scandal of the unostentatious God living – and dying – with us, of God stained with the sweat of human bondage and soaked – baptised – in the blood of human violence, of God incognito. ‘They understood our blindness not only to the tragic
but also to the triumphant in our midst … In life, the Presence goes unnoted as we thumb through the evening paper. And so we wait, sitting in the darkness of the everyday until something extraordinary breaks in. Someday God may break into this world, we say. But for the time being, it is best to work, eat, make love, pay taxes, fill out government forms, and mind our business. The old masters knew it best’ (p. 16).
I have posted elsewhere on the
pseudonymous activity of God, suggesting that ‘in the economy of holy love, the locus of greatest clarity equates to the point of greatest incongruity and surprise’. It is precisely that we may ‘see’ what Willimon so beautifully refers to as ‘the triumphant in our midst’ that we are graced, and that that we might witness to the day when good will triumph over all, certain that the grace of holy love will win at last because it did not fail to win at its most decisive time. In the meantime, such seeing typically requires what is another great advent theme: waiting, or what R.S. Thomas, in his poem ‘Kneeling’, called ‘moments of great calm’:
Moments of great calm,
Kneeling before an altar
Of wood in a stone church
In summer, waiting for the God
To speak; the air a staircase
For silence; the sun’s light
Ringing me, as though I acted
A great role. And the audiences
Still; all that close throng
Of spirits waiting, as I,
For the message.
Prompt me, God;
But not yet. When I speak,
Though it be you who speak
Through me, something is lost.
The meaning is in the waiting.
This sculpture of the infant Jesus, anatomically correct and with the umbilical cord still attached was displayed in London for Christmas in, I think, 2001. Some people were scandalised by it, because it made Jesus really rather real. For me it seemed a beautiful sculpture - simple and realistic, its shock value being not its reality but its simplicity.
After W.H. Auden had visited the Musées Royaux des Beaux-Arts de Belgique in Brussels, and seen Pieter Brueghel the Elder’s c.1558 work, Landscape with the Fall of Icarus, he went away and penned the following cynical words:
Willimon proceeds to compare Landscape with the Fall of Icarus with another of the Dutch masters' works: Numbering at Bethlehem. He notes the ordinariness of the depiction, a day mundane and unpromising – in its highlights at least – and nothing beyond the expected.