The Fullness of Time

Fiona Hall installation, Australian pavilion, Venice Biennale 2015

But when the fullness of time had come, God sent the Son, born of a woman … 

— The Letter of Paul to the Galatians (4:4)

In my six years of blogging, I have always posted a reflection on New Year’s Eve. The symbolic border between old and new prompts the big questions: Where have we been? Where are we going? If “Time is our choice of How to love and Why,”[i] are we using it well? Here are links to all my past posts dated December 31, followed by some thoughts at the end of a year like no other.  

The Angel of Possibility (2014)     Fresh starts nurture fresh hopes, but the turning of the year is of itself not enough to save us. The only sustainable new birth is rooted in the Nativity’s marriage of earth and heaven, finite and infinite, temporal and eternal, human and divine, and I am grateful that our passage into the New Year falls in the middle of the Christmas feast, enriched by faith’s larger hopes. We are not alone. As the Psalmist cries to the Holy One, “My times are in your hand; deliver me.” (Psalm 31:15)

Tick, Tock: Thoughts for New Year’s Eve (2015)     On the one night of the year when countless human beings devote collective awareness to the vanishing Now (at least for the last 10 seconds of the 12th month), time is on everyone’s mind. And though there may be little consensus on the theoretical nature of time, we are all immersed in its flow, or what Susan Sontag called “time’s relentless melt.” We feel keenly the effects of beginnings, transitions, losses and endings. At year’s end, we pause on the razor’s edge between old and new, memory and expectation, regret and hope. When we dance our welcome to the New, may that narrow boundary prove wide enough for our joyful steps.  

Foolishness and Hope on the Eve of 2017 (2016)      At the outset of our 4-year political and social nightmare, I beheld my country teetering on the brink of insanity and ruin. The New Year brought more dread than hope. It demanded a sturdier and steadier kind of moral resolve than the customary pledges of self-improvement. It required that we renounce despair. “We would do well,” I wrote, “not to be mesmerized by the abyss, but to focus on the greater power already and always at work amid the blind sufferings of history. God neither causes nor prevents those sufferings, but divine ingenuity always outwits them in the end.” 

At the Mercy of the Future (2017)      My title came from Didier Maleuvre: So long as one hopes, one puts oneself at the mercy of the future. 2017 was a painful year to be a person of hope, but I found consolation in Maleuvre’s study of ancient sculpture, contrasting the “readiness” of Greek statuary with the blank visages of Egyptian figures, who appear to expect nothing from the world, their minds closed to wonder, risk, or surprise. I myself am partial to the Greeks. “We are creatures of longing and hope,” I wrote, “and it is our fate to wade into the stream of time, come what may. But as the biblical God tells us at the beginning of every journey, Do not be afraid. I will go with you.”

On New Year’s Eve, My Inner Clown is Full of Hope (2018)     Midway through the Trumpian hell, I hear the voices of three poets tending the flame of hope. In “O Esperanza,” Catherine Barnett cites one of her teachers, the philosopher Richard Rorty: “Just before he died, Rory said his sense of the holy was bound up with the hope / that someday our remote descendants will live in a global civilization / in which love is pretty much the only law.” 

Farewell to a Decade. And then? (2019)     The strain of these evil times was taking its toll on everyone as the decade ended. I recalled how Thoreau ignored the outbreak of the Civil War in his voluminous journal while continuing to register the doings of nature in extensive detail. When asked how he could remain silent on such a momentous national subject, Thoreau said that refusing to let our attention be consumed by the hypnotic gaze of chaos “is just the most fatal, and indeed the only fatal weapon you can direct against evil.” In that same spirit, I wrote: “2020 promises an immense struggle requiring the best of us, and I am grateful for those who plan to welcome the New Year with their most prayerful attention, keeping their eye on the Light rather than being transfixed by the dark abyss of malevolence.”

Harold Lloyd, Safety Last (1923).

As for 2020, does anyone expect it to go quietly, to cease at midnight from doing further harm? Though we may find catharsis in shouting our “good riddances!” tonight, this year’s manifold ills will linger a while longer, and fresh starts will take time. Tomorrow morning the world will look much the same. “A change is gonna come,”[ii] but not in an instant. 

Yet with the woes of sin and strife 
the world has suffered long;
Beneath the heavenly hymn have rolled 
two thousand years of wrong. [iii]

Lancelot Andrewes, a 17th-century English bishop, preached seventeen Christmas Day sermons before King James in the Chapel Royal. Preachers who struggle to come up with fresh Nativity sermons year after year must stand in awe of Andrewes’ inexhaustible richness of expression and range of thought. “He cuts and polishes a text, like a jeweler a diamond,” wrote a later editor of those sermons, “and the rays of truth from its heart of light flash from every facet.” [iv]

The bishop’s Christmas sermon of 1609 explored St. Paul’s verse (Galatians 4:4) about the “fullness of time.” For Andrewes, St. Paul’s phrase itself is full, generating a surplus of meanings and implications. It suggests a condition of completeness, where nothing essential is lacking. More specifically, it designates the pivotal moment of history’s ripening, producing the Incarnate Word, the crown of creation. But the fullness is not just a property of time. It is an attribute of God: the overflowing fullness of Divine Love pouring itself endlessly into the world. The birth of Christ, said Andrewes, entails “the full measure of [God’s] sending.” 

At the same time, there is a receptive dimension to the term, which Andrewes called “the fullness of the benefit we receive” from the Incarnation—not just redemption from sin but the means of union with God—and the joy which fills us in consequence. Fullness is not just divine gift; it is something that happens within us, a grace in which we participate. 

“And after our joyfulness or fullness of joy, our fullness of thanks or thankfulness is to ensue; for with that fullness we are to celebrate it likewise. Our minds first, and then our mouths, to be filled with blessing, and praise, and thanks to Him, that hath made our times not to fall into those empty ages of the world, but to fall within this “fullness of time,” which “so many Kings and Prophets desired to have lived in …”

Adoration of the Christ Child, follower of Jan Joest of Kalkar, c. 1515.

But the fullness comes and goes, ebbs and flows. What do we do in its absence? At the end of W. H. Auden’s Christmas Oratorio, For the Time Being, the poet laments the relative emptiness of time once the Vision fades:

To those who have seen 
The Child, however dimly, however incredulously,
The Time Being is, in a sense, the most trying time of all.

Once we have experienced “the stable where for once in our lives / Everything was a You and nothing was an It,” how can we go back to the way we were? How can we settle for anything less than “the fullness of time?”[v] We don’t. Instead, we make our longing an instrument of change, energizing us—by the grace of the Spirit—to manifest and embody the fullness in our own stories, whenever and however we can.

Ring out the want, the care, the sin,
The faithless coldness of the times;
Ring out, ring out my mournful rimes,
But ring the fuller minstrel in.[vi]

When we beat our gongs, bang our drums, and blow our whistles on the porch at midnight, I will recite these lines of Tennyson. But when we go back inside, I’ll put on Rachel Platten’s “Soldiers”—a rousing response to 2020’s time of trial—and we will dance to the fullness of time.

We’re at the end of the road
We’re all soldiers on our own
Trying to find our way back home
And at the end of the day
Nothing matters anyway
Just the love that we have made

So let’s let go of our mistakes
We’ve all got hearts that easily break

No matter how the light may fade
We’ll carry on, it’s how we’re raised
We might fall
But we won’t break
Yeah, we won’t break …

And now our hearts will beat, now they’ll beat as one
We made it through, and after all, came the sun
And now our hearts will beat, now our hearts will beat as one

— Rachel Platten, “Soldiers” [vii]


Happy New Year, dear Reader! Thank you for reading and sharing through this challenging year. “We made it through!” I am grateful for your thoughtful attention to things that matter. I wish you much joy, health, love and peace in the days to come. Great joy to the New!

[i] W. H. Auden, For the Time Being: A Christmas Oratorio, ed. Alan Jacobs (Princeton, NJ: Princeton University Press, 2013), 46.

[ii] Sam Cooke wrote his great song, “A Change is Gonna Come” (1964), in support of the Civil Rights movement.

[iii] Edmund H. Sears (1810-1876), “It Came Upon a Midnight Clear.”

[iv] The Editor is uncredited and the date, probably early 20th century, is not given in my reprinted volume of Lancelot Andrewes Seventeen Sermons on the Nativity (Collingwood, Victoria, Australia: Trieste Publishing, 2017). All the Andrewes citations are from Sermon IV (Dec. 25, 1609), pp. 44-62.

[v] For the Time Being, 64-65.

[vi] Alfred, Lord Tennyson, “In Memoriam.” Emphasis mine. The “fuller minstrel” is the Christ, embodying the fullness of our humanity united with divinity, singing Possibility into being.

[vii] Rachel Platten, “Soldiers” (2020). Platten recently explained her commitment to speaking out through her songs: “We need to use our art right now, because I truly believe beauty can save the world.”

A Little Child Shall Lead Them

The Nativity (Romanesque capital at Saint-Tropheme, Arles).

No time for words this week, only images. I’ve been editing the parish Christmas pageant as well as our Christmas Eve liturgy stream. With COVID cautions in place, I sent a shot list to the parents, who sent me back wonderful clips of their little angels, shepherds and Holy Family, all shot in their bubbles as if interacting with characters who weren’t there. The joy and beauty they brought to the Nativity story has been a great Christmas gift to me in this strangest of Christmastides, and I pass it on to you. Merry Christmas, dear reader! May this holy season take you ever deeper into the Mystery of God-with-us.


Advent Lessons and Carols

Our parish service of Advent Lessons and Carols is virtual this year, using music recorded in 2019, and readers recorded in 2020. I added visuals inspired by the texts. The choir of St. Barnabas Episcopal Church on Bainbridge Island, Washington, is under the direction of Paul Roy, who also plays the organ. Priscilla Jones plays cello, and Rick Baty is on trumpet. The Rev. Karen Haig, rector of St. Barnabas, is the Officiant.

I share it here with my wish that your own Advent, dear reader, may be a season of hope and peace as the friends of God watch for the dawn.

The service music and notes on the images:

Veni Emmanuel (arr. Raymond H. Haan): The empty church at nightfall, like all of us scattered in our pandemic isolation, longs for the dawning of the day when God’s friends will once more fill this sacred space with thanks and praise.

Savior of the nations, come (Martin Luther’s variation on Ambrose of Milan, translated by William M. Reynolds and James Waring McCrady, with a powerful 16th century tune): Text and images celebrate the “wondrous birth.”

Adam lay ybounden (15th century text, setting by Boris Ord, 1897-1961): Had there been no apple and no Fall, the carol says, there would be no Queen of heaven and no Incarnate Word (some theologians dispute this—God wants to be with us under any circumstances—but the “felix culpa” is here charmingly argued). The last image here contrasts Eve picking an apple with Mary picking the sacramental Host to feed the people.

There is no rose of such virtue (15th century text, setting by Stephen Carraciolo): This lovely text compares Mary to a rose, and so do the images.

When the King shall come again (text by Christopher Idle, b. 1938): The images illustrate the hymn’s vision of a redeemed Creation: earth’s loveliness restored …rivers spring up … ransomed people march on God’s highway toward “the Lord with glory crowned.”

See, amid the winter’s snow (text by Edward Caswall, 1858; tune by John Goss, 1800-1880)): The text hails “redemption’s happy dawn” and gives us the key Nativity images, but the first line dictated the imagery, which I shot at home in winters past. The relaxing footage induces a contemplative mind receptive to the Mystery.

People, look east (words & music by Eleanor Farjeon, 1881-1965; arr. James E. Clemens): This lively carol prompts a variety of images— looking east at dawn (Mt. Rainier, Seattle from a ferry), home and hospitality (St. Barnabas in the snow), birds (pine siskins, goldfinches), stars, and angels (from Annunciation paintings). The final line, “Love, the Lord, is on the way,” inspired the linking of Mary’s pregnancy to the eucharist Host being adored by the angelic host.

Magnificat (setting by Thomas Attwood Walmisley): Mary’s great hymn of reversal is accompanied by diverse images of the Mother of God.

Lo, he comes with clouds descending: Charles Wesley’s great hymn of the Second Coming, with its stirring tune by Augustine Arne (1710-1788), calls for clouds and—unusual for the season—Passion imagery.

Sleepers, wake! A voice astounds us (arr. J.S. Bach): The words for this great Advent hymn call us to watch for the imminent dawn of salvation. Thus the images of the nocturnal moon (light in the darkness) conclude with sunrise light. The long night is over at last.

Praying the Hours (6): Vespers

This is the sixth in a series on the canonical hours, the ancient Christian practice for living a mindful day. The first, “Reclaiming My Time,” gives a general introduction, with a list of helpful resources for your own practice of prayer and meditation. This reflection considers Vespers, the transition between day and night.

Vesper Light, Island of Paros, Greece (Jim Friedrich, 2015).

Now the day is over, 
Night is drawing nigh, 
Shadows of the evening
Steal across the sky. 

— Sabine Baring-Gould [i]

This familiar 19th-century Vespers[ii] hymn was dropped from the Episcopal hymnal in the proposed revision of 1982. A selection committee had deemed the text too sentimental and the tune too simple (5 of its 8 bars are on the same note, a kind of Anglican “om!”). But when the new hymnal came to a vote at the church’s General Convention 38 years ago, a motion was made from the floor to restore this old favorite. I was present for that debate, when one delegate after another stepped to a microphone to declare how much that hymn had meant to them, how formative the singing of it had been for their sense of belonging to a spiritual community with a fondness for dusk. The motion passed easily, and the hymn was rescued from the ecclesiastical dumpster. 

Unlike its Vespers companions in the hymnal, its opening verse makes no mention of Christ or the Creator. It offers no theology of the day as divine gift, sings no praise to the Source of eternal brightness. It simply devotes quiet attention to the sensory data of the twilight hour: shadows lengthen, light fades. As temporal creatures, we have an inborn sensitivity to the vanishing of time. The Vesper drama, the most poignant of all the hours, is performed daily: sun goes … light fades … night falls. Failing to attend would impoverish both consciousness and spirit.

“Absolutely unmixed attention” (Simone Weil’s definition of prayer) is how to keep Vespers as a sacred hour, a time to engage with the sense of an ending and acknowledge our own temporality. Days must end, lives must end, and both passages deserve our profoundest attention.

Winter sunset, Washington coast (Jim Friedrich, 2016).

Fairer through Fading—as the Day
Into the Darkness dips away—
Half Her Complexion of the Sun—
Hindering—Haunting—Perishing—

— Emily Dickinson [iii]

How many Vespers have we missed, shut inside with the lights on or distracted by our screens? And when we do honor the hour with our attention, it is rarely in community. I suspect we could trace the affection for “Now the day is over” to the effect of ritualizing the inevitability of ending in the company of others. Such shared, collective awareness is a powerful thing. When I try now to recall memories of singing that hymn, I don’t see individual faces, but only a group, deeply united in song. It is always dusk, whether at a campfire or in a candlelit church as the windows grow dark. The strength of our voices feels surprising, surpassing their usual reticence, as if a greater power has possessed us in the form of sound.

For those of us not adept at goodbyes, bidding farewell to the day can produce a certain melancholy, but this is more than compensated by the beauty of the vesper light—the saturated sunset tints, the subtle tonalities of twilight.  

Vespers also prompts what Jesuits call the Examen: a prayerful review of the day. “In the evening we shall be examined on love,” warned St. John of the Cross, comparing day’s end to the Last Judgment. And, adds poet Thomas Centolella, “it won’t be multiple choice … No cheating, / we’ll be told … no more / daily evasions.” [iv]

From the perspective of the end, we can look back on the story of the day as a whole: How did it go, for good or ill? … Where did God meet us—and did we notice? … When did we remember—or forget—to be our truest selves? … And, most importantly, did we say yes to Love?

Few days go perfectly, and neither do we. But the spirit of evening’s Examen is not self-criticism but self-compassion. Whatever the day has brought, let it end not with regret but with gratitude. Vespers calls us home, after all, to the place where we are always welcome just as we are. 

Lord of all kindliness, Lord of all grace,
Your hands swift to welcome, your arms to embrace,
Be there at our homing, and give us, we pray,
Your love in our hearts, Lord, at the end of the day.
 [v]

Kathleen Norris learned “the true purpose of vespers” from her sojourns in monastic community. It is, she writes, “to let my body tell me, at the end of a workday, just how tired I am.” Vespers invites us to “let the day suffice, with all its joys and failings, its little triumphs and defeats.” [vi]

While I love daybreak, so full of possibility and potential energy, I think Vespers is my favorite hour—“sweeter than Matins,” said Emily Dickinson, who herself preferred the mature and mellow ripeness of the completed day to the freshly planted seeds of morning. It is an haven of peace. We put down our work and retire from the fray. We go homeward—and inward—to restore our bodies and nourish our souls. 

St. Anselm’s pastoral counsel from the Middle Ages seems even more necessary today:

“Flee for a while from your tasks, hide yourself for a little space from the turmoil of your thoughts. Come, cast aside your burdensome cares, and put aside your laborious pursuits.… Give your time to God, and rest in him for a little while. Enter into the inner chamber of your mind, shut out all things save God … and having barred the door of your chamber, seek him.” [vii]

Watch the sunset. Savor the fading light.
Look for the evening star. 
Light a candle. Love the silence. Let your heart speak.

Give thanks. 

Vesper moon and evening star at my grandfather’s summer place, Wacouta, MN (Jim Friedrich, 2018).

“Let evening come,” says Jane Kenyon in her lovely Vesper poem. “Let it come, as it will, and don’t / be afraid. God does not leave us / comfortless …” [viii] Yes, let it all come: darkness, ending, even death itself. Don’t be afraid. 

In the meantime, hallow the loveliness of Vespers’ daily gift,
so perfectly described by Breton poet Anjela Duval:[ix]

The day is now over,
The hour’s come I was waiting for.
After labor so material,
How sweet a spiritual hour.

I’m bathed here in tranquility.
I hear no sound around me.
But the sound of the pendulum,
Counting out drops of time.

The hour of prayer, hour of study,
Hour of dreaming, of fantasy,
Hour divine, full of ecstasy.

In this hour there’s so much happiness!
Only one thing’s missing to perfect it:
— In the hearth the singing of a cricket!


 


[i] Sabine Baring-Gould (1834-1924) published “Now the day is over” in 1865. It is in the Episcopal church’s The Hymnal 1982, #42. Baring-Gould was an Anglican priest, writer, and folk-song collector. His other best-known hymn, “Onward Christian Soldiers,” did not survive its deletion from the 1982 hymnal.

[ii] “Vespers” derives its name from Hesperus, the Evening Star (usually the planet Venus, sometimes Mercury) which appears in the West after sunset. Where I live, sunset is at 4:20 p.m. on the Winter Solstice and at 9:11 p.m. on the Summer Solstice, so Vespers can be a very moveable feast. 

[iii] Emily Dickinson’s “Fairer through Fading — as the Day” (938) compares the doomed beauty of twilight with the phenomenon of a dying friend seeming to look better just before dying.

[iv] Thomas Centolella, “In the Evening We Shall Be Examined on Love,” in Lights and Mysteries (Port Townsend, WA: Copper Canyon Press, 1995).

[v] Jan Struther (1901-1953), “Lord of all hopefulness,” The Hymnal 1982, #482. This “hours” hymn, with verses for waking, midday, evening and sleeping, is set to Slane, a lovely Irish tune. As a boy, I used to sing it walking home at dusk, after basketball or track practice. I‘ve always loved the way, in just 4 verses, it embeds us prayerfully in the daily round. 

[vi] Kathleen Norris, The Cloister Walk (New York: Riverhead Books, 1996), 237-238.

[vii] St. Anselm, Archbishop of Canterbury (1093-1109), was the most brilliant Western theologian between Augustine and Aquinas. Cited in Elizabeth Yates, A Book of Hours (Norton, CT: Vineyard Books, 1976), 42.

[viii] Jane Kenyon, “Let Evening Come,” Collected Poems (St. Paul, MN: Graywolf Press, 2005), 213.

[ix] Anjela Duval (1905-1981) was a peasant farmer in Brittany. She wrote her poems in the evening, after a hard day’s work in the fields. 

The Advent Collection (updated)

I’ve blogged about Advent—my favorite season—many times on “The Religious Imagineer” website. Click here for the updated list and links for all 15 Advent posts (2014-2020), covering theology, prayer practices, and innovative worship. I hope these words may be useful for your own Advent journey.

Coming next week: Praying the Hours (6): Vespers and Compline