Preface: A Good Priest is Hard to Find

IF 0.2 4区 哲学 0 RELIGION LOGOS-A JOURNAL OF CATHOLIC THOUGHT AND CULTURE Pub Date : 2023-09-01 DOI:10.1353/log.2023.a909167
Ray MacKenzie
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Abstract

PrefaceA Good Priest is Hard to Find Ray MacKenzie Priests in Literature, Loss and Gain, Newman, Jules Barbey d'Aurevilly, L'Ensorcelée, Bewitched, Un prêtre marié, Gustave Flaubert, Madame Bovary Tolstoy opened Anna Karenina with the famous statement, "Happy families are just alike; every unhappy family is unhappy in its own way." One implication of that thesis may be that the happy—contented, satisfied with the world—character isn't very useful for fiction, where we demand conflict and struggle to keep things interesting. This all applies well to the literary depiction of religious figures, and especially of priests. There is no shortage of troubled priests in the literature of the twentieth and twenty-first centuries. From Alice McDermott's Father Gabe struggling with his sexuality in Someone (2013) to the deeply uninspired Father Joe in J. F. Powers's Wheat that Springeth Green (1988), we rarely meet a priest in modern fiction who simply, faithfully, and cheerfully goes about his duties. Maybe such a character is like Tolstoy's happy family—not very good material for fiction. We need to go back a generation or two, though, to come to the figure of the profoundly anguished priest hero. The two best-known examples are the unnamed narrator of Georges Bernanos's Diary of a Country Priest (1937) and the, again, unnamed but so-called "whiskey priest" of Graham Greene's The Power and the Glory (1940). [End Page 5] Bernanos's priest is in physical agony, dying of stomach cancer, but his spiritual struggles are equally agonizing: prayer itself becomes a near-impossibility, and the priest's loneliness in a parish that seems to have no use for him only adds to his torment. His parishioners treat him with suspicion, sometimes even hostility. In Greene's novel, we do see a priest acting heroically, continuing to provide the sacraments in an extremely dangerous environment of anti-Catholic persecution—but it is only the extreme political situation that brings out the hero in him, for before the persecution began, he was arrogant and unfeeling, so lax in his faith and so dedicated instead to his alcohol that he violates his vow of celibacy. Different as they are, Bernanos's and Greene's priests are both marked by the times they live in, times when the life of faith is lived on the margins of the culture, when such a life is at best odd and at worst suspect. Until something changes in our own culture, the priests we are likely to see represented in our literature and art are probably going to be similarly troubled individuals. A secularized culture, faith marginalized or mocked, consumerism elevated to the status of supreme good—all this didn't begin with the twentieth century, but it seems to have become more and more obvious, at least to writers and thinkers, sometime around the middle of the nineteenth. A good example of the phenomenon can be found in the sheer bitterness and intensity of Dickens's attack on utilitarian culture, especially in his Hard Times (1854), where education has become a process of dehumanizing, and where the laborer is reduced to the status of a "hand," a word Dickens returns to many times in the tale. That bitterness suggests that people could see that things were changing, that the modern world was no longer looking like a step on the road to utopia, and that urgent change was needed. A few issues back I wrote about Dickens's contemporary Thomas Carlyle,1 who likewise viewed with alarm the direction the culture was moving, and who spoke out in tones reminiscent of Old Testament prophets in his denunciation of the new, mechanistic, dehumanized world that was rapidly pushing out the older one. If, then, people in the mid-nineteenth century were seeing the [End Page 6] deep cultural change that became what we now call modernism, we might think about how priests were depicted then. Among the major writers of the century, a good priest, as O'Connor would have put it, is hard to find—a simply good priest, that is, one not wracked by guilt or doubt or some other...
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前言:好牧师难寻
《文学中的牧师》、《得失》、纽曼、朱尔斯·巴贝·德·奥雷维利、L' ensorcel、《魔咒》、《unprêtre mari》、古斯塔夫·福楼拜、包法利夫人托尔斯泰在《安娜·卡列尼娜》开头说了一句著名的话:“幸福的家庭都是相似的;不幸的家庭各有各的不幸。”这一论点的一个暗示可能是,对世界感到满意的快乐-满足-角色对小说并不是很有用,因为我们需要冲突和努力来保持事物的趣味性。这些都适用于对宗教人物的文学描写,尤其是对牧师的描写。在二十世纪和二十一世纪的文学作品中,不乏陷入困境的牧师。从爱丽丝·麦克德莫特(Alice McDermott)在《某人》(2013)中饰演的加布神父(Father Gabe)为自己的性取向而苦苦挣扎,到j·f·鲍尔斯(J. F. Powers)的《小麦之春》(Wheat that Springeth Green)(1988)中极度缺乏灵感的乔神父(Father Joe),我们很少能在现代小说中遇到一个牧师,他只是简单地、忠实地、愉快地履行自己的职责。也许这样一个角色就像托尔斯泰笔下的幸福家庭——不是很好的小说素材。不过,我们需要追溯到一两代人之前,才能看到这位极度痛苦的牧师英雄。最著名的两个例子是乔治·伯纳诺斯的《乡村牧师日记》(1937)中没有名字的叙述者,以及格雷厄姆·格林的《权力与荣耀》(1940)中没有名字但被称为“威士忌牧师”的叙述者。伯南诺斯的牧师身体极度痛苦,即将死于胃癌,但他的精神挣扎同样令人痛苦:祈祷本身几乎是不可能的,牧师在一个似乎对他毫无用处的教区的孤独只会增加他的痛苦。他的教民对他充满怀疑,有时甚至怀有敌意。在格林的小说中,我们确实看到了一位表现英勇的牧师,在反天主教迫害的极端危险环境中继续提供圣礼——但只有极端的政治环境才激发了他的英雄气质,因为在迫害开始之前,他傲慢无情,对信仰如此放松,对酒精如此专注,以至于违背了他的独身誓言。伯纳诺斯和格林笔下的牧师虽然不同,但他们都被他们所处的时代所标记,在那个时代,信仰生活被生活在文化的边缘,这种生活往好里说是奇怪的,往坏里说是可疑的。在我们自己的文化有所改变之前,我们可能会在文学和艺术中看到代表的牧师可能会是类似的困扰个体。一种世俗化的文化,一种被边缘化或被嘲笑的信仰,一种被提升为至善的消费主义——这一切都不是从20世纪开始的,但似乎在19世纪中期的某个时候变得越来越明显,至少对作家和思想家来说是这样。这种现象的一个很好的例子是狄更斯对功利主义文化的猛烈抨击,尤其是在他的《艰难时期》(1854)中,在那里,教育已经成为一个去人性化的过程,劳动者被贬低为“手”的地位,狄更斯在故事中多次提到这个词。这种痛苦表明,人们可以看到事情正在发生变化,现代世界不再像是通往乌托邦的道路上的一步,迫切需要变革。几期之前,我写过狄更斯同时代的托马斯·卡莱尔,他同样惊恐地观察着文化的发展方向,他的语气让人想起旧约先知,他谴责这个新的、机械的、非人性化的世界正在迅速地把旧的世界排挤出去。那么,如果19世纪中期的人们看到了我们现在所说的现代主义的深刻文化变革,我们可能会思考当时的牧师是如何被描绘的。正如奥康纳所说,在本世纪的主要作家中,很难找到一个好牧师——一个简单的好牧师,也就是说,一个不被内疚、怀疑或其他什么折磨的人……
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期刊介绍: A Journal of Catholic Thought and Culture is an interdisciplinary quarterly committed to exploring the beauty, truth, and vitality of Christianity, particularly as it is rooted in and shaped by Catholicism. We seek a readership that extends beyond the academy, and publish articles on literature, philosophy, theology, history, the natural and social sciences, art, music, public policy, and the professions. Logos is published under the auspices of the Center for Catholic Studies at the University of St. Thomas, St. Paul, Minnesota.
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