{"title":"“践踏储藏愤怒葡萄的年份”:评《共和国战歌》的遗产","authors":"L. Claassens","doi":"10.5952/55-3-4-653","DOIUrl":null,"url":null,"abstract":"“The Battle Hymn of the Republic,” written in 1861 by Julia Howe in the context of the American Civil War, indeed has a rich reception history in American public discourse and popular culture. So this hymn was cited by Martin Luther King in his last speech before being assassinated in 1968; it was sung at the memorial service for 9/11 at the National Cathedral in Washington DC and most recently at Barack Obama’s inauguration service in January 2013. This hymn moreover has served as inspiration for John Steinbeck’s novel, The Grapes of Wrath as well as John Updike’s novel In the Beauty of the Lilies. \nAnd yet, this hymn is steeped in violence as it draws on biblical imagery that imagines God as a violent warrior who will deal decisively with God’s enemies. The first stanza in particular utilizes imagery of God trampling the wine press in Isaiah 63 in which the blood of the enemies are staining God’s robes red, which in turn is picked up by the author of the book of Revelation. This violence at the heart of the “Battle Hymn” is problematic indeed. As Dominic Tierney writes in an article in The Atlantic, “the ‘Battle Hymn’ is a warrior’s cry and a call to arms. Its vivid portrait of sacred violence captures how Americans fight wars, from the minie balls of the Civil War to the shock and awe of Iraq” (Nov 4, 2010). \nIn this paper, I will investigate the complex reception history of this popular hymn in (American) public discourse as well as its biblical origins in the portrayal of God and violence in prophetic literature of the Old Testament. I will ask whether the violent origins of the divine metaphor hamper its applicability to just causes such as the fight for gender and racial justice. \nThis question is particularly important to consider as we are faced globally with the question of how God is invoked in public discourse – most recently in my South African context by President Jacob Zuma, who famously has said that the ANC would rule until Jesus will come again. In an address to the 33rd Presbyterian Synod in Giyani, Limpopo in October 2013, Pres Zuma is reported to have invoked the wrath of God upon those individuals who do not respect his leadership, raising disconcerting questions regarding the link between divine violence and violence in political discourse.","PeriodicalId":18902,"journal":{"name":"Nederduitse Gereformeerde Teologiese Tydskrif","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2015-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"\\\"Trampling out the vintage where the grapes of wrath are stored\\\" : assessing the legacy of \\\"The Battle Hymn of the Republic\\\"\",\"authors\":\"L. Claassens\",\"doi\":\"10.5952/55-3-4-653\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"“The Battle Hymn of the Republic,” written in 1861 by Julia Howe in the context of the American Civil War, indeed has a rich reception history in American public discourse and popular culture. So this hymn was cited by Martin Luther King in his last speech before being assassinated in 1968; it was sung at the memorial service for 9/11 at the National Cathedral in Washington DC and most recently at Barack Obama’s inauguration service in January 2013. This hymn moreover has served as inspiration for John Steinbeck’s novel, The Grapes of Wrath as well as John Updike’s novel In the Beauty of the Lilies. \\nAnd yet, this hymn is steeped in violence as it draws on biblical imagery that imagines God as a violent warrior who will deal decisively with God’s enemies. The first stanza in particular utilizes imagery of God trampling the wine press in Isaiah 63 in which the blood of the enemies are staining God’s robes red, which in turn is picked up by the author of the book of Revelation. This violence at the heart of the “Battle Hymn” is problematic indeed. As Dominic Tierney writes in an article in The Atlantic, “the ‘Battle Hymn’ is a warrior’s cry and a call to arms. Its vivid portrait of sacred violence captures how Americans fight wars, from the minie balls of the Civil War to the shock and awe of Iraq” (Nov 4, 2010). \\nIn this paper, I will investigate the complex reception history of this popular hymn in (American) public discourse as well as its biblical origins in the portrayal of God and violence in prophetic literature of the Old Testament. I will ask whether the violent origins of the divine metaphor hamper its applicability to just causes such as the fight for gender and racial justice. \\nThis question is particularly important to consider as we are faced globally with the question of how God is invoked in public discourse – most recently in my South African context by President Jacob Zuma, who famously has said that the ANC would rule until Jesus will come again. In an address to the 33rd Presbyterian Synod in Giyani, Limpopo in October 2013, Pres Zuma is reported to have invoked the wrath of God upon those individuals who do not respect his leadership, raising disconcerting questions regarding the link between divine violence and violence in political discourse.\",\"PeriodicalId\":18902,\"journal\":{\"name\":\"Nederduitse Gereformeerde Teologiese Tydskrif\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2015-01-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Nederduitse Gereformeerde Teologiese Tydskrif\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5952/55-3-4-653\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nederduitse Gereformeerde Teologiese Tydskrif","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5952/55-3-4-653","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
《共和国战歌》(The Battle Hymn of The Republic)是朱莉娅·豪(Julia Howe) 1861年在美国内战背景下创作的,在美国公共话语和大众文化中确实有着丰富的接受历史。马丁·路德·金在1968年被暗杀前的最后一次演讲中引用了这首赞美诗;这首歌曾在华盛顿特区国家大教堂举行的911纪念仪式上演唱,最近一次是在2013年1月巴拉克·奥巴马的就职典礼上。这首赞美诗还为约翰·斯坦贝克的小说《愤怒的葡萄》和约翰·厄普代克的小说《百合花之美》提供了灵感。然而,这首赞美诗充满了暴力,因为它引用了圣经的意象,把上帝想象成一个暴力的战士,他会果断地对付上帝的敌人。第一节特别利用了以赛亚书63章中上帝践踏压酒机的形象,敌人的血把上帝的袍子染红了,这又被启示录的作者引用了。《战歌》核心的这种暴力确实有问题。正如多米尼克·蒂尔尼(Dominic Tierney)在《大西洋月刊》(The Atlantic)的一篇文章中所写的那样,“《战歌》是战士的呐喊和战斗的召唤。”它生动地描绘了神圣的暴力,捕捉了美国人是如何打仗的,从内战的米尼球到伊拉克的震惊和敬畏。在本文中,我将调查这首流行赞美诗在(美国)公共话语中的复杂接受历史,以及它在旧约预言文学中对上帝和暴力的描绘中的圣经起源。我将问,神圣隐喻的暴力起源是否妨碍了它在正义事业中的适用性,比如为性别和种族正义而战。当我们在全球范围内面临着如何在公共话语中引用上帝的问题时,考虑这个问题尤为重要——最近在我的南非背景下,雅各布祖马总统说过一句著名的话,即非国大将统治直到耶稣再来。据报道,2013年10月,在林波波省Giyani举行的第33届长老会会议上,祖马总统在演讲中援引上帝对那些不尊重他领导的人的愤怒,提出了关于神圣暴力与政治话语中的暴力之间联系的令人不安的问题。
"Trampling out the vintage where the grapes of wrath are stored" : assessing the legacy of "The Battle Hymn of the Republic"
“The Battle Hymn of the Republic,” written in 1861 by Julia Howe in the context of the American Civil War, indeed has a rich reception history in American public discourse and popular culture. So this hymn was cited by Martin Luther King in his last speech before being assassinated in 1968; it was sung at the memorial service for 9/11 at the National Cathedral in Washington DC and most recently at Barack Obama’s inauguration service in January 2013. This hymn moreover has served as inspiration for John Steinbeck’s novel, The Grapes of Wrath as well as John Updike’s novel In the Beauty of the Lilies.
And yet, this hymn is steeped in violence as it draws on biblical imagery that imagines God as a violent warrior who will deal decisively with God’s enemies. The first stanza in particular utilizes imagery of God trampling the wine press in Isaiah 63 in which the blood of the enemies are staining God’s robes red, which in turn is picked up by the author of the book of Revelation. This violence at the heart of the “Battle Hymn” is problematic indeed. As Dominic Tierney writes in an article in The Atlantic, “the ‘Battle Hymn’ is a warrior’s cry and a call to arms. Its vivid portrait of sacred violence captures how Americans fight wars, from the minie balls of the Civil War to the shock and awe of Iraq” (Nov 4, 2010).
In this paper, I will investigate the complex reception history of this popular hymn in (American) public discourse as well as its biblical origins in the portrayal of God and violence in prophetic literature of the Old Testament. I will ask whether the violent origins of the divine metaphor hamper its applicability to just causes such as the fight for gender and racial justice.
This question is particularly important to consider as we are faced globally with the question of how God is invoked in public discourse – most recently in my South African context by President Jacob Zuma, who famously has said that the ANC would rule until Jesus will come again. In an address to the 33rd Presbyterian Synod in Giyani, Limpopo in October 2013, Pres Zuma is reported to have invoked the wrath of God upon those individuals who do not respect his leadership, raising disconcerting questions regarding the link between divine violence and violence in political discourse.