Verbum Spirans Amorem
A Meditation in Four Movements
Piwnica
Artystyczna Kurylewiczów, Warsaw, 5 July 2010
First Movement
Imagine a father speaking to his infant daughter and saying to her, over
and over again, the word ‘love’. The infant cannot understand this word – or
can she? The infant babbles something back to the father, giving him great joy
and happiness. He cannot understand the sounds she is making, her balbutiendo – or can he? Although she
cannot understand what he says, and he cannot understand what she says, the
reality of which he speaks – love – is being established between them through
this communication that neither understands. Or do they?
Second Movement
Some years ago the literary critic and philosopher George Steiner
published a book called Real Presences:
Is There Anything In What We Say? He says that there are millions of
words processed every day: bureaucratic words, political words, technical
words, the words of PhD dissertations, and so on. But is there any properly
human depth to any of these words? His argument is that it is only in relation
to a transcendent that words gain properly human depth. Works of art, music and
literature only have such depth when they belong to the search for a
transcendent, or are rejecting a transcendent, or are reacting to a transcendent.
In Marco Bruno’s poem about Ireland he speaks of a search for something
‘infinite’ in his journey around something finite. Steiner believes all art,
music and literature needs this orientation to the transcendent, the infinite,
if it is to be worthy of human beings.
Third Movement
I worked this year with a philosopher for whom it was very important
that as well as our words there is what he called ‘the word’ and that it is
only when our words are attended by what he called ‘the word’ that they gain
meaning. If there is to be meaning we must wait for ‘the word’ that comes to
open up the space of meaning. He saw this teaching, for example, in Socrates’
way of conversing. I can only understand this theologically, as a reference to
the Divine Word that was in the beginning, the original and originating Word of
creation, the original and originating speaking of God, of which all our words
are echoes, and to which all our words are responses.
Fourth Movement
The phrase verbum spirans amorem
is from a theologian, Thomas Aquinas (Summa
theologiae I 43, 5 ad 2). The ‘word that breathes love’ refers in the first
place to the Divine Son and the Holy Spirit. The phrase also reminds us that
the Divine Word is always a word of poetry because it is a word that breathes
love. This means it is a word addressed not only to intellect but also to
feeling and imagination and sensation. It is a creative and musical word that
is felt and experienced. It is a tasted word, sapiential in the literal sense, sapida scientia, tasted knowledge. The
father addressing his infant daughter utters a word that breathes love,
establishing love between them as he speaks to her and she babbles back. For
early Christian teachers the human being is an infant babbling as he tries to
speak about God, not knowing what he is saying and yet saying something
essential. Art, poetry and music are conversations like this, ways of seeking
to share beauty and truth, establishing those things between us and among us as
we engage in such conversations. And we cannot really understand these
conversations – or can we?
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