“What will survive of us is love,” writes Philip Larkin in his remarkably unsentimental poem “An Arundel Tomb.” He is reflecting on the recumbent stone effigy over the grave of a couple buried long ago in an ancient church.
Maybe we should take a step further, however, and say that love is that which not only “survives” but also rises, or is raised, from any and every grave. This is especially important to bear in mind in the face of all the threats to love, those powers and forces that try to bury it.
It’s the second movement of Leonard Bernstein’s choral work, Chichester Psalms. A boy soprano (or a countertenor), in the “role” of the shepherd boy, David, sings in Hebrew the opening verses of Psalm 23. He is accompanied–sparingly, fittingly–by the harp. The first several measures are tender but not tentative; filled with sentiment, but without sentimentality (this per Bernstein’s instructions). When the women’s voices take over the text at גַּם כִּי־אֵלֵךְ בְּגֵיא צַלְמָוֶת . . . (Yea, though I walk through the valley of the shadow of death . . .) there’s an ethereal echo-canon effect. This part of the movement, when executed well, is something sublime.
The first thing that struck me about First Presbyterian Church in Dallas was not the imposing building where one of my longtime heroes, John Anderson, once served as senior pastor. No, the first thing that grabbed my attention that day was the church sign: "Justice is love distributed."
William Sloane Coffin once noted that just as there is ultimately only
one hymn, "A Mighty Fortress Is Our God," there is also only one psalm,
the 23rd. You might select a different hymn, but the psalm that is on
the hearts and lips of most believers—and even those who reside at the
edges of our communities, emerging only on rare occasions—is the 23rd.