Month: July 2019

Jesus famously said, “A house divided against itself shall not stand”. For those who would seize or destroy an institution, this is not merely descriptive but prescriptive. In recent years the outside world has watched in amazement as a vocal minority of activists has effectively seized control at a liberal institution of higher education. Disturbingly this may be only be the beginning of a new and uglier phase of the culture battle, in which a newer and more virulent strain of leftism finishes off the remnant of conservatives and begins to feed on its own political allies.

At Evergreen State College in Washington, student protests ultimately drove out two well liked liberal professors, who, their heads still reeling, wrote a postmortem on the chaos that descended. After the new president stopped protestors from derailing a convocation, he then reversed course and apologized for doing so, and opened a door to more of the same:

Even so, assume for the moment that Evergreen did have racism running rampant. Even under those conditions, would apologizing to students for asking them to respect the college and its invited speakers be the right move? Of course not.
What happened next was predictable. Protests became more frequent and intrusive. Protesters showed up at the swearing-in ceremony of the new campus police chief, Stacy Brown, and shut it down…Soon thereafter, protesters showed up at another ceremony, the dedication of a campus building to the last president of Evergreen, Les Purce. Purce happens to be black. Protesters grabbed the microphone and read an epithet-rich announcement claiming that the school is “unsafe for marginalized students.”

Much of the blame is placed upon the new president of the college who allied himself with the social justice warriors, encouraging ever more vocal protests, and shaming any who would dare question the new order.

A meeting was held in 2016 to “discuss” a new “Strategic Equity Plan”; no “discussion” was offered other than an invitation for attendees to come up onstage and step into an invisible canoe. Most did, to the sounds of Native American drum rhythms and recordings of surf. Prof Bret Weinstein chose not to go into the invisible canoe, and he circulated an opinion questioning the tactics as being intimidating. In turn, he received hate-laced emails.

The environment on campus deteriorated. Weinstein was denounced as a racist. Later a mob of protesters disrupted his class and held him hostage for a while.

Two of his students, neither of them white, attempted to defend him to the angry crowd. They were shouted down. Not following the faux-equity party line meant that you would be informed that you were wrong, that you were a traitor

The climate on campus deteriorated rapidly. Protestors stormed the last faculty meeting of the year, shutting it down. Then they blockaded the library. Thugs began patrolling the campus looking for Professor Weinstein, who was forced to hold class off campus. The police chief later resigned. Finally Prof Weinstein and his wife were asked by the administration to leave.

The irony is that they were (are) themselves from the political left, and had been protestors in their youth. This was a blow to them, and they wrote:

Why are we being advised by the social justice crowd that we shall not focus on the content of our character, but instead must focus primarily on the color of our skin (and our gender identification, sexual orientation, and various other signifiers of intersectional oppression)? This would be MLK’s nightmare. Why is it being handed a megaphone?

We agree. This portends a possible intellectual dark age coming to academia.

Source:
Heying and Weinstein (2017) “Bonfire of the academies: Two professors on how leftist intolerance is killing higher education.” The Washington Examiner. Online at https://www.washingtonexaminer.com/bonfire-of-the-academies-two-professors-on-how-leftist-intolerance-is-killing-higher-education

Quite by chance today I heard an interesting juxtaposition of two beautiful pieces of music. One, the haunting “When David Heard” by Thomas Tompkins, recalls the moment when Israel’s King David learns of the death of his son Absalom, killed as he was leading a rebellion against his own father. David, though spared, nevertheless cries out in agony, “O Absalom, my son! Would God I had died for thee.”

The other piece of music was an organ work by Johann Sebastian Bach, his Passacaglia and Fugue In C minor. The passacaglia was a Spanish dance form elevated to major effect by the Baroque master. This particular piece consists of a theme and 20 variations (or 21 variations comprising 7 sets of three, per French organist Marie-Claire Alain; this is a point of debate). The theme and variations—the Passacaglia— are then followed by a fugue upon the opening theme.

Though wordless, it is thought that Bach was using musical symbolism to express his deep Christian faith. Disagreement exists on how exactly one should interpret the piece, but the cross of Jesus is generally seen in the pattens tumbling forth from the notes. For example, Australian organist David Rumsey noted the following regarding the dramatic “Neapolitan Sixth” that marks a major pause in the middle of the piece:

“By extension we may therefore deduce that the Neapolitan Sixth at the end of section four of the Passacaglia strongly suggests “crucifixion”. Applied specifically to the Passacaglia we see the relationship to the climax of the New Covenant: the sacrifice of the Messiah.” (David Rumsey, 1992. “THE SYMBOLS OF THE BACH PASSACAGLIA”. Accessed online at http://www.davidrumsey.ch/Passacaglia.pdf)

The meaning of the crucifixion for Christians is summarized by St. Paul: “For if while we were enemies we were reconciled to God by the death of his Son, much more, now that we are reconciled, shall we be saved by his life.” (Romans 5:10)

The connection between these two stories that grabbed me was this. In the one instance the rebel died that the king may live. In the second instance, the King died that the rebel may live.