Affections

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Three themes dominate James Smith’s You Are What You Love: The Spiritual Power of Habit. (1) Our loves are like unconscious dispositions we have towards the things and events around us and they reveal our identity. (2) The habituation of godly virtues forms our inner self-our soul. So while gaining knowledge of God and His Word is vital to discipleship, the gaining of virtues—the forming of the soul—is the core of discipleship. (3) The primary way of gaining virtues (of forming the soul) is liturgy in the church.

Chapter 1 explores love and worship. Which is more indicative of our identity? What we love, or what we think? Smith argues that what we love defines our identity. We as humans love something. “You can’t not love.”¹ Our loves dictate our choices. Smith compares our loves to our compass, a default orientation of the soul.

Virtues are the habituated, internalized inclinations of the soul “to be compassionate, forgiving, and so forth.”² “As Aristotle put it, when you’ve acquired a moral habit, it becomes second nature.”³ “Those habits that become ‘second’ nature operate in the same way: they become so woven into who you are that they are as natural for you as breathing and blinking. You don’t have to think about or choose to do these things: they come naturally.”⁴ “In fact, if I have to deliberate about being compassionate, it’s a sure sign I lack the virtue!”⁵

One of the things that always amuses me about being a pastor’s wife is that people think they have to be careful around me. As if I have a delicate condition that can’t handle the realities of the world. In order to protect me, they shuffle, they fumble, they apologize and then use euphemisms to describe situations that I could paint in living color. What they don’t understand is that, behind this genteel exterior, I’ve seen it all.

Reposted, with permission, from Theologically Driven.

WikiAnswers poses the question, “Why does music exist?” then self-replies: “Because it brings happiness to people all over the world.”

We must grant that WikiAnswers is scarcely an authoritative reference source, but it does offer a window on popular culture. It reflects that a common reason (and perhaps the most common reason) for the societal “doing” of music today is to forget the pain, grief, anxiety, dreariness, and simple ennui of life and enter an imaginary world where one can have the emotional experience of his choice—usually a happy one. Ironically, the historically central idea of “music” (fr. the Grk. μοῦσα, to muse, think, remember, or reflect) has been transformed in the last century into its own etymological opposite—an occasion, whether active or passive, for not “musing,” or, supplying the alpha privative, a venue foramusement. This is not to say that music as amusement or as a means of forgetting is always bad (see in principle Prov. 31:7), but it does reflect a total reversal of the Western tradition concerning the central purpose of music.

Of course, history only slightly improves on Wiki in terms of warrant. Still it is interesting to know that the perceived function of music from the classical period to the rise of populism was as an aid to musing and remembering, or perhaps better, as a means to creating the affective distance necessary to fostering reflection.