A Quote by Thomas Merton

The Bible is not primarily a written or printed text to be scrutinized in private, in a scholar's study or a contemplative cell. It is a body of oral messages, announcements, prophecies, promulgations, recitals, histories, songs of praise, lamentations, etc., which are meant either to be uttered or at least read aloud, or chanted, or sung, or recited in a community convoked for the purpose of a living celebration.
Writing is for stories to be read, books to be published, poems to be recited, plays to be acted, songs to be sung, newspapers to be shared, letters to be mailed, jokes to be told, notes to be passed, recipes to be cooked, messages to be exchanged, memos to be circulated, announcements to be posted, bills to be collected, posters to be displayed and diaries to be concealed. Writing is for ideas, action, reflection, and experience. It is not for having your ignorance exposed, your sensitivity destroyed, or your ability assessed.
I do not believe that God intended the study of theology to be dry and boring. Theology is the study of God and all his works! Theology is meant to be LIVED and PRAYED and SUNG! All of the great doctrinal writings of the Bible (such as Paul's epistle to the Romans) are full of praise to God and personal application to life.
People get strange about whether you've written your own songs, which seems really stupid considering that, especially in Country Music, it's about oral tradition and passing things on and the songs weren't meant to be played by one person and then forgotten.
Study prophecies when they are become histories.
There is nothing terribly difficult in the Bible - at least in a technical way. The Bible is written in street language, common language. Most of it was oral and spoken to illiterate people. They were the first ones to receive it. So when we make everything academic, we lose something.
IN PERSIA I SAW that poetry is meant to be set to music & chanted or sung--for one reason alone--because it works.A right combination of image & tune plunges the audience into a hal (something between emotional/aesthetic mood & trance of hyperawareness), outbursts of weeping, fits of dancing--measurable physical response to art. For us the link between poetry & body died with the bardic era--we read under the influence of a cartesian anaesthetic gas.
Ressentiment is always to some degree a determinant of the romantic type of mind. At least this is so when the romantic nostalgia for some past era (Hellas, the Middle Ages, etc.) is not primarily based on the values of that period, but on the wish to escape from the present. Then all praise of the “past” has the implied purpose of downgrading present-day reality.
There are only two reasons for buying a book, after all. Either we intend to read it, in which case most of us find a printed version preferable, or we don't intend to read it, in which case a printed version is absolutely essential.
I never send a story off until I have read it aloud to at least two or three people. Because when I read - and I don't need their criticism, what I need is my own - when I read it aloud, there is a flow, there is a poetry to it.
Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.
What I mean by context is worldview - having the ancient Israelite or first-century Jew in your head as you read. How would an ancient Israelite or first-century Jew read the Bible - what would they be thinking in terms of its meaning? The truth is that if we put one of those people into a small group Bible study and asked them what they thought about a given passage meant, their answer would be quite a bit different in many cases than anything the average Christian would think. They belonged to the world that produced the Bible, which is the context the Bible needs to be understood by.
Unlike most readers in Antiquity who read their books aloud, we have developed the convention of reading silently. This lets us read more widely but often less well, especially when what we are reading-such as the plays of Shakespeare and Holy Scripture-is a body of oral material that has been, almost but not quite accidentally, captured in a book like a fly in amber.
The Bible, when not read in schools, is seldom read in any subsequent period of life...The Bible...should be read in our schools in preference to all other books because it contains the greatest portion of that kind of knowledge which is calculated to produce private and public happiness.
Following the invention of writing, the special form of heightened language, characteristic of the oral tradition and a collective society, gave way to private writing. Records and messages displaced the collective memory. Poetry was written and detached from the collective festival.
Every cell in our body, whether it's a bacterial cell or a human cell, has a genome. You can extract that genome - it's kind of like a linear tape - and you can read it by a variety of methods. Similarly, like a string of letters that you can read, you can also change it. You can write, you can edit it, and then you can put it back in the cell.
I write about the period 1933-42, and I read books written during those years: books by foreign correspondents of the time, histories of the time written contemporaneously or just afterwards, autobiographies and biographies of people who were there, present-day histories of the period, and novels written during those times.
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