“In keeping silent about evil, in burying it so deep within us that no sign of it appears on the surface, we are implanting it, and it will rise up a thousand fold in the future. When we neither punish nor reproach evildoers, we are not simply
protecting their trivial old age, we are thereby ripping the foundations of justice from beneath new generations.”
― Aleksandr I. Solzhenitsyn, The Gulag Archipelago
AMOS 5:4-20
4 For thus says the Lord to the house of Israel: “Seek me and live; 5 but do not seek Bethel, and do not enter into Gilgal or cross over to Beersheba; for Gilgal shall surely go into exile, and Bethel shall come to nothing.” 6 Seek the Lord and live, lest he break out like fire in the house of Joseph, and it devour, with none to quench it for Bethel, 7 O you who turn justice to wormwood and cast down righteousness to the earth! 8 He who made the Pleiades and Orion, and turns deep darkness into the morning and darkens the day into night, who calls for the waters of the sea and pours them out on the surface of the earth, the Lord is his name; 9 who makes destruction flash forth against the strong, so that destruction comes upon the fortress. 10 They hate him who reproves in the gate, and they abhor him who speaks the truth. 11 Therefore because you trample on the poor and you exact taxes of grain from him, you have built houses of hewn stone, but you shall not dwell in them; you have planted pleasant vineyards, but you shall not drink their wine. 12 For I know how many are your transgressions and how great are your sins— you who afflict the righteous, who take a bribe, and turn aside the needy in the gate. 13 Therefore he who is prudent will keep silent in such a time, for it is an evil time. 14 Seek good, and not evil, that you may live; and so the Lord, the God of hosts, will be with you, as you have said. 15 Hate evil, and love good, and establish justice in the gate; it may be that the Lord, the God of hosts, will be gracious to the remnant of Joseph. 16 Therefore thus says the Lord, the God of hosts, the Lord: “In all the squares there shall be wailing, and in all the streets they shall say, ‘Alas! Alas!’ They shall call the farmers to mourning and to wailing those who are skilled in lamentation, 17 and in all vineyards there shall be wailing, for I will pass through your midst,” says the Lord. 18 Woe to you who desire the day of the Lord! Why would you have the day of the Lord? It is darkness, and not light, 19 as if a man fled from a lion, and a bear met him, or went into the house and leaned his hand against the wall, and a serpent bit him. 20 Is not the day of the Lord darkness, and not light, and gloom with no brightness in it?
ST. THOMAS’S PRAYER BEFORE DESIRE
Therefore, let us desire nothing else, let us want nothing else, let nothing else please us and cause us delight except you our Creator, Redeemer and Savior, the only true God, Who is the fullness of good, all good, every good, the true and supreme good, Who alone is good, merciful, gentle, delightful, and sweet, Who alone is holy, just, true, holy, and upright, Who alone is kind, innocent, clean, from Whom, through Whom and in Whom is all pardon, all grace, all glory of all penitents and just ones, of all the blessed rejoicing together in heaven. Amen.
ART APPRECIATION
The Thinker was originally intended to represent the poet Dante as he contemplated writing his Divine Comedy. Rodin also paid tribute to Michelangelo in his sculpture by making his figure muscular and valiant. The Thinker has become known all over the world as a symbol of philosophy and knowledge.
1
Auguste Rodin (1840-1970) was born in Paris and studied drawing and painting at the Petite Ecole, a school that specialized in art and mathematics. When he was seventeen, Rodin submitted a sculpture to the Grand Ecole, a renowned art school, but he was not accepted into the school even after several attempts. Rodin earned a living as a craftsman, ornamentor, and art director of a porcelain factory until he gained prominence as an artist. Rodin was accused of taking a cast from a living model. He was later cleared of this charge. Although Rodin is often considered a leader in modern sculpture, he was schooled traditionally and took a craftsmanlike approach to his work.
2
MUSIC APPRECIATION
| Gone with the Wind Soundtrack Suite |
The score for Gone With the Wind, by Max Steiner (1888 – 1971), is one of the greatest and best-known of all film music and is the highest and most immediate representation of music of Hollywood’s pre-World War II Golden Age.
David O. Selznick was halfway through shooting the immense Southern epic when, in March 1939, he sent a memo to the general manager of his studios that it was time to engage a composer and suggested Max Steiner. The Viennese-born Steiner was already a ten-year veteran of scoring sound pictures. Steiner, who had lived in the U.S. since 1915, working primarily in theatrical music, is credited as being the first to use non-source music (i.e., the audience does not see where the music comes from and, as Steiner realized, does not care) and the first to use music under dialogue. In King Kong (1933), he pioneered the use of leading motives, themes associated with characters or dramatic symbols that can be developed in parallel with the dramatic development in films.
3
Max Steiner (1888-1971) was more so than any other iconic Hollywood film composer, a difficult sell for contemporary audiences. On the one hand, in Hollywood he was and remains universally acknowledged as the “father of film music.” As a composer, Steiner’s music had extraordinary influence on the techniques, approaches, and conventions that remain the foundation of film music in the Western world. It was Steiner who established the Wagnerian leitmotif convention for cinema, Steiner who pioneered the click track, Steiner who gave us the concept of “Mickey Mousing” (though that certainly isn’t what he called it), Steiner who made people realize the role that music can play in establishing a picture’s sense of spectacle, and Steiner who established the defining cultural music idioms in nearly every genre he touched.4
- Lange, Krista, and Leigh Lowe. First Grade Enrichment: Classical Core Curriculum. Teacher Guide. Memoria Press, 2017. ↩︎
- Ibid. ↩︎
- Stevenson , Joseph. “Gone with the Wind, Film Score: Details.” AllMusic, http://www.allmusic.com/composition/gone-with-the-wind-film-score-mc0002372144. Accessed 14 Jan. 2025.
↩︎ - Cote, Paul. “Max Steiner.” IFMCA: International Film Music Critics Association, 10 June 2012, filmmusiccritics.org/ifmca-legends/max-steiner/#:~:text=Max%20Steiner%2C%20perhaps%20more%20so,difficult%20sell%20for%20contemporary%20audiences.
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Providence School of Tifton 