Francis Schaeffer Perspective #4, Art is not Sacred

Perspective #4: The fact that something is a work of art does not make it sacred.

Schaeffer’s point here is that the greatness of the work of art does not validate that world view of the artist. This is a caution against letting the power of the art blind the viewer to any distortion or lack of truthfulness about the way things are as portrayed by the art. I think song can illustrate this point quite well. Song has a powerful impact on the whole makeup of a person. It seems to awaken a sensitivity within the psyche that makes one susceptible to the truth-claims of the song. Song is the combination of musical instrument(s), style, lyrics, and the personal touch of the one(s) who perform. Together, these components can produce something that keeps coming back long after the original hearing of the work. The message of the lyrics play again and again in one’s head, and the music with its melody, harmony, rhythm, and beat reinforces that message. The 1973 rock opera, Jesus Christ Superstar, is a case in point. I have never seen its performance, but I have heard much of the music to know that the Jesus of the opera is a phantom, and a dangerous one who destroys the imagery and truth of the Jesus of the Four Gospels. The tune was catchy and resonated with the lyrics.

Jesus Christ
Jesus Christ
Who are you? What have you sacrificed?
Jesus Christ
Jesus Christ
Who are you? What have you sacrificed?
Jesus Christ
Superstar
Do you think you're what they say you are?
Jesus Christ
Superstar
Do you think you're what they say you are?

Tell me what you think
About your friends at the top
Now who d'you think besides yourself
Was the pick of the crop?
Buddah was he where it's at?
Is he where you are?
Could Muhammmed move a mountain
Or was that just PR?
Did you mean to die like that?
Was that a mistake or
Did you know your messy death
Would be a record breaker?

Contrast that with Man of Sorrows (Philip P. Bliss, 1875):

“Man of Sorrows,” what a name
For the Son of God who came
Ruined sinners to reclaim!
  Hallelujah! what a Savior!

Bearing shame and scoffing rude,
In my place condemned He stood;
Sealed my pardon with His blood;
  Hallelujah! what a Savior!

Guilty, vile, and helpless, we,
Spotless Lamb of God was He;
Full redemption—can it be?
  Hallelujah! what a Savior!

Lifted up was He to die,
“It is finished!” was His cry;
Now in heaven exalted high;
  Hallelujah! what a Savior!

When He comes, our glorious King,
To His kingdom us to bring,
Then anew this song we’ll sing
  Hallelujah! what a Savior!

The psalms and hymns of our Sunday worship are a powerful force, and the church must be ever careful in the theology of its lyrics. There are some hymns, whose theology or egocentricity I find so offensive, I refuse to sing though all others around me participate.

Because the power of the art is so influential in pressing home the world-view it contains, the Christian artist must be careful not to portray inadvertently a perspective that is unbiblical. Christian speculative fiction is especially in danger. Take, for example, a Christ figure. Aslan from the Chronicles of Narnia is such a figure. Is there anything in Aslan’s behavior, speech, mood, or countenance that could portray a Christ that is unbiblical. True, we cannot control the imagination of the reader, but we should take care not to give anything questionable that the imagination can dwell on.

This danger is heightened when the speculative writing is turned into cinema with the wondrous graphics it has today. The imagination is far more passive in taking on the imprint of what is physically seen and heard. That is what I found so disturbing about the Passion of the Christ (2004, directed by Mel Gibson) and it is what I so much appreciated about Ben Hur (1959, directed by William Wyler). In The Passion, the body language, facial expressions, and mood made Christ, the Lamb without blemish, to be no different than any other (sinful) human – there was not the beauty of holiness that marked the Christ of the gospels. In Ben Hur, one never saw the face of Christ. Only once was there a full body shot, and it was from behind when Christ is about to deliver the Sermon on the Mount. A sacred respect about the character and manner of the Messiah was maintained. This is not a small matter when we consider that Christ revealed (exegeted, John 1:18) the Father, and we may assume that he did this in the minutest detail of his speech, facial expressions, and mannerism.