Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-2pzkn Total loading time: 0 Render date: 2024-05-16T10:37:58.377Z Has data issue: false hasContentIssue false

Chapter 10 - Sing a new song

Published online by Cambridge University Press:  07 September 2011

Brent D. Shaw
Affiliation:
Princeton University, New Jersey
Get access

Summary

People who separate themselves from the community of the holy are not singing a new song. They are following the music of old hatreds, not the new music of charity. What is the music of this new charity? It is peace.

(Augustine)

It is forbidden to kill. Therefore every killer is punished, unless he kills as part of a large crowd and to the sound of trumpets. That's the rule.

(Voltaire)

Ritual chanting, singing, rhythmic shouting, metrical voices accompanied by bodily gestures like clapping and dancing involved members of Christian congregations in common ritual practices. These types of bodily participation were also an important part of traditional non-Christian sacred ritual and ceremony in Africa. One such performance had imprinted itself vividly on Augustine's memory. As a young man at Carthage he had heard the chanting and singing of songs at a festival for the goddess Berecynthia – the Mother of Everything – songs that he later castigated as grossly obscene, even if quite effective. Among African Christians it was the same. They knew that song had the power to transform hearts and minds. Their leaders, the bishops, knew from their own personal experiences how much song mobilized emotions by appealing to what they called “pleasure,” or voluptas, and that singing did this so strongly that they feared its effects, knew its dangers, and were aware of the subversive threats that it posed, especially to the minds of “the weak.” They wished, if possible, to ban singing and chanting from the church. But they knew that this was not possible. They knew that this power would have to be managed and controlled.

The unifying and mobilizing drive of chants and songs suggested their utility in sustaining crowd actions, sometimes violent ones. The use of rhythmic repetition and exhortations repeated in unison produces group unity and energy. To understand some of the effects, we might begin by retelling the model horror story of the savage beating inflicted on the Catholic bishop Maximianus of Bagaï, a small town in southern Numidia, around the year 403. One day, as Maximianus stood at the altar in his basilica, sectarian enemies rushed at him with what is described as “a terrifying force and a furious cruelty.” His assailants repeatedly struck him with clubs and other makeshift weapons, including jagged pieces of wood that they had broken off the altar when they smashed it to pieces over his head. The terrified bishop had taken refuge underneath it. Getting to him, one of the attackers stabbed the bishop in the groin with a dagger, presumably cutting a femoral artery since he began to bleed profusely.

Type
Chapter
Information
Sacred Violence
African Christians and Sectarian Hatred in the Age of Augustine
, pp. 441 - 489
Publisher: Cambridge University Press
Print publication year: 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Flemming, J. P. G.Akten der Ephesinischen Synode vom Jahre 449Berlin, Weidmannsche Buchhandlung 1917 14
Shackleton-Bailey, D. R.Anthologia Latina 1.1 1982 17
Aug, Sermo 64 14
Adams, J. N.The Poets of Bu Njem: Language, Culture and the CenturionateJRS 89 1999 109Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Sing a new song
  • Brent D. Shaw, Princeton University, New Jersey
  • Book: Sacred Violence
  • Online publication: 07 September 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511762079.012
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Sing a new song
  • Brent D. Shaw, Princeton University, New Jersey
  • Book: Sacred Violence
  • Online publication: 07 September 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511762079.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Sing a new song
  • Brent D. Shaw, Princeton University, New Jersey
  • Book: Sacred Violence
  • Online publication: 07 September 2011
  • Chapter DOI: https://doi.org/10.1017/CBO9780511762079.012
Available formats
×