Snippet

Awe and wonder

Christmas culture

Creed

Music

23 December 2024

4 min read

Nine Lessons and Carols needs to be long

The carol service that take time to pull at the golden thread of Christmas.

Yaroslav Walker

Yaroslav is Vicar of Christ Church, Hampstead.

Choristers stand and sing in choir stalls in a church

BBC.

I have decided that I will make it an annual ritual to grumpily defend a Christmas tradition that I love. Last year it was the traditional Nativity Play. This year it is the traditional carol service. For over a hundred years, at King’s College Chapel at least, the traditional Festival of Nine Lessons and Carols has borne witness to the very best of Anglican liturgy. The service combines candlelight, communal and choir carol singing, and lessons from Holy Scripture in a beautifully evocative manner. I adore the service, and it is very much a highlight of my Advent contemplation.

I am thrilled to say that carol services seem to be as popular as ever! I can hardly name a church that won’t be putting one on, either solo or uniting with other parishes. This warms my heart…and yet a shard of ice remains. A small, but very important gripe: editing. I notice that many services don’t follow the traditional pattern of nine lessons. Some have six. Some five. Some only a few, focusing as much as possible on the carol singing. I have a few clergy friends who enjoy giving me a gentle ribbing when I tell them my plans: “Oh you’re not doing ALL NINE are you!? Oh dear! It’ll be so long!”

Brevity can be a virtue, and the Church hasn’t always cultivated it. I understand people have busy lives, and that very few of us want to be out late on a cold, wintry evening. I know that mince pies and mulled wine are as close to an irresistible temptation as there could be. I know that 30 to 45 minutes of hymn singing with a bit of Bible seems so lovely and compact. I understand all of this.

However, I want to argue in favour of keeping all nine lessons: the length is the point!

We end with a meditation on primordial concepts that cannot be truly comprehended by any mortal, and can only be put to paper in poetry.

Some of the lessons are long (I’m looking at you Genesis!), and some a wonderfully pithy. It starts at the very beginning of the Bible and spends a good deal of time – nearly half of the readings – meditating on Genesis and Isaiah before we even begin to get to the baby Jesus, and the manger, and the shepherds, and the wise men. We seem to take ages not actually reading about the Story of Christmas…and this is VITAL!

The traditional carol service concludes with the Prologue of John, that masterful exposition of the theology of the Incarnation, the perfect encapsulation of what a Christian believes is the truth, and the light, and the meaning of Jesus being born in a stable in Bethlehem. The service concludes with mention of the Word, of pre-existence, of Creation, of light defeating darkness, of salvation wrought through spirit and not flesh. We end with a meditation on primordial concepts that cannot be truly comprehended by any mortal, and can only be put to paper in poetry…and yet this is the true meaning of Christmas, and the true meaning of the Scriptures. Everything from Genesis 1.1 has been leading up to this, and everything written in Scripture only makes sense in light of these remarkable verses by John (or so Christians believe).

When defending the traditional Nativity, I wrote about narrative and story and how they are fundamental to understanding our place in the world and the very meaning of our lives. The same can be said about the full nine lessons. Starting at the Fall of Mankind in the Garden of Eden, stopping to ponder the mercy and promise of God to Abraham and Isaac, being confronted with the wonderful Prophecies of Isaiah (the promise of peace and joy in the Kingdom of God), and then charting the story of the miraculous Birth of Christ, we see the underlying narrative thread of all Scripture: God loves His creation, God makes a promise to His creation, God keeps His promise and brings salvation and reconciliation to His creation. The Christmas story is wonderful and joyous, but it is an act in a larger drama, and we cannot truly understand it (or how it relates to the Prologue of John) if we don’t allow ourselves to encounter the whole story.

Perhaps I’m putting too much emphasis and expectation on a single service in the year. Carol Services are celebratory, and anything that makes them accessible to as many people as possible is not something I want to malign…but…I pray that the full sweep of Scripture, the full and precious golden thread of the narrative of Scripture, is not lost. It is the meaning of Christmas, and it is the meaning of life, and it fills me with joy when it is celebrated with fellowship, singing, and worship.

Anyway, grump over. I’m going to eat a mince pie.

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Review

Awe and wonder

Culture

Theatre

22 April 2025

5 min read

This Narnia play left me yearning to cheer on good

The Lion, The Witch and The Wardrobe is still relevant at 75.

Steve Dew-Jones

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A play set shows a witch and lion on stage.

EMG Entertainment.

This article contains spoilers.

It’s been 75 years since C.S. Lewis’s The Lion, The Witch and The Wardrobe was first published, and the story is still captivating audiences and even sparking fresh controversy.

If you hadn’t heard the news, the role of the lion, Aslan, is rumoured to have been offered to Meryl Streep, a woman, for Greta Gerwig’s upcoming film, set to be released in time for Thanksgiving next year.

I recently saw another adaption of the famous book - Adam Peck’s play - in a theatre in Torquay, as part of a 75th anniversary tour of the UK.

And having previously read the book and watched two different film versions, I still found myself considering elements of the story I hadn’t previously, hidden depths I hadn’t noticed - even if these didn’t include Aslan’s gender.

For those not familiar with the tale, it follows the journey of four children through the doors of a magic wardrobe, which transports them into a fantastical kingdom in which a lion reigns but a witch has held dominion for 100 years.

Under the White Witch’s spell, there has been only winter for a century - “always winter and never Christmas”, as one famous line from the story goes.

But now, thrust into this story in the fulfilment of a prophecy long foretold, four “sons of Adam and daughters of Eve” - boys and girls, to you and me - come as the lion king returns, and a new day dawns.

The winter begins to thaw, Spring is in the air, and Father Christmas even shows up to shower the children with gifts.

But the return of Aslan - and even Santa Claus - doesn’t signal the end of the story. There is still a battle to be fought; the witch still has power and even ensnares one of the children, Edmund, with the promise of all the Turkish delight he could wish for, and the title of a prince.

It is at this moment - still early in the tale - that the battle between good and evil is clearly laid out, and the forces of light and darkness clash thenceforth.

In the play, those enslaved by the witch are clad in black to emphasise the distinction, while much is made of the meaning of the name of the youngest child, Lucy: “bringer of light”.

The imagery is abundantly clear, as it has ever been in Lewis’ Chronicles of Narnia, of which the The Lion, The Witch and The Wardrobe is the first and most famous of seven books.

And the author, renowned for being an atheist who later became a Christian, leans heavily upon his newfound faith throughout the Narnian tales, and not least in the character of Aslan.

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good.

At Easter, it is especially hard not to see in Aslan’s death and resurrection a striking similarity with the figure at the centre of the Christian faith.

Indeed, it was this moment of greatest sacrifice - for the “traitor”, Edmund - that most struck me this time around, even though I already knew the story so well.

At church the following day, as I took Communion, I was still reflecting on Aslan’s sacrifice and wondering whether Edmund more closely resembles the average Christian - myself included - than the older, nobler brother, Peter, in whom most of us would prefer to see our likeness.

My mind returned to a moment in the theatre that had humbled me, when the lady sitting in front of us handed me £20 to treat my children for being “so good”, having at the interval made me bristle by asking them to sit quietly and stop kicking her chair.

“Fair enough?” I hear you suggest. Well, perhaps, but I didn’t think it until that humbling moment after the curtain had closed.

My son later told me he hadn’t thought the lady had been unkind, which again got me thinking about my own imperfections and need to be more childlike.

Yet while you and I may frustratingly regularly let ourselves down, there is also something within us - is there not? - that ever yearns to cheer on the forces of good.

I doubt many audience members were rooting for the witch, while I suspect most can also understand the need to “beware the witch”, as one song from the play puts it

Another biblical parallel is the fulfilment of a prophecy long foretold, while both the Bible and The Lion, The Witch and The Wardrobe highlight the special significance of someone innocent dying to save the guilty.

There is even a clear reference at the very start of the book and play to one of Lewis’ most famous pieces of theology, when the professor in whose wardrobe the children later get lost asks them a question as they consider whether or not to believe Lucy about the magical kingdom that she first glimpsed.

She’s either lying, mad or telling the truth, the professor says, in much the same way that Lewis says of Jesus Christ’s own central claim: he’s either “mad, bad or God”.

As for the success of the play, as someone who no longer lives in London, I was certainly impressed by this West End product.

The scene changes are creative, aided by music, dance and possibly even a trapdoor - my children and I had different opinions on how the magical disappearances of certain characters were achieved. Maybe it truly was magic.

There’s also the nice touch of the play starting even before it officially begins, through the twinkling of a soldier’s fingers upon the keys of a piano while the audience take their seats - perhaps to help us turn our minds from a sunny day in the English Riviera to dreary London at the time of the Blitz.

So, do go and see the play if you get the opportunity - it’ll do you good and make you think, whether or not you choose to consider if the lion is male or female.