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• W38444017 abstract "Of its various kinds of priests, modern Western society has tended to think in terms that one might label either Gnostic or Socratic. Where a profession deals with knowledge of a religious, personal, or moral sort, non-professionals commonly expect that the practitioner will generally act on his knowledge, that right knowledge will lead to proper conduct. Thus the neurotic psychologist and the often-divorced marriage counselor are puzzling figures, but there is no need to account for the marriage counselor who takes his own advice or the healthy-minded psychologist. But the most dramatically puzzling figure of this kind is surely the unbelieving priest, especially in the eyes of those who are innocent of the degree to which deep inner struggle, despair, acedia, and other forms of the dark night of the soul may be part and parcel of the condition of faith. Anyone who has considered the matter deeply knows that there are imaginary inkwells to be thrown at real demons, that the teleologica! suspension of the ethical is not simply a phrase on the blackboard in a class on existentialism, that silent immensities may terrorize those for whom faith is a wager. Most of us, however, apply the principle of the specialization of labor to the spiritual as well as to the commercial world, and it is clear what we expect of the minister, the priest, the parson, the rabbi. The priest, by his profession, is expected to believe what he says, to mean what the liturgy requires him to do, and to achieve an ever-firmer faith by making it a full-time job. One of the things for which we pay the priest is his act of believing, all week long, what he says on Sundays. If by chance we find (in life, in literature, or in a film) a priest who does not believe, then explanations are in order, especially when the matter is of sufficient complexity that it cannot be simply dismissed as a case of hypocrisy. Two of the most important twentieth-century presentations of the theme of the priest as unbeliever are Miguel de Unamuno 's 1930 novela Saint Emmanuel the Good, Martyr and Ingmar Bergman's 1961 film Winter Light. There are a number of ways in which these two works, each of which is interesting in its own light, might be profitably considered. For example, one could consider each in the position it occupies in the canon of its author. In Saint Emmanuel Unamuno deals with a number of themes which concerned him throughout his career, in philosophical essays as well as in literature, and in certain ways this work is a departure in which he may be saying something contrary to earlier works. Bergman considers Winter Light to be in some way a part of a larger trilogy whose other parts are Through a Glass Darkly (1960) and The Silence (1962), all dealing with man's ambiguous quest for religious certainty in a world where God is finally silent. Or one could consider these works as a reflection of certain underlying philosophical influences, especially that of Soren Kierkegaard. In this paper, however, I will restrict myself to a comparison of the two works, a delineation of their similarities and differences, and a discussion of the tensions which give them spiritual, intellectual, and artistic life. The most obvious point of similarity is the naming of characters. Each work presents allusively named characters. The allusions are Biblical. The central figure in Winter Light is The Rev. Eriksson; inasmuch as is the depiction of the condition of doubt (both theological and personal), and Bergman a careful and deliberate filmmaker, it is reasonable to assume that the name Tomas refers to the Doubting Apostle, who could not believe in the Resurrection until he had put his hands in Christ's wounds. The central character in Saint Emmanuel is the priest Don Emmanuel; Emmanuel is one of the names for the Messiah, and Don Emmanuel is one of the most obvious Christ-figures in twentieth-century literature. (God with us is the literal meaning of Emmanuel, and the name is extremely expressive of the role which Unamuno's priest plays in the village of Valverde de Lucerna. …" @default.
• W38444017 created "2016-06-24" @default.
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• W38444017 date "1982-01-01" @default.
• W38444017 modified "2023-09-22" @default.
• W38444017 title "The Unbelieving Priest: Unamuno's Saint Emmanuel the Good, Martyr and Bergman's Winter Light" @default.
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