Germany, Part 1: Rome and Religion

Over the summer, I developed a one-hour presentation on the history and culture of Germany. I have adapted that presentation for this format and plan to present it this month over six or seven posts. In some cases, I'll present the PowerPoint slides I used during that talk. In others, I will provide hyperlinks for those interested in mentioned books, travel locations, or events.
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Our story begins in Roman times, for it was Rome who first wrote about the Germans, and (for English speakers) Rome who named them.

In Roman times, Central Europe was inhabited by many Germanic tribes. The Roman Empire was always questing to expand their territory or consolidate and protect their gains. They fought against the Germanic peoples for over 200 years, starting around 100BC. In 50BC, Julius Caesar crossed the Rhein in the quest to expand the Empire in “Germania,” The Roman name for the region (perhaps named after a specific tribe they had once encountered). Subsequent campaigns would get so far as the Elbe River, but the gains wouldn’t last. In 9AD, the Romans were defeated at the Battle of Teutoburg Forest. They withdrew to the Rhine River, where they set up a border called the Limes Germanicus.

Borders of the Roman Empire- note the fortified areas

The Rhine River (and just north of it) was the boundary (“Limes”) of the Roman Empire for centuries. Some Imperial borders were protected by a wall (Hadrian’s Wall in England being a notable example). Here in Germany, the Romans built intermittent watchtowers and fortifications (like earthen ditches,  mounds, and wooden barriers). Reconstructions and remnants of earthworks can be seen today through this region, just ten miles north of Wiesbaden- see below. More major fortifications, with larger garrisons, were placed at intervals- you can visit Saalburg (north of Frankfurt) to get a glimpse of what these were like.

The Romans had several important towns in the region. Mainz was big, as its location at the confluence of the Rhein & Main Rivers was an important hub. Trier was another large Roman town; both were regional capitals. The Romans were here in Wiesbaden (or, as it was then known, “Aquae Mattiacorum”- the waters of the Mattiaci, a regional people). Its hot springs (Wiesbaden means “meadow baths”) and location near the border meant it was both a frontier and spa town, in a sense.

Our first knowledge of the Germanic peoples comes from Tacitus, a Roman historian writing around 100AD. Quotes in this section are from his Germania. He describes the Germans as “always the same: fierce blue eyes, red hair, and large bodies.” They were a free people, and thus were more aggressive than those ruled by despots. “Even the kings do not have absolute power, and their commanders lead by example . . .” They loved to fight, but if they weren’t waging war, they’d hunt, sleep, and eat. They were a simple and straightforward people, telling you frankly what was on their mind. And as regards food: “No other people indulges more lavishly in feasting and entertainment.” “Their food is plain . . . they satisfy their hunger without elaborate preparation or seasonings. But as far as thirst is concerned they are less constrained . . .” “no one things it disgraceful to carry on drinking all day and all night.” “For drink they have a liquid made out of barley or other grain [beer], fermented into a certain resemblance to wine. Those who live nearest to the river-bank [the Rhine] buy wine as well.”

Before we move on from Rome, we need to talk religion. Information in this section is quoted or paraphrased from Justo Gonzalez, The Story of Christianity: Volume 1. For the first 300 years of its existence, the Christian church was a persecuted minority. Yet Germany, like much of Europe, is culturally Christian today. Why?

Around 310AD, the Roman Emperor Constantine converted to Christianity (sort of, anyway- his sincerity was questioned). His conversion heralded a drastic change. Persecution against Christians immediately ceased. Imperial edicts granted the church privileges- things like tax exemption, judicial powers for leaders, the possibility to accept property as gifts, and more.  But there was a catch.

Constantine saw himself as above the church- a bishop of bishops- and interfered in theology, appointed bishops, and had a hand in other church matters. It led to changes in worship and other things (like churches and priestly garb becoming much fancier). He wanted to use Christianity to unite the Empire, so he gave them benefits and then had a hand in directing their affairs. Predictably, the rising power of church leaders led to corruption- people buying offices, non-Christians seeking the same, and more. A flood of converts overwhelmed the church (people do follow the leader). It was hard to instruct such numbers in the faith. As a result, for some, Christianity became more cultural than seriously understood or practiced. There were differing opinions within the church of what this all meant, and whether it was good. Some “tended to see the new developments as a process of corruption of the church . . .” and in fact, some left to become monks, which was the rise of the monastic movement.

The ultimate result of Constantine’s actions: the state became intertwined with the church, in a way that would prove detrimental to both institutions over the centuries. “Soon the powerful- those who controlled politics and the economy- would also control the church.” You can trace the Christianity of Europe back to Constantine.  About 1200 years later, Germany would be center stage for a reaction against this corruption- but that’s later in our story.

The Western Roman Empire would fall in 476 to Germanic invaders. The church would fill the pan-national power vacuum, and Europe would again become a patchwork of autonomous tribal regions for several centuries, with regional kings holding sway over varying sizes of territory. But then came Charlemagne- the next chapter in our story. 

The Nutcracker (E.T.A. Hoffmann)

 

With Advent season upon us, I turned to a Christmas classic: The Nutcracker. Marie and Fritz are delighted with their Christmas gifts- Marie is especially enchanted by the nutcracker. One night, she witnesses said Nutcracker leading Fritz's new Hussar army against the wicked Mouse King. In the morning, she's told it's just a dream, but the family friend Herr Drosselmeier tells her a story that leaves her questioning. In it, a boy is turned to a nutcracker after he saves a beautiful princess from a mouse's curse- and himself  needs to be loved if he's to regain human form. It's just a story, though . . . isn't it?

I read versions of this tale six years ago (reviewed here), and of course I've seen the ballet and TV adaptations. This is the first time I've read the original, and (not surprisingly) it differs markedly in places from its derivatives. But it was enjoyable- we see sacrificial love and the joys of childhood with tongue-in-cheek storytelling and fantastic scenarios. Confusing in places (I feel like a joke or two may have gone over my head, and "was she dreaming or not" tales can always throw me), it's still worthwhile.

Rating: A

Cinematic Faith (William Romanowski)

"Cinematic Faith is a primer for navigating the world of film- specifically, American film and culture- from a Christian vantage point. This book is written for moviegoers who are interested in the relationship between faith and cinema." So opens William Romanowski in his book, Cinematic Faith. 

Romanowski argues that movies map a cultural space- they reveal and reinforce cultural principles (with culture being our "widely accepted ideals, beliefs, values, attitudes, and assumptions"). But not always in obvious or direct ways- rather, movies "communicate in a roundabout way- not by telling but by showing." Therefore, it's important to think critically (and not be passive consumers) of anything we watch. A movie is always presenting some view of reality- some set of ideals or values it upholds as true. It does so through form ("the patterns and techniques used to tell stories"), content ("the film's subject"), style ("the filmmaker's distinctive use of patterns and techniques"), and perspective ("the film or filmmaker's point of view"). And we should learn these- he argues that "appreciating what makes movies artistically interesting and effective can make us better viewers and more creative storytellers."

The author presents four basic principles as a guide for a critical and productive engagement with the cinema.

• "the arts are a vital aspect of human life and culture, a legitimate and worthy human endeavor enriched with creativity and curious interpretation. We should understand film, then, as valuable in and of itself and ask how we can make the most of its creative potential and unique capacities in service of God and neighbor."
• "created to love and worship God, human beings are incurably religious . . . [therefore], looking at artworks to see how form, style, and perspective come together . . . reveal in whose service the artist stands." "[M]ovies function religiously by conveying life visions."
• "since faith is universal and encompasses all of life, we should expect movies to deal with our full humanity . . . all movies merit religious reflection in the sense that they represent certain values and a vision of life. To put it another way, instead of making faith the issue- that is, the qualifying factor for Christian interest or concern- we allow faith to provide a context for thinking about film."
• Because of common grace ("a Reformed theological concept referring to God's general provision for humankind"), we cannot lose sight of the fact "that all people have the capacity for creativity and truthfulness." 

Together, he argues that "these four principles lay the groundwork for a two-pronged approach . . . [which] recognizes and values diverse perspectives, while also maintaining the importance of one's own perspective in thinking critically about the cinema." In other words, "to engage a film on its own terms means to resist the temptation to unfairly impose your own point of view, while adhering to your own vantage point as a place of reference to understand and think critically about the film." This approach "helps us to respsect artistic freedom and integrity, recognizing the interests and opinions of other groups and people," which "is a necessary first step toward encouraging dialogue and fostering mutual understanding in the service of the common good. The larger aim seeks a pluralistic cinema: an arena for discourse with room for diverse viewpoints, including Christian ones, on the universal search for human meaning in God's world."

He proceeds to look at the melodramatic vision, classical Hollywood cinema, American action-adventure movies, and gender portrayals. Along the way, he includes "movie musings"- analyses of popular films as examples of Hollywood presenting a set of American values through archetypal themes and approaches.

I really liked this book. Years ago, I read his work Eyes Wide Open, which (without having it in front of me) seemed to make the same basic points: movies matter, we're all religious, therefore movies convey sets of perspectives/values and make some statement about truth, therefore we must think critically about them. I especially appreciated his treatment of American cinema and just how powerfully the American story is presented in so many of them, focusing on individual (not community) triumph against all odds, looking to yourself (instead of God or others) for strength to overcome, etc. Movies we think of as harmless may be conveying very harmful messages- and vice-versa. This book is very enlightening.

Rating: A

Unbroken

 

Today's review is of the 2014 movie, Unbroken. It's based on the 2010 book of the same name by Laura Hillenbrand.

Louis Zamperini is a troubled Italian-American youth. Things look up, though, when he discovers a talent for running- and he would ultimately compete in the 1936 Berlin Olympics. When America enters World War II, he joins the Army and becomes a bombadier. Their plane would crash on a search-and-rescue mission over the Pacific. He and a crew member would survive adrift at sea for 47 days before being captured by the Japanese and spending the remainder of the war in various prison camps, often mistreated especially by one prison guard known as "the Bird." Remember his brother's encouragement from youth- "you must take it to make it"- Louis pushes through and survives . . . unbroken. He would be freed after the war, return to America, and eventually dedicate his life to God, as he once promised to do.

The book was outstanding (I read it shortly after its release); the movie was okay. It remained true to the spirit (and much of the letter) of the book, but it didn't grab me emotionally like it should. I think it's hard to convey this type of story through film. How do you condense such unbelievable endurance- shown over years- into a 2-hour film? It's not easy.

The Rotten Tomatoes review that resonated the most with me:

Unbroken doesn't penetrate the surface of emotions, remaining a slightly detached, albeit respectful, representation of a potentially touching and inspiring true story. - Udita Jhunjhunwala

Read the book!

Rating: B-

Murder on the Orient Express

 

Murder on the Orient Express is the 2017 film adaptation of the 1934 Agatha Christie novel (which I read years ago and review here). 

Murder! Famous detective Hercule Poirot is on the train from Istanbul to London when a passenger gets killed in the Balkans. Trapped by a snowfall, all are stuck in the mountains with the murderer still on the train . . . Poirot uses his standard techniques to work out "whodunnit" . . . and all is not as it seems.

The book was excellent; I enjoyed this movie, too. A star-studded cast performed admirably in this adaptation. The cinematography and music were well done. It wasn't perfect- it didn't feel quite as suspenseful as the book- but it was good.

Rating: A-

Storm of Steel (Ernst Jünger)

 

German Lieutenant Ernst Jünger fought all of World War I on the front lines of the western front in northern France (near Cambrai). Storm of Steel is his famous account of the fighting, produced from the journal(s) he kept throughout the conflict. Trench warfare, gas attacks, the fog of war, resting in towns (most of which would be reduce to rubble), the shocking amount of destruction . . . it's all here.

This book is straightforward and matter-of-fact. There are few observations on war, reflections on the horrors, etc. Jünger simply tells what happened, and leaves the reader to contemplate it all. It sounded horrible. But we need to read things like this. We need to remember.

Rating: A

Pandemic Reads

Citizens of Tournai bury their plague dead, Pierart dou Tielt (c. 1353); image from here

I'm tired. Are you tired? Pandemic fatigue has hit me hard. It's been eight months of lockdowns of various degrees here in Germany, and the economy minister just announced we should expect at least 4-5 months more of the same. At least. Ugh.

For us, the difficulty is one of duration and not severity. Thankfully, we've all been healthy, maintained employment, and have everything we need. The disappointments (canceled visits, events, and vacations) are mostly minor, though I dearly miss (and desperately need) fellowship with friends, family, and church. But there's no end in site (despite recent vaccine breakthroughs)- we must adjust expectations. Turning that calendar to 2021 will not magically cure things. It will be months, and could be years, before we're back to 'normal.' 

In difficult times, I've found great benefit in reading about the hardships of others. I don't think it's schadenfreude, that German expression that so accurately captures our human tendency to rejoice in another's suffering. Rather, I believe (or, at least, I hope) that it is taking comfort in knowing that I'm not alone. We're not alone. Others throughout history (and today) have suffered far more, lost far more, endured far more, and overcome far more. And our sovereign God can and does use even these dreadful experiences for the good. With that in mind, below I present books that may be oddly encouraging to you during this pandemic. Presented in no particular order.

Plague

In one plague, read about another. The following works are about the Bubonic plague, which ravaged Europe (and the world) on and off for over 300 years.

A Distant  Mirror (Barbara Tuchman)

Barbara Tuchman is a master. Enjoy her prose as she walks you through the 14th century, including a short (but very well done) section on the 1350's Black Plague.

Journal of the Plague Year (Daniel Defoe)

A journal covering the 1666 plague in London, including insights into man's behavior in such times, and the secondary effects of plague on society. 

The Black Death (Philip Ziegler) 

From 1347-50, about one-third of Europeans were killed by the Black Death. Its origins, nature, and consequences (economic, social, religious, and other) are discussed here. 

Eyam: Plague Village (David Paul)

Another account of the 1660s plague, this time focusing on a tiny town in England's Peak district which made the bold decision of quarantining themselves (the entire village) to protect their neighbors.

Religion

Hardship of all kinds turns our hearts to religious matters. Why does God allow suffering? Evil? Pandemics? The following works investigate the nature of this broken existence.

The Problem of Pain (C.S. Lewis)

The great C.S. Lewis investigates a topic of much consternation among believers and non alike- why does a good God allow pain? He discusses the different kinds of pain, Heaven, Hell, and a variety of related topics here.

Not the Way It's Supposed to Be (Cornelius Plantinga)

The world is broken, and that's not God's fault- it's ours (sin entered the world through Adam & Eve).

Fallen: A Theology of Sin (Christopher Morgan, editor)

"The human phenomenon bears witness that something is wrong- with the world, with us, and with me." Similar to the previous entry, this book looks at man's fall and why it matters.

Extravagant Grace (Barbara Duguid)

The essence of Christianity: we cannot act on our own, we cannot earn anything good, we deserve condemnation, and nothing we do can change that. Thankfully, God changed the game for us. He acted without our consent or desire to draw us out of the abyss- and He did so without any action of any kind on our part. We are utterly dependent upon Him at all times. Even our faith in Him is a gift from Him. Learn more about this extravagant grace, our ultimate hope in a fallen world.

Hardship

Endurance (Alfred Lansing)

Trapped in the Antarctic ice in 1914, this is a harrowing tale of resilience and hope in the midst of all manners of perils. Astounding read.

Night (Elie Wiesel)

This is a raw and profoundly sad read about the author's experience in a concentration camp.

The Hiding Place (Corrie Ten Boom)

A Christian house dedicates themselves to hiding Jews from the Nazis in the Netherlands.

Unbroken (Laura Hillenbrand)

The incredible story of Louis Zamperini as he endures all manner of horror as a WWII POW.

Bury My Heart at Wounded Knee (Dee Brown)

The heartbreaking story of the American West, told from Native American eyes.

War

Can anything on Earth be worse than war? Visit my page on top 10 war books and ponder the harrowing accounts that remind us just how dreadful we can be to each other- and how heroes will rise to the task.