Article
Awe and wonder
Change
Community
Time
7 min read

The bells that awaken awe in the new year

We need new rhythms if we are to navigate the world as it is today.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

Restored church bells lined up in a cathedral, as crowds mill around them.
Notre Dame bells.
Notre Dame de Paris.

The jackdaws flap and caw as they come in to roost. The sun sets behind the bare trees; its fiery farewell doing nothing to warm the cold air. The village church bell rings out 4pm. My young daughter stops what she is doing, says “ding dong”, then carries on. That’s what we all used to do: stop what we were doing and be called to something else, the bell’s rhythmic tolls cutting through our individuality and unifying us for a time. Perhaps we would go to church, or stop to pray, or remember the dead for whom the bell tolled. I have been thinking about that often-quoted poem by John Donne:  

No man is an island, 

Entire of itself. 

Each is a piece of the continent, 

A part of the main. 

If a clod be washed away by the sea, 

Europe is the less. 

As well as if a promontory were. 

As well as if a manor of thine own 

Or of thine friend's were. 

Each man's death diminishes me, 

For I am involved in mankind. 

Therefore, send not to know 

For whom the bell tolls, 

It tolls for thee. 

Now, church bells ring out the hours of the clock, and occasionally still ring out mourning and celebration too. They seem also to ring out a quaintness, a nostalgia, a past that is slipping away. I have been sitting by the old stone church listening to them, wondering what else they might be tolling for, what else might be slipping away. In Donne’s poem, he says the bell tolls not for them, but for us, because we are all connected. Each person’s death diminishes the whole from which they were a part, and so diminishes me. The bells used to remind us of that whole.  

The bell could be melancholy but I notice how it tilts me toward hope, even in this deep winter stillness; an audible distillation of light ringing through the dimness. I think it is the hope of mankind which Donne tells me I am involved in. These old bells seem to ring defiantly despite the many other chimes that ring just for me: digital pings, messages, notifications, news, an algorithm that tried to force me down my own lone path. But echoes of communal life persist. Now, I hear the bell say:  

Ding: listen 

Dong: lift your head 

Ding: look  

Dong: life is a whole  

Ding: face each other  

Dong: this is the only way we will meet the future 

A few days later, my daughter and I step into the village hall. We surface together from evening darkness into the light of song: it is the carol concert, we are late, and the music is about to start. The singers are decked in lights and earthy greens and rusty reds. They are a group from Exmoor who conserve and share traditional and local songs, as well as singing the songs we all recognise. My daughter’s cheeks are pink, her eyes blaze with delight. In a few days, the solstice will be here, and the earth will pause in its movement before turning back to face the light. Here in this old hall, the songs seem to reach towards that coming light: we are here, we are together, and we choose to lift our individual voices as one chorus of community.  

I think about the people in this hall gathering to mark other things — memories, celebrations, vision, care — and I wonder about the more figurative bells that draw them together to do so. What are the bells that keep us together now, when so much encourages us into isolation and individualism? — The bells that remind us we can never be the islands that we are so often encouraged to be: independent, tough, believing consumption will heal us, packaged into a personal brand; everything encouraging us to be seen, not known.  

I try to listen for these bells, to hear how to inhabit time reverently and with reciprocity, not with urgency and isolation. In many places the actual church bells are silent, but I think we still need the bells of communality: bells that call us into share rhythms, reminding us to pause in our individual movement, reminding us to gather, to mourn, to remember things and find the light and the hope in each other, just as the tilting of the earth pauses at the solstice before it turns to face the light.  

Nature’s cycle is one way of doing this: tuning in to the turn of the year that makes new life possible. The solstice and equinox; wassailing in January to bless the apple trees; noticing when migrating birds appear or leave; sharing planting and harvesting days. Liturgical calendars are a way that Christian communities kept and still keep time: advent, Christmas, lent, Easter. These rhythms become familiar, reminding us that time isn’t linear, much as the myth of infinite progress would have us believe otherwise. Time is cyclical, expanding and contracting; old events revisited regularly in new ways.  

Knowing that it is not just me looking at these stars, but people across the world and through time, brings me into a peace, a reverence that can be hard to come by.

And there are other things that can bring us together too: causes, hobbies, interests, protests. These can take on the role of bells perhaps, drawing us together around shared purpose – but shared purpose and shared existence, shared being, are not always the same thing.  

Perhaps we need new rhythms if we are to meet the world as it is today. Imagine if a bell tolled — literally or figuratively — not just for human funerals, but whenever a species went extinct, or a tree cut down. Imagine if neighbourhoods gathered to light candles and share stories and soul and care each week, offering a space that church used to provide to lots of people through the ages. And what if we resurrected old traditions for a new age: ‘beating the bounds’ as a way to mark not just the boundaries of land but the places that need restoring and regenerating now; harvest festivals not just as something for school children and rural churches, but as a way we can better connect with food and farming. What if we looked at old wisdom; the way the church calendar aligned with the farming calendar, asking us to remember that food and the soil it comes from are sacred things.  

Our friends were near the beach in Costa Rica. They noticed that at the end of the day, everyone stopped what they were doing — fishing, fixing, working — and watched the sunset. This moment of beauty seemed to bring people together into synchronicity. In his book Awe: The Transformative Power of Everyday Wonder, scientist Dacher Keltner shows us how experiencing awe can, amongst other things, help us to experience humanity, see patterns in life, and better collaborate with each other. He says: “The last pillar of the default self—striving for competitive advantage, registered in a stinginess toward giving away possessions and time—crumbles during awe. Awe awakens the better angels of our nature.” Perhaps putting ourselves in the way of awe might help us hear the bells — old and new — that ring in this current age, and that might bring us together and love each other well. If love only exists in relationship, and love is what helps us to see and to care, then protecting and restoring relationship seems to be vital work for our time.   

Now, the winter sky is dark and the stars shine brightly above. They shine with a clarity that matches the peal of the bells in the village. They call me beyond myself into something unified, something older, something necessary. They call me into wonder and awe. Knowing that it is not just me looking at these stars, but people across the world and through time, brings me into a peace, a reverence that can be hard to come by. I step back into the house but my mind faces outwards into the world.  

Church bells used to call people together to worship, bringing a sense of shared time and purpose. They still ring, but they can be hard to hear against the noise of individual time. I think they are calling us together again now. And if we can’t hear them, perhaps we need to set new bells ringing. May the bells that ring this New Year’s Day inspire us to do so. 

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Review
Awe and wonder
Books
Culture
Poetry
6 min read

Charles Taylor on how poetry seeks cosmic connections

The philosopher yields an array of luminous insights.

Paul Weston is a Fellow at Ridley Hall, Cambridge.

At dusk, three people sit on a field edge and look at the stars emerging.
Rad Pozniakov on Unsplash.

Charles Taylor, Cosmic Connections: Poetry in the Age of Disenchantment

At just shy of 600 pages, philosopher Charles Taylor’s latest book is not for the faint-hearted. At the heart of the book are fascinating questions. What kind of language should we use when we encounter ‘beauty’, or experience ‘wonder’ which seems to take us into a new kind of space, or make time stand still? It could be the sight of a breathtaking landscape. It could be a piece of music. It’s that sense of ‘connection’ with something bigger than ourselves. What might it mean? More particularly, how do we express what we intuitively feel to be real and deeply significant about such things when our usual language fails to capture it?  

Taylor says that his latest book ‘is about (what I see as) the human need for cosmic connection . . . one shot through with joy, significance, inspiration’. And his hypothesis is that ‘the desire for this connection is a human constant, felt by (at least some) people in all ages and phases of human history’, even if ‘the forms this desire takes have been very different in the succeeding phases and stages of this history’. The book explores these questions by focusing on late-Romantic European poetry and traces its development through the work of later poets including Goethe, Rilke, Wordsworth, Hopkins, and T. S. Eliot. 

The background to Taylor’s explorations is the ongoing impact of the Enlightenment on our language and understanding about ‘truth’ and ‘meaning’. Those familiar with his 2007 book A Secular Age will find echoes of it here, particularly the way in which post-Enlightenment language tended to develop the language of control. This, he argues, became increasingly dominant in Western modernity ‘because it is linked to a practical stance which is basically instrumentalist; we seek out the efficient causal relations in our world with the aim of discovering handles which will enable us to realise our purposes’. In reaction to this narrowing of possibilities, the Romantic poets focused on ‘the experience of connection, and the empowerment this brings: not a power over things, but one of self-realization’. And a key element of the Romantic movement was the recognition that a poem (alongside the wider arts) uncovers deeper meanings: it ‘reveals to us, brings us into contact with, a deep reality which would otherwise remain beyond our ken’. 

‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’ 

Charles Taylor

The book focuses on the variety of forms that this reaction took amongst Romantic poets. A unifying desire for ‘connection’ led to differing ideas about how poetic language makes this possible and what kinds of meaning are revealed. But the central belief remained constant: that poetic language was the key to addressing a prevailing cultural atmosphere of ‘disenchantment’, in which the desire for cosmic connection had been sidelined.  

On the English side of the channel, Taylor finds in Keats’ poetry, a new form of expression summed up in his statement ‘Beauty is Truth and Truth Beauty’. In Taylor’s words, ‘Art raises the object to a new unity and intensity, which constitutes Beauty. But this is not something which just exists in the mind of the artist (or reader); it has reality, and hence Truth, even though this reality is partly brought to fruition by artistic (re)creation’.  

Similarly, for Gerard Manley Hopkins, the form of poetic language itself can become a means of ‘connection’. As Taylor puts it, in Hopkins’ work, ‘Poetry goes beyond creating a mood, an atmosphere of feeling, and claims to give access to the inner force in a thing, not by describing it, but by making it palpable’. His poetry embodies this in that it ‘renders the rhythms of the being itself through the “sprung rhythm” of the verse’.  

The second half of the book looks to poets of the last 200 years who have navigated parallel pathways towards this ideal of experienced fullness – in the face of increasing industrialisation and disenchantment. Baudelaire longs for the experience of fullness, but finds it barred by a state of melancholy that he described as ‘Spleen’. It is a melancholy brought about by the endless repetitions of mundane and urbanised life. Baudelaire’s attempt to find release from our imprisonment in trapped time is to face Spleen head on and to transform it through poetic contemplation.  

T. S. Eliot’s poetry similarly aims to evoke the sources of a fuller life in a culture of decay by means of the ‘continual surrender’ of the poet to something more significant and valuable. In Eliot’s case this resolves in a more-or-less traditional sense of Christian order, but Taylor notes that his poetry doesn’t necessarily require this. Miłosz on the other hand, amidst the social and political upheavals in Poland, sought a higher form of poetry: a poetry that could rise above the discord of social turmoil in order to define a moment and clarify the path that needed to be taken.  

‘The work of art opens for us a new field of meaning, by giving shape to it’. 

Charles Taylor

At times, the weight and detail of Taylor’s exposition threatens to overwhelm the reader, but he offers an array of luminous insights along the way, and he is largely successful in keeping an eye on the broader questions and themes. Perhaps the most important here is his belief that the human desire for ‘cosmic connection’, with its yearning for joy, significance and inspiration is perennial. The book is in this sense an elaborate historical worked example of this desire, understood – perhaps imperceptibly – as a sense of ‘loss’ or ‘longing’. It is this ‘central aspiration of the Romantic period’, he concludes, that ‘remains powerful today’. 

My own experiences of talking with people today seems to amply confirm Taylor’s view. And the search for language to describe the desire for this sense of connection (or the longing for it) continues to thrive even within a so-called secularised culture (most likely because of it). It too seeks language for expression and sometimes struggles for some of the same reasons that the Romantics identified. Taylor’s phrase ‘the immanent frame’ (from his A Secular Age) powerfully evokes a sense of being held on a restricted rein, unable to name or explore the realms of ‘beauty’ or the ‘transcendent’ beyond perceived cultural boundaries. Connected to this is the still commonly held belief that any supposed knowledge derived through the arts doesn’t put us in touch with anything other than ourselves.  

Taylor convincingly transcends the supposed dichotomy between these so-called ‘subjective’ or on the other hand, ‘ontological’ possibilities. ‘The work of art’, he says, ‘opens for us a new field of meaning, by giving shape to it’. Moreover, it can ‘realize a powerful experience of fulfillment . . . of connection which empowers’. And Taylor backs his theory with autobiography. In Goethe’s ‘Wanderer Nachtlied’, he says, ‘There is a kind of rest/peace which I long for. I don’t fully understand it, but now I have some sense of it’. Or broadening the artistic field, he finds that listening to Chopin’s Fantasie-Impromptu in C sharp minor ‘opens me up to an unnameable longing’, or that when he listens to Mozart’s Jupiter Symphony, he feels ‘a striving upwards, an expression of praise and thanks, straining to reach some higher addressee (for me, this would be God), but I can imagine that someone else, feeling the ascending movement, would imagine another destination’).  

Here then is a book that shines a light on the possibilities of ‘cosmic connection’. Taylor affirms our desires, reassuring us that we should not feel strange to share the same longings for ‘fullness’, for ‘transcendence’, for ‘joy’ and for ‘connection’ as did the Romantic poets. Our recognition of these desires may well have been evoked by the kind of poetry or music that Taylor talks about here. But for all of us, it is good to be reminded that in a western world still heavily influenced by the climate of secularisation many today are still searching for the sense of cosmic connection that Taylor describes.   

 

Charles Taylor’s Cosmic Connections: Poetry in the Age of Disenchantment is published by Harvard University Press.