Article
Christmas culture
5 min read

In defence of the traditional nativity play

Despite a seafood medley in the wings of some nativity plays, Yaroslav Walker still prefers the deep power of a more traditional telling.
Three children dressed as orange lobsters stand sheepishly on a stage.
The nativity lobster scene, Love Actually.

“So what’s this big news, then?” 

“We’ve been given our parts in the Nativity Play…[GASP]…and I’m the lobster!” 

“The lobster?” 

“Yeh!” 

“In the Nativity Play!?” 

“Yeh. First lobster.” 

“There was more than one lobster present at the birth of Jesus?” 

“Duh!” 

I love this little exchange from Love Actually. Emma Thompson’s mother must be expressing the surprise of parents up and down the country for the last twenty years or so. When I was at primary school there was no doubt that when December rolled around, we would do a straight-down-the-line nativity play. As I’ve gotten older, I’ve noticed that more and more schools have been experimenting: a lobster here, an octopus there, a modern re-telling with mobile phones and motorbikes, or abandoning the Gospel nativity entirely in favour of lovely (but not biblical) stories like The Elves and the Shoemaker

I’ve not watched Love Actually in a few years, but this scene burst into my imagination as I was watching the Nativity Play of one of my local primary schools. It was the Christmas story without adulteration – Matthew and Luke would have no qualms about any of the details. Yes, there were jokes to entertain the parents, and the odd song that I doubt the people in Bethlehem were singing at the time, but overall, it was a Traditional Nativity Play in all its glory!  

Stories are the preeminent vehicles of meaning, and so it stands to reason that a ‘traditional story’ has the most power in this regard. 

As I sat through a delightful performance, I was struck by just how comforting it was to see a traditional telling of the Christmas story. When I got up to give a little homily after the show, I thanked the children profusely for their adherence to tradition, and explained how much it had cheered me. I was a little surprised to encounter just how many parents, as they left the church, concurred wholeheartedly with my statement. They were moved to hear that old tale told again, and moved more than they expected when they encountered those timeless themes that the nativity story encapsulates. 

I’m not opposed to innovation and modernisation, but it strikes me that some traditions are sacrosanct – especially around a season like Christmas. Traditions aren’t just activities we perform semi-regularly; traditions are carriers of meaning, emotion, and memory, and traditions have a deep power we can’t always explain at the time. I’m sure most people reading this article will have Christmas traditions, and that those traditions will have a real emotional (and maybe even a spiritual) resonance. It might be a particular concert or panto that you see every year. It might be the particular menu for Christmas Day (more pigs-in-blankets and fewer sprouts). My tradition is that ever since I was a boy the family has always gone on a Boxing Day walk. I can’t quite explain why, but as soon as I take that first step on Boxing Day I’m filled with a tremendous sense of peace and joy. 

Stories are the preeminent vehicles of meaning, and so it stands to reason that a ‘traditional story’ has the most power in this regard. The story of the Nativity doesn’t just give us the narrative of the birth of Christ, it gives us the psychological, emotional, and metaphorical content that the narrative carries. It’s a story, so it doesn’t seek just to tell us what happened, it seeks to makes us feel the effects of what happened. The story of the Nativity is the story of God coming into His creation. It is a story not just of a baby boy being born, but of peace and joy and hope and love and glory being born into the world – born in such a way that they can never be overcome. It is the beginning of the great love story: God so loving the world that he gave His only Son to save it. 

They were moved not just because they delighted in the performance of their son or daughter, but because they were inhabiting ‘The Greatest Story Ever Told’.

You can read the nativity of Matthew and Luke once, and you might miss most or even all of this emotional and spiritual weight; but read them over and over again at the same time of year every year, and you can’t help but be changed. You’ll find, over many years, that you’re not just reading or hearing the story anymore…you’re LIVING the story. If you live the story, you feel the story – the great message of Christmas (a mystery we will never truly comprehend in this life) is something that takes over you mind and your heart, and you really are living Christmas. 

Most of the parents I met that morning will not darken our doors again until next year. Maybe some of them are faithful attenders of other churches, and maybe most of them aren’t. In that moment, as their children performed the same play that children up and down this country have performed for more than a century, it didn’t matter. They were moved, many beyond expectation. They were moved not just because they delighted in the performance of their son or daughter, but because they were inhabiting ‘The Greatest Story Ever Told’. Many were moved because the themes of peace, hope, joy, love, harmony, wonder, worship, and delight – ideas that entrance even the most cynical mind – were presented again to them. Many were moved because the deep resonances of the Christmas tradition were stirred once again. 

I love The Elves and the Shoemaker. I delight in the creativity of contemporary tellings of old stories. Any time a child finds the confidence to stand on a stage and perform, my heart rejoices. But…I would like to put in a little plea for the resurgence of the Traditional Nativity Play; its story, its themes, and its traditions are genuinely timeless, and a chance to remember the eternal beauty of hope, joy, and love is something we all need…especially at Christmas. 

Article
Advent
Christmas culture
Joy
Poetry
6 min read

The Advent poets who can’t wait until the world is sane

Tennyson to Eliot, Rossetti to L’Engle, find despair doesn’t preclude joy.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

Beyond a misty and raindrop streaked window, a colourful triangle shape emerges.
Ricardo Gomez Angel on Unsplash.

After his conversion to Anglo-Catholicism in 1927, critics began to notice a change in T. S. Eliot’s poetry. Some thought this was for the worse, that Eliot’s newfound faith dimmed his literary powers, making his usually impenetrable style more conventional. But there is a less cynical view. I think, instead, that his conversion brought a sense of clarity and purpose to his poetry. I think what really happened is that, like many Christian converts before and after him, he found a sense of joy.  

Nowhere better can we find that distinctly Christian sense of joy than in Eliot’s ‘The Journey of the Magi’, an Advent poem recounting Jesus’s birth from the point of view of the magi travelling to meet him. Like many of my favourite Advent poems, ‘Journey of the Magi’ is not straightforwardly cheerful, instead dwelling on the idea of alienation. The last stanza of the poem in particular is devoted to the magi’s confusion at returning to their old life after witnessing the miracle of Christ’s birth: 

All this was a long time ago, I remember, 
And I would do it again, but set down 
This set down 
This: were we led all that way for 
Birth or Death? There was a birth, certainly, 
We had evidence and no doubt. I had seen birth and death, 
But had thought they were different; this Birth was 
Hard and bitter agony for us, like Death, our death. 
We returned to our places, these Kingdoms, 
But no longer at ease here, in the old dispensation, 
With an alien people clutching their gods. 
I should be glad of another death. 

It’s hard not to read these lines and imagine that Eliot himself might have experienced a feeling of alienation, as a new convert, when looking back on his old life. And yet, the magi’s sense of being ‘no longer at ease’ in their old home, of being among ‘an alien people’, is not something that only converts experience. All of us, whether we are converts or reverts, whether we were brought up in the Christian faith or are still contemplating it with uncertainty, have a moment when we realise that believing in Christ’s birth, death, and resurrection radically changes the way we look at the world. 

And conversion isn’t something that just happens once. Every year, during Advent, we are asked to meet despair with joy. For those of us living in the northern hemisphere, we’re specifically asked to do this in the darkest and coldest time of the year, when nature looks so gloomy and unwelcoming. As Christina Rossetti puts it in one of our country’s most beloved Christmas hymns, Jesus comes not at a time of flourishing nature, but rather ‘in the bleak midwinter’, when the earth is ‘hard as iron’ and water frozen ‘like a stone’. Just as we persevere in our yearly hope that spring will come again, so too we are called to renew our conversion of heart each Advent, waiting in hope for Christ’s birth.  

But hope doesn’t have to mean blind optimism. The older I’ve become, the more I’ve come to think that rejoicing during Advent doesn’t have to involve unadulterated cheerfulness. Grief has its place within joy, as counterintuitive as that may seem. In fact, Advent is an opportunity to cultivate the virtue of hope in spite of grief, and in spite of the evils that we see in the world. ‘Were we led all that way for / Birth or Death?’, ask the magi. The answer is both. Each year Christ’s birth reminds us that faith requires us to die to our old selves. For some, this means having uncomfortable conversations with family or friends who don’t understand their conversion to the faith. For others, it means facing illness or death of a loved one or other kinds of trauma without giving in to despair.  

None of this is easy, of course. Clinging to hope in dark times can truly feel like ‘bitter agony’, as Eliot writes. And yet, as one of the magi says in the final line of Eliot’s poem, ‘I should be glad of another death’. When we die to our selves, we also experience a new birth in Christ. Even as we celebrate his birth, we are reminded of his death on the cross for us, of the fact that he so loved us that he was willing to bear unbearable pain for our sake.  

That kind of love, although it doesn’t remove all the sources of suffering in our daily life, does call for rejoicing. Another wonderful Advent poem, Madeleine L’Engle’s ‘First Coming’, emphasises the necessity of joyfulness in the face of a corrupted world. L’Engle begins by reminding us, stanza after stanza, that Jesus didn’t wait for humanity to become perfect before coming to us: ‘He did not wait till the world was ready’, she begins, before adding, ‘He did not wait for the perfect time’, ‘He did not wait till hearts were pure’. Rather, Christ came ‘in joy’, to ‘a tarnished world of sin and doubt’, right ‘when the need was deep and great’.  

L’Engle ends ‘First Coming’ by encouraging us to imitate Christ not just in his patience, but also in accepting joy now, not when we world finally stops being rife with sin and pain: 

We cannot wait till the world is sane 
to raise our songs with joyful voice, 
for to share our grief, to touch our pain, 
He came with Love: Rejoice! Rejoice! 

We can’t wait until ‘the world is sane’ to be joyful. Joy is remembering that Christ really did come ‘to share our grief’, no matter how seemingly unbearable it may be. Lord Tennyson expresses a similar sentiment in his poem In Memoriam, an elegy written after the loss of his dear friend Arthur Hallam. He admits that the pain at his friend’s death is so intense that, as Christmas is drawing near, he almost wishes ‘no more to wake’, and for his ‘hold on life’ to ‘break’. Then, he hears the sounds of bells: 

But they my troubled spirit rule, 
For they controll'd me when a boy; 
They bring me sorrow touch’d with joy, 
The merry merry bells of Yule. 

Happy memories of Christmas bells from childhood are mixed with pain for Tennyson, bringing him ‘sorrow touch’d with joy’. That’s what all the best Advent poems, from Tennyson to Eliot, From Rossetti to L’Engle, show us: that sorrow doesn’t preclude joy. In the weeks leading up to Christ’s birth, it’s normal to dwell on both birth and death; Advent can be a season for both somberness and merrymaking. Most of all, Advent is a time for prayer, that our hearts may be filled with the knowledge that Christ loves us even in our sorrow, and that the very knowledge of Christ’s love may in turn fill our hearts with joy.  

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