Who are we?

by Andrea Elizabeth

Grantchester S1:E5. My 1.5 cents in black

Sydney’s lament after falling into temptation: I’m supposed to set an example.

The temptress told him not to feel bad. It was because he’s only human. 

wait for it….

Now he just lied to  Hildegard about why he’s not performing Amanda’s wedding. 

Leonard: If it weren’t sacrilegious, I’d say listening to that album (Miles Davis) was almost a Godly experience. 

Reminds me of John Lennon’s 1966 statement that The Beatles are bigger than Jesus.

Also reminds me of Neil Diamond’s statement in The Jazz Singer where he’s trying to talk to his father after the latter rent his clothes and treated him as dead for dating a Gentile: It’s been over a year, Pop, isn’t that long enough? This is Yom Kippur, the day of forgiveness. You used to tell me you gotta know where you come from to know where you’re going. Well I know where I come from. I know where I’m going now. I’ve got my own congregation now, and they love my music. They say it makes them feel things. It makes them happy. What is so terrible?

I’m still trying to sort that out. On one hand I think “secular” music can be redeemed. That it is indirectly talking about God and that we mistake romance for it. On the other. I recognize that there is a hierarchy. On the way to Church I warm up to sing in the choir sometimes by listening to love ballads, which the other car occupants think is inappropriate. I’m sorry but in my sorry state, these songs open my throat more. But recently I’ve been listening to my Rich Mullins play list that also has Amy Grant, Keith Green and John Michael Talbot type songs on it. Amy Grant is very crossover, and that opens my pipes too. With the others, except Rich Mullins who does somehow in a Christ alone way, I sing lighter. The other day I was finally able to access my iTunes CD rips and reconnect with my Valaam and St. Vladimir Seminary Liturgy of the Presanctified Gifts music. Mostly I sing light except for The Waters of Babylon and Open to Me the Doors of Repentance. I recognize the higher percentage of correctness and difference in emotion (it’s unencumbered), in Orthodox music. But it’s the choral Slavonic, which I can’t sing to except for the Alleluia’s, that sounds like angelic heaven. The Byzantine Church music sounds personally holier than me.

Mafia guy: She (his daughter) never had the last rights. What if she’s out there in the cold.

Sydney: God wouldn’t allow it.

Mafia guy: She wasn’t cleansed of her sins.

How can Sydney know this? Seems he makes God after his own likeness.

Bothered Sydney referencing third line: It’s not me, it’s not what I do…. I lied to her face, it wasn’t even a good lie, “I accidentally bumped into Amanda”. It doesn’t even make sense.

It’s interesting that Sydney seems more bothered about his lie than about his fornication. He was pretty silent about that, but I think he did seem pretty bothered.

Sydney to the murderer before he murders again: That’s not who you are.

Mafia guy: Funny thing, grief. Does weird things to you. Like one of those dreams where you’re falling. And you’re falling and you’re falling and you’re falling. And you know you’re going to go on falling for the rest of your life.

They’re also implying that Sydney’s grief over Amanda is what made him sin. Maybe that’s their idea of why Adam fell after Eve.

Sydney’s closing sermon: Repentance is a form of sorrow. Sorrow for one’s sins, and the resolution to turn from them. To learn from them. Recognizing our sin means being honest with ourselves. Accepting who we are and embracing who we hope to be.,  because that is who God intended us to be, and we should never pretend to be otherwise.

They’re pretty close. Being human is not sinning. If we hope to fulfill God’s image and likeness, then that is who we are meant to be.