There is an old movie classic from the 1930’s starring Gary Cooper titled “Sergeant York.” It is loosely based on the real story of a hillbilly who becomes a great hero in WWI, almost against his will. His is what I call the classic sin- and -redemption story of southern country men, where heavy drinking and fighting and immoral behavior lead to some sort of dark climax that brings the young man back to his Christian roots. For York, the movie begins with his rowdy years, where he has just been humiliated or cheated at cards or both (it’s been a while). We see him on a dark and stormy night riding his horse through the mountain country on his way to shoot the man who has hurt his pride. The music crescendos as the thunder crashes, and then a bolt of lightning strikes him and throws him from his horse. When he comes to, he awakens into a revelation of God. Awed and confused, he seeks the tutelage of the country preacher, played by a sage Walter Brennan, from whom he learns the peaceful ways of the New Testament. Then he gets his draft notice for the war. “Thou shalt not kill” makes him refuse service at first even if it means prison, until the preacher convinces him that it is God’s will that he should serve Him even in the trenches. As it turns out, he does kill several Germans, but he also captures several dozen more who will not kill or be killed. He returns a hero, feeling he has done God’s work, to whom he gives all the credit.
There are lots of themes here we can play with, but the biggest point of the movie for religious people concerns something from the Bible that I missed in my ignorance when I saw the film decades ago: that is, that York’s story recapitulates the life and saving grace of Saul, who later became the famous Paul of the New Testament. Most know his story, but for a recap: Saul was an ardent Pharisee who saw the Christian “way” as a heresy that would destroy all possibilities of the coming of the true messiah. He sought out Christian Jews (most were Jewish converts in the early years) and had them sent to prison to be tried and oftentimes killed. He was on his way to Damascus, where many Christian Jews then lived, when a bolt from the blue came, knocking him to the ground (or off his horse, as is famously depicted in art). He then heard Jesus tell him, “Saul, Saul, why do you persecute me?” In that moment, Saul understood that Jesus was the foretold Messiah. He remained blinded for three days, whereupon “something like scales” fell from his eyes and he regained his sight. He then became the greatest proselytizer of what would become the Christian faith, and his story is behind the famous phrase, “I was blind but now I see.”
These, the stories of Sgt. York and Saul, portray a fundamental theme in human culture that Joseph Campbell calls the “The Hero’s Journey.” Paul’s story is the Hero’s Journey for Western nations, and it permeates our general culture whether we know it or not. While Hero’s journeys share fundamental qualities, they also differ, and Paul’s differs from many others in one very important aspect: his initial wrong-ness. He begins his story as the bad guy, the anti-hero, before he becomes the good hero on his quest. What this variation has done for us is enormous: it tells us that God, or the power of heaven, is behind us always even if we fall short of the heroic. We learn that God is all about forgiveness and second (or 77nd) chances. Once we “see,” we find that we, too, can become heroes, no matter what sort of coward or evil monster we had been beforehand. This is a tremendous message of salvation that is perhaps the greatest strength in Western culture.
Culture stories are made easier to understand through their heroic, or overlarge, proportions. Most of us are not on our way to kill someone, and we don’t usually receive a bolt of lightning to make us see the light, but they still work through us in small ways. I was made aware of this – and was given the impetus for this essay - the other day during a rehearsal of a performance group I am in. My “bolt of lightning” was the gift of an outside look at what was going on in my own mind during the group dynamics, something I would ordinarily experience as un-analyzed emotions. It was disturbing, reminiscent of the painful days in junior high school. I found that in the back of my mind I was comparing myself to others, looking for favor from the director, joining in majority opinions against the minority, harboring resentment as others joined against my minority opinions, and on and on. All was on a subtle level, mind you, with little to no conscious hint to any of this. Normally, none of us would be aware of these dynamics. But there they were, presented to me clear as day in an ongoing inner dialogue that made a mockery of my normal self-image.
It is the beginning of the story of Saul, and of Sgt. York, and of a thousand characters portrayed in our movies and books. It starts with a crummy guy who becomes aware of how crummy he is. Somewhere inside he comes to understand what it is to be a good guy – call this the conscience or God’s inner voice, or what you will – and he finds that he has fallen far short of this image. As a hero, he, I, we, must then proceed to work on the flaws that have been exposed. In ancient Europe and elsewhere, the hero’s journey was to slay the dragon; in more modern times, it is to slay the beast within. But the modern Western journey goes one step further. Through Paul’s story, we understand that the beast within is caused by a lack of the Holy Spirit, the power of God, who we must let in because THAT is the source of our strength and the knowledge of righteousness. We cannot do it on our own. That is our real lightning bolt – the knowledge not only that we are wrong, or less than heroic, but that we need an outside power to bring us to a more heroic state – and that it is there, freely given for the asking.
It’s one hell of a story and the essence of hope itself. Like a naughty little kid – or a junior high student in a difficult class – we fail and complain and cry, but are taken in again by our parents or teachers and are told the error of our ways, and then given the correct way. It is them, not us, who teach us what we should be and then help us to become it. It is our story, the story of our lives, recapitulated from the beginning until the end, from the cradle of our humanness to the point of our maturity, when we can rise above mere humanity to the hero’s realm. It is the classic Western tale of sin and redemption, and like all the best culture stories, it works. What comes after the “happily ever after” will probably always be unknown to mortals, but its threshold is to be reached through the mystery and gift of our heroic journey.