Merton goes Orwellian

In his critique of the Church of England, Merton's prose brings to mind Orwell's stinging critique of class in The Road to Wigan Pier. Pointing out the conflation and assimilation of the "established" church, Merton writes:

"The Church of England depends, for its existence, almost entirely on the solidarity and conservativism of the English ruling class. Its strength is not in anything supernatural, but in the strong social and racial instincts which bind the members of this caste together; and the English cling to their Church the way they cling to their King and to their old schools: because of a big, vague, sweet complex of subjective dispositions regarding the English countryside, old castles and cottages, games of criticket in the long summer afternoons, tea-parties on the Thames, croquet, roast-beef, pipe-smoking, the Christmas panto, Punch and the London Times and all those other things the mere thought of which produces a kind of a warm and inexpressible ache in the English heart."

~Merton, The Seven Storey Mountain, p. 72

Ordinary Saints, Unsuspecting Evangelists

Merton's prose ripples with hagiographic energy when he recalls the influence of a humble French family, the Privats in Murat, remembering "their kindness and goodness to me, and their peacefulness and their utter simplicity. They inspired real reverence, and I think, in a way, they were certainly saints. And they were saints in that most effective and telling way: sanctified by leading ordinary lives in a completely supernatural manner, santified by obscurity, by usual skills, by common tasks, by routine, but skills, tasks, routine which received a supernatural form from grace within."

Staying with them for a few weeks as a boy, the now-boy-become-monk considers the weight of their impact on his life:

"Those were weeks that I shall never forget, and the more I think of them, the more I realize that I must certainly owe the Privats for more than butter and milk and good nourishing food for my body. I am indebted to them for much more than the kindness and care they showed me, the goodness and delicate solicitude with which they treated me as their own child, yet without any assertive or natural familiarity. [...] I was glad of the love the Privats showed me, and was ready to love them in return. It did not burn you, it did not hold you, it did not try to imprison you in demonstrations, or trap your feet in the snares of interest. [...]

After all, this going to Murat was a great grace. Did I realize it? I did not know what grace was. And though I was impressed with the goodness of the Privats, I could not fail to realize what was its root and its foundation. And yet it never occurred to me at the time to think of being like them, of profiting in any way by their example. [...]

Who knows how much I owe to those two wonderful people? Anything I say about it is only a matter of guessing but, knowing their charity, it is to me a matter of moral certitude that I owe many graces to their prayers, and perhaps ultimately the grace of my conversion and even of my religious vocation. Who shall say? But one day I shall know, and it is good to be able to be confident that I will see them again and be able to thank them."

~Merton, The Seven Storey Mountain, pp. 62-65

The Architecture of Grace

Reflecting on St. Antonin, Merton's French hometown during his formative youth, he observes:

"Here, everywhere I went, I was forced, by the disposition of everything around me, to be always at least virtually conscious of the church. Every street pointed more or less inward to the center of the town, to the church. Every view of town from the exterior hills, centered upon the long grey building with its high spire.

The church had been fitted into the landscape in such a way as to become the keystone of its intelligibility. Its presence imparted a special form, a particular significance to everything else that they eye beheld, to the hills, the forests, the fields, the white cliff of the Rocher d'Anglars and to the red bastion of the Roc Rouge, to the winding river, and the green valley of the Bonnette, the town and the bridge, and even to the white stucco villas of the modern bourgeois that dotted the fields and orchards outside the precinct of the vanished ramparts: and the significance that was imparted was a supernatural one.

The whole landscape, unified by the church and its heavenward spire, seemed to say: this is the meaning of all created things: we have been made for no other purpose than that men may use us in raising themselves to God, and in proclaiming the glory of God. We have been fashioned, in all our perfection, each according to his own nature, and all our natures ordered and harmonized together, that man's reason and his love might fit in this one last element, this God-given key to the meaning of the whole.

Oh, what a thing it is, to live in a place that is so constructed that you are forced, in spite of yourself, to be at least a virtual contemplative!"

~Merton, The Seven Storey Mountain, p. 41.