Yearning for God, Trying to Love My Neighbor, Making Theatre and Beauty, Building a Life...



Monday, October 17, 2016

The Live Coal


This is a speech I delivered for a Mormon Literature Class at BYU on October 17, 2016. 

            The house was filled with smoke. The Lord was upon a throne, high, lifted up. The Old Testament prophet Isaiah beheld seraphim, heavenly beings with six wings. Two of the wings were being used to block the glory of the seraphim’s faces (perhaps to protect Isaiah from their fiery countenance), two were being used to cover the seraphim’s feet (perhaps to protect the earth from splitting into two at their touch), and two with which to fly.
            One of the seraphim spoke…what does a seraph sound like? Does the process of sanctification change beings, their very sound, their very voice, their very vocal nature? What does an immortal, glorified being like a seraph sound like? Isaiah reported that its voice moved the very door posts and its reverberating, sanctified utterance was reported saying thus: “Holy, holy, holy, is the LORD of hosts: the whole earth is full of his glory.”
In the presence of the Lord and these Seraphim, Isaiah could easily see the immense difference between his fallen state and these higher natures and he despaired at the difference: “Then said I, Woe is me! for I am undone; because I am a man of unclean lips, and I dwell in the midst of a people of unclean lips: for mine eyes have seen the King, the LORD of hosts.”
Then a seraphim flew to the smoking altar with tongs, and lifted out of it something hot, red, and burning—a live coal. The seraph flew to Isaiah and placed its singeing surface on Isaiah’s mouth and declared: “Lo, this hath touched thy lips; and thine iniquity is taken away, and thy sin purged.” Isaiah then volunteered to use his new, cleansed voice to declare impending dooms; humankind’s deaf, blind, and forsaking nature; and the sanctifying salvation that had so transformed his own words, and would transform others into the holy seeds that would grow and replace such a discarding desolation. [1]
            That image of a burning coal touching Isaiah’s tongue has often transfixed me. The horrific nature of the morbid visualization of such a scorching, scarring, and searing experience passes when you realize that the coal is not meant to torture, but rather to purify. Are the fires of hell not a punishment after all, but rather an opportunity to be redeemed and cleansed—to walk away from the experience as a transformed being?
            As a Mormon playwright, I have often felt like I live a world of competing contraries: Zion vs. Babylon, the Church vs. the World, Humanity vs. Depravity, the Individual vs. the Community, Conscience vs. Dogma, Conformity vs. Eccentricity, Art vs. Assembly Line… through such banal and broad categorizations, often we are led to believe that we live in a polarized world of oil and water that cannot mix. I have encountered attitudes on both sides that seem to have placed the world of literature, performance, and art solidly on one side, and religious devotion on another, especially of the orthodox variety. Some secular humanists often see churches in a long line of manipulative, coercive, and oppressive institutions that are intent on sinister purposes to collect power; while some religionists believe that those involved in art and literature generally are licentious, godless bohemians who are part of a vast left-wing conspiracy eroding the fabric of society.