War Cry 14 September: Selected articles by The Salvation Army UK and Ireland

BBC/CHRIS CHRISTODOULOU

14 September 2019 • WAR CRY • FEATURE 3

Noteworthy words

The Royal Albert Hall and Tate Britain display William Blake’s art and soul, writes Sarah Olowofoyeku

USICIANS will be pulling out all the stops tonight (Saturday 14 September) for the Last Night of the Proms. The excitement will be scaled up as thousands gather for the event, which takes place every year to mark the end of the BBC’s summer festival at the Royal Albert Hall. Over the past eight weeks, orchestras, ensembles and soloists have come from all over the world to perform diverse evenings of classical music. This year’s Proms also featured other genres, including afropop, jazz and electronica. Tonight, the BBC Symphony Orchestra and BBC Singers will perform a programme that includes music from Bizet’s Carmen and a specially commissioned composition by Daniel Kidane. True to tradition, the audience will join in with rousing renditions of four patriotic pieces – ‘Rule, Britannia!’, ‘Land of Hope and Glory’, ‘Jerusalem’ and the national anthem. The inclusion of some of those four songs has caused discord in the past. But still their lyrics are loved by many and sung with gusto, flags in hand, at the Proms finale – usually a time of great celebration. This week, one of the lyric writers is being celebrated in another way. An exhibition looking at the life of William Blake opened at Tate Britain on Wednesday (11 September). William Blake, which runs until 2 February 2020, features more than 300 original works of the artist, who was also a poet. Blake is the man behind the words of ‘Jerusalem’. However, while he did write a poetic book called Jerusalem, the words to the song of that title are from the preface to another long poem of his, Milton. The words are Blake’s musings on the legend that Jesus, the Son of God, once visited ‘England’s mountains green’. At the time when Blake was writing, England was in the

middle of the Industrial Revolution and beginning to be filled with what he calls ‘dark Satanic mills’. Witnessing this development and the negative impact he believed it was having on society, Blake expressed his hopes for building another Jerusalem, the place portrayed in the Bible as God’s special city, in the green and pleasant land of England. He wanted the country to be a place of peace and liberty. Blake recognised that all was not right with the world, as have many other Christians, past and present. And, motivated by their faith, they have created art, campaigned for justice and changed laws to try to make it a better place. Such actions show that the news of Jesus can be good news for everyone. Being led by his example, his followers use

Blake recognised that all was not right with the world the gifts they believe God has given them for the benefit of others. While it may be no more than a legend that Jesus visited England, the truth is that he did come into the world to live among us and to bring us peace, freedom and God’s love. He sent his followers to share that good news with others, telling them: ‘You received these gifts freely, so you should give them to others freely’ (Matthew 10:8 The Voice). We can be assured that Jesus’ gifts to us have no end and that there are plenty to go around. It’s news that calls for a celebration.

14 September 2019 • WAR CRY • INTERVIEW 5

‘I hope fans will feel that it’s a bigger, better, brighter Downton’ As Downton Abbey debuts on the big screen, writer JULIAN FELLOWES tells Emily Bright what cinemagoers can expect from the film ILMGOERS are being cordially invited to attend screenings of Downton Abbey, Finvitation which arrived in cinemas yesterday (Friday 13 September). Those who accept the will see the Earl of Grantham and his aristocratic family host an unexpected

Julian Fellowes

visit from King George V and Queen Mary. But, when the royal servants seize control of preparations and usurp the roles of Downton’s loyal staff, chaos downstairs may jeopardise the historic event. Meanwhile, romance, intrigue and drama upstairs set the scene for the momentous visit. Acting royalty Maggie Smith, Hugh Bonneville, Jim Carter and Penelope Wilton return to the starstudded line-up, with Imelda Staunton and Stephen Campbell-Moore making guest appearances. Downton Abbey graced UK television screens on Sunday nights for six series from 2010 until 2015. Set between 1912 and 1926, it charted the levity, love and loss experienced by a Yorkshire-based aristocratic family and their servants. Episodes featured witticisms, scandal, romance, scheming characters and loveable rogues. It reigned supreme, scooping up fifteen Primetime Emmys, three Golden Globes and a Special Award at the Baftas. So what can fans expect from Downton Abbey in a film format? The cinematic version includes a military parade and a grand ball complete with an orchestra. ‘I hope fans will feel that it’s a bigger, better, brighter Downton,’ says screenwriter and producer Julian Fellowes. ‘When you’re writing a film, you know that you can do more. You don’t have to be afraid of the battle and the ball; you can get them done properly. Watching the parade was thrilling for me.’ Julian explains that creating a screenplay for a film proved to be a completely different challenge from writing for TV. ‘In a series, you don’t have to complete every story in every episode; you can have stories that run for multiple episodes. You’re not racing against the clock, whereas in a film, any story you start

The aristocratic Crawley family reunite

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6 INTERVIEW • WAR CRY • 14 September 2019

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you must finish. So I was fitting the pieces together like a jigsaw.’ Despite the years that have elapsed since the last series was recorded, Julian says that the team adapted admirably and picked up where they’d left off. ‘There was a kind of reunion element, sitting round an enormous table at Twickenham Studios, all together for the read-through. ‘It must have been quite strange for the actors to find themselves back in costume, standing in the hall of Highclere Castle [the filming location] as if they’d never left. But I think they’re all at the top of their game.’

So is there scope for a sequel? ‘When I wrote it, I thought it was the end. But I’ve been in this business too long to say never about anything. If there is a very strong response to the film, then I suppose there might be another. But all success in showbusiness is a mild surprise: nothing is guaranteed.’ The surprise of any success means it is hard for Julian to explain why Downton Abbey has become such a hit. ‘It really comes down to whether or not the audience is interested in the characters,’ he says. ‘When you’re making a first series, you just have to do it as well as you can, and get the best actors, designers and locations. ‘It was clear, after the show had started to be transmitted, that we had acquired quite a large following fairly quickly. It did seem that there would be more. ‘When you write for an

await the Downton Abbey servants eagerly Carter) (Jim royal visit, with butler Carson called out of retirement

There was a kind of reunion element, sitting all together for the read-through ongoing series, you’re writing for performances you’ve already seen. I got to know the actors and tried to write for their strengths.’ The idea for Downton Abbey was first conceived about ten years ago. Julian had won an Oscar for Best Original Screenplay for Gosford Park in 2002. (‘It’s pretty good fun, winning an Oscar, I can tell you!’ he says.) The film inspired producer Gareth Neame to get in touch with Julian and ask if he wanted to work on a similar period drama for television. He agreed. One day, Julian was reading a book about the ‘dollar princesses’ – American heiresses who travelled abroad by boat to marry English aristocrats, which planted the seed of his first character. ‘All we know about these girls is about them tripping down the gangplank into the arms of a waiting nobleman. But no one’s ever really

gone into what their life was like after that. So from that I started to invent Cora.’ He explains how he dished up Downton Abbey drama for series after series. ‘I was the sole writer. I would write a synopsis for each episode, then my wife, Emma, would read it and give me notes. And I would put her notes into action. Then I would send it to the producers and work on their notes. And then, only once we were all happy to shoot it, we sent it to ITV.’ Some of the most memorable moments he wrote for Downton Abbey were based on the dramatic departures of its characters. One of the standout examples for Julian was the death of one of the sisters in the family, which he thought came across very well on screen. ‘I remember watching Sybil’s death, and I was crying. I said to myself: “You wrote this – what did you think would happen?”’ An episode that was aired on Christmas Day in 2012 also left fans choking back

I enjoy the fact that a lot of people come to half-believe in the reality of the show tears when Downton Abbey heir Matthew died in a car crash. Matthew was played by Dan Stevens, who had told the programme’s producers that he wanted to leave the show because he had been offered a part in a play on Broadway. ‘He didn’t decide to leave until I’d already written half the episodes of the series,’ Julian recalls. ‘I understood his decision, but I had to think pretty fast on my feet. ‘You should have seen the letters I received, which were along the lines of: “I’ll never watch anything with your name on it again.” But I enjoy the fact that a lot of people come to halfbelieve in the reality of the show.’ Another particularly emotive episode featured eldest daughter Mary desperately praying for the safe return from the trenches of the First World War of Matthew, whom she loved.

Servants Anna (Joanne Froggatt) and John Bates (Brendan Coyle) with their son

‘That was an illustration of the fact that in extreme moments of fear and crisis, it feels natural to turn to prayer,’ reflects Julian. ‘I think it’s a fairly deep instinct in people who would describe themselves as not being religious at all.’ As a churchgoer, Julian has been on his own journey of faith. ‘I did have a period of being an atheist years ago, but I was uncomfortable with the presumption of that. It seemed like a very large decision for a very minor individual to make. So I retreated from atheism to agnosticism, and finally I would say I came back to the Church.’

He says that during his career as a screenwriter and novelist, his faith has kept him grounded. ‘I think when you have a religious faith, it is much harder to be self-important and allow your ego to get in the way of things, because God has a way of putting you in your place. ‘Faith offers a rationale and sense of proportion, which makes my life easier to live.’ And Julian feels that he has enjoyed some extraordinary moments in his life. ‘I’ve been caught up in a lot of high points,’ he says. ‘And I think that launching this film will be pretty good fun too.’

12 INNER LIFE • WAR CRY • 14 September 2019

Prayerlink THE War Cry invites readers to send in requests for prayer, including the first names of individuals and details of their circumstances. Send your requests to Prayerlink, War Cry, 101 Newington Causeway, London SE1 6BN. Mark your envelope ‘Confidential’.

Becoming a Christian There is no set formula to becoming a Christian, but many people have found saying this prayer to be a helpful first step to a relationship with God Lord Jesus Christ, I am truly sorry for the things I have done wrong in my life. Please forgive me. I now turn from everything that I know is wrong. Thank you that you died on the cross for me so that I could be forgiven and set free. Thank you that you offer me forgiveness and the gift of your Holy Spirit. Please come into my life by your Holy Spirit to be with me for ever. Thank you, Lord Jesus. Amen Extract from Why Jesus? by Nicky Gumbel published by Alpha International, 2011. Used by kind permission of Alpha International

Nigel Bovey gives chapter and verse on each book in the Scriptures

Habakkuk HE Book of Habakkuk is addressed to T the people of Judah. Although no monarch is mentioned, by which a time frame

could be calculated, God tells the prophet that ‘in your days’ he will be ‘raising up the Babylonians, that ruthless and impetuous people’ (1:5 and 6). Babylon sacked the Assyrian capital of Nineveh in 612BC and replaced Assyria as the region’s dominant power. Only a few years later it invaded Judah. It is possible, therefore, to date the prophet Habakkuk as being active somewhere in the time between those events. In a similar vein to the Book of Job, the first two chapters of Habakkuk are framed as a conversation between the prophet and the Almighty. Like Job, Habakkuk has some questions. He wants to know why God is silent; why God is not listening; why God doesn’t answer his prayers; why God allows violence and destruction; why justice never wins; and why evildoers prosper while God-fearing people struggle (1:2–4). Such questions are age-old and have few easy answers. God, though, does have an

Key verse

‘The righteous person will live by his faithfulness’ (Habakkuk 2:4 New International Version)

answer of sorts. Rather than directly address Habakkuk’s personal concerns, God turns his attention to the bigger picture – a day of national judgment is coming. He is raising up Babylon as his instrument of judgment upon Judah. Babylon will

Habakkuk wants to know why God is silent ‘sweep across the whole earth to seize dwellings not their own’ (1:6). Habakkuk struggles to see how that solves things. If, he argues, God is too pure to look on evil (1:13), why is he using the iniquitous Babylon to do his work (1:12 to 2:1)? God knows the sins of Babylon. They include: pride, drunkenness, theft, extortion, bloodshed, violence and idolatry (2:2–19). Precisely because God abhors evil, at the ‘appointed time’ (2:3) he will deal with Babylon (3:16). Meanwhile, he will bring Judah to account. He is in charge – end of (2:20). Habakkuk concludes with a song of praise. The prophet acknowledges God’s person (3:2–4), power (3:5–12) and plan (3:13–19). By looking at God and not his own circumstances, Habakkuk is transformed from being restless (1:2) to being able to rest in God’s purposes (3:18).

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