louder than the ever present Nay.��� ���He [Barth] implies
a cosmic paradigm in the way in which Mozart sweeps
into his magnificent lightness everything problematic,
painful and dark. Mozart���s music for Barth has the exact
texture of God���s world of divine comedy.��� This writer is
particularly fond of Mozart���s A Musical Joke, a comic
piece he composed as a parody of an ill-prepared,
talentless orchestra, the comic world in Mozart���s hands
affording genius.
Updike explains that the Nay is still audible, but that for
the Yea to have heft, it must overpower the Nay, the
crux of Barthian theology. There is complexity in God���s
world, in the journey in God���s world. Ironically, just before
he died Updike was at work on a major fictional tome
about St. Paul and the early Church, one enormous tale
of journey, of conversion, of belief.
HYLAND
