“A thought that does not result in an action is nothing much, and an action without thought is nothing at all.”
—Georges Bernanos (1888–1948; French novelist and essayist best known for his spiritually intense works exploring grace, despair, and the inner struggles of faith. He is perhaps most acclaimed for his 1936 novel The Diary of a Country Priest (1936), a profound meditation on suffering, humility, and redemption.)
My thoughts have a mind of their own. Sometimes, they pop up uninvited. Sometimes, they spiral into a whole inner drama, as if they’re running their own show. Sometimes, they’re mischievous, refusing to listen when I try to be calm or focused. Sometimes, they come from a place that I don’t understand, as if another mind is in there with me.
Regardless of how or when they arrive, they make me realize that my inner world is alive, unpredictable, and full of drama.
Just the other day, a thought walked out on my stage and started an entire play long before the curtains of my sleep had even been pulled back.
For the life of me, I couldn’t figure out why Jonathan Edwards’ “Sinners in the Hands of an Angry God” appeared. I realize, of course, that it’s the most famous sermon ever preached in American history.
On July 8, 1741, in the little town of Enfield, Connecticut, Edwards preached the sermon for an hour or so. Scores of listeners were so shaken they converted on the spot. The crowd’s terrified sobbing made it clear they’d better get right with God. Pronto.
I’ve taught the sermon for decades, emphasizing not only its role in stoking the fervor of The Great Awakening but also its perfect sermon structure: Verse, Doctrine, Reasons, Application, and Call to Repent. Boom! That’s Edwards’ framework in a nutshell.
Clearly, the entire sermon is part of my drama, but it was just one character that stole the show the morning it showed up on my mental stage.
It was the verse at the beginning of Edwards’ sermon. There it stood, spotlighted on an otherwise dark stage, reciting with all the doom and gloom it could muster up for its seven-word soliloquy:
“Their foot shall slip in due time.”
Like I said, I’ve taught the sermon so often that I knew the context of the verse from Deuteronomy. I knew what came before and after:
“Vengeance is Mine, and recompense; Their foot shall slip in due time; For the day of their calamity is at hand, And the things to come hasten upon them.” (32-35)
But it wasn’t actually the verse standing there under the spotlight that wouldn’t let go. It was something incredibly simple: what do you call the quote that writers often put at the start of something? In this case, Edwards had put a Bible verse, but I wanted the broader term that would apply to writings other than sermons.
Epigram?
Epigraph?
In a flash, Lucille Clifton hipped her way onto the stage beside the Bible verse and started her own dramatic recitation:
“This is called ‘After Blues,’ and the ‘epi thing’ is ‘I hate to see the evening sun go down.'”
She stood there and paused long enough for me to wonder whether she was referring to Faulkner’s short story, “That Evening Sun,” before I found myself saying:
“There. She’s using the ‘epi thing’ just like Edwards.
Epigram? Epigraph? Don’t tell anyone, but I had to look it up.
Epigram. A concise poem dealing pointedly and often satirically with a single thought or event and often ending with an ingenious turn of thought.
Nope. It must be the other epi thing.
Epigraph. A quotation set at the beginning of a literary work or one of its divisions to suggest its theme.
Yep. That’s it. Epigraph. That’s what Clifton couldn’t think of as she started to read “Afterblues,” and that’s what I couldn’t think of as I reflected on the verse that catapulted Edwards’ “Sinners in the Hands of an Angry God.”
To my surprise, next up on stage was Alexander Gordon, Clerk of His Majesty’s Council, beaming brighter than the stage lights, making his debut as the author of the famous Humourist essays, proudly holding up for the audience to see his first essay in The South-Carolina Gazette with its own “epi thing”:
“Quocunque volunt mentem auditoris agunto.” Horace. (“And raise men’s passions to what heights they will.”) (November 26, 1753)
And after thunderous applause, he strutted back and forth across the stage, holding up the front pages of the Gazette week after week after week, all the way up to his final essay on April 2, 1754, it, too, having its own “epi thing” just as the others did:
“Facies non omnibus una, Nec diversa tamen.” Ovid (“Their faces were not all alike, nor yet unlike, but such as those of sisters ought to be.”)
The standing ovation was such that the audience hardly noticed the Oxford English Dictionary (OED) making its professorial entrance, determined to set the record straight once and for all about the “epi thing” that seemed to be stealing the show.
Hear Ye! Hear Ye! Listen up! Epigraph in the sense of a short quotation or pithy sentence placed at the commencement of a work to indicate its leading idea was first used in 1850 by Elizabeth Barrett Browning: “And write me new my future’s” (Future & Past in Poems (new edition) vol. I. 362).
No sooner had the OED finished pontificating than one of the theatergoers hurled a rotten tomato, brightening the OED’s already reddening cheeks:
“Rubbish! Utter rubbish! We all know that epigraphs have been around forever and forever. “
“Have not!” another screamed!
“Have, too!” insisted the first. “Shut up before I hit you across the head with a fact! Ever heard of Horace? He is one of the most quoted authors in epigraphs across centuries of Western literature.”
Luckily, their interruption did not spoil the performance. The two of them took their boisterous debate out to the proscenium while the OED retreated backstage.
But then, the director seemed to be taken off guard as a local celeb made his way on stage, dragging me along.
I chalked it all up to one more theatrical shenanigan, but I was eager to find out why Barry Lee–acclaimed podcast host of Breakfast with Barry Lee–had made such an appearance and what role I could possibly play in this comedy extempore.
“I love the way you start your blog posts every week with one of those ‘epi things.’ They’re really thought-provoking. I might just print them out and tape them on my office walls.”
“Thanks, Barry. I add them after I finish writing a post, just as a hint of what’s coming.”
“I really like today’s quote that you took from Ovid: ‘Dripping water hollows out stone, not through force but through persistence.’ Persistence is so important in every thing we do in life. What made you decide to start your weekly blog posts this way?”
With that question, I knew exactly why he had dragged me up on stage with him. He was determined to have his own Q & A, ignoring the way I had scripted the play.
“I’m glad you like them, Barry. I hadn’t thought that much about it, but now that you’ve mentioned it, I’ve always started my posts with a quote, going all the way back to my blog’s birth in 2012.
Just as I flashed my TheWiredResearcher.com blog on the screen with every intention of reading every “epi thing” from then until now, the lights started fading, and in a moment of total darkness someone with the proverbial hook pulled me and Barry out of sight.
Then the lights rose softly, and there–front and center–stood my Mother, holding up for the audience to see, a slew of handwritten sermon notes, each beginning with a Bible verse.
She made no attempt to read the tear-stained pages in her hands. She just stood there as if her smile spoke all that needed to be spoken.
It did. I reembered at once her advice when I started writing my own grade school essays.
“Always start with a quote to capture attention and make people want to follow along.”
From that point forward, I did just that. The earliest “epi thing” that I recall using was a quote by Douglas McArthur at the start of one of my many Voice of Democracy essays.
In the instant of that fleeting recollection, I was on stage once more, the light shining more on my Mother than on me, as I my little drama opened with my McArthur “epi thing”:
“Old soldiers never die. They just fade away.”
When I finished, the lights faded. The curtains closed. Amidst a thunderous and standing ovation, they opened up again as we all joined hands and bowed for the curtain call.
My inner child somehow slipped into the audience, just long enough to toss two bouquets back onto the stage. By the time my Mother caught her bunch of asters, I had made it onstage again, standing beside her, grabbing my own nosegay of words. We both laughed as we realized that those tossed words would serve as the perfect “epi thing” not only to open this post but also to close it:
“A thought that does not result in an action is nothing much,
and
an action without thought is nothing at all.”
