Dr Louis Pasteur: Sacrificial Servant of All
August 27, 2009
By Rev. Ed Hird
My family and I watched an Academy Award-winning movie which reminded me that every one of us owes an enormous debt to Dr. Louis Pasteur.
Just think of pasteurized milk and honey, making food safe for our families to eat and drink, thanks to Louis Pasteur. Think of our children whose lives are safe from rabies transmitted by ‘mad dogs’, thanks to Louis Pasteur. Think of our wives and mothers who need not fear death from infection during childbirth, thanks to Louis Pasteur. Think of the sheep, cattle and chickens that we can safely rely on for our food supply, thanks to Louis Pasteur. No wonder that Pasteur’s name is better known than any other scientist who has ever lived.
Louis Pasteur is a living reminder that anyone who wants to make a difference in life is bound to face bigotry and opposition. The most narrow-minded usually turn out to be those who pretend to be the most open-minded and inclusive. Pasteur was maligned as a murderer and a menace to science. He was even challenged to a duel by an angry physician.
His ‘criminal’ behaviour was none other than publishing a pamphlet urging doctors to wash their hands before surgery and to sterilize their instruments. Thirty percent of pregnant women in Paris were needlessly dying from infection during childbirth. One grief-struck husband, whose wife had just died from childbirth fever, went on a rampage and shot his doctor dead. Medical doctors rallied against Dr. Pasteur, blaming his pamphlet for the murder and claiming that Pasteur was making the practice of medicine unsafe for physicians and surgeons. “Who did Pasteur think that he was?” They said. “He isn’t even a medical doctor…just a lowly chemist”.
The Emperor’s wife invited Pasteur to the French Court to explain his radical ideas. Pasteur had the nerve to tell the Emperor that the hospitals of Paris were death houses, and that there was hardly a doctor who didn’t carry death on his hands. After accurately predicting the death of the Emperor’s sister-in-law from childbirth infection, Pasteur was condemned as a fraud and banned by the Emperor from ever speaking out publicly again about medicine.
Having been banished into obscurity in the
countryside of Arbois, Pasteur spent the next decade researching the causes of anthrax, the black plague ravaging the sheep across France. Miraculously Pasteur invented an anthrax vaccine, which he gave freely to all farmers’ sheep in Arbois.
When the French government needed more sheep to pay the 5 million francs War indemnity to Germany, they came to Arbois to find out why Pasteur’s sheep were healthy. Telling them of his vaccine, Pasteur was again mocked as a fool and charlatan by the Academy of Medicine. Only after a rigorous test where infected Anthrax Blood was injected in 50 sheep, was Pasteur finally vindicated. To everyone’s amazement, the only sheep that survived were the 25 sheep which Pasteur had injected with his vaccine.
Was Pasteur then accepted by the medical establishment? Not on your life! When Pasteur had the nerve to look for a rabies cure, again he was vilified and humiliated without mercy. Pasteur was such a servant of all humanity that he even risked facing prison or guillotine to save the life of a rabies-infected ten-year old boy, Joseph Meister. Joseph Meister was later made the caretaker of Pasteur’s tomb at the world-famous Pasteur Institute in Paris. When the Nazis tried to force him to open Pasteur’s tomb in 1940, Joseph tragically committed suicide rather than defile the grave of his hero.
The ‘great physician’ Jesus once said that if anyone wants to be first, he must become the very last, and the servant of all. Louis Pasteur was indeed the servant of all, who sacrificed his time, energy, and health so that others might live. Pasteur selflessly taught that the benefits of science are not for the scientist, but for all of humanity.
Though he has saved millions of lives through his discoveries, Pasteur was unable to save the three out of his four daughters who died from typhoid fever. In his unceasing striving to cure rabies, he suffered a crippling stroke at age 46. Yet even that setback did not stop him from successfully finding a rabies cure.
Near the end of his life, Pasteur was finally honoured by the French Academy of Medicine. He graciously said to them: ‘Doctors and scientists of the future, do not
let yourselves be tainted by a barren skepticism nor discouraged by sadness of certain hours that creep over every nation. Do not become angry at your opponents for no scientific theory has ever been accepted without opposition.’
In so many ways, Pasteur embodied the true meaning of Christ-likeness. My prayer for those reading this article is that we may never let opposition embitter us as we seek to be the servants of all.
The Reverend Ed Hird
Rector, St. Simon’s Church North Vancouver
Anglican Mission in the Americas (Canada)
http://stsimonschurch.ca
-author of the award-winning book ‘Battle for the Soul of Canada’
http://www.battleforthesoulofcanada.blogspot.com
p.s. In order to obtain a copy of the book ‘Battle for the Soul of Canada’, please send a $18.50 cheque to ‘Ed Hird’, #1008-555 West 28th Street, North Vancouver, BC V7N 2J7. For mailing the book to the USA, please send $20.00 USD. This can also be done by PAYPAL using the e-mail ed_hird@telus.net . Be sure to list your mailing address. The Battle for the Soul of Canada e-book can be obtained for $9.99 CDN/USD.
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-previously published in the Deep Cove Crier
Embracing Handel’s Messiah
August 12, 2009
By Rev Ed Hird
Beethoven once said: “Handel was the greatest composer that ever lived. I would uncover my head, and kneel before his tomb.” King George III called Handel “the Shakespeare of Music.” George Bernard Shaw commented that “Handel is not a mere composer in England: he is an institution. What is more, he is a sacred institution.”
In North America and England, at the very least, Handel’s Messiah has become the most popular and performed and recorded and listened to choral work. Many people stereotype Handel’s Messiah as Christmas music, but in earlier years, Messiah performances were more likely to occur at Easter. For Handel, the Messiah was an Easter event that told not merely of birth but also of death and resurrection.
George Frideric Handel was born in Halle, Germany within a month of Johanne Sebastian Bach (1685). Handel’s father was a barber-surgeon who hated music and wanted his son to become a successful lawyer. His aunt Anna gave Handel a spinet harpsichord that they hid in Handel’s attic, wrapping each string with thin strips of cloth, so that Handel could play undetected.
When George was eight or nine, the Duke of Weissenfels heard him play the postlude to a church service and he summoned the boy’s father and told him he ought to encourage such talent. His only teacher was Friedrich Wilhelm Zachow, a most learned and imaginative musician and teacher, who instilled in his young pupil a lifelong intellectual curiosity. At age 11, Handel entered a musical contest at the Berlin court of the Elector with the famous composer Buononcini, and won.
When Handel moved to England in 1712, it was a beehive of musical activity with Italian opera ruling the day. Within the next 30 year period in England, Handel wrote about 40 operas and 26 oratorios. Handel did not play to easy audiences. If opera attenders felt bored in Handel’s day, they would often start loud conversations, and walk around freely. It was also a custom for them to play cards, and eat snacks right during the opera.
As Smith/Carlson put it, Handel “…was an inviting target for critics and for satire. He was a foreigner, and an individual no one could help noticing. He had large hands, large feet, a large appetite, and he wore a huge white wig with curls rippling over his shoulders. He spoke English rather loudly in a colourful blending of Italian, German, and French. He was temperamental, he loved freedom, and he hated restrictions which placed limits on his art…”
Charles Burney, who later sang and played under him, told how Handel once raged at him when he made a mistake, “a circumstance very terrific to a young musician.” But when Handel found that his mistake was caused by a copying error, he apologized generously (“I pec your parton – I am a very odd tog”, he said in Germanic English).
Handel also struggled with his weight, a problem about which critics mercilessly teased him. His London years were up and down, and unbelievably down at times. As Romain Rolland has tried to explain it: “He was surrounded by a crowd of bulldogs with terrible fangs, by unmusical men of letters who were likewise able to bite, by jealous colleagues, arrogant virtuosos, cannibalistic theatrical companies, fashionable cliques, feminine plots, and nationalistic leagues…Twice he was bankrupt, and once he was stricken by apoplexy amid the ruin of his company. But he always found his feet again; he never gave in.”

The situation was so bleak in 1741 that just before he wrote the Messiah, he had seriously considered going back to Germany. But instead of giving up, he turned more strongly to God. Handel composed the Messiah in 24 days without once leaving his house. During this time, his servant brought him food, and when he returned, the meal was often left uneaten. While writing the “Hallelujah Chorus”, his servant discovered him with tears in his eyes. He exclaimed, “I did think I did see all Heaven before me, and the great God Himself!!” As Newman Flower observes, “Considering the immensity of the work, and the short time involved in putting it to paper, it will remain, perhaps forever, the greatest feat in the whole history of musical composition.”
At a Messiah performance in 1759, honouring his seventy-fourth birthday, Handel responded to enthusiastic applause with these words: “Not from me – but from Heaven- comes all.” In his last years he worshipped twice every day at St. George’s Church, Hanover Square, near his home.
The Messiah was first performed in Dublin in 1742, and immediately won huge popular success. In order to have room enough for the people, a request was sent afar and wide, asking, “The favour of the Ladies not to come with hoops this day to the Music Hall in Fishamble Street. The Gentlemen are desired to come without their swords.” This is how the Dublin Newspaper reported the event: “…The best Judges allowed it to be the most finished work of Musick. Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic, and moving Words, conspired to transport and charm the ravished Heart and Ear…” Handel could have made a financial killing from the Messiah, but instead he designated that all the proceeds would go to charities.
In contrast to the Irish, the English did not initially like the Messiah. This oratorio, after all, had no story. The soloists had too little to do, and the chorus too much. It was different, and the audience wasn’t ready for it. Jennens who wrote the script didn’t like it either. He commented: “Handel’s Messiah has disappointed me, being set in great haste, though he said he would be a year about it, and make it the best of all his Compositions. I shall put no more Sacred Works into his hands, thus to be abused.”
Twenty-five years later, Handel’s Messiah was so popular with the English that they almost rioted, while waiting to hear it at Westminster Abbey. People screamed, as they feared being trampled. Others fainted. Some threatened to break down the church doors.
Handel’s use of biblical words in a theatre was revolutionary, and those who opposed Handel went to great extremes to keep his oratorios from being successful. For example, certain self-righteous women gave large teas or sponsored other theatrical performances on the days when Handel’s concerts were to take place in order to rob him of an audience. As well, his enemies hired boys to tear down the advertisements about Handel’s Messiah. One opponent wrote to a newspaper asking “if the Playhouse is a fit Temple…or a Company of Players fit Ministers of God’s Word.” This person saw the Messiah as “prostituting sacred things to the perverse humour of a Set of obstinate people.”
In contrast, the famous preacher John Wesley liked Handel’s Messiah. He wrote: “In many parts, especially several of the choruses, it exceeded my expectation.” One clergy William Hanbury in 1759 said that you could hardly find an eye without tears in the whole audience.
The King was so deeply stirred with the exultant music, that when the first Hallelujah rang through the hall, he rose to his feet and remained standing until the last note of the chorus echoed through the house. From this began the custom of standing for the Hallelujah chorus. When a nobleman praised Handel as to how entertaining the Messiah was, Handel replied, “My Lord, I should be sorry if I only entertained them; I wished to make them better.”
What is it about the Messiah that makes it so popular? Many scholars point to the spaciousness in Handel’s music, the dramatic silences, and the stirring contrast. Sadie commented that the music of Handel’s, is a blend of different styles: English church music (especially the choruses), the German Passion-music tradition, the Italian melodic style. In fact, three of the choruses are arranged from Italian love-duets which Handel had written thirty years before. Handel’s genius was in bringing new and dramatic twists to the familiar and mundane.
In 1759 the almost blind Handel conducted a series of 10 concerts. After performing the Messiah, he told some friends that he had one desire –to die on Good Friday. “I want to die on Good Friday,” he said, “in the hope of rejoining the good God, my sweet Lord and Saviour, on the day of His resurrection.”
On Good Friday, he bid good-bye to his friends and dies the very next day on Holy Saturday, April 14th, 1759. Handel was fittingly buried in Poet’s Corner at Westminster Abbey. A close friend of Handel’s, James Smyth, said: “Handel died as he lived –as a good Christian, with a true sense of his duty to God and man, and in perfect charity with all the world…”
My prayer is that the words and music of Handel’s Messiah may help us experience the intimacy of Handel’s relationship with His Messiah, Jesus of Nazareth.
The Reverend Ed Hird, Rector
St. Simon’s Church, North Vancouver
Anglican Coalition in Canada
http://www3.telus.net/st_simons
-author of the award-winning book ‘Battle for the Soul of Canada’





