American vs. Russian Celebrities in Church

It’s all a question of phronema.

How American celebrities are expected to act in Church:

How Russian celebrities are expected to act in Church:


  1. What? We’ve got a dress code?

  2. A. Arganda (Rymlianin) says

    Jamie Farr I recognize, but who is the dude standing in front of the pannikhidnik of Holy Virgin Cathedral in San Francisco?

  3. Fr. Justin Frederick says

    The holy altar being used as a common table for a celebrity, standing in the celebrant’s place, to autograph the Gospel book?

    • Geo Michalopulos says

      Unfortunately Fr, yes. I was told that this was the actual altar. On a more positive note, M*A*S*H was so much better when Cpl Klinger was always in drag.

  4. I think it is Fedor Emelianenko

    • Geo Michalopulos says

      DM, yes it is. He’s a veritable rock star in Russia. For those who don’t know, he’s a master of Mixed Martial Arts, and his trainer (whom he travels with) is an Orthodox priest and his spiritual father as well.

  5. What makes you think that’s the holy altar, Father, or the Gospel book? If this is the case, well . . . But is it?

  6. I remember this picture on…yes indeed..Jamie Farr signed the Gospel book at an Antiochian Orthodox Church…I think it was in Dearborn ,Mi.but I am not sure….Klinger?

  7. non(russian or american) says

    From the plane:
    It looks that VIP1 is present in the church on the occasion of a wedding, so the main reason for his dressing style is not the presence in the church…
    VIP2 looks as he entered in the church to “light a candle” , but not during the Divine Liturgy or other service; so it might be a ordinary weekday.

    The vestment, the glass cover and the Cross show clearly that it is a Holy Table. But the VIP1 has no fault (if he is not orthodox).

  8. I am familiar with the custom of having visiting clerical dignitaries sign the inside of the Gospel Book, but not lay people.

  9. A. Arganda (Rymlianin) says

    Jamie Farr (Jameel Farah) was baptized in the Antiochian Orthodox Church.

    • Not Sure says

      There is a wall and chair behind Mr. Farr, not a curtain so he is not before the table. There is no Antimins visible. There is a table cover and a hand cross visible. It could be an altar table but it is not clear. If it is, then it is not proper for Mr. Farr to touch the table unless blessed by a priest or bishop to do so. The priest in the picture may have asked and blessed Mr. Farr to sign the Gospel. People who donate Gospel books sometimes sign them when donating them writing an inscription such as “Donated by xxxx, In memory of yyyy.” I’m not sure something improper was done here, where are we going with this?

      • Makes sense to me. Is it also possible he was signing as one of the official public witnesses to a wedding. I don’t know about Orthodox but some other churches do this.

        Wikipedia claims he was raised in the AOC. I’ve not heard of any scandals in his private life either.

      • That is Fr George Shalhoub from St Mary’s in Livonia, MI. And yes, that looks like the altar to me. A table, vested in gold fabric and covered by a sheet of glass, with a microphone. What else could it be?

        Judging from the scenery, they are standing on the south side of the altar here, not the west side. The royal doors are off-camera to the right of this view. The antimins would be off-camera, directly below the camera’s view.

        I don’t know if that’s a Gospel or not, but it sure looks like one. Even if it’s not, laypeople should not be touching the altar under any circumstances, or signing the Gospel, even if it was a donation.

        I’m not sure it’s so much a matter of American phronema as Arab phronema. Trust me, I know of what I speak…

  10. These words were written a decade or two after an ultra-high culture Western celebrity visited churches and monasteries in Russia, prior to The Destruction. A somewhat loftier figure than the guys pictured here, the Bohemian Rilke made two fin-de-siècle pilgrimages East: during his first he met Tolstoy and on the second the poet Spiridon Drozhzhin and the novelist Boris Pasternak.

    Rilke’s reading of the angels is controversial. Perhaps his antennae were a bit askew.

    Mitchell’s translation from the original German is accomplished.

    Duino Elegies
    by Rainer Maria Rilke

    The First Elegy

    Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen. . .

    Who, if I cried out, would hear me among the angels’ hierarchies?

    and even if one of them pressed me suddenly against his heart:
    I would be consumed in that overwhelming existence.
    For beauty is nothing but the beginning of terror, which we are still just able to endure,
    and we are so awed because it serenely disdains to annihilate us.
    Every angel is terrifying.
    And so I hold myself back and swallow the call-note of my dark sobbing.
    Ah, whom can we ever turn to in our need?
    Not angels, not humans, and already the knowing animals are aware
    that we are not really at home in our interpreted world.
    Perhaps there remains for us some tree on a hillside, which every day we can take into our vision;
    there remains for us yesterday’s street and the loyalty of a habit so much at ease
    when it stayed with us that it moved in and never left.
    Oh and night: there is night, when a wind full of infinite space gnaws at our faces.
    Whom would it not remain for–that longed-after, mildly disillusioning presence,
    which the solitary heart so painfully meets.
    Is it any less difficult for lovers?
    But they keep on using each other to hide their own fate.
    Don’t you know yet?
    Fling the emptiness out of your arms into the spaces we breathe;
    perhaps the birds will feel the expanded air with more passionate flying.
    Yes–the springtimes needed you. Often a star was waiting for you to notice it.
    A wave rolled toward you out of the distant past,
    or as you walked under an open window, a violin yielded itself to your hearing.
    All this was mission. But could you accomplish it?
    Weren’t you always distracted by expectation, as if every event announced a beloved?
    (Where can you find a place to keep her, with all the huge strange thoughts inside you
    going and coming and often staying all night.)
    But when you feel longing, sing of women in love; for their famous passion is still not immortal.
    Sing of women abandoned and desolate (you envy them, almost)
    who could love so much more purely than those who were gratified.
    Begin again and again the never-attainable praising; remember: the hero lives on;
    even his downfall was merely a pretext for achieving his final birth.
    But Nature, spent and exhausted, takes lovers back into herself,
    as if there were not enough strength to create them a second time.
    Have you imagined Gaspara Stampa intensely enough
    so that any girl deserted by her beloved might be inspired by that fierce example of soaring,
    objectless love and might say to herself, “Perhaps I can be like her?”
    Shouldn’t this most ancient of sufferings finally grow more fruitful for us?
    Isn’t it time that we lovingly freed ourselves from the beloved and,
    quivering, endured: as the arrow endures the bowstring’s tension,
    so that gathered in the snap of release it can be more than itself.
    For there is no place where we can remain.
    Voices. Voices. Listen, my heart, as only saints have listened:
    until the gigantic call lifted them off the ground;
    yet they kept on, impossibly, kneeling and didn’t notice at all: so complete was their listening.
    Not that you could endure God’s voice–far from it.
    But listen to the voice of the wind and the ceaseless message that forms itself out of silence.
    It is murmuring toward you now from those who died young.
    Didn’t their fate, whenever you stepped into a church in Naples or Rome,
    quietly come to address you?
    Or high up, some eulogy entrusted you with a mission,
    as, last year, on the plaque in Santa Maria Formosa.
    What they want of me is that I gently remove the appearance of injustice about their death–
    which at times slightly hinders their souls from proceeding onward.
    Of course, it is strange to inhabit the earth no longer,

    to give up customs one barely had time to learn,
    not to see roses and other promising Things in terms of a human future;
    no longer to be what one was in infinitely anxious hands;
    to leave even one’s own first name behind,
    forgetting it as easily as a child abandons a broken toy.
    Strange to no longer desire one’s desires.
    Strange to see meanings that clung together once, floating away in every direction.
    And being dead is hard work and full of retrieval before one can gradually feel a trace of eternity.
    Though the living are wrong to believe in the too-sharp distinctions which
    they themselves have created.
    Angels (they say) don’t know whether it is the living they are moving among, or the dead.
    The eternal torrent whirls all ages along in it, through both realms forever,
    and their voices are drowned out in its thunderous roar.
    In the end, those who were carried off early no longer need us:
    they are weaned from earth’s sorrows and joys,
    as gently as children outgrow the soft breasts of their mothers.
    But we, who do need such great mysteries,
    we for whom grief is so often the source of our spirit’s growth–:
    could we exist without them?
    Is the legend meaningless that tells how, in the lament for Linus,
    the daring first notes of song pierced through the barren numbness;
    and then in the startled space which a youth as lovely as a god has suddenly left forever,
    the Void felt for the first time that harmony which now enraptures and comforts and helps us.

    The Second Elegy

    Every angel is terrifying. And yet, alas, I invoke you,

    almost deadly birds of the soul, knowing about you.
    Where are the days of Tobias, when one of you, veiling his radiance,
    stood at the front door, slightly disguised for the journey, no longer appalling;
    (a young man like the one who curiously peeked through the window).
    But if the archangel now, perilous, from behind the stars took even one step down toward us:
    our own heart, beating higher and higher, would beat us to death.
    Who are you?
    Early successes, Creation’s pampered favorites,
    mountain-ranges, peaks growing red in the dawn of all beginning,–
    pollen of the flowering godhead, joints of pure light,
    corridors, stairways, thrones, space formed from essence,
    shields made of ecstasy, storms of emotion whirled into rapture, and suddenly alone:
    mirrors, which scoop up the beauty that has streamed from their face
    and gather it back, into themselves, entire.
    But we, when moved by deep feeling, evaporate; we breathe ourselves out and away;
    from moment to moment our emotion grows fainter, like a perfume.
    Though someone may tell us: “Yes, you’ve entered my bloodstream, the room,
    the whole springtime is filled with you . . . “–what does it matter? he can’t contain us,
    we vanish inside him and around him.
    And those who are beautiful, oh who can retain them?
    Appearance ceaselessly rises in their face, and is gone.
    Like dew from the morning grass, what is ours floats into the air, like steam from a dish of hot food.
    O smile, where are you going?
    O upturned glance: new warm receding wave on the sea of the heart . . .
    alas, but that is what we are.
    Does the infinite space we dissolve into, taste of us then?
    Do the angels really reabsorb only the radiance that streamed out from themselves,
    or sometimes, as if by an oversight, is there a trace of our essence in it as well?
    Are we mixed in with their features even as slightly as that vague look
    in the faces of pregnant women?
    They do not notice it (how could they notice) in their swirling return to themselves.
    Lovers, if they knew how, might utter strange, marvelous words in the night air.
    For it seems that everything hides us.
    Look: trees do exist; the houses that we live in still stand.
    We alone fly past all things, as fugitive as the wind.
    And all things conspire to keep silent about us, half out of shame perhaps, half as unutterable hope.
    Lovers, gratified in each other, I am asking you about us.
    You hold each other. Where is your proof?
    Look, sometimes I find that my hands have become aware of each other,
    or that my time-worn face shelters itself inside them.
    That gives me a slight sensation.
    But who would dare to exist, just for that?
    You, though, who in the other’s passion grow until, overwhelmed, he begs you:
    “No more . . . “; you who beneath his hands swell with abundance,
    like autumn grapes; you who may disappear because the other has wholly emerged:
    I am asking you about us.
    I know, you touch so blissfully because the caress preserves,
    because the place you so tenderly cover does not vanish;
    because underneath it you feel pure duration.
    So you promise eternity, almost, from the embrace.
    And yet, when you have survived the terror of the first glances,
    the longing at the window, and the first walk together, once only, through the garden:
    lovers, are you the same?
    When you lift yourselves up to each other’s mouth and your lips join,
    drink against drink: oh how strangely each drinker seeps away from his action.
    Weren’t you astonished by the caution of human gestures on Attic gravestones?
    Wasn’t love and departure placed so gently on shoulders
    that it seemed to be made of a different substance than in our world?
    Remember the hands, how weightlessly they rest, though there is power in the torsos.
    These self-mastered figures know: “We can go this far,
    this is ours, to touch one another this lightly; the gods can press down harder upon us.
    But that is the gods’ affair.”
    If only we too could discover a pure, contained, human place,
    our own strip of fruit-bearing soil between river and rock.
    Four our own heart always exceeds us, as theirs did.
    And we can no longer follow it,
    gazing into images that soothe it or into the godlike bodies where,
    measured more greatly, it achieves a greater repose.

    Translated by Stephen Mitchell

    Rainer Maria Rilke

    Shambhala Publications, Inc., 1992