FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 109 A look at the BEATLES as featured in 7th episode of Francis Schaeffer film HOW SHOULD WE THEN LIVE? Part G “She (We gave her most of our lives) is leaving (Sacrificed most of our lives) home (We gave her everything money could buy) She’s leaving home after living alone” (Artist featured today is Maggi Hambling )


Seeking freedom and fun the generation of the 1960’s rebelled against their parents’ generation of materialism and that is pictured in the Beatles’ song SHE’S LEAVING HOME. However, was the true answer FREEDOM and FUN and did it bring satisfaction?

On SGT PEP’S we have the song SHE’S LEAVING HOME that ends with the words, “Fun Fun is the one thing that money can’t buy, Something inside that was always denied, For so many years. Bye, Bye, She’s leaving home bye bye.” Basically she is finding freedom and as a result fun by leaving home. She was escaping her parents’ horrible values of PEACE and AFFLUENCE and embracing fun and freedom.

Francis Schaeffer in the 7th episode of HOW SHOULD WE THEN LIVE? discusses the issue of freedom and society:

Jean-Jacques Rousseau philosopher from Geneva, he lived in the 18th century, he thought that primitive man, the noble savage to be superior to civilized man. He felt that the enlightenment with its emphasis on reason, the arts and the sciences caused man to lose more than he gained.
Rousseau saw the restraints of civilization as evils.
“Man was born free but everywhere he is in chains!” He demanded not just freedom from God or the Bible but freedom from any kind of restraint, freedom from culture, freedom from authority, absolute freedom for the individual with the individual at the center of the universe. When applied to the individual his concept led to the bohemian ideal where the hero was the man who fought all standards, all values and all restraints of society.
When Rousseau applied his concept of autonomous freedom to society his concept would not function. “Whosoever refuses to obey the general shall be compelled to do so by the whole body.” Rousseau wrote this in 1762. This means nothing less than that he will be forced to be free. In other words tyranny. A tyranny that carried its position to its logical conclusion in the reign of terror in the French Revolution. Robespierre, the king of the terror, saw himself putting Rousseau‘s ideas into practice.
Paul Gauguin was a follower of jean Jean-Jacques Rousseau. In his hunt for total freedom he deserted his family.  He went to Tahiti hoping to find there the noble savage. There he found the idea of the noble savage to be an illusion.
As he worked in this painting “Where Do We Come From? What Are We? Where Are We Going?” (1897),  he also wrote about it. He called it a philosophic work comparable to the gospel, but what a gospel. Gauguin himself said, “Close to the death of an old woman a strange stupid bird concludes, ‘Wince, What, Wither. Oh sorrow thou art my master. Fate how cruel thou art and always vanquished I revolt.‘”
What he found in Tahiti was death and cruelty.
That man is good by nature as Rousseau claimed is no more true of primitive man than of civilized man. When Gauguin finished this painting he tried to commit suicide but he did not succeed.

When you think about the song SHE’S LEAVING HOME (which appeared on Sergeant Pepper’s Lonely Hearts Club Band album) you must come to the conclusion that the Beatles knew exactly what was going through the young person’s mind in the 1960’s. No wonder in the video THE AGE OF NON-REASON Schaeffer noted,  “The drug culture and the mentality that went with it had it’s own vehicle that crossed the frontiers of the world which were otherwise almost impassible by other means of communication. This record,  Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”

Francis Schaeffer below is holding the album Beatles’ album SGT PEP in the film series HOW SHOULD WE THEN LIVE? episode 7 “The Age of Non-Reason” in which he discusses the Beatles’ 1960’s generation and their search for meanings and values!


Melanie Coe ran away from home in 1967 when she was 15. Paul McCartney read about her in the papers and wrote ‘She’s Leaving Home’ for Sgt.Pepper’s.

The subtitles are produced live for The One Show, so some seconds late and with a few mistakes.

Melanie at 17 in the picture that made the front pages in 1967 and inspired the Beatles.


She’s Leaving Home- The Beatles

Uploaded on Jan 19, 2009

She’s Leaving Home
The Beatles
Sgt. Pepper’s

Wednesday morning at five o’clock as the day begings
Silently closing her bedroom door
Leaving the note that she hoped would say more
She goes downstairs to the kitchen clutching her hankerchief
Quietly turing the backdoor key
Stepping outside she is free.
She (We gave her most of our lives)
is leaving (Sacraficed most of our lives)
home (We gave her everything money could buy)
She’s leaving home after living alone
For so many years. Bye, bye
Father snores as his wife gets into her dressing gown
Picks up the letter that’s lying there
Standing alone at the top of the stairs
She breaks down and cries to her husband
Daddy our baby’s gone.
Why would she treat us so thoughtlessly
How could she do this to me.
She (We never though of ourselves)
Is leaving (Never a thought for ourselves)
home (We struggled hard all our lives to get by)
She’s leaving home after living alone
For so many years. Bye, bye
Friday morning at nine o’clock she is far away
Waiting to keep the appointment she made
Meeting a man from the motor trade.
She What did we do that was wrong
Is having We didn’t know it was wrong
Fun Fun is the one thing that money can’t buy
Something inside that was always denied
For so many years. Bye, Bye
She’s leaving home bye bye

Whatever is True, Whatever is Noble, Whatever is Right…Sgt. Pepper’s Lonely Heart’s Club Band


While many “Beatlemaniacs” identify “With A Little Help From My Friends” or the catchy “When I’m Sixty-Four” as their favorite tracks, I always believed “She’s Leaving Home” was the most thoughtful track.  McCartney was inspired to write the song after reading a newspaper article about a young girl who had disappeared.  The tune captures a moment where a girl leaves the home of her parents who tried to give her “everything money could buy” but still left her feeling as if she were alone.

As a Christian listening to Sgt. Pepper’s it is hard not to think of Francis Schaeffer who reportedly cried when the Free Speech movement died despite his conservatism.  Schaeffer did not agree with the far left but was pleased to see a generation who, like the girl in “She’s Leaving Home,” was looking for more than just material comfort.  Then and now, there is a myth born in the depths of hell that the meaning of life is a comfortable existence with a lot of money and the toys.  In fact, life is about a relationship with God through Jesus Christ.  Unfortunately, the only one of the Beatles who ever truly investigated the liberation of Christianity was John Lennon who had a regular correspondence with Jerry Falwell up until his death.  Sadly, Yoko Ono apparently opposed John’s inquiries.

Regardless, Sgt. Pepper’s is worth your time.

Melanie Coe – She’s Leaving Home – The Beatles

Uploaded on Nov 25, 2010

Why is she leaving home? Francis Schaeffer noted on pages  15-17 in volume 4 of THE COMPLETE WORKS OF FRANCIS SCHAEFFER from the original book “The Church at the end of the 20th Century”  the reason she left and it was because of the bankruptcy of the materialistic views of her parents. Schaeffer points that for many years there was one message that the  media was promoting and that was since we now believe in the “UNIFORMITY OF NATURAL CAUSES IN A CLOSED SYSTEM we are left with only the impersonal plus time plus chance.” Schaeffer continued:

What is taught is that there is no final truth,  no meaning, no absolutes, that it is only that we have not found truth and meaning, but that they do not exist. 
The student and the common man may not be able to analyze it, but day after day, day after day, they are being battered by this concept.  We have now had several generations exposed to this and we must not be blind to the fact that it is being excepted increasingly.
In contrast, this way of thinking has not had as much influence on the middle class. Many of these keep thinking in the old way as a memory of the time before the Christian base was lost in this post-Christian world. However,  the majority in the middle-class have no real basis for their values since so many have given up the Christian viewpoint. They just function on the “memory.” This is why so many young people have felt that the middle class is ugly. They feel middle-class people are plastic,  ugly and plastic because they try to tell others what to do on the basis of their own values but with no ground for those values. They  have no base and they have no clear categories for their choices of right and wrong. Their choices tend to turn on what is for their material benefit…
When their children crying out, “Yours is a plastic culture.” They are silent. We had the response so beautifully stated in the 1960s in the Beatles’ Sergeant Pepper’s song “She is leaving home.”  “We gave her everything money could buy.” This is the only answer many parents can give.

How Should We Then Live – Episode 9 – The Age of Personal Peace & Affluence

First, it is necessary to understand the secular side of con- 
temporary culture. And here we have to go back, at least brief- 
ly, into some of the issues which I discussed in The Church 
at the End of the 20th Century. But the cultural situation 
described there, especially in chapters one and two, has now 
progressed further. 

It became obvious to students in the early sixties that we 
were living in a post-Christian world. As students in Berkeley 
shouted in 1964, we are living in a plastic culture. The beat 
generation before them had been saying that, and now an en- 
tire student generation had become convinced of it. Students 
would return home from the university and ask their parents 
questions and would get only superficial answers: You must 
work like mad to get into the university. Why? So you can 
make money. But why should I want to make money? So you 
can send your children to the university. All too often PERSONAL PEACE and AFFLUENCE
were the only values that these young 
people saw in their parents, and they rightly were turned off. 

Christians should have been glad for what these students 
were saying. In fact, they should have been saying it them- 
selves, for these young people had put their finger on the situa- 
tion as it really was. On the one side, most of the church 
bodies were controlled by liberal theology which isn't Chris- 
tianity at all. And on the other side, culture in general had 
become totally secularized. Not many years before, one could 
have said that, while most individuals were not Christians, at 
least there was a "Christian" consensus based on the memory 
of true Christianity. Men still believed that a truth existed, and, 
even if the non-Christians had no real base for it, at least it was 
an ideal toward which to aspire. But by the sixties, this had 
largely been lost; we were in the post-Christian world; and now 
the present generation no longer believes that absolute truth 
exists at all. Yet the older  generation didn't recognize it until
suddenly their youngsters looked up and declared that the king 
didn't have any clothes on, or, as they put it, "We live in a 
plastic culture." 

One reason I felt close to those who were saying this is that 
I wished the Bible-believing church had been saying it long 
before. But our evangelical churches, too, had all too often 
become plastic and no voice was raised...So two things have to be said here. First, the young people's 
analysis of culture was right, and, second, they really thought 
they had an answer to the problem. Up through Woodstock 
(1969) the young people were optimistic concerning drug- 
being the ideological answer. The desire for community and 
togetherness that was the impetus for Woodstock was not wrong, of course. God has made us in his own image, and he 
means for us to be in a strong horizontal relationship with each 
other. While Christianity appeals and applies to the individual, 
it is not individualistic. God means for us to have community. 
There are really two orthodoxies: an orthodoxy of doctrine 
and an orthodoxy of community, and both go together. So the 
longing for community in Woodstock was right. But the path 
was wrong....The Beatles are a sort of test case. First they were just a 
rock group, then they took to drugs and expressed that in such 
songs as Sergeant Pepper's Lonely Hearts Club Band. When 
drugs didn't pan out, when they saw what was happening in 
Haight-Ashbury, they turned to the psychedelic sounds of 
Strawberry Fields, and then went further into Eastern religious 
experiences. But that, too, did not work out, and they wound 
up their career as a group by making The Yellow Submarine. 
When they made this movie, some people said, "The Beatles 
are coming back." But of course that was not the case. It was 
really 'the sad end of their ideological search as a group. It's 
interesting that Erich Segal, the man who wrote the film script 
for The Yellow Submarine, then wrote Love Story.

The Beatles – She’s Leaving Home – Lyrics

Published on May 17, 2012

A beautiful Paul McCartney song from the 1967 BEATLES masterpiece SGT. PEPPER’S LONELY HEARTS CLUB BAND.


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The Beatles – In my Life

Published on Feb 25, 2011

Image result for beatles

Here Comes The Sun – The Beatles Tribute

Not sung by George but good nonetheless!!

Francis Schaeffer’s favorite album was SGT. PEPPER”S and he said of the album “Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings.”  (at the 14 minute point in episode 7 of HOW SHOULD WE THEN LIVE? ) 

Image result for francis schaeffer how should we then live

How Should We Then Live – Episode Seven – 07 – Portuguese Subtitles

Francis Schaeffer

Image result for francis schaeffer



Image result for beatles

The Beatles – Revolution

Published on Oct 20, 2015

Image result for beatles

How Should We then Live Episode 7 small (Age of Nonreason)

Francis Schaeffer ends episode 7 with these words:

When we think of Christ of course we think of his substitutionary death upon the cross when he who claimed to be God died in a substitutionary way and as such his death had infinite value and as we accept  that gift raising the empty hands of faith with no humanistic elements we have that which is real life and that is being in relationship to the infinite personal God who is there and being in a personal relationship to Him. But Christ brings life in another way that is not as often clearly thought about perhaps. He connects himself with what the Bible teaches in his teaching and as such he is a prophet as well as a savior. It is upon the basis of what he taught  and the Bible teaches because he himself wraps these together that we have life instead of death in the sense of having some knowledge that is more than men can have from himself, beginning from himself alone. Both of these elements are the place where Christ gives us life.  

“Samuel Beckett” 2005. Maggi Hambling

Artist featured today is Maggi Hambling

In The Studio With Maggi Hambling

Contemporary Christian Art – The Rt Revd Lord Harries of Pentregarth

Published on Apr 10, 2012

Contrary to much opinion, the current scene of faith-related art is very much alive. There are new commissions for churches and cathedrals, a number of artists pursue their work on the basis of a deeply convinced faith, and other artists often resonate with traditional Christian themes, albeit in a highly untraditional way. The challenge for the artist, stated in the introduction to the course of lectures above, is still very much there: how to retain artistic integrity whilst doing justice to received themes.

This lecture is part of Lord Harries’ series on ‘Christian Faith and Modern Art’. The last century has seen changes in artistic style that have been both rapid and radical. This has presented a particular problem to artists who have wished to express Christian themes.

Forces of nature: Maggi Hambling with ‘Amy Winehouse’, a painting


The transcript and downloadable versions of the lecture are available from the Gresham College website:…

Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website.


Maggi Hambling,

Maggi Hambling, 1945

Good Friday, 1991

Head a different way round, ambiguity about whether alive, pink, or dead, blue.

Maggi Hambling studied at art schools in East Anglia then at Camberwell and the Slade. She has become one of the best known of modern British painters, first of all for her portraits in an expressionist style of people like Max Wall and George Melly, then for her controversial public sculpture, including the memorial to Benjamin Brittan on the beach at Aldeburgh, of giant scallop shells. More recently she has turned to landscape and seascape in her native Suffolk. Every Good Friday she spends first reading the Gospels and then contemplating and painting the crucifixion. She began this discipline in 1986 partly as a tribute to her mother who was then very frail. Brought up to go to church every Sunday she says “Consequently it is very difficult for me to think of anything else on Good Friday but the crucifixion. The mystery. The sacrifice. The simultaneous life and death, and vice versa.” She now describes herself as “an optimistic doubter.”[1]


Good Friday, 2002

Loneliness of figure


Good Friday 2007

High and lifted up for contemplation.

Her studies of the crucifixion are all very different, but deeply felt and fresh; some reflecting a recent visit to the continent are more traditional in image, others highly abstract.[2] She says that Good Friday brings out of herself some different image of Christ, which she cannot predict in advance.

[1] Andrew Lambirth, in Cross Purposes, ed. Nathaniel Hepburn, Mascalls Gallery, Ben Uri, London Jewish Museum, , 2010, p.65

[2] Maggi Hambling: Good Friday Gainsborough House, Sudbury and the Bible Society, 2000 with essays by Andrew Lambrith and Tom Devonshire Jones


Stephen Fry, by Maggi Hambling, 1993 – NPG 6323 – © National Portrait Gallery

Maggi Hambling

From Wikipedia, the free encyclopedia

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Hambling’s Scallop (2003) stands on the north end of Aldeburgh beach. It is a tribute to Benjamin Britten and is pierced with the words “I hear those voices that will not be drowned” from his opera Peter Grimes.

Maggi Hambling CBE (born 23 October 1945 in Sudbury, Suffolk[1]) is a British contemporary painter and sculptor. Perhaps her best-known public works are a sculpture for Oscar Wilde in central London and Scallop, a 4-metre-high steel sculpture on Aldeburgh beach dedicated to Benjamin Britten. Both works have attracted a great degree of controversy.[2]



Hambling studied at the East Anglian School of Painting and Drawing from 1960 under Cedric Morris and Lett Haines, then at Ipswich School of Art (1962–64), Camberwell (1964–67), and finally the Slade School of Art, graduating in 1969.[3] In 1980 Hambling became the first Artist in Residence at the National Gallery, London, after which she produced a series of portraits of the comedian Max Wall. Wall responded to Hambling’s request to paint him with a letter saying: “Re: painting little me, I am flattered indeed – what colour?”[4][1] She has taught at Wimbledon School of Art.[5]

Portraits form part of Hambling’s oeuvre, with several works in the National Portrait Gallery, London.[6] Her wider body of work is held in many public collections including, in the UK, the British Museum, Tate Collection, National Gallery, Scottish Gallery of Modern Art and the Victoria and Albert Museum.

Hambling’s celebrated series of North Sea paintings have continued since late 2002. In 2013, she will again show at Snape during the Aldeburgh festival, and her next solo exhibition will be held at the Hermitage, St Petersburg, opening in June 2013.

In 1995, she was awarded the Jerwood Painting Prize (with Patrick Caulfield). In the same year she was awarded an OBE for her services to painting, followed by a CBE in 2010.

Hambling, A Conversation with Oscar Wilde (1998), green granite and bronze, Adelaide Street, near Trafalgar Square, London

Hambling is openly “lesbionic” (her adjective).[7]

With regard to Scallop the artist describes the sculpture as a conversation with the sea:

“An important part of my concept is that at the centre of the sculpture, where the sound of the waves and the winds are focused, a visitor may sit and contemplate the mysterious power of the sea.”[8]

Hambling gave up smoking in 2004 and was involved in the campaign against the total ban on smoking in public places in England which took effect on 1 July 2007. Speaking at a news conference at the House of Commons on 7 February 2007, she said: “I wholeheartedly support the campaign against a ban on smoking in public places. Just because I gave up at 59, other people may choose not to. There must be freedom of choice, something that is fast disappearing in this so-called free country.”[9]


  1. ^ a b Bredin, Lucinda (18 May 2002). “A matter of life and death”. The Guardian (London). Retrieved 4 May 2013.
  2. ^ Kennedy, Maev (3 November 2003). “A word in your shell-like: get that monstrosity off our beach”. The Guardian (London). Retrieved 4 May 2013.
  3. ^ “Maggi Hambling biography”. Tate Gallery. 2006. Retrieved 2006-06-01.
  4. ^ Clark, Alex (22 January 2006). “Hambling for the defence”. Observer Review & Guardian Unlimited. Retrieved 4 May 2013.
  5. ^ Wimbledon College of Art: About Wimbledon: Alumni: Alumni List. University of the Arts London. Accessed August 2013.
  6. ^ “Maggi Hambling (1945–), Painter”. National Portrait Gallery. 2006. Retrieved 2006-10-01.
  7. ^ “Maggi Hambling: ‘I was put forward to paint the Queen Mother but the word came back saying I was a bit risky'”. The Independent. 01 May 2010. Retrieved 3 June 2013.
  8. ^ “Scallop: a celebration of Benjamin Britten”. OneSuffolk. Archived from the original on 2006-08-31. Retrieved 2006-06-01.
  9. ^ “Opposition to total smoking ban widens”. Forest – Freedom Organisation for the Right to Enjoy Smoking Tobacco. 2007. Archived from the original on 2006-12-08. Retrieved 2007-02-07.


External links

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