ABSTRACT
This chapter discusses many elements in Messiaen’s work that displays a highly informed and even cultured engagement with the naive. It presents an analysis of the use of the term 'naive' with regard to personal character and religious faith in Messiaen. The chapter presents the application of the term to Messiaen’s music, by way of a 'minor anthology', four different elements of the musically naïve that merit closer inspection. It returns to issues raised by the Amsterdam production by putting the naive in the light of death and suffering, drawing together the theologies of Glory and of the Cross and also argues for a reinterpretation of Messiaen's dealing with the problem of evil. Francis initially resisted theology, but later welcomed St Anthony of Padua as the first Franciscan theologian, recognizing the value of reflection. In Balthasar's theology, the Cross refers to Christ's triumph over the forces of darkness accomplished on Holy Saturday.
