Where is God when it hurts?

Being abandoned by his friends when he needs them most.

Being beaten by rods.

Being slandered right to his face.

Being stripped naked.

Being whipped.

Again.

And again.

Being mocked.

Having thorns pressed into his flesh.

Being nailed to a piece of wood and hanging there.

Naked.

Sorrowing, sighing, bleeding.

Dying.

That’s where God is when it hurts.

Hurting with you.

Taking all the pain and sorrow and hurt of the world into himself and swallowing it.

A page from the Statute of the Guild of San Martino, 1362; in the Museo Correr, Venice (my pic)
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Four Words to Describe Pre-Moderns

Jedburgh Abbey – gutted, like the pre-modern world today

I had the pleasure of enjoying lunch and Trappist beers with one of the lovely people of the Urban Abbey the other day. Among the many interesting topics of discussion (rates of growth/decline among the religions of BC’s Lower Mainland, the ultimate modernism of postmodernity, Charles Taylor, raising young children, Eastern Orthodoxy) was the idea of the pre-modern.

She said to me that many people say that she is pre-modern, then asked what four words I would use to characterise pre-moderns. They were:

  1. Homoousios (‘If that’s allowed?’ ‘Of course, that’s allowed!’)
  2. Celestially-minded (after asking, ‘Can I use hyphens?’)
  3. Rooted

And I didn’t come up with a fourth because the conversation moved in its own ways. Now I have too much time to think on it (how can I choose??), so I’ll just say numinous and then differentiate that from celestially-minded when the time comes. Allow me to quickly unpack why these 3/4.

Homoousios

This is the word of the Nicene Creed that we translate variously in English as ‘consubstantial’, ‘of one substance’, or ‘of one being’. As the theologians of the fourth century and beyond reflected on what homoousios meant (besides ‘How to exclude Arius’) in light of Scripture, tradition, and liturgy, they nuanced it not only in relation to the special, unique, unrepeatable oneness of the Triune Godhead but also in relation to created beings.

Humans are all united in this worldview. ‘No man is an island entire of itself; every man is a piece of the continent, a part of the main,’ to famously quote John Donne (who is a very pre-modern modern if you read his poetry). Like begets like. Human begets human. My sons are of the same essence/substance/being as myself — I would argue that genetics backs this up.

There are various ramifications of such a worldview — some of which are that in the wrong hands, bad things can be justified. Amongst them is a drive to care for the poor, the widow, the orphan, the sick, not simply because of Bible commands but because they are part of you. Amongst them is a feeling that we are all connected deeply — the sin of the sinner is never disconnected from the righteousness of the righteous. All justice is social justice, all retribution is remediary.

This also means that we find ourselves in community, something that is also bound up in the honing of Trinitarian theology — I think largely on the title of Zizioulas’ study of the Trinity (largely through the lens of the Cappadocians), Being As Communion. I would also argue that ancient Greeks and Romans had similar ideas about the oneness of the social community, even if their language and point of reference differed.

Celestially-minded

Here I do not mean literally fixated on the starry heights, although there is some element of that, I would wager. Rather, pre-modern people had a viewpoint that kept the divine in focus. They also lived in what Fr Stephen Freeman calls a one-storey universe — God or even the gods were everywhere. Indeed, even the polytheists with their vision of the Olympians dwelling on mountaintops believed that divine beings were present and active in their daily lives. Hence sacrifice, prayer, incense, etc., etc.

Of the many ramifications, I would argue that every act of existence was infused with meaning. The divine could be around every corner. Moreover, a common morality as handed down from the heavens or the ancestors was part of the fabric of life.

But they were not so earthly-minded as we late moderns are. The gods stride across Homeric battlefields as more than mere ‘symbols’. Nonnos writes an epic about Dionysus precisely because the theme is so great. The Christians write hymns and epics about Christ because there is nothing better to focus on. Why navel-gaze at your own psychology and inner turmoil when you could cast your eyes up and out into a world with celestial vision?

Rooted

This one is sort of less theological. In the pre-industrial world, people didn’t really move much. Most people lived and died where their parents, grandparents, etc., did. As a result, they had a strong sense of place. The early monastics also saw rootedness as important, something I’ve blogged on before in relation to St Benedict. In a spiritual sense, rootedness is important because you cannot leave yourself behind. You cannot overcome anger at others by becoming a hermit. Boredom is truly cured by standing still and living through it.

For most pre-moderns, rootedness was not a choice. Even if your movements were not legally restricted because you were a slave or a colonus or a serf, most people simply never had the wherewithal to go anywhere else. Choice or not, being rooted to a place, a people, and a community means that you can savour the slow, lovely moments of life. You can appreciate more and more the homoousiai persons in your midst.

Imagine if today we made choices about where we lived based on community and holiness rather than career advancement or school districts. Our constant moving is a reflection of our own rootlessness, our our disconnectedness from each other, our own existence as isolated, atomised, modern individuals.

Numinous (Sacramental?)

By a pure denotation of numinous, much of what I placed under celestially-minded would qualify as the sort of person aware of the numinous. A numen in Latin is a spirit at its broadest and vaguest, from the animist idea of a rock’s spirit right up to the Demiurge of Platonism. The sense of the numinous is that there is another world at the edges of our existence.

Part of the Resistance Movement against Modernity were Wordsworth and Coleridge (and Keats!). Coleridge’s ideas about language and symbol are perhaps more what I’m getting at here. Life is infused with meaning. Nothing is simply only its dead self. There is no mere matter. A rock can be a window, a symbol, a passageway into the divine.

The false dichotomy between body and soul has yet to make its way into the pre-modern mind. There is no dead matter. Nothing is meaningless, even if we will never fathom its meaning. Indeed, we will never fathom even a small portion of anything’s meaning. Nevertheless, at the edges of our perception there is more to this life than just animal existence — we are more than ugly bags of mostly water. We are more than our physical appetites.

The numinous also energises all our activities, especially the creative arts. Poetry dances at the fringes of our understanding and tickles our sense of the numinous bigness of the world. Music written in harmonies that correspond to the Pythagorean theories of music resonate not only with our souls but with the order of the universe itself. (I am listening to Striggio’s ‘Mass in 40 Parts’ as performed by I Fagiolini right now — numinous, indeed!) A cathedral is not a pile of stones but a gateway to God.

These are four words to describe the pre-modern world. They are worth investing energy in.

Faith and the arts

Pinturicchio fresco in Santa Maria in Ara Coeli, Rome (my photo)

At the start of this new year, my friend Talita from high school put on her debut concert as a singer-songwriter, livestreamed over Facebook (Thunder Bay, Ontario, is far from Durham, England) from the Urban Abbey. It was the story of her journey as a musician, and a good number of friends from high school as well as her dad and sisters made appearances on the platform, performing alongside her, including Ryan Marchand who is actually a rock star.

It was a wonderful event, and there was a strong element of Talita’s faith in the midst of the theme of her emergence as an artist. Many of the beautiful songs, including her own compositions, were songs of the Christian faith, reflecting the beautiful truths of our beautiful God. It was great to watch this event. And I am so glad that the Urban Abbey provides a space for artists — performers and others — to ply their trade.

But few churches and Christian communities really do. It’s probably seen by some as a hipster sort of move. Historically, however, churches have not needed to sponsor the arts so consciously as this — it was natural. Notker ‘the Stammerer’ was not Sankt Gall’s Artist in Residence (and certainly not a hipster), but he wrote them beautiful poetry. The mosaicists of Palermo were simply plying their trade. The anonymous liturgists of the Gelasian Sacramentary did not need to make special pleading in the church.

But today, spaces like the Urban Abbey can be rarely found.

In Medieval Wisdom for Modern Christians, one piece of wisdom Chris R. Armstrong imparts is for evangelicals to get into art more — that the Incarnation makes Christian art important. God Himself became His creation. All creatures matter. Not only this — and this is not from Armstrong but is Tolkien language also expressed by Sayers in The Mind of the Maker — but we are made in the image of God, and one of the foundational properties of theism is that Our God is Creator. We then, are sub-creators in some way.

Turning back to Armstrong, evangelicals have not always made good art. Think of the King of the Hill line about how Christian rock doesn’t make Christianity better but rock’n’roll worse. Armstrong mentions Richard Wilkinson’s study of English literature 1860-1960 that found the only orthodox Protestants producing high literary art worth mentioning in that century were C. S. Lewis and T. S. Eliot, both sacramental Anglicans. I don’t know how accurate that is, but it’s worth thinking about.

How can we make great art and beauty a natural part of evangelical faith?

The Gospel — the evangel of evangelical — is the most beautiful true thing in the world. The God who dies. The myth that is real. The cosmic-rending reality of Incarnation. The piercing of the Virgin’s Mary’s soul. There is high drama here. It is worthy of great art, and great art has been made about Christianity forever.

People of faith have always made art, often of a very high degree of skill and beauty. Just think on the Parthenon and temples of the Acropolis, the Pantheon of Rome, the tales told of the cult statue of Zeus at Olympia, or consider the Dome of the Rock, the Great Mosque of Damascus, the calligraphy on the exteriors of so many mosques. Think of the Homeric Hymns, the Poetic Edda, the Rg Veda. Greek tragedy and comedy began as part of a religious festival.

Christianity, in its worship of the Triune God, has given us the beautiful prose of the Book of Common Prayer, the verse of Gregory of Nazianzus and Prudentius and Ambrose, the glories of Byzantine and Renaissance liturgy, the fine intricacies of ars anglicana embroidery, the hymns of Charles Wesley, of Romanos the Melodist, of Ephrem the Syrian, of Isaac Watts, of Notker the Stammerer, of J. M. Neale, as well as the architecture of liturgy — Hagia Sophia, St Peter’s, Notre Dame, Chartres Cathedral, the mosaics of Santa Prassede, of Palermo, of Hagia Sophia, of San Marco in Venice.

Beyond the formal worship event, Christianity has given us so much (and so much more than the following): The Dream of the Rood, Dante (!!), The Quest for the Holy Grail, Fra Angelico,  Mozart’s Mass in C Minor and Requiem, William Byrd, countless mosaics and frescoes throughout the Mediterranean world, the Christian Latin epics of Late Antiquity, Evelyn Waugh, Flannery O’Connor, J. R. R. Tolkien, and so many more without delving into Protestantism.

For the churches descended from the Reformation have their own rich heritage in the arts. St Paul’s Cathedral, John Donne, George Herbert, Lancelot Andrewes, the prose of the 1611 KJV Bible, Sir John Davies, Henry Purcell, Thomas Tallis (who was also Roman Catholic — he lived in interesting times), J. S. Bach, C. S. Lewis, Malcolm Guite, and undoubtedly so many others who escape me just now.

Let us drink deep from the beauty of the beautiful God, and we shall produce beauty ourselves.

Eros and Anthropology (more on The Benedict Option)

St Teresa in ecstasy by Gian Lorenzo Bernini, Santa Maria della Vittoria, Rome (my photo)

I’m approaching the end of these posts about The Benedict Option by Rod Dreher. The penultimate chapter of the book is about sex because this is one area that our culture is particularly confused about and contrary to traditional Christianity, and because it is an area that touches biblical, traditional anthropology deeply. I essentially agree about the core thesis of this chapter, especially that we need to grasp Christian anthropology properly if we are to live by Christian sexual ethics and teach it to our children.

In a culture that believes that any sex act between consenting adults is good, with an easy and high divorce rate, that is challenging the biological foundations of the family and gender, it is not enough for us to simply teach a historic Christian moral code. Eros and Venus need to be rooted in the wider philosophy of Christianity, and rooted in what Scripture and tradition teach us about the human person. Simply telling teens, ‘Don’t have sex before marriage,’ isn’t good enough anymore — it may never have been in the first place.

According to the moral code of Scripture, as properly interpreted through the methodology and lens of traditional moral theology, sexual activity is meant for a man and woman in a monogamous union. This, I realise, is a conclusion and not an argument. Nonetheless, it is also a foundation in its way. Human beings are made in the image of God. Whether you take Genesis 1-3 literally or not, this is one of the major takeaways from those chapters of the Bible, one of the things that they teach us about ourselves.

And a remarkable thing, as Fr John Behr points out (in a video I can’t find just now), is that God says, ‘Let us make man [adam/anthropos/homo – generic but singular, thus inexpressible in current English idiom] in our own image,’ and then makes — plural — male and female. Man and woman together, united, are the image of God. Our view of sex must be rooted in our view of humanity, our view of God, our view of marriage.

My friend Tim recently remarked that simply teaching the moral code won’t ever make our congregations moral.

He argued that instead we need to help people reorient their desires.

If your greatest eros is God (who is the actual most beautiful and most good being striven for in Plato’s Symposium, itself an exposition of eros), then you will be willing to live as he recommends, even if it is very hard. This is something that I think Dreher’s chapter on sex could have emphasised more.

Sex, food, material goods, family, community, work — all of these are good desires. Yet all should be subordinated to our desire for God on the metaphysical, ontological grounds not that God wants us to do so (for then He is merely a superhuman despot) but because God actually is worthy of such desire. Having rightly ordered any of these desires for God, we will no longer declare, ‘Confusion is sex,’ but realise that the eros that unites man and wife is good and is beautiful and is itself subordinate to something else so intimate that the Bible keeps expressing it in marital images.

In fact, this is a natural realisation of the western mystics. Most famously, St Teresa of Ávila, but also Julian of Norwich, use erotic language of metaphysical ecstasy. C.S. Lewis once had a mystical experience, and the thing he could best compare it to was sex.

Orient your eros to learn agape.

Sex will take care of itself.

Leo the Great, Second Sermon for the Ascension

Let’s stay in the fifth century and go back a few decades from the Rogations to Pope St Leo the Great’s Second Sermon for the Ascension. It begins thus:

The mystery of our salvation, dearly-beloved, which the Creator of the universe valued at the price of His blood, has now been carried out under conditions of humiliation from the day of His bodily birth to the end of His Passion. And although even in the form of a slave many signs of Divinity have beamed out, yet the events of all that period served particularly to show the reality of His assumed Manhood. But after the Passion, when the chains of death were broken, which had exposed its own strength by attacking Him, Who was ignorant of sin, weakness was turned into power, mortality into eternity, contumely into glory, which the Lord Jesus Christ showed by many clear proofs in the sight of many, until He carried even into heaven the triumphant victory which He had won over the dead. As therefore at the Easter commemoration, the Lord’s Resurrection was the cause of our rejoicing; so the subject of our present gladness is His Ascension, as we commemorate and duly venerate that day on which the Nature of our humility in Christ was raised above all the host of heaven, over all the ranks of angels, beyond the height of all powers, to sit with God the Father. On which Providential order of events we are founded and built up, that God’s Grace might become more wondrous, when, notwithstanding the removal from men’s sight of what was rightly felt to command their awe, faith did not fail, hope did not waver, love did not grow cold. For it is the strength of great minds and the light of firmly-faithful souls, unhesitatingly to believe what is not seen with the bodily sight, and there to fix one’s affections whither you cannot direct your gaze. And whence should this Godliness spring up in our hearts, or how should a man be justified by faith, if our salvation rested on those things only which lie beneath our eyes? Hence our Lord said to him who seemed to doubt of Christ’s Resurrection, until he had tested by sight and touch the traces of His Passion in His very Flesh, because you have seen Me, you have believed: blessed are they who have not seen and yet have believed (John 20:29).

Sermon 74, 17 May 445

The Ascension by Phoebe Anna Traquair at the Mansfield Traquair Centre, my photo