Article
Creed
Seven Deadly Sins
8 min read

Anger: the dragon’s wrath

In the fifth of a series on the Seven Deadly Sins, James Mumford encounters Anger, and reflects that its object is no mere object.

James Mumford is an author and journalist writing on a range of subjects – ethical, political and literary.

Illustration of a burning wick

I think you’d like me if you met me. I’m not quite as charming as my father. I’m fairly genial, though, and not unduly narcissistic. (I’d ask you questions about yourself). But come not between the dragon and his wrath.

Usually strangers. Always men. Playing football. Driving. Public transport. A minor infraction, that’s all it takes. Some guy pushes past me onto the tube from which I’m trying to alight. He’s ignoring the custom (and nauseatingly repeated instruction) to let the passengers off the train first. Certainly, this chap has been naughty. It’s not nothing, what he’s done. In the cold light of day, can’t we evaluate his behaviour as careless and a touch selfish? But the thing is, I never see it in the cold light of day. To me, in the heat of the moment, it’s as grave a violation as if he’d bullied my little brother.

I scowl back at the stranger. He sees my indignation. What does he do? He smirks, of course. And what do I do? Turn away and get on with my day, recognizing that, in the grand scheme of things, it couldn’t matter less? Nope. I lock eyes with the guy. It’s a duel now. Through the tube’s translucent closing Perspex doors, I stare into the exultant face of my enemy. Furious. 

Often as not my anger seemingly erupts from nowhere. That is, I don’t only get into these kinds of fracas when I’ve skipped breakfast. Or when I’m already having a bad day, already enraged (in which case a stranger’s infraction would be merely the last straw). No, no. Usually, I’m feeling just fine before incidents like this. I can thus say of my anger what Juliet says of Romeo’s love:

It is too rash, too unadvised, too sudden,

Too like the lightning, which doth cease to be

[Before] one can say, ‘It lightens.’

Even if my knowledge that this rage is rooted deep in childhood experiences doesn’t make its resurgence seem any less abrupt.

~                                                                           

Famously, in the Sermon on the Mount, Jesus doesn’t discount The Law; he radicalizes it:

You have heard that it was said to those of ancient times: ‘You shall not commit murder; and whoever commits murder shall be liable to judgment.’ Whereas I say to you that everyone who becomes angry with his brother shall be liable to judgment…

I used to think this was an instance of rabbinic exaggeration. The phenomenological truth of what Jesus is saying, its fidelity to lived experience, eluded me. But reflecting more unflinchingly on my own anger, I now understand Jesus’s warning to be dreadfully accurate. I used naively to assume murderers are all monsters, sadistic sociopaths straight of Silence of the Lambs or Primal Fear. Today I realize that the difference between me and most murderers – those poor bastards eking out their life sentences out of sight and out of mind in our maximum-security prisons – comes down to one thing. Not character. Luck. I've been lucky enough to lose most of my fights. 

Yet hidden away in Jesus’s warning is a profound revelation. τῶ ἀδελφῶ αὐτοῦ. It’s there in the Greek. ‘Everyone who becomes angry with his brother’. Not ‘becomes angry with another’. Nor ‘becomes angry with his neighbour’. Nor even ‘becomes angry with his enemy’. No, right at this moment Christ decides to insist upon, to remember, the fundamental fraternity of human beings. Which suggests that what is most deadly about the sin of anger – when it’s acted upon, that is, when anger becomes a sin (Eph. 4:26) – is the forgetfulness, the blindness, the obstruction of vision, which goes with it. What is forgotten in fits of rage? Anger forgets that its object is no mere object, no mere thing, no mere item. I forget that the intended target of my wrath is in fact my brother. In anger you lose sight of the face. You become blind to the stranger’s reality, to what remains true about him, to his persistent identity whatever he has done. You forget that he is still related to you in the most intimate way. That this guy on the tube, or this person who has hurt you, or this person who bears ill-will towards you, remains a someone, not a something. Remains a person. Remains a creature of the God who loves in freedom. Flesh and blood like I am. But spirit too… destined, like I am, to be united to Christ.

In anger you lose sight of the face. You become blind to the stranger's reality, to what remains true about him, to his persistent identity whatever he has done. You forget that he is still related to you in the most intimate way. 

Perhaps this still all seems too abstract. Someone who makes it real is the novelist, J.M. Coetzee, whose brilliant, harrowing novel, Disgrace (1999), tells the story of a professor of literature, David Lurie. In the aftermath of an affair with a student, David resigns from his position at a University in Cape Town and retreats to his adult daughter Lucy’s remote small-holding in the uplands of the Eastern cape. David’s rural exile, however, is not fated to be a peaceful one.

One afternoon soon after David arrives on the farm, three strangers arrive – two men and a teenager – and enter the premises under the pretences of wanting to use the phone. Without further ado, the strangers knock David to the floor. When he comes to moments later, he finds himself locked in the lavatory. ‘His child is in the hands of strangers’. Eventually he’s released. They want his car keys. Whereupon he’s doused in methylated spirits. ‘The scrape of a match, and at once he is bathed in cool blue flame’. David manages to get to the toilet bowl in time – to extinguish the flames – and survive. But when he rouses, he finds the car stolen, the dogs shot and his daughter gang-raped.

This appalling incident, so difficult to read, happens in Chapter 11, roughly half-way through the novel. Which means that Coetzee leaves the reader completely wedded to the father’s quest for justice for nearly the rest of the story. Because Coetzee refuses to satisfy the quest. The regional police won’t act. And Lucy, impregnated, won’t press charges. It’s only in Chapter 23 that one of assailants reappears. By which time the reader is baying for blood. It’s the teenager, whom David discovers peeping at Lucy through the bathroom window. The whole passage warrants quotation:

The flat of his hand catches the boy in the face. ‘You swine!’ he shouts, and strikes him a second time, so that he staggers. ‘You filthy swine!

More startled than hurt, the boy tries to run, but trips over his own feet. At once the dog is upon him. Her teeth close over his elbow; she braces her forelegs and tugs, growling. With a shout of pain he tries to pull free…

The word still rings in the air: Swine! Never has he felt such elemental rage. He would like to give the boy what he deserves: a sound thrashing. Phrases that all his life he has avoided seem suddenly just and right. Teach him a lesson, Show him his place. So this is what it is like, he thinks! This is what it is like to be a savage!

He gives the boy a good, solid kick, so that he sprawls sideways.

An extraordinary moment. Coetzee has his readers in the palm of his hand. Because (at least at the beginning of the passage) we too feel David’s ‘elemental rage’. We want what David wants: to pulverize the kid who raped his daughter. But suddenly, during the course of the passage, Coetzee starts to humanize the kid. (‘More startled than hurt, the boy tries to run, but trips over’). Both the kid’s clumsiness and then ‘shout of pain’ remind us that, whatever he’s done, the kid remains a human being. So, the reader is made to feel conflicted, vengeful still, but now protective too. Starting to fear rather than desire that the kid will be ravaged by the dog and beaten witless by the father. In other words, the reader is beginning to remember. The boy remains David Lurie’s brother.

~

In his rousing war-time sermon, ‘The Weight of Glory’ (1942), C.S. Lewis writes that ‘the load, or weight, or burden of my neighbour’s glory should be laid daily on my back’. What does he mean by this? Lewis is exhorting me to remember, continually to bring to mind, something I have forgotten about the stranger on the tube I will never meet again. Lewis is exhorting David Lurie to remember something he has (more understandably) forgotten about the boy sprawled in front of him at his mercy. Lewis writes:

It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest and most uninteresting person you talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship… There are no ordinary people. You have never talked to a mere mortal.

For me, then, anger management does not just involve, as Cognitive-Behavioural Therapy manuals have it, becoming more self-aware. No, efficacious anger management means becoming more other-aware. In the moment, right there on the tube, what I need most desperately is to think more not just about myself – who I am. I need to think more about who he is.

My prayer is that I learn to apprehend more vividly the identity and destiny of the person with whom I am here and now entangled, enmeshed, at odds. 

My prayer, therefore, is not just that I become increasingly sensitive to my own internal state or what it is in in my own present or past that predisposes me to anger. My prayer is that I learn to apprehend more vividly the identity and destiny of the person with whom I am here and now entangled, enmeshed, at odds. That I can perceive him as my brother, however momentarily estranged from me he is, one who belongs to the same family. Who, as he smirks and scowls and menaces me – also bears the weight of glory. Dealing with anger requires what Simone Weil, and after her Iris Murdoch, call ‘attention’. As Murdoch puts it in The Sovereignty of Good (1970): ‘It is in the capacity to love, that is to see, that the liberation of the soul from fantasy consists’. Anger management is about being liberated from fantasy – the fantasy that my adversary is a mere mortal. Christ’s call to peace – to see the object of my anger as my brother – is ultimately a call for a reality check.

Essay
Belief
Creed
Football
Sport
6 min read

Argentina’s adoration of Lionel Messi

The icon of the beautiful game holds a nation's gaze, giving insights into redemption.

Matthias is a priest-theologian, and Centre Lead for St Mellitus College, Chelmsford

A child on the shoulders of a parent wears a light blue and white stripped football top, waves the Argentinian flag
Pedro Chosco on Unsplash.

“Behold, the Lamb of God, who takes away the sin of the world.” 

The words recited by the priest during the Eucharist as the chalice and host are lifted, inviting participants to fix their gaze on Christ, encapsulate the profound truth that what we gaze upon has inordinate power to shape us. It is a truth echoed not only in spiritual practices but also in our everyday experiences. In a world flooded with visual distractions, an age dominated by screens, this act of beholding is a counter-cultural reminder of the reality that our gaze determines our desires and, ultimately, the people we become.  

Of course, our gaze is not limited to religion or technology; it also relates to culture, and our idols in music and sport deeply influence us for better or worse.  

This truth became vividly real to me during our family travels through South America last summer. Our synaesthesically-rich itinerary of truly memorable encounters with the vast natural and cultural heritage sites of the continent coincided with Lionel Messi’s triumph in the Copa América. As a family we enjoyed witnessing the national celebrations of the football giant taking his foremost place in the pantheon of La Albiceleste – the Argentinian national team. As part of our backpacking through Argentina, we visited Rosario, the birthplace of the great man. 

For my six-year-old son, the trip was a chance to step into the world of his hero. Visiting the modest house where Messi grew up, his kindergarten, the playground where he would have played, and the club he represented before moving to Barcelona and global fame was fascinating. But far beyond all these famous sites was the immediate visual bombardment of graffitied murals across the city’s walls celebrating his legacy, life and achievements. They highlighted how deeply intertwined Messi’s story is with the local and national consciousness. Navigating our way through these vibrant backstreets and billboards, our own human senses blurring in the Argentine cultural imaginary, we reflected on how we were also manoeuvring our way through a modern-day pilgrimage. 

For the figure of Lionel Messi commands etheric resonances far beyond the immediate significance of his footballing career. His story is about more than sporting success, and as a cultural icon in Argentina he has now surpassed Diego Maradona. Messi’s journey conjures a strikingly messianic arc, encapsulating themes of death and resurrection. From his emergence out of humble beginnings before being flung into international stardom, his resignation from the national team amid public outrage to his triumphant and redemptive return, leading Argentina to World Cup glory. 

Along our travels, we were surrounded by beauty; in creation, culture, and human creativity. This beauty and artistry also shines forth in Messi and his craft. Watching someone of such skill and elegance on the pitch, and such apparent humility away from the cameras, embodies the joy of the beautiful game. Messi’s place within the Argentine cultural imagination, as a social actor producing and reproducing a shared sense of meaning that verges on the spiritual, is also cemented in the country’s cultural delights. These narratives of new beginnings and flourishing are evident not only the vibrant street art, but also in the exquisite steaks and fine Malbec wine consumed in the fashionable Buenos Aires restaurants frequented by footballers and other celebrities.  And, in the ubiquitous ‘Number 10’ football strips we saw worn by every second visitor at the breathtaking Iguazú Falls. This powerful symbiosis between Messi and the collective idea of ‘Argentina’ means that his triumph in 2022 became a communal act of redemption for a nation whose imagined identity is intricately tied to the sport, the culmination of a wider set of imagined bonds fostering a collective sense of belonging, meaning, and beauty. 

Beauty and the Church 

This appreciation for beauty resonates deeply with the Christian tradition. Beauty matters – not only in life but also in the Church, in worship, and in encounters with the divine. Just as Messi’s artistry captivates, so too should the Church inspire awe and wonder. The synaesthetic experience of Christian worship, the harmony of liturgy and sacred music, provides glimpses of the divine and transcendent beauty and is designed to draw the gaze upward, to behold Christ and his beauty. In the early Church, when Christians emerged from the underground catacombs and built churches and cathedrals, pagans marvelled at the beauty of the liturgies occuring inside. The order, reverence, and otherworldly radiance of Christian worship captivated those who encountered it. 

The importance of beauty in worship echoes the Transfiguration, where Christ’s divine glory was revealed and transfixed his disciples. On Mount Tabor, Christ unveiled the divine radiance that transforms all who behold him, all who fix their eyes on him. The beauty of God transforms us when our minds are oriented toward God. This is not merely aesthetic – it is theological: our entire being is beautified. St. Maximus the Confessor argued that when our mind is oriented toward God, it is beautified by him, and as this beauty flows outward it also shapes and transforms our being. Conversely, when we turn our attention away from God, we lose this radiance and harmony, becoming shapeless and disordered. 

Beauty, then, is not just a peripheral concern; it is integral to worship and formation, to our becoming fully human and being fully transformed into the image of God. The Church should be a place where we encounter the beauty of Christ, where the liturgy itself becomes an icon that draws our ears and eyes, minds, hearts, and bodies towards God. 

The Redeemer gazing back

In our culture, we are drawn to watch figures like Lionel Messi, whose brilliance and beautiful artistry inspire devotion and cement collective cultural and even spiritual meanings. Yet, while football and an individual’s life story might inspire and unify, as we are reminded by Dietrich Bonhoeffer, they nevertheless remain penultimate. These worldly things, be they football, fame, or even national unity, cannot satisfy our deepest longings and thirst for ultimate meaning, and will ultimately fade away. In the wider spiritual imagination, these moments of beauty do however encapsulate a deeper, lasting reality, and so may point beyond themselves, toward the source of all beauty – God Himself. And this is where theology and the gaze converge, bringing us back to where we started: that what we choose to look upon shapes us profoundly. As we navigate a world filled with distractions and idols, it is a reminder that what we choose to behold not only reflects our values but also shapes the people we are becoming. The question is then, where – or rather at whom – are we directing our gaze? 

Our South American travels culminated in Rio de Janeiro, at the feet of the iconic statue of Cristo Redentor. Standing atop a mountain, Christ himself gazes over the metropolis, the shimmering beaches, the favelas, and the Maracanã Football Stadium. With outstretched arms, the statue is an enduring symbol of Christ’s immanence. Not a distant, transcendent God removed from our world, but the present Christ.  

In considering what shapes us – be it football legends, the wonders of creation, or the allure of our screens – it becomes evident that only one gaze has the power to redeem. The story of Lionel Messi may inspire us, but the story of Jesus Christ redeems us. Only in Christ do we find a beauty that is both immanent and eternal, calling us to fix our eyes on him and be transfigured by his glory. For we can only behold him at all because he was beholding us first. 

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