Explainer
Belief
Creed
4 min read

Beyond cold certainties

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people.

Alister McGrath retired as Andreas Idreos Professor of Science and Religion at Oxford University in 2022.

A red shutter door bears a large painted message reading 'io ci credo'
'I believe it.'
Paolo Gregotti on Unsplash.

“I believe.” For many, the opening words of the Christian Creeds are self-defeating. Why read any further, when all they offer is opinions, rather than certainties? Faith is just a lower form of knowledge – a kind of hesitant half-truth, which seems out of place in today’s more sophisticated world, informed by science and philosophy rather than outdated worldviews inherited from a credulous past. 

It’s a fair point. We cannot believe anything we like; there has to be reason to believe it, evidence in its support. For those wedded to a hard rationalism, we can only believe what can be proved to be true. Yet the problem is that the secure truths of logic and mathematics are existentially inadequate. We seem unable to escape the lure of “ultimate questions”, to use Karl Popper’s term for truths about meaning and value in life that frustratingly lie beyond the scope of science to confirm. 

We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation.

When it comes to the really important things in life, we are confronted with a rationalist dilemma. We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation, often leading us into vicious argumentative circles rather than offering clear and persuasive proof. Bertrand Russell made this point in his famous defence of philosophy: “To teach how to live without certainty, and yet without being paralyzed by hesitation, is perhaps the chief thing that philosophy, in our age, can still do for those who study it.” 

Albert Einstein was fond of using mental experiments to open up some fundamental scientific questions, finding that they combined imaginative reflection with rational analysis. Here is a useful mental experiment. Suppose we limit ourselves to a mental and imaginative world in which we only accept what can be proved to be true. What sort of world would that be? It would, obviously, be a world from which Christianity was absent. Yet, perhaps less obviously, it would be a world from which all beliefs – moral, political, social and religious – are excluded. It would be a world without moral values, which remain obstinately resistant to rational or scientific verification. My suggestion is that this mental experiment indicates that this world would be existentially, morally and personally uninhabitable. 

The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic.

The opening words of the Creeds need to be seen in this context. The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic into a world in which we believe or trust certain things to be true, life-changing and live-giving – but cannot prove them to be true. The Latin word credo – traditionally translated into English as “I believe” – is better rendered as “I trust,” invoking the world of relationships rather than mere beliefs. 

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people, who have passed down in the Creeds their collective witness to what they discovered. As C. S. Lewis remarked, “the one really adequate instrument for learning about God is the Christian community.” This vision is affirmed to be trustworthy – not merely something that is transformative and liberating, but something that can be lived, not merely thought.  

Getting the bigger picture 

Faith is thus not a half-hearted hope that there might be a God. For Christians, it is a broad recognition that we live in a world in which certainty is not possible, save in closed mental domains that have little relevance to the serious business of living well and authentically. It is about “getting” what things are all about in an epiphanic moment of putting everything together and seeing a bigger picture within which we realize we belong and can flourish. There are other big pictures, of course – but all of them lie beyond proof. In choosing any of these, we are making an informed judgement that goes beyond the available evidence. We may believe (and have good reasons to believe) that it is the best big picture; yet we cannot show that it is true. What we do know, however, is that others have grasped this vision in the past, and transmitted this way of thinking and living to us. 

‘Decentring’ 

The Creeds are thus not a demand to believe, but a description of what has been found, an affirmation of its capacity to satisfy and sustain, and an invitation to explore, discover and inhabit this new world. The Creeds provoke us into looking beyond the world of familiar banalities, and being prepared to be receptive to strange truths, which others have found to be life-changing. The vision of reality that we find articulated in the Creeds might be described as “decentring” – a term used by Iris Murdoch to describe the process of breaking free from our worrying obsession to make everything focus on us. As Plato suggested in his famous analogy of the Cave, there is a greater world that lies beyond us which, once grasped, makes us see things in a very different way. For Christians, faith is about the discernment of this vision of reality, and deciding to act as if it were true, in the firm belief that it can be trusted – and living meaningfully and authentically as a result. 

Article
Belief
Culture
Music
5 min read

How Mumford and friends explore life's instability

Communing on fallibility, fear, grace, and love.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A bassist hauls a double bass of its base as he plays it.
Daniel Boud/x.com/mumfordandsons.

“Serve God, love me, and mend” must rank as one of the more unexpected openings to a hugely popular album in the history of rock ‘n’ roll. A quote from Shakespeare’s Much Ado About Nothing, it introduces us to the potent mix of Shakespearean and Biblical allusion and imagery to be found on Mumford and Sons debut album Sign No More.  

Sigh No More, both as song and album, begins with confident assertions of faith then moves into acknowledgement of human fallibility and prevarication summed up in the Shakespearean phrase that “Man is a giddy thing” before asserting that love does not enslave but is freeing, enabling those who know it to become the people they were meant to be. The song ends with a prayer to see the beauty which will come when the protagonist’s heart is truly aligned with love. Throughout the album, the overriding concern is that personal fallibilities and fears – the darkness within – will prevent grace from having its full effect and the beauty of alignment with love from being fully realised. 

In many Mumford and Sons songs such personal instability is the problem to be resolved; “Man is a giddy thing”, “Why do I keep falling?”. Their search is often for the relationship or place that will provide stability:  

I can't say, "I'm sorry," if I'm always on the run 

From the anchor (‘Anchor’) 

‘Roll Away Your Stone’ describes the darkness within as a God-shaped hole filled with false gods: 

See you told me that I would find a hole 

Within the fragile substance of my soul 

And I have filled this void with things unreal 

And all the while my character it steals 

but this is not how life has to be: 

It seems that all my bridges have been burned 

But, you say that's exactly how this grace thing works 

It's not the long walk home 

That will change this heart 

But the welcome I receive with the restart 

Lead singer and songwriter Marcus Mumford knows how this grace thing works because, on the one hand, his parents founded the Vineyard Church UK and Ireland meaning he grew up in the context of grace and, on the other, he seems to have experienced grace personally in relation to the sexual abuse he suffered as a child (which was not experienced in his family or his church). In ‘Grace’ from his self-titled solo album he contrasts grace, flowing like a river, with the experience of acknowledging the abuse he endured and the healing for which he prays. 

Such biblical allusions and references abound in the songs of Mumford and Sons, as is also the case with some of those with whom they performed, supported or inspired. The Nu-folk movement of which the Mumford’s were part, began at a club called Bosun’s Locker in Fulham. There, with the likes of Laura Marling, Noah and the Whale, and others, their musical journey commenced. Noah and the Whale’s first album Peaceful, the World Lays Me Down featured philosophical rumination on a par with that of Sigh No More including lines such as: 

Oh, there is no endless devotion 

That is free from the force of erosion 

Oh, if you don't believe in God 

How can you believe in love?          

Following the closure of Bosun’s Locker, Ben Lovett from Mumford and Sons, with others, set up Communion Records, a network of musicians, songwriters, industry and music fans who all share a common philosophy and set of ideals. Among the artists supported by Communion have been Bear’s Den and Michael Kiwanuka. 

Bear’s Den is one of several bands, which also included Dry the River, that have used religious and spiritual symbols in their songs. Andrew Davie from Bear’s Den has said: “I wouldn't say I'm particularly religious, but I was brought up going to church every Sunday, I studied a bit of religion in school and just from going to Sunday school, it's almost that I know the stories so well, that I find it a cool way of telling more modern and more nuanced stories about my own life. As a backdrop to that I find it just constantly helpful and it's quite a powerful way to talk about things. It adds weight to me.” Similarly, Matthew Taylor of Dry the River said of the theological imagery in lead singer Peter Liddle’s songs: “It’s always been a tool for Peter I think, to use the imagery you’re talking about, to add weight to what he’s writing about. It’s rich imagery, and the ideas are ones that people can relate to easily, if there’s that familiarity there.” Both recognise, as do Mumford and Sons, the continuing power of Christian ideas and imagery and their resonance for young people. 

Michael Kiwanuka was surprised that his early song about faith ‘I’m Getting Ready’ was enthusiastically released first as the title song of an EP from Communion Records and then by Polydor as a single from his debut album Home Again. Kiwanuka, who is married to Christian singer Charlotte, has consistently expressed aspects of his faith through songs like ‘Love and Hate’, ‘One More Night’, ‘Solid Ground’, and ‘Floating Parade’. Alexis Petridis has noted that Kiwanuka sees more people searching for a belief system: “Having a faith in things now is, I think, a lot more acceptable, whatever faith it is. There’s no dogma, necessarily. We’re connected by the struggles we have and I think that’s what I’m singing about – being a human being and trying to overcome, which is what we’re all doing in a way.” 

Whether opening up space for bands to utilise the power of Christian imagery in their songs or enabling singers with a Christian faith to be heard on mainstream labels, Mumford and Sons, by example and support, have created opportunities for faith to be explored and appreciated. The response to their music, its themes, and those of artists with whom they connect, seems to reflect a growing openness to spirituality and faith. As they sang, together with Pharrell Williams, on ‘Good People’, “Welcome to the revelation”. 

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