Article
Creed
Death & life
Middle East
5 min read

How much is a human life worth?

Concerned by the conditional responses to deaths in the Israel-Hamas war, Ryan Gilfeather considers why we should value all human lives.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

A line of people, some old, some young, wait to cross a road.
Palestinian life near the Damascus Gate in Jerusalem, Israel, 2021.
Levi Meir Clancy on Unsplash

The horrors of recent weeks have bought a disturbing reality to the surface: human dignity, the unearned and basic worth of all people, is up for negotiation. As I write these words, a dire conflict rumbles on in Israel and Gaza; the latest horrifying flashpoint in an intractable and brutal conflict. A cacophony of voices in the West are espousing histories, interpretations and solutions. Many of them reveal an implicit sense that only certain lives have an inherent dignity.  

Some praised Hamas’ brutal attack as a just act of decolonisation. The lives lost were not to be mourned, because, in their words, these Israelis were fair game for violence because they are colonisers. They asked for it. They have given up their right to the preservation of life. Implicitly, these voices suggest that human dignity is conditional; their actions have taken away their inherent value.  

Just as troubling is the apathy as thousands of Palestinian men, women, and children in Gaza are slain in their homes. Many of our leaders are silent about this unimaginable loss of life, as if it does not represent a tragedy, and as if they are just the collateral damage of war. The implicit message is that human dignity has preconditions, that only certain kinds of people get to have it in the first place, and that these particular Palestinians do not.   

Why should our rational autonomy or other capacities mean that we have an unearned worth? 

It is, in some ways, unsurprising that human dignity is up for negotiation in this way. Secular discussions of human dignity often ground it in the human person.  

In the philosophical tradition, following Kant, many consider our inherent dignity to be grounded in our capacity to make choices, be autonomous, and exercise reason. In other words, the capabilities which separate us from animals give us all an unearned worth or status.  

Others will point to our sentience, our capacity for creativity, empathy and caring relationships, or our membership of the human species. Hence, our inherent dignity is grounded in something that we do or possess, over and above the rest of creation. The problem with this grounding is that it can, at times, seem arbitrary. Why should our rational autonomy or other capacities mean that we have an unearned worth? It is little surprise that dignity is so often overlooked in practice.  

To respect this dignity, we must allow each person to live out this gift. Each person must be allowed to be free to think and act, without having their life violated or cut short. 

In contrast, Christians root the dignity of every human person in something altogether outside of them: the unbreakable love of God. It is a cornerstone of Christian belief that God loves every person who has ever lived and will ever live, regardless of what we have done or will do. “Nothing can separate us from the love of God”, as St Paul put it. God’s love for us is so profound that he became human and died for our sins so that we might be reconciled to Him.  

Central also, is the belief that God is omniscient, he knows everything that can ever be known, and he does not make errors of judgement. For Him to love us without any conditions of who we are or what we do, is to affirm that we are all inherently worthy of love.  

Our inherent dignity, is, therefore, grounded in something far more fundamental than something we do. It is rooted in the love of the creator of the whole universe. If we believe in the Christian God, therefore, we also accept the supreme value of every person. 

God’s gift to all of us expands on this picture. Genesis, the first book of the Bible, tells us that God made all humans in His image.  In this, God gives us the gift of reflecting his goodness and love here on this earth. He has granted us the capacity to use our minds to think about God and abstract things, to live lives marked by His love, joy, peace, justice, and courage. He calls us to use these capacities to nurture and care for creation just as He does. Since God is infinitely valuable; those made in His image are too. Hence, this gift gives us an inherent dignity. To respect this dignity, we must allow each person to live out this gift. Each person must be allowed to be free to think and act, without having their life violated or cut short. Crucially, this gift is unconditional. No matter what we do, we can always turn back to God and accept his gift of reflecting His goodness. There are no preconditions for who God gives it to. He freely offers this gift to all.  

Returning to Western responses to Israel-Gaza, we see that the Christian vision of human dignity does not countenance celebration of or apathy toward this loss of life. Some people saw Israeli deaths as unworthy of grief because they believe their actions forfeit their right to life. They implicitly see human dignity as conditional. In contrast, Christians believe our inherent value is unconditional, God will never cease to love us and will never take away our ability to reflect His goodness. Indeed, the death of Palestinians has been met with apathy and silence by many in the West, much as human tragedies in the Middle East often are. Implicit to this response is the sense that human dignity has preconditions, it is only extended to certain groups, those who live similar lives to us. The Christian vision objects here. God’s gift has no preconditions, it is freely offered to all. All possess an inherent dignity. This is not to pre-judge the complex questions of how to deal with the heart of the Israel / Palestine conflict, but it is to say that as we do so, the value and dignity of every human life must be paramount in the decisions taken   In the midst of this darkness the Christian message offers hope: every death is a tragic loss beyond all imagination and measure because all are infinitely valuable in God’s sight.  

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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