Article
Creed
Migration
7 min read

I wrote Jesus was a child refugee, I got called crazy

Digging into history uncovers uncomfortable truths.

Joan is Professor Emerita of Christian Origins and Second Temple Judaism, King’s College London. 

A red sandstone statue of Jesus as a child.
A Victorian statue of Jesus as a child.

As a historian of Jesus, I have sometimes been asked to comment on the question 'what would Jesus do today?'. I have sometimes responded. In September 2015 I wrote a guest post for the Jesus Blog, titled Jesus was a Refugee. It was on the story of baby Jesus’ escape to Egypt with his parents, as written in the Gospel of Matthew, which I conclude is historically true. It is interesting to me, because I want to understand what informed Jesus’ teaching as an adult. 

I am not a theologian, a priest or a pastor. I have spent my academic career carefully working out what is true or false in terms of the many stories of the ancient past. So, when I discuss anything, it is after years of study, collegial discussion and discernment. Historians like me know that our ancient accounts come from particular people at different times, telling things with particular points of view. They don’t seek to tell the whole truth, but they shine a light on what is important to them. They can tweak, spin, modify or drop what is not essential to them, and we see this process unfold in retellings. In what I do, I am as analytical about biblical stories as I am about anything else, recognising that I too am located in a particular time and place, with my own capacity to see or not see. With biblical stories this is both rewarding and challenging because to me they are also Scripture, in that they inform my faith, spirituality and practice. 

But this is a world in which sharing of expertise can go up in a puff of public pushback. 

I wrote at the height of scaremongering about Syrian refugees who were fleeing to Europe to escape the dangers and devastation in their country and, given its relevance, the post was picked up on other sites. On Bible History Daily, there was a furious reaction in comments. People asked whether – even if Jesus was a refugee – his experience could be mapped on to issues of the contemporary world, which are so very different. Some commenters insisted that Jesus and his family could not be aligned with economic refugees like Mexicans or bogus refugees who were actually Muslim terrorists. More stingingly, I was told I was crazy, a professor of b******t and I was blaspheming for even suggesting that Jesus was a refugee.  

That Jesus was a refugee has actually been recognised as part of his life from the very beginning of Christian tradition, and contemporary theologians like Barnabas Asprey can well explore what this means for faith. But it seems that some people were alarmed that I was diminishing Jesus by associating him with people they considered reprehensible.  

My job is to understand Jesus in his own world. If I do it properly, people may well find resonances with today. But I do also understand that it is a tricky thing to map Jesus onto contemporary circumstances, especially contentious ones. Over a hundred years ago the philosopher and physician Albert Schweitzer critiqued the 'quest of the historical Jesus' as a whole as covertly creating a liberal model of Jesus. He commented that the 'historical Jesus will be to our time a stranger and an enigma'. If we met Jesus today, he would seem completely alien to us. So, we do have to be careful when we look to him in our arguments concerning current issues. Yet, Schweitzer also put a lot of trust in the words of Jesus, because his 'spirit, which lies hidden in his words, is known in simplicity, and its influence is direct. Every saying contains in its own way the whole Jesus.' 

So where do we go with this? What did Jesus say? Frankly, Jesus’ ethos was utterly uncompromising. "Woe to you who are rich … woe to you who are well-fed now" (Luke 6:24-25), he said. There are a decent number of Jesus’ statements that suggest people who were economically struggling should be fed and welcomed, and those with wealth should share what they have with the have-nots. Jesus said to a rich man that he should "go, sell all that you have and give to the poor, and you will have treasure in heaven, and come, follow me" (Mark 10:21). Following Jesus was not about becoming destitute, but about joining a community of disciples who saw each other as one big family of siblings. In this group resources were shared (Acts 2:44-45 and 4:32-37). This is beyond philanthropy. And Jesus didn’t talk about the worthiness of the poor; the problem was not with the poor, it was with the rich.  

There’s a big question then in how to use Jesus as a model for ethics. To use Jesus as a model, you have to see the bigger picture of the whole movement he created, within an ancient context, a movement that does not exist any longer in its original form. Was Jesus a refugee? By calling anyone a refugee, in antiquity, I mean someone who flees their home to a place of refuge, to escape danger or disaster. As for my particular 'blasphemy', I reiterate it. Jesus was a child refugee: Jesus’ family fled from the danger of the Roman client king in Judaea, Herod, and escaped to Egypt. In classical Christian doctrine, this is not at all thought of as diminishing Jesus. It made Jesus one of us, in all our human hardships. 

I think he turns things around, radically, so that the life of the wandering refugee is actually a paradigm for action. 

Curiously, the fears expressed by the commenters on my post mirror ancient attitudes to poor, foreign people. Later apocryphal stories of the holy family in Egypt present them facing continual hostility from Egyptian townsfolk and attacks by robbers. These tales reflect an actual situation in which incoming foreigners, for whatever reason, were not welcome. For refugees, it could be a life of vulnerability.  In the second century, the anti-Christian writer Celsus scoffs that child Jesus in Egypt worked for hire because of his poverty (Origen, Contra Celsum 1:28). 

Egypt itself was not a totally safe place to be Jewish. Under the Roman prefect Flaccus (38-39 CE), soon after Jesus, there were riots and pogroms against the Jewish population of Alexandria, as the historian Josephus records (War 2:487-98; Ant. 18:257-60). In 41 CE the Roman emperor Claudius cautioned the long-settled Jewish population of Alexandria that they lived in 'a city not their own', and they were 'not to bring in or invite Jews who sail down to Alexandria from Syria[-Palestine]' (CPJ I:151). Later in the first century (70-73 CE), there were many Jewish refugees fleeing dangers in Judaea by going to Egypt (War 7: 407–419). Hundreds of these men, identified as troublemakers by the Romans, were killed, along with their families. I explore this and much more in my new book, Boy Jesus: Growing Up Judean in Turbulent Times. The life of a refugee was hard, and Jesus would have been told his parents’ stories about what they endured. 

This is what is so interesting to me, because we know from contemporary studies of trauma that this would have had an impact on Jesus. There is received trauma resulting from the suffering, persecutions, hardships and distresses of parents and grandparents. 

So how are these experiences reflected in Jesus’ sayings? I think he turns things around, radically, so that the life of the wandering refugee is actually a paradigm for action. Jesus, in his mission as a teacher and healer, identified himself as a displaced person: "Foxes have holes and the birds of the air have nests, but the son of humanity has nowhere to lay his head" (Matt. 8:20), he said. Jesus was itinerant, and he entered villages with nothing, offering healing and looking for kindness (food, shelter). He asked those who acted in his stead to go out without money or extra clothing, essentially to walk along the road like destitute refugees who had suddenly fled from home, relying on the generosity and hospitality of the ordinary people whose villages they entered (Mark 6.8-11). And it was precisely the villagers’ welcome or not to such people that showed what side they were on when it came to divine justice: "And if any place will not receive you and refuse to hear you, shake off the dust on your feet when you leave, for a testimony to them" (Mark 6.11).  

If the sayings of Jesus show his spirit, time and again this spirit rests with the experience of the marginalised, the displaced, the persecuted, the sick and the poor. I say this as a historian, thinking of Jesus in his own time. How that sits with contemporary issues remains a question. To what extent can people of modern times, with all our baggage of private ownership, debts and anxieties about our jobs and livelihoods, share in Jesus’ ethos? In answering it, I suspect few of us will feel comfortable, whatever side we think we are on.  But taking out the logs in our own eyes, rather than the specks in someone else’s, has never been easy. 

 

Boy Jesus: Growing Up Judaean in Turbulent Times, Joan Taylor, SPCK Publishing.

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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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