Explainer
Creed
Language
Politics
6 min read

The language of politics can’t domesticate religion

Political life’s Left-Right structure fails when it tries to co-opt religious perspectives. Graham Tomlin outlines why it misses so much of what makes them interesting.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

an aerial view down in to the parliamentary chamber shows MPs sitting on benches on the left and right hand side
The UK Parliament's House of Commons chamber manifests the left-right divide.
House of Commons Twitter.

The New Statesman recently released their ‘left power list’ – “the 50 most influential people shaping Britain’s progressive politics.” As I read it through, one name caught my eye – Justin Welby. He comes in a comfortable mid-table position at no. 27, behind Gary Lineker and JK Rowling, and ahead of Gordon Brown and Marcus Rashford.  

The Archbishop of Canterbury may perhaps be a strange addition to a list of left-leaning figures. Not all his predecessors have been so - his predecessor but two, George Carey, is often seen espousing views from the right. It is not accidental that the present Archbishop has served in times of a Conservative government, while George Carey held the role during the latter years of New Labour. It is perhaps the job of Archbishops to hold the government of the day to account, so perhaps not surprising that Welby is seen as a critic of the Conservatives. If the government of his time had been Labour, perhaps he would be seen very differently.  

However, what got me thinking was not so much the identification of the Archbishop as left-leaning but the co-option of the Church’s voice into the wider narrative of the left-right political spectrum. The language of ‘left’ and ‘right’ dates back to the French Revolution, where, in the National Assembly, the supporters of the king sat to the right of the President, and the revolutionaries sat to his left. Subsequent governmental institutions in France continued the seating arrangements and the language became embedded in political discourse far beyond France. Since then the ‘left’ has always been associated with ideas such as freedom, progress, equality and reform. The ‘right’ has valued older institutions of social life such as family, locality, individual responsibility, duty, tradition and so on.  

Left and Right... shoe-horns religion into the procrustean bed of a political ideology that cannot do justice to its true nature.

Left and Right is a structure of political life with which we are very familiar. But when it comes to co-opting religious perspectives, it misses so much of what makes them interesting. It has no place for God, for revelation, for prayer, the mystical and the miraculous, the hosts of angels, the language of virtue or the surprising delight of grace. It shoe-horns religion into the procrustean bed of a political ideology that cannot do justice to its true nature. It emasculates it of all that makes it interesting and distinct. 

This attempt to domesticate religion has a long pedigree. The Christian Church was born into a world dominated politically by the Roman empire, and religiously by paganism. This new claim that the God behind all things had revealed himself in the person of Jesus Christ was definitely awkward, but by and large, pagans were happy to fit it into their view of the world, if only the Christians were happy to regard Jesus as yet one more god alongside the other gods – a private option for those who preferred that kind of god, as opposed to Jupiter, Mercury or Aphrodite. The early Christians however refused to comply. They insisted Jesus was God, not just a god. They resisted their founder being co-opted into the pagan pantheon, or even the Roman imperial regime, refusing by and large to serve in the army if that meant killing their enemies in defiance of Jesus’ command to love them, or offering worship to the gods in civic festivals, even when their contemporaries could not understand the refusal to join in what to them was some harmless ritual to keep the gods happy. 

Even more, early Christian thinkers such as Athanasius argued that the coming of Christ into the world was too seismic an intervention to be simply co-opted into existing paradigms. In particular, the Resurrection of Christ was either a gigantic hoax, or an invitation to re-think reality all over again from a new starting point - that humanity’s greatest enemy - death itself – had been defeated once and for all. As the theologian Lesslie Newbigin put it:  

“At the heart of the Christian message was a new fact. God had acted in a way that, if believed, must henceforth determine all our ways of thinking. It could not merely fit into existing ways of understanding the world without fundamentally changing them. According to Athanasius, it provided a new arche, a new starting point for all human understanding of the world. It could not form part of any worldview expect one of which it was the basis.”  

Thus, Christianity was bound to transcend the political structures of its time - or any time for that matter. A bold Christianity, true to itself, could not just be co-opted within an alien political or social structure – it was always going to be an awkward bedfellow with the empire.  

In more recent years, a number of theologians have made the same point. Philosopher and theologian John Milbank wrote a ground-breaking book in the 1990s, Christianity and Social Theory, where he criticised the whole venture of the Sociology of Religion as domesticating Christian faith into an alien structure of thought, where society was taken as a given, and religious faith explained away by secular theoretical categories. Sociology for him was its own non-neutral theology, a rival discourse to Christianity, ‘a secular policing of the sublime’, domesticating it and reducing it to fit with the narrow categories of sociological theory.  

Christianity just refuses to fit into foreign categories that try to tame it

More recently, James Mumford, in his short book Vexed, written with half an eye to the American experience, shows how again Christianity just refuses to fit into foreign categories that try to tame it, and how it consistently blows apart the moral and political packages that both left and right offer us in modern life. So, for example, the deeply Christian notion of the sanctity of life – that human life is sacred, to be respected in all its forms, and cannot be taken away by another human being - leads both to an abhorrence of unwarranted abortion (the American right cheers at this point), yet also to a restriction of the right to carry guns that take life (not so popular among the Republican base.) Conservatives prize family values, yet are happy to allow economic competition to permit zero-hours contracts that make desperate parents vulnerable to shifts in the market that mean they cannot feed their children. Christians might agree with the first, but disagree with the second. Similarly, the left prizes inclusivity, yet at the same time, promotes assisted dying, baulking at extending this inclusivity to the elderly person who would have to make an active choice to go on living, when pressure may mount to leave their money to their offspring and vacate the scene early. Again, the left champions the sexual revolution yet, despite its suspicion of economic liberalism, holds back from a critique of the consumerism of much sexual culture, that values being able to move onto new sexual partners as desire dictates.  

So, Mumford argues, Christians may find themselves adopting a strange mix of beliefs and opinions – or perhaps only strange when seen from the perspective of a secular mindset – opposed to unwarranted abortion, yet in favour of gun control; in favour of family life, yet wanting economic intervention to the labour market to ensure proper pay for workers. 

The point here is not so much to argue that Christians have a unique political viewpoint that is distinct from left or right, but that Christianity is more than politics. Beneath the surface of Christian political convictions, such as those that come from the Archbishop, lie (or should lie) a whole host of deeper commitments – to God, to the insights that come in prayer, to the most vulnerable in society, to a sense of a deep order and structure to the world that cannot be toyed with by progressive political fantasies, to the reality of Resurrection. None of these quite fit the simple left-right equation. The bishops may or may not be right in their political pronouncements – and there is room for debate on that, but trying to make them fit into the narrow categories of mere politics just doesn’t work. God is too big for that. 

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

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief