Explainer
Creed
Death & life
5 min read

The lost art of dying well and what we can learn from it today

Living well in order to die well doesn’t simply happen. It takes work. It takes preparation. For All Souls Day, Lydia Dugdale asks if we are prepared for death.

Lydia Dugdale is the author of The Lost Art of Dying. She is Professor of Medicine at Columbia University and Director of the Center for Clinical Medical Ethics. She is a specialist in both medical ethics and the treatment of older patients. 

A medieval book illustration of a person dying in bed.
A 15th Century ars moriendi, or ‘art of dying’ image.
Basel University, via WikiCommons.

The first of November marks All Saints Day on many church calendars—a day when we Christians remember our martyrs together with all the faithful, both living and departed. On that day, we celebrate that our communion is not simply with one another on earth but is also with all saints of all time, including those who have died.  

For some people, the notion of fellowship with departed saints might be quite exciting. They may have pondered questions about the saints since school assemblies or RE lessons. What was racing through Abraham’s mind when he attempted to sacrifice his son Isaac? What would Mary say a sinless Jesus was like as a toddler? Did Jonah float around inside the great fish, or did he find something on which to perch himself?  

But others among us might wish to skip All Saints Day altogether. Talk of dead saints feels positively medieval, even a bit morbid. Some of us might wonder about our own saintliness—or lack thereof. Could we really experience ineffable joy in an afterlife? Moreover, the very suggestion of an afterlife implies that we ourselves must die—an uncomfortable prospect for most of us.   

Such divergent reactions to the day are revealing. On the one hand, the idea of having saints to remember is to inspire us to live well. They invite us to examine their lives and to grow ourselves in response. On the other hand, they remind us that our days are numbered. And because our days are numbered, we should attend carefully to what it means to live wisely. Saints teach us that if we want to die well, we must live well. 

But living well in order to die well doesn’t simply happen. It takes work. It takes preparation. Which is why this year on All Saints Day it’s worth asking the question: Am I prepared for death? 

Death exists as a paradox for Christians—as something at once lurking and vanquished. 

In the late Middle Ages, the ars moriendi, or ‘art of dying’ genre of literature developed in response to mass loss of life from a fourteenth-century outbreak of bubonic plague. The genre consisted of a number of handbooks on how to prepare for death. Although the earliest text was anonymous, historians believe that its authorship had a connection to the Western Church. After the Reformation, Protestant versions began to circulate, and later handbooks omitted religious particularity altogether. The handbooks grew in popularity throughout the West for more than 500 years. 

This notion of living well to die well lay at the core of the various iterations of the ars moriendi. Early texts warned readers that five temptations lead to dying poorly—temptations to doubt, despair, impatience, greed, and pride. If you don’t want to die a doubting, despairing, impatient, greedy, and proud person, you must cultivate the virtues of faith, hope, patience, generosity, and humility now. But the ars moriendi texts were very clear that virtue did not happen to a person all at once at the end of life. Rather, it required habituation. Cultivating virtues was the work of a lifetime. If you want to be remembered as a person of sound character, a generous person of hope and good will toward others, you cannot delay making such attributes a regular practice. If you are willing to be martyred for your faith—as some of those early saints were—you have got to be sure it is a faith worth dying for. 

I once met a man who had converted from the religion of radical self-centeredness to Christianity. When I asked him why, he told me that of all the world’s religions, Christianity had the best story. As with the martyred saints, it was for him a story worth dying for. And All Saints Day reminds us that in Christianity, death is stranger than you might think. 

Death exists as a paradox for Christians—as something at once lurking and vanquished. Death is the enemy that at long last will be destroyed, and death has already been swallowed up in victory. But you might ask: if death has already been defeated, what remains to be destroyed? And if death will be destroyed, how has it then been defeated? This enigma might partially explain why many regular church attenders are neither physically nor spiritually prepared for death. Researchers at Harvard University have shown that people who describe themselves as most supported by their religious communities are also most likely to reject hospice care and instead to elect aggressive life-extending technology. 

The story goes as follows. Death is an enemy because it suggests rejection of God. From the beginning, God tells our forebearer Adam that he can freely eat of any tree in the garden but one. If he eats from the tree of the knowledge of good and evil, he will die.  Thus, from the beginning, God equates the possibility of human disobedience with the actuality of death.  

Of course, Adam and Eve eat the proverbial apple. And when they do, they don’t immediately die, but they experience a sort of death. For the first time, they become filled with shame and fear. They hide themselves from God. They cast blame. God tells them that moving forward their life will be filled with great suffering. God says to Adam, ‘By the sweat of your face you shall eat bread until you return to the ground, for out of it you were taken. You are dust, and to dust you shall return.’ Disobedience is what Christians call ‘sin’—and it brings death. Sin severs that once harmonious relationship between God and people—a fact that also grieves God, which is why God does not let death have the final word. 

The story gets better. Since we humans cannot possibly undo the drastic results of our disobedience, God becomes fully human in Jesus Christ, so liable to death, while also retaining full, divinity which cannot die. Then, as a human on a cross, he dies as the ultimate sacrifice on behalf of humankind. But this God-Man does not stay dead. After three days in the tomb, Christ is resurrected, defeating death, on what has come to be known as Easter Sunday. Christ’s resurrection functions as a sort of guarantee that all God’s people will one day be resurrected and receive new bodies, that day on which the great enemy of death will be destroyed once and for all. If Adam and Eve brought death into the world, the resurrection hope is that death will be no more.  

This year on All Saints Day we have the opportunity to consider what it means to commune with ‘all saints’ extending back to Adam and forward to future generations. We have the opportunity to study the saints and then examine ourselves. What sort of people are we becoming? Are we living well to die well, as the ars moriendi handbooks teach? And of all the stories out there, which provides the greatest hope in life and in death? 

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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