Explainer
Christmas culture
Creed
5 min read

Santa Claus and how not to give gifts

John Barclay unpacks the nature of gift-giving and finds Santa’s list is moralising in comparison to an older unconditional way.

John Barclay is Lightfoot Professor of Divinity at Durham University. He researches the history and thought of early Christianity and early Judaism. 

A Santa tiptoes in a darkened room carrying a lamp and holding up a finger in a gesture of silencing
Anderson W Rangel on Unsplash.

Christianity is a religion centered on the notion of gift.  It is no accident that Christmas, linked with what Christians consider the ultimate gift - the birth of Jesus, is a festival of gift-giving.  All sorts of historical and cultural traditions have accumulated around this festival, for good and ill, but one, it seems to me, has become especially problematic: the myth of Santa Claus.  The form of giving we associate with Santa Claus is the very opposite of what counts, in the Christian tradition, as a good gift. Here’s how. 

In the English-speaking world, Santa Claus (originally St Nicholas) is the man in the red coat and white beard to whom children address their requests for presents.  For many, he becomes a bit like God, and as such, shapes their image of God as normally absent, occasionally useful, and generally benign.  But if Santa is the distributor of gifts at Christmas, two things mark his giving: first, he gives according to merit; second, his giving is one-way and one-off, creating no relationship of trust, love, or obligation.   

The famous Santa song is better known in North America than in the UK, but it has lasted long in the popular imagination. It has also shaped our ideas of gift-giving.  Santa, you will recall, has a list of who’s been ‘naughty or nice’, and is using that list to direct his gifts. He is all-seeing and all-knowing (‘he sees you when you’re sleeping; he knows when you’re awake’), so his merit-judgments are unfailingly correct: he ‘knows if you’ve been bad or good’ – so ‘be good for goodness sake’!  Santa’s gifts, in other words, are merited and conditioned.  At one level, this is an adult ploy to get children to behave at Christmas.  But at another, it reflects a remorselessly moralizing society, quick to judge who is deserving of praise or blame.   

As Harvard philosopher Michael Sandel has argued in The Tyranny of Merit, we have allowed the notion of ‘merit’ to govern so many aspects of our society that those who miss out on social and economic success are led to believe that it is really their fault. Santa is the projection of our sense that nothing good comes our way unless we somehow deserve it. 

The other feature of Santa’s giving is that it is all over in a trice: it creates no relationship and establishes no long-term connection.  The children who write letters asking for presents are not encouraged to enquire after Santa’s wellbeing during the rest of the year.  There is no friendship, no commitment, just one-way gifts that arrive without reciprocity or interpersonal depth.  That fits Western individualism, where we dislike the constraints created by long-term relationships. We will take a gift ‘with no strings attached’ because thereby we retain our autonomy, our power to choose, our independence.   

This was a gift ‘with strings attached’ – not unwelcome new obligations that forced them to do what they hated, but strings of love that enabled them to be better and fuller versions of themselves. 

he Christmas event was originally understood as a gift of a very different kind – in fact the inverse of the Santa-gift.  What the early Christians celebrated about the gift of Jesus was that it was completely unconditioned: it was given without regard to merit or desert.  Even in ancient times that was an unusual, even a bizarre, form of gift: surely it would make better sense to give to those who were worthy of the gift?  But what the Gospel writers and St Paul celebrated was that the gift took effect in unexpected, undeserving places – with uneducated fishermen, with women as much as men, with non-Jews as well as Jews, with the social underdogs and the morally dubious.   

This was a gift that had nothing to do with merit: it was given irrespective of worth and in the absence of worth.  Paul the persecutor received this gift; so did Mary, a village teenager; so did Peter, who let Jesus down time after time; so did idolatrous non-Jews; so did Zacchaeus (a tax-collector – about as popular as a loan shark today)).  This was not because the gift was given randomly. It was a strategic policy to make the gift available to all.  As an unconditioned gift, not dependent on gender, cultural background, social level, or moral achievement, the gift of the ‘good news’ belonged to no-one – and could go to everyone.  

As a result, the early Christians formed new kinds of communities that crossed most social boundaries, and excluded no one on the basis that they were not good enough to join.   

And was this a ‘Santa gift’ in the sense of creating no relationship, no ties, no expectations?  Far from it!  The gift of Christ was understood to transform those who received it, because ultimately it was the gift not of a thing but of a person.  Where Santa disappears for eleven months of the year, the Christians found that Jesus stuck around, not as a threat but as a transformative presence (in the form of ‘the Spirit’), who slowly, subtly, but definitively made them different than what they were before.  This was a gift ‘with strings attached’ – not unwelcome new obligations that forced them to do what they hated, but strings of love that enabled them to be better and fuller versions of themselves.  The Christ-gift drew its recipients, as theologians would later say, into the life of God, which is the best imaginable place for humans to be. 

So, how might you give gifts differently this Christmas?  Well, you could go beyond ‘the usual suspects’ and include some you would not normally include on your giving-list; why not reach out, with some gesture of goodwill, to someone with whom you have had a difficult relationship this year?  You could try to make your gifts more personal, as a token of who you are and who they are, and you could make an effort to continue the friendship beyond the ‘once a year’ gesture.  And if someone gives to you and you haven’t thought to give to them - a common source of embarrassment - no problem: take it as an invitation to friendship, to which you can always respond at some other time and in some other way.  There is always an opportunity for change and growth. 

An unconditioned gift that changes who you are - liberating and transformative, underserved and perpetually effective.  There might be reasons why we prefer the ‘no commitment’ gifts of Santa Claus, but we also know that the most meaningful gifts are personal; they create or sustain ties of friendship; even if they are things, they represent an interpersonal commitment of love.  Christmas is always a mixed blessing, but it is not helped by the Santa songs (or, indeed, by some terrible lines in Christmas carols!).  But at its origin it carries the tune of a different kind of gift, which takes no account of desert but changes its recipients in ways they can never forget. 

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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