Explainer
Aliens
Christmas culture
Creed
5 min read

Star of wonder and beyond

From the Christmas star, humankind has been fascinated by astronomical possibilities.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A star nebula of gas clouds and stars.
Tarantula Nebula, by the James Webb Space Telescope.
NASA, via Wikimedia Commons.

The James Webb Space Telescope was launched on Christmas Day 2021. After hair-raising maneuvers to unfurl its tennis-court-sized mirrors, it has been sending back breathtaking images of the cosmos since July of last year.   

Christmas was a good day for the launch, given its astronomical connections. ‘Glory to God in the highest heaven’, the angels sang to the shepherds, ‘and peace to his people on Earth.’ Meanwhile, the wise men were above all diligent observers of the heavens. ‘Where is the child who has been born king of the Jews?’, they ask, ‘For we observed his start at its rising, and have come to pay him homage.’  

Quite what that ‘star’ might mean there is open to debate. Comets have been popular with artists. Giotto painted one, for instance, in his Adoration of the Magi in the Scrovegni Chapel in Padua. It is almost certainly Halley’s Comet, which had appeared just a few years before, in October 1301. But why would anything in the heavens be interpreted as a birth in Judea? It would probably involve something in a constellation associated with the nation of the Hebrews. Pisces seems to be favoured, for some reason. A nova of some kind is one possibility: what would look like a temporary new star because, in fact, a previously invisible star was undergoing a spectacular death. Chinese records suggest a nova in 5 BC, which fits the likely date for for Christ’s birth of 7–2 BC. 

The problem with both comets and novae is that they were more likely seen as harbingers of doom than good news. The better candidate for suggesting something joyful is a planetary conjunction, and there would have been a rather spectacular conjunction of Jupiter, Saturn, and Mars at the right time. None of that, admittedly, explains what it means for the star then to have led the wise men. Coming up against that challenge, we might think that looking into the astronomical detail is the wrong way to approach the story. Nonetheless, Matthew had something in mind when he wrote about a start in his gospel, and it’s worthwhile to ask what that might have been. 

It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours. 

More recently, the Christmas story has intersected with astronomy in questions about how to think about Christian theology now that we are aware quite how big the universe is, especially if it may contain a great deal of other life. We don’t know whether that’s true, of course, but given we now know that planets common around stars, and there are billions of billions of stars in the universe, the probabilities seem to tilt towards other life, at least as I see it. 

Suggestions surfaces from time to time that the world’s religions have arrived late to the party, when it comes to thinking about life beyond Earth. The astronomer and broadcaster Carl Sagan made that claim, for instance, in his best-selling book Pale Blue Dot. In fact, the earliest discussions of life beyond Earth I know about from Christian writers come from the mid-fifteenth century (and they stretch even further back in Judaism and Islam, to give two other examples). Christian writers have written on the subject ever since. If few gave us more than a paragraph here or a page there, that’s usually because the prospect of other life did not worry them enough to warrant more. They noted the prospect cheerfully, and moved on.   

Until the twentieth century, the prospect of parallel Nativities on other planets was rarely in view. In a sense, it didn’t need to be. It’s a consistent Christian position to say that God joined his life to all creation in joining it to one species of rational animal on Earth, just as God joined his life to all humanity in being born in a stable, in a wayside town, in a backwater province of the Roman Empire.  

One erudite early exploration of multiple Incarnations comes in a poem from the 1920s by the Roman Catholic poet Alice Meynell, entitled ‘Christ in the Universe’. More recently, Meynell’s topic has become perhaps the central theme in thinking theologically about life beyond Earth. My own book (Astrobiology and Christian Doctrine, 2023) looks at the prospect of life beyond Earth from the perspective of all of central topics in Christian doctrine (creation, sin, redemption, revelation, the Trinity, and so on), but the largest section is on Christmas and possible parallels. I am sympathetic to the idea that God would also unite himself to another natures, alongside the human nature he took up in Christ: not because I think that would be necessary, but because it might be fitting. It might be fitting for God to deal with other species as intimately as God has dealt with us, so that they might see ‘God made visible’ in their own nature, as we see God made visible in ours. 

Hiding in plain sight in the Nativity stories is another key to Christian thinking about life beyond, namely the angels. It’s not that I think that angels are aliens, or that alien life is angelic. In fact, being a disciple of St Thomas Aquinas, I’m inclined to view angels as entirely immaterial, and so very much not examples of biological life. But angels are useful for thinking about other biological life beyond Earth nonetheless, because of what they mean for the Christian imagination. The angels show that there’s always been space in that imagination for rational creatures other than human beings. They show that Christianity has never imagined that we’re the sole object of God’s love, or even the most glorious of species.  

The Christmas story has its cosmic elements: the star, glory in the highest heavens, and the angels, reminding us that wonderful though humanity is, it has no monopoly on rational life. My hunch, as much as my hunch matters, is that if there is other life then they too may see God face-to-face in their own Incarnation. Even if we find evidence of life beyond Earth, however, it’s not going give us much detail. The balance of gases in the atmosphere of a planet around another star might indicate life, but not much else about it. The prospects for interplanetary comparative religion are far off indeed. Alice Meynell had the right idea, when she recognised that one of the joys of the life of the world to come will be learning the stories of God’s dealings elsewhere: 

  

But in the eternities, 

Doubtless we shall compare together, hear 

A million alien Gospels, in what guise 

He trod the Pleiades, the Lyre, the Bear. 

  

O, be prepared, my soul! 

To read the inconceivable, to scan 

The myriad forms of God those stars unroll 

When, in our turn, we show to them a Man. 

 Alice Meynell 

Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Vicar of St Michael's Chester Square, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’