Those unexpected angel stories

Shedding a strange light on a disenchanted world.

Graham Tomlin

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

An almost abstract image with overlays of colour over a group of people standing.

Jr Korpa on Unsplash.

Unlike Robbie Williams, who sings about them, sometimes I preach about angels. When I do something always happens – people start telling me their own angel stories.

There was the one a soldier friend told me. During an army climbing expedition to Mount Kenya, one of his team had fallen to his death from a sheer rock face. Caught up in the drama of the moment, my friend found himself stuck on a ledge, unable to move up or down, paralyzed by fear and frustration. Suddenly, in an inaccessible part of the world, where they had seen no-one for days, on a mountain where they were the only registered group present, a climber appeared out of nowhere, moved onto the ledge where he was standing, tied a rope into his harness, lowered him down the rockface to safety before disappearing up the face never to be seen again.

Or the story of a pastor who got into trouble in an airport. A stranger walked by and asked if he could help, and remarkably fixed a seemingly intractable problem. The grateful passenger took a selfie of himself and the stranger, but when he looked at the phone later on, there was a picture of himself, grinning into the camera, with his arms around… nothing.

Why do so many stubbornly believe in angelic beings, when a materialist view of the world laughs scornfully at the idea as a bit of pre-modern superstition?

These are not just modern stories. In the second century, a young man called Justin from Asia Minor was working his way through the various schools of Greek philosophy. One day, he was walking along the beach at Ephesus, wondering, as young people have always done, about the meaning of life in general and his own life in particular, when a mysterious old man came alongside and joined him in conversation. As they walked together, the old man spoke about the philosophers and how none of them were quite able to answer the deepest mysteries of life. He advised Justin to read the Old Testament prophets, before disappearing into the distance. Justin did so, became a Christian and went on to become one of the greatest early theologians of the Church and one of its early martyrs for the faith – hence the name he is remembered by today - Justin Martyr.

Was it an angel? Or a real, yet mysterious old man? Are angels real? And if so, what is the point of them? Surveys tell us that 30 per cent of British people believe in angels. In the USA that figure rises to 70 per cent. Why do so many stubbornly believe in angelic beings, when a materialist view of the world laughs scornfully at the idea as a bit of pre-modern superstition? After all, the cynic might say all these stories can be explained - these were just ordinary people who turned up unexpectedly.

The encounter opened the eyes of the person in the story to another realm, a world unseen yet just as real as the seen.

The word angelos in Greek simply means messenger – and it can mean either a human or an angelic one. In the Bible, angels don’t usually appear with glowing white clothing and wings sprouting from their shoulder blades. When they come to people with a message, they often appear in the guise of ordinary people. In fact, it’s often hard to tell whether you have been visited by an angel or just another human.

The point, therefore, is not so much about the angels, but about the message that they bring. They tend to turn up when there is something particularly important to announce, something like the birth of Jesus, when an angel appears to the young Mary to tell her the news that she will give birth to the Son of God, her, and then quite a few of them turn up to sing to the shepherds, an indication that something big was happening.

In each of the stories above, the encounter opened the eyes of the person in the story to another realm, a world unseen yet just as real as the seen. An inexplicable encounter with what just might have been an angel has the capacity to open our eyes to the fact that the world is bigger than we often assume – that as Hamlet says to his dull, practically minded friend: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”

The Nicene Creed, the classic summary of Christian faith, speaks of God as the ‘Creator of all things seen and unseen’. We are all used to what we can see, yet some of us only have space in our world for things that can be seen, touched or measured. Yet there are surely those unseen realities – things we cannot see or measure, like love, compassion, holiness, miracles, God and - yes – angels.

A random sermon on angels elicits hushed stories that people feel almost embarrassed to speak. Such mysterious experiences are far more common than we realise, as Dan Kim points out elsewhere on this site. Yet these experiences are not an end in themselves but are perhaps a way of God getting our attention when we refuse to listen to more ordinary approaches. These experiences open our eyes to a dimension of reality that is as real, if not as visible as the one we deal with every day – and become a gateway to a journey of discovery of an unseen world alongside the seen, that sheds a strange but welcoming new light onto a disenchanted world.

Article

Christmas culture

Creed

18 December 2023

4 min read

For the knowing of the how: creating at Christmas

Learning a new craft unfolds the layers of meaning Christmas is clothed in.

Andrew Davison

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

A white crocheted angel decoration against a dark background.

Kelly Sikkema via Unsplash.

Childhood Christmas was for me a time of craft and productivity, of baking and decorating, of paper chains and printing cards with dissected potatoes. Christmas was all about making, so homemade presents outshone everything else.

That was fine if you were a painter, knitter, sculptor, seamstress, or woodworker, and each member of my family was at least one of those things. I was the odd one out: at least until the autumn before last, when I took up crochet.

My inspiration came from John Milbank: theologian, philosopher, political theorist, poet, and general ruffler of feathers. Not, I have to say, because he sets example with hook and yarn. Rather, he’d written an essay, an essay that spoke to me, as someone often in art galleries but rarely making. We get so invested in fine art, he wrote, that we forget the priority of applied art, of craft and decoration. That’s the foundation. The art we go to see in museums is great only if it succeeds in ‘intensifying this art which is proper to humanity as such.’ So, I took up crochet.

Crochet, as I hoped, is rather like playing the recorder. It’s not too difficult, even at the beginning, but has plenty of scope for complexity and skill. I’m now three blankets in, plus six cushion covers and a hat. Even my first efforts were gratefully received as presents, and I some of my recent work is much more intricate, and not half bad.

I’ve finally joined the ‘Christmas is about making’ project: and Christmas really is about making. John Donne put it like this, addressing the Virgin Mary:

… yea thou art now
Thy Maker’s maker, and thy Father’s mother;
Thou hast light in dark, and shutst in little room,
Immensity cloistered in thy dear womb.

Mary becomes her ‘Maker’s maker’. In a further twist, which Donne would appreciate, Mary’s child grew up to be a carpenter, or – as the Greek would better be translated – an all-round, general purpose village maker: from hearths to homes, from shelves to structures.

In thinking about how God took up a human life, writers have often turned to the language of making. In the same poem, Donne has God weaving himself a kind of garment in Mary’s womb: ‘He will wear, / Taken from thence, flesh’. Thomas Pestel (1586–1667) opens an unjustly forgotten Christmas hymn like this:

Behold, the great Creator makes
Himself a house of clay,
a robe of virgin flesh He takes
which He will wear for aye.

More familiar still is Charles Wesley’s ‘Hark the Herald Angels Sing’, with its lines:

‘Veiled in flesh the Godhead see, / Hail the incarnate Deity!’

The language of wearing, of robes and veils, hasn’t always fared well among theologians. I heard of one stern tutor in doctrine who would look round the chapel whenever Wesley’s carol was sung, reserving a stern word for any student who failed to fall silent at that line. He didn’t like the implication that God was merely draped in humanity, making only an outward show of being human.

Thomas Aquinas saw that worry, writing in the thirteenth century, but argued for charity. The language of clothing isn’t perfect, but we shouldn’t expect it to be. Illustrations gesture towards the truth, they aren’t identical with it, and all the more when we’re talking about God. As long as we don’t think expect the clothing image to say all that needs to be said, there’s mileage to it. For one thing, clothing can make someone visible (as the late Queen knew very well): ‘veiled in flesh, the Godhead see’. Moreover, Christ’s humanity was shaped by his divinity, like a garment is shaped by the body of the one who wears it, yet the body remains unchanged (and so does the garment), just as God became human without becoming any less divine.

Alongside clothing, Pestel also suggested God working with clay:

‘Behold, the great Creator makes / Himself a house of clay’.

That takes up, and reworks, another textile image. John’s Gospel gets to the heart of the Christmas message with a line so solemn that Christians have been accustomed to drop to their right knee on hearing it read: ‘And the Word was made flesh, and dwelt among us’. That’s how we know it, but a more accurate translation is that the Divine Word ‘pitched his tent among us’. The houses that Pestel knew, however, were made of bricks not cloth, which is to say of clay, so he adapted the image. Or, just as likely, with that clay, he had the ‘house’ of the human body in mind. That would recall lines in Genesis, where God makes Adam out of clay, or ‘the dust of the ground’. In fact, the Hebrew word ‘Adam’ means just that – something like ‘earthling’ – just as ‘human’ is related to the Latin ‘humus’, meaning soil.

Whether weaving and wearing, or building, or sculpting, or potato printing, this is the message to stop us in our tracks at Christmas: that the Maker made himself human. There is something beautiful that we greet that with homemade presents, with printing cards, with decorating and baking, with craft and productivity, with paint and cloth, paper, wood, and yarn, and with that sublime sort of making that is music. As Pestel puts it, in closing ‘Behold, the great Creator makes’