Explainer
Creed
Eating
Sustainability
9 min read

What wine teaches us about the big things in life

Wine connects us to the soil and each other, writes Mark Scarlata, as he unpacks what oenology – the study of wine, can teach us about ontology – the study of being.

Mark is a lecturer and priest. He’s the author of several books and his latest, Wine, Soil and Salvation, explores the use of wine throughout the Old and New Testament. 

Evening sun sets glowing light across vines in a vinyard.
Tim Mossholder on Unsplash

I remember one of the first wine tastings that I went to. I happened to be placed at a table of people who really knew what they were talking about when it came to wine. I watched as they expertly swirled their glasses yet when I swirled mine the wine almost flew out all over the table. Then we all sniffed and were asked to say what smells came to mind. Dark red currants, blackberry, plum, leather, tobacco and all sorts of other things were mentioned. I kept my mouth shut because the only thing I could think of was, ‘This smells like wine to me.’ But that didn’t sound very sophisticated. 

Years later, I’ve come to appreciate wine in a completely different way. Not because my palate has been refined or because I’ve taken wine courses on how to pick out scents such as truffles or crushed gravel, but because I study the Bible. Surprisingly enough, the Bible has a lot to say about wine and how it relates to our lives together, our relationship to the earth and our relationship to God. 

In the ancient world, from the very earliest civilizations, wine was an important part of everyday life and religion. Whether in Egypt, Assyria, Babylonia, Persia, Greece or Rome, wine was a critical fixture in worship and making offerings to the gods. Stories of wine gods such as Dionysus or Bacchus reveal a drink that was created to please both the gods and humanity. Tales are told of wild bacchanals or orgiastic feasts that likely ended with bad hangovers and much worse. In many of these ancient cultures wine was seen as a gift from the gods so that human beings could enjoy themselves and it was offered back to the gods in all types of religious rituals that often involved drunken exploits. In the Bible, however, we find a very different story. It’s a story that goes back to the very beginnings of creation in the garden of Eden. 

Here, in the garden, the moral world is bound up with a material world. 

The first book of the Bible, Genesis, begins with a God who creates the heavens and the earth. This is not some distant, aloof god who is separated from his creation. God is depicted as a gardener who is not afraid to get his hands dirty in the soil. God forms the first human from the dust of the earth and then breathes into him the breath of life. We usually call this person ‘Adam’, as if it’s a personal name, but it’s not. ‘Adam’ is a wordplay on the Hebrew word for soil adamah. You can see and hear the similarity between the two. The reason for the wordplay is to emphasize humanity’s connection to the soil. We, as human beings, are inextricably bound to the life of the land. Our nourishment, our sustenance and our very existence is reliant on the earth beneath our feet. 

Beyond our physical connection to the land, the story of Genesis (and the rest of the Bible) also assumes our spiritual connection to the land. When the first garden dwellers disobey God’s command and eat the forbidden fruit, the land becomes cursed. We witness a breakdown in what was originally meant to be a harmonious relationship between Adam and adamah. Adam will now experience toil when he works the land and it will produce thorns and thistles. Here, in the garden, the moral world is bound up with a material world. Human disobedience to God’s command results in a broken relationship with God, with one another and with the land. So what does this have to do with wine? We’ll discover, as the story continues, that wine is a gift that comes from the renewed earth through the character of Noah to provide relief for humanity. 

Most people are familiar with the story of Noah’s Ark, whether from children’s books about the ark or memories of stuffed animals packed in a boat with Noah and his wife, Mrs. Noah (we’re never told her name which seems slightly unfair considering all the work she presumably had to do taking care of the animals). What we don’t often recall, however, is the prediction made by his father, Lamech, when Noah was born. Lamech says, ‘Out of the ground that the Lord has cursed this one shall bring us relief from our work and from the toil of our hands’. If the curse upon the earth and toil came through Adam, then relief from that toil would come through Noah. The key phrase here is ‘out of the ground’ because something will spring up from the soil in the renewed creation after the flood that will bring relief which is the advent of the vine. 

Back to the story of the Ark. After the flood retreats, Noah leaves the ship and worships God. In very short order we’re told: 

‘Noah, a man of the soil, was the first to plant a vineyard. He drank some of the wine and became drunk, and he lay uncovered in his tent’.  

Now if you’ve ever planted grapevines (Vitis vinifera), you’ll know that it takes at least three years to get your first harvest of grapes. The biblical story, however, jumps quickly ahead to Noah finally having produced his first vintage.  

He waited for the grapes to ferment after being crushed. He stored them in a cool place and when the time was right, he was able to drink his first cup of wine. It seems, however, that he probably had more than one cup since he was soon lying passed out in his tent. There’s no specific judgement of Noah here. After all that he had been through we might imagine a cup of wine was just what he needed. Drunkenness, however, is later explicitly condemned by the biblical authors. One rabbinic commentator, however, in defence of Noah, argued that because he hadn’t drunk wine previously, he only had a sip which made him pass out. 

Despite Noah’s first encounters with wine, a more significant story is being told. The flood acts as a type of cleansing and renewal of creation in Genesis as part of God’s judgment so that humanity could once again live in relationship with God and the land. After the flood, the earth is in need of renewal and only Noah can achieve this. We are told that Noah found favour in the eyes of God, that he was righteous and blameless and that he walked with God. Unlike almost any other character in the Bible, Noah is distinctly set apart because of his moral purity. And it’s through his purity that humanity’s relationship to the land is restored and the gift of the vine springs forth to bring relief from our toil. 

Drinking wine has often been likened to a spiritual experience. To taste a well-crafted wine is to drink in the sun, the rain, the wind, the soil and all the blessings of the earth. 

When we look at other ancient myths concerning wine, we discover something far different in the biblical vision. The Bible offers a picture of a world where the material and the spiritual are bound together within the intricate web of creation. The earthly and the heavenly are united. Though we are made from the soil and tethered to the land, we are also spiritual creatures who share in the breath of God. We have the capacity to experience God’s spiritual blessings, but we also experience his gifts through our senses, through our physical engagements in the world and through the gift of wine. 

This is why drinking wine has often been likened to a spiritual experience. To taste a well-crafted wine is to drink in the sun, the rain, the wind, the soil and all the blessings of the earth. When we are attentive to the wine we’re able to savour its complex flavours and aromas. We come to appreciate its multifaceted character and the reflections it offers on the land where it was grown and harvested. Wine, unlike any other food or drink, brings out the qualities and identity of a particular place.  

There is a French word, terroir, that is often used to describe this connection to place that gives a wine its character and flavour. Wine experts understand that even the slightest change in weather, soil content, drainage or the lay of the land can have dramatic effects on the final product. I don’t doubt that the biblical authors understood the same. Yet they also understood that the gift of wine, the blessing of relief that came through Noah, was also connected to our moral lives, to how we love God and neighbour and to how we care for his creation. 

Wine is a gift that eases our toil and makes our hearts glad. Wine reminds us of our deep connections to the soil and how we play our part within the community of creation. 

The story of wine in the Bible is one that reminds us that we do not live in this world as autonomous creatures completely disconnected from the land around us. In the beginning, human beings were instructed by God to care and keep the land as an act of service and partnership with the hope of encouraging fertility, abundance and life. American conservationist, Aldo Leopold, sums this up when he writes about a having a ‘land ethic’ that should govern how we live in the world. He argues that our ethical behaviour should take into account things like soils, water, plants and animals. He goes on to say that this, ‘changes the role of Homo sapiens from conquerer of the land-community to plain member and citizen of it.’ 

We live in an age where humanity is driven by the pursuit of power and control over the environment rather than creatively working with, and caring for, the natural world. Advances in technology and the idea of limitless freedom have led to what Old Testament scholar Walter Brueggemann calls an ‘economy of extraction’. This is a system that strips the land without concern as if our resources are unlimited and are ours to do with as we please. Such practices not only destroy the ecology and biodiversity of the land, but they can also deprive local economies and create greater gaps between rich and poor. Pope Francis addresses this in his 2015 encyclical, Laudato si’, where he calls for an integrated ecology that takes into consideration our use of natural resources to improve the common good and to alleviate the suffering of those who have been hurt the most by this economy of extraction. 

The beginnings of wine in the Bible tell a story that involves the whole of creation. It’s a story that emphasises our relationship to the land, to God and to one another. How we care for and keep the soil is a reflection of how we care for one another. Other stories in in the Bible imagine a world full of justice and mercy where there is peace and concern for the common good. In such a world the biblical authors also see the earth respond with its own fertility—fields that produce bumper crops, trees that bear abundant fruit and a hills bursting with grapes and wine. Fertility, life and wine are all interconnected in the biblical world, but they have sadly been disconnected in the modern world.  

Wine is not just a drink in the Bible. It’s a sign and symbol of salvation, of life, joy, abundance and fertility. Wine is a gift that eases our toil and makes our hearts glad. Wine reminds us of our deep connections to the soil and how we play our part within the community of creation. Wine awakens our senses and leads us to praise the God who is the giver of all good gifts. So, as we lift our glasses to celebrate in our homes, at meals, at weddings, or wherever we are, we might offer a prayer of thanks. Thanksgiving for the gift God gives that eases the toil and gladdens the heart. We might even recite the Jewish prayer which is prayed on the eve of the Sabbath and on other occasions. 

‘Blessed are you, Lord our God, creator of the universe who creates the fruit of the vine.’ 

  

Article
Creed
Death & life
Easter
Film & TV
9 min read

Harry Potter and the mysteries of death

Horcruxes and our digital consciousness

Jonathan is a priest and theologian who researches theology and comedy.

Hermoine rests her head on the shoulder of Harry Potter.
Harry and Hermione at the grave of his parents.
Warner Bros.

A couple of years ago I had a conversation with some friends that has stuck with me. One of them is a palliative care doctor, and we were discussing medical trends which seek the extension of life at all costs. My friends are Jewish, and we as were comparing religious notes, it was unsurprising that they asked me: "well what do Christians think about death?" 

I replied, without really thinking: "Well, death is the enemy that is defeated." Somewhat to my surprise, their response was quite negative. "Oh, I don't like that idea. That pushes us towards denying our mortality, and trans-humanism, and the inability to let aged relatives go. We need to become better at welcoming death, at recognising it as part of our humanity." 

And as I groped to try and explain why that wasn't quite what I meant, the best analogy I could find for articulating what Christians think about death came from Harry Potter. And in the years since that conversation, it is still the best analogy that I can find to talk about mortality. 

So, here is the version of what I wish I had said. 

The Harry Potter books have many themes, but above all they are about death. That may sound unlikely for a series of books apparently aimed at children, but the evidence stacks up... 

The main character is an orphan, and the majority of people he comes close to will die across the seven books. (Now seems as good a time as any to mention that the rest of this article will basically all be spoilers, so maybe stop now if you've been putting off reading the books for the last 20 years. I'm also going to assume you are at least reasonably familiar with the plot). 

Harry's life is defined by the death of his parents and his own close shave with mortality as a baby, and as the books continue the body count gets almost ludicrously high. 

Indeed, the author J.K. Rowling has said that Harry is "the prism through which I view death in its many forms." 

Unsurprisingly, given how central the theme is, there is a certain amount of explicit reflection on death, even if it is somewhat vague. Thus, we find that: "to the well organised mind, death is but the next great adventure." Dying hurts not at all, but is "quicker and easier than falling asleep." Those who die can "go on," perhaps by "boarding a train." 

If all of this sounds a touch sentimental and the sort of thing that might appear in bad funeral sermons, it is paired with descriptions of grief that are visceral and deeply moving. (I may have cried more than once whilst doing the "research" for this article). 

But where the discussion of death gets really interesting, at least to me, is in the plot, and the metaphysics that underpins it. By metaphysics I just mean the whole picture of the structure of reality that makes the world of Harry Potter work. 

And in this metaphysics we find that death is indeed an enemy. This becomes clear partly through the sheer excruciating depiction of loss that runs through the books - how could something that causes this much pain be anything but an enemy? - but in book seven it is also made explicit. 

In one of my favourite moments of the whole series, Harry stands before his parents' gravestone, and reads the epitaph: 

'"The last enemy that shall be destroyed is death"... A horrible thought came to him, and with it a kind of panic. "Isn't that a death Eater idea? Why is that there?" 

"It doesn't mean defeating death in the way the Death Eaters mean it, Harry," said Hermione, her voice gentle. "It means... you know... living beyond death. Living after death."' 

In Harry and Hermione's reaction to the quote on his parent's tombstone we find that there are multiple ways for death to be an enemy. 

The Deathly Hallows sounds eerily like a current technological advancement: the rising trend of griefbots.

Book seven, in fact, presents three ways to defeat death, and they are highly illuminating. 

Firstly, there are Horcruxes. This is Voldemort's project for immortality: the division of his soul via murder and the darkest magic, and the implantation of those parts of the soul into objects which guarantee that, even should he die, he will live on.  

This is, I think it's fair to say, not a vision of the death's vanquishing which the books present as appealing - Voldemort is the darkest wizard of living memory, and the creation of his Horcruxes takes him deeper into evil than anyone has ever gone. Yet it has strange parallels to various current attempts at death defiance. Dividing your soul up and placing it in objects sounds pretty similar to me to uploading your consciousness into a computer. 

Now I'm not saying that all transhumanists are evil wizards whose projects rely on murder, but I do wonder if the same impulse lies behind Horcruxes and downloaded consciousness. 

There is, in both, the same fear of death, the same refusal to accept that my life might end. And there is the same default assumption that the body doesn't really matter - that the centre of my being is somewhere else, and that I can separate it from this inconvenient vessel which is so subject to injury and decay. The inevitability of bodily death is acknowledged, but life can go on even if my body fails, because I can place myself into objects. What matters is my consciousness, and that can be made eternal. 

The second option is a little more complex: the Deathly Hallows. These are three strange, mysterious objects, possession of which promises to make the bearer "master of death." The wand that gives murderous power. The stone that brings back the dead. The cloak that conceals. 

The Hallows dress up their promise in esoteric garb - they offer a quest for the initiated that requires a certain embrace of mystery, and they certainly seem friendlier than Horcruxes, since no one has to die to make them.  

But in the end, as Dumbledore admits, they are not really that different from the Horcruxes, for those who seek them also respond to the temptation to defy death, just like Voldemort. And if Horcruxes are about preserving the soul in the face of the inevitability of bodily death, the Hallows tease the possibility of avoiding death altogether, through the exercise of power. 

The wand gives the power of invincibility and conquest: the avoidance of death through the murder of all who might threaten to kill. 

The cloak gives the power to hide, to keep out of trouble, to evade death by escape. 

And the stone? The stone overcomes the loss of death by bringing its victims back, by refusing to accept that those we love might leave us.  

Again, the Deathly Hallows sounds eerily like a current technological advancement: the rising trend of griefbots. There is the same attempt to respond to grief by clinging to simulations of those whom we mourn, and the same despair at the end of the line. For the dead do not belong with the living, we are told, and legend has it the first owner of the stone was driven to suicide. 

The Hallows attempt to deny death through power, and this is why Dumbledore found them so alluring, and so destructive: they promised to wind back his own loss while giving him the victory he thought would give his life meaning. 

And yet, in reality, even when Harry unites them all, they don't give what they promise. Indeed, they only work to their full power when they are used for humbler ambitions: to hide friends from danger, to perform wondrous magic without boasting in the glory of the wand, or to face death with the comforting presence of those who have gone before. 

For the stone only becomes available to Harry when he finally embraces the third way to defeat the death. The way his parents believed in.  

Death, in the Potter books, is defeated by dying. Or perhaps more specifically, by dying for love - love of children, love of friends, love of a world gone tragically wrong.  

Harry's mother protected her son from dying multiple times, through the power of her sacrificially loving surrender. Dumbledore, in a complex way, protects Malfoy and saves the Elder Wand from Voldemort, thereby protecting the whole wizarding world, through his voluntary death. Even Snape, in the bitterest and most twisted story of them all, ends up giving Harry what he needs to win and finding a measure of redemption, in and through his own murder. 

And, in the climax of this long, convoluted story, Harry avoids death by going willingly to die. Because he loves his friends. Because he hates others dying for him. Because he recognises the terrible duty he faces, the terrible path Dumbledore has laid out for him, and he loves too much to run. 

Voldemort is wrong. Love does conquer death. 

The parallels to the Christian vision of death are stark. The quote on the tombstone which sparks these reflections for Harry (and for me) is in fact from the Bible. "The last enemy that shall be defeated is death" is a profoundly Christian idea. 

Yet my friends were right to react negatively to what they thought I meant by death being an enemy. 

For, just like the good guys in Harry Potter, Christians have traditionally been suspicious of attempts at immortality on our own terms. The Bible, I would suggest, knows nothing of a technological defeat of death, whether through downloading our consciences, or radical life extension, or technologies of power. Death cannot be staved off by any of our own work. 

But this does not mean that death is a good thing, simply a part of human existence which we would do well to welcome and learn to get along with (though I do think we would do better to think about death more, and be more honest about its existence).  

Death is an enemy. It is the final enemy. We are right to rage against it. To grieve those whom we lose. To feel its existential weight. 

Yet, perhaps paradoxically, we should not fear it. For death is an enemy that has been vanquished, but vanquished through Jesus' death.  

Immortality is not, for Christians, something we achieve, but something that is given to us. We believe in the Saviour who dies, and who rises again, and in whose resurrection, as strange as it may sound, we also will be raised. Death is defeated by love, but it is not our love, it is God's love for us. 

This gift, according to the early Christian writers, can only be received by going through death, not by avoiding death. Indeed, Paul's letters, which make up most of the New Testament, are full of the insistence that the pattern of Christian life is always death first, then life. Death in baptism, to new life in Christ. Death to sin, to life in freedom. Bodily death, to bodily resurrection. 

And so, what I should have said to my friend, is that Hermione is right. Death is the final enemy to be defeated, but this does not mean the ways of the Death Eaters. It does not mean projects of immortality, whether rooted in science, or a mystery cult, or power over others. 

Rather it means it life after death - a life that is given to us, by our saviour who has been through death and defeated it. 

Death is the enemy but it is not our enemy to defeat. That victory was won for us, on Easter Sunday 2000 years ago, in a cemetery near Jerusalem, when Jesus rose again. 

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