Snippet

Belief

Creed

19 February 2025

3 min read

Does a creed create a truth?

Declaring truth is an unmodern act.

Alex Irving

Alex lectures in theology at St Mellitus College.

A typewriter holds a piece or paper reading 'truth'

Markus Winkler on Unsplash.

2025 marks the 1700th anniversary of ratification of a statement, a form of which the Church continues to say to this day. Around the world, Christian community's are responding to this landmark by thinking again about the content of that statement and also about its form: a creed.

The Church is not a source of truth. The Church might confess that which is true, but truth is not its possession to do with as it pleases. Arising from Jesus’ comments in John 14.6 the Christian tradition has thought of truth in an inflected way. If truth is primarily caught up with the person of Jesus Christ, then truth is something more fundamental than the Church. The Church has its ground in the truth rather than the truth having its ground in the Church.

A creed is an expression of belief that this is the state of affairs. More than that, it is a statement of the commitment of oneself of this state of affairs. To say a creed is an existential act, a decision, for this. It is a decision for that which we did not create and over which we have no control. Beyond even that, it is a decision which we did not even make! It was a decision made by Christians before us who determined this and not that.

It is hard to think of an act that is less compliant with a ‘modern’ human spirit. If Immanuel Kant was right that enlightenment is humanity’s ‘emergence from his [sic] self-incurred immaturity’, with this immaturity defined as ‘the inability to use one’s own understanding without the guidance of another’, then the practice of confessing a truth we have not personally determined is analogous to never quite advancing beyond a dummy and pram.

Closer to home, the creeds speak in manner that won’t always align with our experience. There is a truth that is more fundamental even than what I induce to be true based on the particular thrownness of my being. On a mode of cultural analysis that is particularly attentive to power, this could be seen as hegemonic. The creeds are tools of establishing a common apprehension across tribes and tongues. A common adherence to truth that is basic (as in non-derivative) and universal irrespective of the particularity of experience.

Beyond that, the claims that the creeds make may not be seen to be true. Experience may, in fact, trend in a different direction. The world with all its problems and pains may not appear to be the creation of an almighty and benevolent Lord. The Spirit who is Lord and giver or life may not appear to be breathing new vitality of the age to come into the present. The Church may not always appear to be one and holy.

Why then, creeds?

That what we have and know is that which we have received is baked in to the very nature of the Christian claim to know something about God rather than nothing.

At that time Jesus said,

“I praise you, Father, Lord of heaven and earth, because you have hidden these things from the wise and learned, and revealed them to little children. Yes, Father, for this is what you were pleased to do. “All things have been committed to me by my Father. No one knows the Son except the Father, and no one knows the Father except the Son and those to whom the Son chooses to reveal him.

To know God is not something grounded in ourselves. God the Son has become a human and known the Father as one of us and for all of us. It is on the strength of his confession of God as Father that we confess God as Father.

The continuous and repeated practice of reciting the creed reminds us that the possibility of speaking about God and the work of God is not a human possibility. It is a possibility for us based on the given event of God’s speech to us. We attend to that which is given. It is an act of faith through which we return again and again to the Word of God as the Church has received it.

To find out more about the McDonald Agape Nicaea Project being held by St. Mellitus College in London, come and join the public lectures, or look out for other Nicene celebrations in 2025.

Participants will hear from some of the world’s leading scholars on various issues related to Nicaea, including Professor Khaled Anatolios, Dr. Beverly Roberts Gaventa, Professor Ilaria Ramelli, Professor Bruce McCormack, Dr. Willie James Jennings, and many more.

A significant part of the Nicaea conference in 2025 will be a call for papers, expanding dialogue on the topic and hearing from a wide array of voices.

For more information or to register for these events, you can visit the Nicaea Project website

The Nicaea Project.

Review

Belief

Culture

Music

Romance

22 May 2025

3 min read

Is Alex Warren singing a love song, or a worship song?

Ordinary's lyrics speak to a fundamental human desire, even when we don’t realise.

Ed Chan-Stroud

Ed is a Research Fellow at the Faculty of Theology and Religion at Oxford University.

A singer holding a guitar raises his head with closed eyes.

Warren on stage.

Mike M. Cohen, CC BY 3.0, via Wikimedia Commons.

Alex Warren’s Ordinary is number one in the UK charts. At first glance the song appears to be a love song, and I would guess this is how it’s been heard during its 400million streams.

Spend more time with the song, though, and it becomes hard to ignore the theological imagery. “stayin’ drunk on your vine,” sings Warren – a conscious (he’s a Catholic) borrowing of St John’s image of the human person as united to God like a branch to a vine. “You’re the sculptor, I’m the clay,” is a direct reference to St Paul. Warren adds to these biblical allusions images primarily associated with Christian worship, including references to ‘holy water’ and ‘kissing the sanctuary.

So, Ordinary is certainly a love song, it’s just not clear who Warren is singing to. A human lover? Or a song to the Triune God, the One revealed in Jesus Christ?

I’m not really interested in the meaning Warren intended to convey. But I am interested in what the popularity of the song might say about the human heart.

As St Paul stood before the Athenians he told them he came with news of the ‘Unknown God’; one whom the Athenians did not know but who they deeply desired to know. Might the popularity of songs like Ordinary reveal the deep desire that human beings have for a God they do not yet know? To my mind, the 400,000,000 streams of Ordinary speak of a desire to meet with the God who is Love, the God who invites us into a union, a love, more intimate than the branch and the vine.

In one of my favourite songs, Florence + the Machine insightfully explores what it might mean to love someone without knowing it. In South London Forever, she tells us about a time when she was ‘young and drunk and stumbling in the street’. The tone is light, and the regular refrains of ‘it doesn't get better than this’ capture the (sometimes literal) ecstasy which often accompanies youth.

Yet the song also captures a real sense of loss. Florence describes how ‘I forgot my name, And the way back to my mother's house’. As the song builds, the refrain becomes deeply melancholy, with Florence moving from belting out that life had never been better to describing how:

‘Everything I ever did, was just another way to scream your name, over and over and over and over again’.

It is with these words that the song finishes.

But whose name is Florence screaming?

The song does not say. But, might it be God’s name? Indeed, Florence hints at this with a singular reference to God at the heart of the song. On this reading, South London Forever becomes a story about recognising one’s own failed attempts to find happiness as an attempt to find God. It becomes a story about seeking God without even knowing it.

Intriguingly, the great North African Bishop, St Augustine of Hippo tells a similar story in his Confessions. Augustine’s spiritual autobiography is, at least in part, a story of his deep struggle with a desire for sexual intimacy. It is a story of seeking out fulfilment in strange places such that Augustine slowly becomes a stranger to himself, and as Florence puts it, loses the way back to his mother’s house. Looking back over these attempts to find happiness, Augustine comes to recognise that it was God all along that he was looking for ‘how deeply even then, the depths of my heart were sighing for you’.

The story of songs like Ordinary and South London Forever is that the human heart always desires God, even when the heart is looking for God in strange places.

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free.
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief