The 4th century social justice warrior

He was the first to condemn slavery, over 1,500 years ago. Gregory of Nyssa critically examined society, looking at the relationships and structures everyone takes for granted.

Ryan Gilfeather

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

A mosaic shows a saint with a beard holding a bible and his hand held up in a blessing.

Gregory of Nyssa fresco.

Public domain, via Wikimedia Commons.

In January 2023 the Church of England committed £100m to invest in communities affected by historic slavery. Rightly so. Research since 2019 shows that the wealth it accumulated through historic investment in a slave trading company and receiving gifts from slave traders, may still benefit its finances today. This past is, as the Archbishop of Canterbury says, shameful. So, it is only right that these actions are addressed.

This story also highlights the complex relationship between Christianity and enslavement. On one hand, inspired by their faith, Christians led the fight for abolition. But on the other, some Christians supported and benefitted from the enslavement of other humans. And, the further back we look in history, the more Christians seem to accept enslavement as part of the fabric of society.

There is, however, an exception. In the late fourth century AD, Gregory of Nyssa, a bishop and theologian, critically examined this practice of enslavement, which so many others did not even think to question, and explicitly names it as a sin, about a millennium and a half before the abolitionist movements. Gregory is, in this way, a light in the darkness and an inspiration to Christians today.

He is convinced, on a fundamental level, that the domination of one human being over another in slavery is incompatible with Christian belief. In one of his sermons on the biblical book of Ecclesiastes, delivered in Cappadocia (Turkey), he calls slavery a sin.

It is a ‘gross example of arrogance… for a human being to think himself the master of his own kind’: When someone…arrogates dominion to his own kind, so as to think himself the owner of men and women, what is he doing but overstepping his own nature through pride, regarding himself as something different from his subordinates?'

It is wrong to dominate others, because all human beings share the same fundamental nature. That nature is being made in the image of God:

'God said, let us make man in our own image and likeness. If he is in the likeness of God, and rules the whole earth, and has been granted authority over everything on earth from God , who is his buyer, tell me?'

Since we are made in the image of God, we share His freedom to choose our own path, be it good or evil. When you enslave another, you take away this fundamental freedom and treat them as if they are animals, lower than the image of God:

'Why do you go beyond what is subject to you and raise yourself up against the very species which is free, counting your own kind on a level with four-footed things an even footless things?'

Therefore, Gregory says it is a shameful arrogant pride to enslave another human being, because you treat that which is made in the image of God as less than human, denying them the freedom God has given them.

We see this conviction about slavery as domination playing out in his biography of his sister Macrina. As wealthy aristocrats, his family owned enslaved people. Yet, at the heart of his narrative about his sister’s life, he explains how she began to treat her family slaves as equals:

'Weaning her [mother] from all that she had been accustomed to, she led her down to her own standard of humility, showing her how to live in equality with the whole body of virgins (slaves), that is, by sharing with them the one table, the same kind of bed, and all the necessities of life on an equal basis, with every distinction of rank removed from their life.'

Gregory does not explicitly say she freed these enslaved people, but inviting an enslaved person to share one’s table was a way of freeing them called manumissio inter amicos. In these passages, he particularly praises Macrina for undoing destructive relationships of domination, where one human treats another as less than themselves and lower than the image of God.

Gregory isn’t perfect. His condemnation of enslavement centres on the enslaver: he encourages his audience to avoid the moral pitfall, rather than expressing concern for the enslaved people. In another text he says it is good to free slaves, but he does not appear to campaign to end slavery. As we saw in the biography of his sister, he is so concerned to undo the relationships of domination of one person over another, that he is less clear if these people are free to leave. Finally, there is no evidence from his contemporary theologians that Gregory persuaded anyone else that slavery was a sin. In these ways, from our perspective today we would want Gregory to go further to dismantle slavery, or shift his perspective.

But, we don’t need him to be perfect. He offers a light in the darkness, not the rising of the sun. Gregory is an inspirational example of critically examining the fabric of one’s society, looking at the relationships and structures everyone takes for granted, and having the clarity and courage to see and proclaim that they are fundamentally incompatible with what he thinks the Bible says about the worth of human beings.

Many Christians are inspired by this way of thinking today. Even if they don’t know Gregory of Nyssa’s name, they will be drawn to charitable giving, certain professions, or activism, out of a deep desire for all to be treated with equality, because all are made in the image of God. To name one example of many. In the UK, Christians were heavily involved in the real living wage campaign. Society at large told them it was impossible to pay a wage where one did not need to choose between feeding and seeing one’s children. But, they campaigned alongside other community groups so that workers are being paid enough to live on, because they were convinced, like Gregory, that all human beings are due the same dignity and worth.

Enslavement: Voices from the Archives.

Review

Change

Freedom of Belief

22 April 2023

4 min read

Face to face with the danger of faith

In the face of compassion fatigue, connecting with the humanity of a cause requires the artistic, not just the imperative. Belle Tindall reviews Clay and Canvas.

Belle Tindall

Belle is the staff writer at Seen & Unseen.

A refugee looks out from a cover photograph of a book resting upright against a cylinder

The cover of Clay & Canvas.

Open Doors.

In 2018, in the Houses of Parliament, Hannah Rose Thomas displayed a collection of radiant portraits she had painted of Yazidi women who had escaped ISIS captivity. She did this to bring their ongoing plight to the attention of the Government. In 2019, at the London Riverside Development, three photographers (Chris de Bode, Abbie Trayler-Smith and Nora Lorek) used their photographs to powerfully tell the story of the hunger crisis in Sudan, Liberia, and the Central African Republic. In 2021, a 3.5-metre-tall interactive puppet of a 10-year-old Syrian girl named Amal was walked from Turkey to Kent, and in so doing, gave the world a glimpse of what such a journey entails for thousands of refugee children. And in 2022, the advocacy group, Open Doors, published a striking book entitled Clay and Canvas, which compellingly tells seven stories of individuals who have faced un-imaginable trauma because of their belief in Jesus.

While these projects were created by different people, at different times, highlighting different situations, it seems to me that the powerful impact of all four artistic offerings is twofold. Firstly, they each force us to move beyond numbers and statistics, inviting us to come face-to-face with the humanity behind the headlines. And secondly, the utter beauty with which these pieces have been both created and curated hints at the startling beauty that can be found in the midst of pain. The glimmers of light that are ever present, even in the darkest of contexts.

This is most certainly the case with Clay and Canvas.

Its strikingly minimal aesthetic ensures that it can comfortably sit alongside the most classic of ‘coffee table books,’ but instead of being filled with recipes, interior decoration inspiration, or the complete lyrical works of Paul McCartney, this holds within it stories that will simultaneously break and inspire its reader’s heart.

There are around 360 million people in the world who are currently under some sort of threat because of the Christian beliefs that they hold, and this book tells just seven of those harrowing stories.

It introduces us to Baheer and Medet, two friends who played together as children, but now find themselves in a torture chamber. One of them is being electrocuted because of his Christian beliefs, while the other is looking on at the torture of the friend that he himself had reported to the authorities. Both are utterly terrified.

We also meet Rebekah, Eti and Ratina as they are thrown into the back of a police van, sentenced to five years in a high-security prison for telling children about their belief in a man called Jesus.

And then there’s Kirti, who is being continually hounded by a violent mob, her body repeatedly broken and battered by their sheer anger at her refusal to deny her faith.

These stories are an afront to the comforting habit one may have of disassociating individual realities from vast statistics.

These stories don’t give their readers the blissful luxury of ignorance. They are an afront to the comforting habit one may have of disassociating individual realities from vast statistics, of regarding this epidemic of violence as some sort of faceless or nameless phenomena.

Rather, readers are brought face-to-face with the detail of religious persecution. We are shown the thought-processes of a man on the brink of death, we are walked through the moment-by-moment decisions of a person attempting to flee for their life, we are exposed to the agony of three women being separated from their children.

The writing is heart-wrenchingly powerful, the stories its telling, infinitely more so. This is certainly not your average ‘coffee-table book.’

As well as the written stories, there are photographs of these persecuted individuals dotted through-out the book. Readers are not only told their stories, they are also shown their faces. These pictures serve to remind us that this discrimination isn’t happening to people who resemble cinematic-style heroes, it is happening to husbands, wives, daughters, sons, neighbours, friends, mothers, fathers.

2023 is the most dangerous year to be a Christian on record, it is integral to the increasing number of people who are losing their right to hold their beliefs that this reality is continually, and indeed creatively, amplified.

And yet, as noted earlier, the darkness of these stories is not devoid of glimmers of light. There is a distinct thread of redemption that is weaved through this resource, and indeed, these people’s lives. The beauty is found in the forgiveness shown by those who have been betrayed, the hope found by those who have nothing else to hold onto, the ‘gentle, defiant glow’ of those who are stubborn in their selflessness – all of it all the more staggering for being completely true.

This book presents its readers with a costly kind of goodness. A truly counter-cultural form of beauty. If you sit with it long enough, it will begin to chip away at the modern and ever-so-Western tendency we have to consider pain and beauty as forces that are mutually exclusive.

Art, in its various forms, is one of the most powerful tools we humans have, and that is never more evident than when it is used to communicate circumstances with a depth that statistics alone could never reach. Clay and Canvas is certainly one such example.

Clay and Canvas has been produced by Open Doors in Partnership with Something More Creative