Explainer
Belief
Creed
4 min read

Beyond cold certainties

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people.

Alister McGrath retired as Andreas Idreos Professor of Science and Religion at Oxford University in 2022.

A red shutter door bears a large painted message reading 'io ci credo'
'I believe it.'
Paolo Gregotti on Unsplash.

“I believe.” For many, the opening words of the Christian Creeds are self-defeating. Why read any further, when all they offer is opinions, rather than certainties? Faith is just a lower form of knowledge – a kind of hesitant half-truth, which seems out of place in today’s more sophisticated world, informed by science and philosophy rather than outdated worldviews inherited from a credulous past. 

It’s a fair point. We cannot believe anything we like; there has to be reason to believe it, evidence in its support. For those wedded to a hard rationalism, we can only believe what can be proved to be true. Yet the problem is that the secure truths of logic and mathematics are existentially inadequate. We seem unable to escape the lure of “ultimate questions”, to use Karl Popper’s term for truths about meaning and value in life that frustratingly lie beyond the scope of science to confirm. 

We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation.

When it comes to the really important things in life, we are confronted with a rationalist dilemma. We can prove shallow truths. Yet the truths that really matter to us seem to lie beyond rational confirmation, often leading us into vicious argumentative circles rather than offering clear and persuasive proof. Bertrand Russell made this point in his famous defence of philosophy: “To teach how to live without certainty, and yet without being paralyzed by hesitation, is perhaps the chief thing that philosophy, in our age, can still do for those who study it.” 

Albert Einstein was fond of using mental experiments to open up some fundamental scientific questions, finding that they combined imaginative reflection with rational analysis. Here is a useful mental experiment. Suppose we limit ourselves to a mental and imaginative world in which we only accept what can be proved to be true. What sort of world would that be? It would, obviously, be a world from which Christianity was absent. Yet, perhaps less obviously, it would be a world from which all beliefs – moral, political, social and religious – are excluded. It would be a world without moral values, which remain obstinately resistant to rational or scientific verification. My suggestion is that this mental experiment indicates that this world would be existentially, morally and personally uninhabitable. 

The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic.

The opening words of the Creeds need to be seen in this context. The human quest for wisdom, goodness and meaning takes us beyond the cold certainties of logic into a world in which we believe or trust certain things to be true, life-changing and live-giving – but cannot prove them to be true. The Latin word credo – traditionally translated into English as “I believe” – is better rendered as “I trust,” invoking the world of relationships rather than mere beliefs. 

The Creeds set out a vision of reality – a vision that cannot be proved to be true, but which was found to be true by a community of people, who have passed down in the Creeds their collective witness to what they discovered. As C. S. Lewis remarked, “the one really adequate instrument for learning about God is the Christian community.” This vision is affirmed to be trustworthy – not merely something that is transformative and liberating, but something that can be lived, not merely thought.  

Getting the bigger picture 

Faith is thus not a half-hearted hope that there might be a God. For Christians, it is a broad recognition that we live in a world in which certainty is not possible, save in closed mental domains that have little relevance to the serious business of living well and authentically. It is about “getting” what things are all about in an epiphanic moment of putting everything together and seeing a bigger picture within which we realize we belong and can flourish. There are other big pictures, of course – but all of them lie beyond proof. In choosing any of these, we are making an informed judgement that goes beyond the available evidence. We may believe (and have good reasons to believe) that it is the best big picture; yet we cannot show that it is true. What we do know, however, is that others have grasped this vision in the past, and transmitted this way of thinking and living to us. 

‘Decentring’ 

The Creeds are thus not a demand to believe, but a description of what has been found, an affirmation of its capacity to satisfy and sustain, and an invitation to explore, discover and inhabit this new world. The Creeds provoke us into looking beyond the world of familiar banalities, and being prepared to be receptive to strange truths, which others have found to be life-changing. The vision of reality that we find articulated in the Creeds might be described as “decentring” – a term used by Iris Murdoch to describe the process of breaking free from our worrying obsession to make everything focus on us. As Plato suggested in his famous analogy of the Cave, there is a greater world that lies beyond us which, once grasped, makes us see things in a very different way. For Christians, faith is about the discernment of this vision of reality, and deciding to act as if it were true, in the firm belief that it can be trusted – and living meaningfully and authentically as a result. 

Review
Belief
Culture
Music
5 min read

Mumford & Sons search for meaning

Wonder about which love they sing of - earthly or divine.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

A band lounge around.
Pondering the reviews.
Mumford & Sons

My old RE teacher always liked to make the point that meaning can be found in anything, if you want to find it.  

“Do you find meaning in a sunset?” he’d ask. “Or only beauty?” 

From the outset of Mumford & Sons’ new record, ‘Rushmere’, the deeper things, as ever, are front and centre - at least for those of us who wish to find them. 

The folk band’s records have always been replete with religious undertones - lead man Marcus Mumford is the son of a preacher, don’t you know? - and they are apparent from the very start of the band’s fifth studio album and first since 2018. 

‘Rushmere’ kicks off with ‘Malibu’, which speaks of finding “peace beneath the shadow of your wings”, and an unnamed “you” being “all I want” and “all I need”. 

There’s even talk, right at the beginning of the song, of feeling “the spirit move in me again - the same spirit that moves in you”.  

Precisely which spirit is meant is never defined - these are song lyrics, after all, not a sermon - but for this listener at least, the reference to the third member of the Trinity appears clear. 

Not every song on the album hits such obvious religious notes, but the opening track is far from unique. Indeed, one needs only to flick through the names of the other songs to get a hint of the deeper meanings on offer, with titles such as ‘Truth’, ‘Anchor’ and ‘Surrender’. 

Meanwhile, in ‘Monochrome’, we’re told that even within a hyacinth can “life”, “restoration” - even “Christ” - be found.  

Could the “out of sight” monochrome “beyond reason” that we are called to contemplate represent the Christ - in theological terms, the “Word” of God - whose fingerprints can be seen across Creation? 

And what is meant when Mumford sings that “the kind of love that I’m always chasing is the kind of love that won’t be chased?”  

As with many of the band’s lyrics, there appears space for both a romantic and religious reading, though perhaps romance is harder to read into metaphors such as a “cup running dry”, as Mumford sings elsewhere in ‘Monochrome’.  

Is it only me for whom this evokes memories of the old Sunday school refrain: “Fill up my cup and let it overflow”? 

‘Truth’, meanwhile, begins with the fairly blunt statement: “I was born to believe the truth is all there is.”  

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

It isn’t made clear whether such belief remains intact today, nor even which truth is meant, given that we now live in times where such things seem occasionally grey. But ‘Surrender’ appears more black and white, speaking of being brought to one’s knees, “broken” then “put back together”, and “held in the promise of forever”.   

“I surrender, I surrender now,” Mumford cries - words Christian congregations have sung for centuries. 

And as ever with a Mumford & Sons record, ‘Rushmere’ doesn’t hold back from the trickier theological issues, touching upon the concepts of both hell and original sin. 

“Let your anger go to hell,” ‘Where It Belongs,’ Mumford sings in the track of the same name, which is sung like a lament, while in the final track, ‘Carry On’, those of us who believe in original sin are encouraged to consider that “there’s no evil in a child’s eye”. 

“It was made, and it was good,” Mumford sings in a nod to the Creation story, when the world was blemish-free. 

Meanwhile, in ‘Anchor’, Mumford sings that he “can’t say he’s sorry if he’s always on the run from the Anchor”. Which for some of us, at least, will conjure recollection of part of the Bible’s Book of Hebrews that speaks of our “hope” - Jesus - being “an anchor for the soul, firm and secure”. 

“Oh my love, hold me fast,” the song ends, and again we are left to wonder about which love he is singing - earthly or divine. 

Fans of Mumford & Sons - and yes, you’ve guess it, I count myself among them - will recognise that particular phrase from a previous hit, ‘Hopeless Wanderer’, which again seemed to speak to a life of faith; of pilgrims “called by name” trying “so hard to live in the truth”, but being “prone to wander”, as it says in the hymn ‘Come Thou Fount’, which Mumford has also been known to perform. 

So this is not the first Mumford & Sons album to have contained such imagery. Far from it. For those of us who’ve followed the band since their debut album, ‘Sigh No More’, in 2009, there have always been calls to ‘Awake My Soul’ or to find comfort in a future day in which there will be “no more tears.”  

In the years since, we have been encouraged to be ‘Lover[s] of the Light’, or to find hope in a ‘Guiding Light’ who won’t ‘Slip Away’ in the night. 

Perhaps, then, there’s nothing very different about ‘Rushmere’ - it represents just another chapter on a journey of faith - but this particular fan continues to appreciate, deeply, the depth that Mumford and his bandmates continue to bring to our ears.  

And as for the music, well I suppose by now that most readers will probably be familiar with what one can expect from a Mumford & Sons album, and ‘Rushmere’ certainly doesn’t disappoint those of us who like that kind of thing. 

It’s notably shorter than the previous album - nearly half the length - but is probably no worse for it. It’s hard to think of a weak song on the album, while there is something for everyone: from the country feel of ‘Caroline’ (think Counting Crows/Ryan Adams) and rock and roll of ‘Truth’, to the gentle fingerpicking and harmonies of ‘Monochrome’. Heck, the banjos even make a comeback on the self-titled ‘Rushmere’, so truly something for everyone - or at least for all of us fans.   

By the way, my old RE teacher never told us what he believed, but I later found out that he’d once been ordained, so I suppose that he, like me, might still find meaning in a sunset or even, perhaps, a Mumford & Sons record.

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