Snippet
Belief
Creed
3 min read

Does a creed create a truth?

Declaring truth is an unmodern act.

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  

Review
Ageing
Belief
Books
Culture
4 min read

Mine eyes have just read the best novel of the year

Quentin Letts’ Nunc! is a beautiful, moving and funny exploration of life, death and first century Jewish cuisine.
A book cover shows a cartoon man sitting on the title text while a dog sits below.

Historical fiction is my favourite genre of novel. Make it biblical historical fiction and you’ve sold me before I’ve cracked the spine! I bought a copy of Quentin Letts’ NUNC! without having read a single review or knowing anything about it… and what a sensible decision it was. Letts has produced a novel that combines his rapacious satirical wit, theological and historical acumen, and a beautiful sentimentality – the novel is dedicated to his brother Alexander, who died of cancer. 

It is inspired by the words of the Nunc Dimittis, as translated in the Book of Common Prayer. Sung by Simeon, as he holds the Christ child in his arms, they are words that are full of joy, because God has promised Simeon that he will not die until he has seen the Messiah. “Lord, now lettest thou now thy servant depart in peace,” it begins: words that are spoken or sung at every Evening Prayer in the Church and have provided hope and comfort for generations.

The novel opens with the character of Symons (no, I didn’t misspell it), a titanic literary concoction of corduroy, wax jacket, and mild middle-aged irritation, who lives in a classical English cathedral town. He receives a terminal cancer diagnosis. He has an argument with his wife, Anne (the typology is strong in this novel). He gets pissed. As he totters home from his local wine bar, he passes the cathedral and is captivated by the sound of singing.  

Upon entry he realises the choir is rehearsing the canticles for Evensong. He hides behind a pillar and kneels down in a pew. The Nunc Dimittis is rehearsed, and the heady combination of high emotion and fine wine sends him into a prayerful stupor. We are transported to first century Jerusalem and spend most of the rest of the novel in the company of Simeon and a cadre of his friends, acquaintances, and opponents. 

What follows is a series of hilarious vignettes, featuring a wide array of brilliantly sketched characters. Spending much of our time in ‘Deuteronomy Square’ we meet Rueben the tea seller, Tambal the slave (who has a fondness for Roman cuisine and a horrid aversion to gefilte fish), Noor the mad garlic seller, Jonah the hypocritical Pharisee, and Shlomo the dog. Through them, and many others, Letts allows the reader to explore the social, political, religious, and dietary life of the inhabitants of Jerusalem. 

The humour never vanishes, the confessional power never overwhelms, the lightness of touch is always present; and yet the novel takes on a new intensity...

How did the Judeans feel about the Romans? Were there ever friendships between Jew and Gentile oppressor? How did the average man or woman feel about Herod? What was their attitude to a priestly and religious hierarchy? Were the Wise Men buffoons? Letts weaves such themes through a narrative laden with the humour and heart-warming episodes that mark the best ‘slice-of-life’ writing. The people of first century Jerusalem might be separated from us by time, space, language, culture, and cuisine, but their highs and lows, their gripes and loves, their daily search for happiness and meaning, are no different to ours. 

Underpinning the story is Simeon’s daily watch for the promise of the Christ. Letts has ten verses from the Gospel of Luke as a foundation to build his protagonist, and four of these are a song. Undeterred, Letts uses Simeon as a cypher to explore further and deeper themes: youthful indiscretion, regret, passion, love, shame, faith, doubt.  

Letts also allows for a certain frisson of imaginative licence to round out his back-story. What was Simeon’s profession? Who were his parents? Did he know Anna the Prophetess? Why had God given him this task of watching and waiting, praying and hoping? Never overexplaining or labouring the point, Letts grants the reader a few moments of memory and introspection from the old man, but otherwise invites us to understand Simeon through his daily dealings with those around him.  

By the end of the novel we have not only one of the funniest characters of modern fiction, but one of the most spiritually and emotionally complex. I prepared to leave Simeon – encountering Mary, Joseph, and the infant Christ – feeling as if he was a member of the family.  

Letts concludes the novel with Simeon’s great biblical performance: ten verses which suddenly take on a remarkable poignant weight. The novel quietly switches gear to become a theological meditation worthy of any spiritual writer. The humour never vanishes, the confessional power never overwhelms, the lightness of touch is always present; and yet the novel takes on a new intensity and seriousness that took me by the hand and led me to look upon the mystery of life, death, truth, beauty, and goodness.  

It took me a while to make it through the final two chapters…my eyes kept misting with tears.  

If you only read one novel this year, please let it be NUNC! 

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