Explainer
Creed
Seven Deadly Sins
Sin
7 min read

Envy: jealousy’s evil cousin

In the second of a series on the Seven Deadly Sins, Roger Bretherton investigates the psychological and moral impact of envy on its victims.
Green Lime
Illustration generated by Dan Kim using Midjourney

The victims of envy

One of my favourite exercises to facilitate with large groups of people is called, ‘You at Your Best’. I introduce them to a list of positive qualities of character (wisdom, gratitude, kindness, self-control, bravery etc.) and then get them to pair up with someone they have never met. They tell a story of them at their best. When, in the past week, have they behaved in a way that was admirable? When did they surprise themselves with presence of mind or wisdom in action? It is a short exercise. It only takes six minutes. They tell the story, and the other person spots the strengths of character they hear in it. 

Most of the stories aren’t that exceptional – a problem solved at work, a small kindness shown to family, an awkward but necessary moment of truth – but invariably the room becomes deafeningly voluble as people share their finest moments with a receptive audience. It is amazing how energised people become when given permission to talk about living close to their ideals. Within minutes people who had previously never met are gabbling away to each other like long lost relatives. Strangers have become friends. Outsiders feel included. No one wants to stop. 

The hardest part of the exercise was to admit to a time when they were strong, kind, wise, brave, or honest. 

When I finally manage to reign in the raucous joy of connecting people, I’m curious to know how they found the exercise. Almost always someone will say that they found it unnerving to talk positively about themselves. The hardest part of the exercise was to admit to a time when they were strong, kind, wise, brave, or honest. They noticed a kind of internal barrier to their willingness to voice their own virtues. It feels socially dangerous or ethically wrong to say good things about themselves out loud. Their social conditioning tells them that bad things will happen to them if they do.   

When someone voices a sentiment like this – a nervousness to acknowledge the goodness they contribute to the world – it is not an expression of humility or modesty. More likely, at some point, perhaps for a prolonged period time, the very things that are best and most beautiful about them, have been attacked and criticised. I’m pretty sure I’m dealing with a victim of envy.  

The misdirection of envy 

Envy is greatly misunderstood in our time. It was once named among the seven deadly sins. Deadly because, when unchecked, it has the capacity to possess a human being entirely, to become their modus operandi, to subtly pollute every thread of relationship with which they have contact. Sin because… well, as a way of being, it poisons any prospect of joyful human community for those who are beholden to it.  

To make matters worse, we are often unclear about the terminology, particularly the difference between jealousy and envy. But the distinction is crucial. To be jealous is to protect and defend what is ours. Most obviously demonstrated in sexual or romantic relationships, jealousy is the instinct to protect the boundaries of a precious relationship, to view anything that threatens our commitment to those we love, as a temptation to be resisted. Sure, it can be over-played, it can become possessive or confining, but if our partner never shows jealousy, never expresses frustration at the things that spoil or reduce the quality of our shared intimacy, we are likely to wonder if they care at all. Advocates of the sexual revolution have been predicting the demise of sexual jealousy since the 1960s. They view it as a holdover from our evolutionary origins, no longer necessary in the contemporary world, past its sell-by-date and soon to be dispensed in the era of free-love.  But rumours of the death of sexual jealousy have been greatly exaggerated. Our hardwired instinct to hang onto love still hangs on. Most of us feel that a relationship entirely stripped of jealousy is a relationship stripped of love.

Envy sees the strength, talent, or goodness of others as a threat and, if we can’t own them, vows to destroy them. 

The psychological contours of envy are similar, but darkly different. If jealously wishes to cling to what is good; envy aims to destroy it. If to be jealous is to preserve what is ours; to be envious is to resent others for having what is theirs. Sometimes we don’t even want the things we envy, we just can’t bear the thought of someone else having them. Envy sees the strength, talent, or goodness of others as a threat and, if we can’t own them, vows to destroy them. It is the message behind every honour killing, the mantra of every domestic abuser: if I can’t have you, nobody can. It is the ethos of the competitive workplace in which others’ success is our failure - with every colleague who succeeds something inside of us dies.  

But this isn’t how envy is usually portrayed. Looking at the pop-culture definitions of envy that surround us, we could be forgiven for thinking envy is a bit of a laugh. Harmless, desirable, even good. Hardly a deadly sin, nowhere near the toxic desire to destroy the unique beauty of the other, more like the branding of our favourite nail salon, or eau de perfume. We are immersed in propaganda for envy-lite: the cheeky and indulgent desire to make other people wish they were us.  

But perhaps the main reason envy is so bad, the reason it consistently ends up on these ancient lists of how not to be, is that it has no end game. 

There can only be ONE 

We are subject to a misdirection. As every totalitarian propagandist knows, the best way to make people malleable is not to present them with a clear thesis with which they can argue, but to drown them in so much inconsequential information, so much white noise, that they can no longer discern what really deserves their attention. We are made to look in the wrong direction. Spotting the minor envies but completely oblivious to the major envies that act as invisible killers in our social water supply. We spot the envies we can laugh at while passing by the envies that leak into everyday life undetected, like carbon monoxide. We strain out the gnats but swallow the camel. 

Envy in its most deadly form is often too familiar to be noticed. Ever since Cain killed Abel, the most damaging expressions of envy have been found in families. Siblings compete against one another for the limited resource of parental affection and devise a surprisingly innovative set of chess moves designed to gain approval. Some families resort to an ever-shifting set of alliances and betrayals, like a royal court, a game of musical chairs in which the aim is not to land in the blame seat when the music stops. Other families, especially larger families, resolve the issue by carving out unique turf for each child. We recognise these stereotypes: the cool one, the funny one, the clever one, the spiritual one, the naughty one. The Spice Girls were not the first to realise that a one-word identity can help us stand out from the crowd. It works fine, until we run into someone else who has aligned themselves with the same brand.  

Sit-coms are filled with the comedic fallout that occurs when people meet their doppelganger in the workplace. There can be only One - one boss, one comedian, one intellectual, one golden boy, one damsel in distress- and envious war engulfs the boardrooms, staffrooms, and multistorey carparks in which Two meet. If we ever notice the green-eyed monster arising within us, we would do well to ask ourselves: what is the turf I thought was mine that this person is trespassing upon?  If we can detach ourselves from the desire to destroy our competitor, and reflect on that question, we’ll come to realise that we were always much more than the fistful of traits that defined us in our family. 

No end game 

But perhaps the main reason envy is so bad, the reason it consistently ends up on these ancient lists of how not to be, is that it has no end game. There is no better future into which envy would deliver us, it simply aims to negate or nullify whatever threatens our ego at any given moment. If only X were not like that, goes the logic of envy, then everything would be okay. But envy is a myopic state, it can see no further than the restoration of a self-centred status quo. It contributes nothing to the thriving life of joy and love usually associated with the de-centring of the self. 

The comparison with jealousy is again illustrative. Ultimately, a jealous act – in friendship or marriage or the workplace – when performed skilfully, is an act of hope. It values what is and holds the belief that the world will be better for everyone if the goodness we know now can be nurtured and preserved into the future. It requires not just an opposition to that which would spoil what is good, but gratitude for the good we already have. Jealousy enjoys, appreciates, and savours the beauty that is already present and aspires to magnify its legacy. Envy despises what is and can conceive no other response than burning it to the ground. 

The celebration of envy when taken to its logical conclusion, is the pursuit of a fiction, an impossible fantasy that can never be realised. It invites us to imagine nullifying the strength of all others, so the entire world revolves around us, the only star before an obsequious audience, coerced into adoration. Envy partakes of a cynical philosophy of non-existence, and this is what make it a deadly sin. Not that it is naughty but fun, but that it is pointless and empty. 

Article
Art
Creed
1 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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