Explainer
Creed
Easter
5 min read

Faith, chaos and carnage

Remembered rituals comforted many who mourn. As Easter comes around again, Graham Tomlin examines the underlying hope found when all is carnage and chaos.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A photographer, standing next to a tripod, atop a pile of rubble is a destroyed factory.
Chaos.
Peter Herrmann on Unsplash.

One afternoon in that week after the Queen died back in September, I spent a short while watching the live video footage from Westminster Hall of people filing past the Queen’s coffin as it lay in state. Ordinary members of the public, after their nine hour wait in the queue, stopped for their precious few seconds in front of the coffin before being ushered on to allow others to have their moment. It was clear that many of them were not quite sure what to do. Some just stood silently, but most felt they needed to do something. Some bowed or curtsied, others seemed to utter a quiet prayer, others crossed themselves in a slightly awkward fashion as if it was something they weren't really used to doing.  

It was clear that people needed some kind of gesture of respect, and it was significant how many turned to some kind of religious action to do that, whether bowing a head, signing the cross or muttering a few words of prayer. 

Throughout that week, at every turn, from the ceremony to recognise the new king, to the lying in state, to the funeral itself, everything seemed to happen in a context of Christian prayer. They were all deeply religious ceremonies and came in for surprising little resistance, despite our increasingly secular frame of mind as a nation. It was as if at that moment, in that difficult week, it felt as if the Christian faith held the nation’s grief for a short while. 

Having taken many funerals in my time, I recognise the same dynamic in more ordinary circumstances. Many people who maybe have a dim recollection of Christian faith from their background find the rituals and ceremonies of the church - a hymn vaguely remembered from school, a vicar saying prayers, the rich and hopeful words of resurrection in the presence of death - a valuable handrail to hold onto at a time of deep instability and profound change.  

It might seem that this outbreak of religious observance at the death of the monarch was just a temporary thing before life returned to normal, but perhaps it pointed to something much more significant.  

It always feels a little odd with the beginnings of spring, daffodils and sprouting flowers in the garden, but Good Friday is the bleakest moment of the Christian year. It is the moment when we remember how, for Christians at least, the most complete human being who ever walked the planet, Jesus of Nazareth, was executed in a huge miscarriage of justice. If this really was the day we killed God, it was the darkest moment in human history. 

And maybe that is part of the genius of Christianity – its ability to hold people in moments of grief and pain, when there aren’t easy answers to be found.

Good Friday is followed by Holy Saturday, the day when Jesus’ body lay still and decaying in a cold grave, and everything seemed to be at an end. Of course, we know that Resurrection and the joy of it was just around the corner, but they didn’t know that on the first Good Friday, and you have to go through Good Friday and even sit with the devastation of it all through Holy Saturday before you get to the joy. And maybe that is part of the genius of Christianity – its ability to hold people in moments of grief and pain, when there aren’t easy answers to be found. 

Nick Cave’s recent book, co-authored with Sean O’Hagan, has as its title, not the traditional trio of Faith, Hope and Love, but Faith, Hope and Carnage. The book explores Cave’s re-discovery of faith in part through the tragic death of his 15-year old son Arthur, and the capacity of faith to hold and sustain him in the middle of carnage, despair and tragedy. As Rowan Williams put it in his recent interview with Nick Cave: “The book reveals the way in which faith, without ever giving a plain, comforting answer, offers resources to look at what is terrible without despair or evasion.” 

The Christian understanding of evil is not that is it good dressed up in dowdy clothing. It does not tell us to believe that somehow premature death, cancer, or childhood leukaemia are somehow good for us. It says that they have no point because that is the nature of evil – that it is pointless. It has no meaning because it is the absence of meaning. It has no purpose because it is the absence of purpose.  

That is why Christians gladly say they have no neat answer to the problem of evil. Because evil is the absence of answers. It is nonsense because it makes no sense. Instead, we believe, not because we have found an answer to the problem of suffering, but despite that fact that we haven’t. We believe because we have heard a more compelling story that does make sense of everything else - the unlikely and sometimes scarcely believable hope of Resurrection, which makes sense of so much else – even the mysterious rebirth of nature that emerges from the seeming death of winter into new life in the Spring. Only unlike pagans, Christians see the natural rhythms of the world as an echo of the central story of the Resurrection of Jesus, rather than the other way round. 

Christians see in the events of the first Easter the turning point of history. That when we tried to kill God on the first Good Friday, he did not stay dead, but rose again, bringing with him the promise that those who face death or tragedy hand in hand with Christ, will somehow come through the carnage and the chaos with a life and a future.  

When you’re in agony you don’t need an explanation, you just need someone to hold you.

Of course, when you’re in the middle of pain, it’s hard to see that. When you’re in agony you don’t need an explanation, you just need someone to hold you. And that’s exactly what Christianity offers – someone to hold you. Someone who has been through the worst that life and history can throw at him and knows the worst that can happen. It offers the presence of God in the Jesus who is no stranger to pain – as it says over and over again in the Bible “I will never leave you or forsake you.” It is, as Sian Brookes explains in her excellent review of the film Allelujah! on Seen & Unseen, what we will all need at the end of our lives - someone to be with us.  

Christian faith still holds out the hope of Resurrection. Easter Sunday does come around after Good Friday. But even when you’re stuck on Saturday, waiting for a Sunday that never seems to come, when Resurrection is hard to believe in, when all around you is carnage and chaos, you are invited to hold tightly and determinedly to that mysterious presence that stands with you in the darkness, whether you feel it or you don’t, while you wait for the light to dawn. 

Article
Art
Creed
5 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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