Explainer
Creed
Death & life
7 min read

How Christianity transformed attitudes towards death

Once we buried bodies outside cities. Then we started burying loved ones inside them. This is why.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

Dozens of candles in cloured jars and holders litter the ground of a cemetry.
Commemorative candles at cemetery in Srebrniki, Gdańsk, Poland.
Ludomił Sawicki on Unsplash.

‘The last enemy that shall be destroyed is death.’  

Seeing things two ways at the same time doesn’t mean ambivalence. Christianity has two things to say about death, and it says both forcefully.  They particularly come to mind during November, as the season of the year when we remember the dead. In this month we get the modern secularised rituals of Hallowe’en, but we also get Remembrance Sunday, when we think of those who fell in war; and on 2 November, we have All Souls’ Day, when ‘the faithful departed’ are recalled, and in many traditions, prayed for. 

Christianity’s two entwined attitudes to death are lament and hope. On the one hand, death is a shadow; on the other, a light has dawned that will banish that shadow.  Both aspects are in that line from St Paul:  

‘The last enemy that shall be destroyed is death.’  

Death is our enemy; death is slated for destruction.  

Whatever a popular funeral poem might claim, death is not ‘nothing at all’.  That poem has been suggested a few times when I’ve been planning a funeral. It’s never stayed in the draft order of service longer than it’s taken me to ask the question ‘But do you really think that death is nothing at all?’  

Unlike our benighted predecessors, ancient and mediaeval, don’t we now understand that death is natural, just part of being the sort of creatures we are? 

I take the opposite approach to funerals. I do not treat death as ‘nothing at all’. I wear black vestments: I do not assume that mourners are ready, only a week or two into their bereavement, to skip to the bright hope of white as a liturgical colour. I make the liturgy solemn. I avoid circumlocutions like ‘he’s moved on’ or ‘she has passed’ (somehow popular at present). No: someone has died, and even if that came after a long illness or a long life, a death is a loss.  

The idea of death as enemy, though – ‘the most fearful of bodily evils’ (Thomas Aquinas) – might look out of date in the twenty-first century. Unlike our benighted predecessors, ancient and mediaeval, don’t we now understand that death is natural, just part of being the sort of creatures we are?  

It’s almost always a mistake to underestimate our forebears. They knew that we are animals, but also said that we are animals of an odd sort: we are ‘rational animals’. That left them with a conundrum (and here I continue to have Aquinas in mind). On the one hand, we are animals, and animals are mortal, so that makes death natural. On the other hand, Christianity also insists that death is a wrench, a disjunction, an affront.  

Reconciliation for this tension rests on that odd status of the human being, as a rational animal. We are animals, but also the sort of self-aware animals who are made for a relationship with God: suited for it, called to it. One model for that relationship, remarkably, has been friendship, with Moses as an example: ‘So the Lord used to speak to Moses face to face, as one speaks to a friend.’ That sort of relationship, that sort of seeing God face to face, would confer immortality on our naturally mortal bodies (‘when we see him, we shall be like him, for we shall see him as he is’). Thus, both parts of the conundrum are true: as animals, we are naturally mortal, yet our animality is called to a destiny beyond its nature. Our tragedy is not that we are animals, but that we are rational animals foolish enough to turn from God, and from the light of immortality.  

  

The message of the Incarnation and the hope of the resurrection turned something around for early Christians. They no longer found dead bodies frightening.

That’s the first half of our opening phrase: death is our enemy because, although mortal by nature, we were originally called to something beyond nature, but lost it. God was turned towards us, but we turned away. However, enmity, tragedy, and loss are not the whole story, and they are certainly not the end of the story. There is also death’s destruction. That’s what the life, death, and resurrection of Christ were about. If death is our enemy, then it’s a routed enemy, overcome, although not fully destroyed, until God recreates the world.  

Christians can be so excited about the prospect of death’s destruction that they forget that this destruction is still a promise, and we still live under its sway. For now, the hope and the sadness lie woven together.  That is why we read in the New Testament about ‘not grieving as others do who have no hope’. I don’t take that as a blanket injunction against grieving (death is still our enemy, after all), but as standing only against the kind of grief that has no hope (because death’s destruction is assured). Again, here are the two strands, woven together. We also see that two-sidedness in a funeral prayer used by Eastern Orthodox Christians (and at the funeral of the HM Queen Elizabeth II), the kontakion of the dead. Its final lines put place wrenching tears right next to the church’s great word of praise and celebration, ‘Alleluia’:  

All we go down to the dust; 

weeping o’er the grave we make our song: 

Alleluia, alleluia, alleluia. 

This duality in Christian attitudes to death shows up in how Christians treat the bodies of the dead. We probably take burial practices for granted, but the idea of treating the bodies of the dead with utmost care and dignity was a point that Christianity really belaboured. Christ, for instance, had given a list of six good deeds in the Parable of the Sheep and the Goats: feeding the hungry, giving drink to the thirsty, clothing the naked, sheltering travellers, visiting the sick, and visiting prisoners. It would be a bold decision to add to any list draw up by Christ, but the church did it, adding a seventh ‘act of corporeal mercy’: burying the dead. 

Christianity is definitively the religion of the Incarnation: of God taking up human flesh. Bodies therefore matter. Talk of casting off the body, as if the body were just some old cloak that the soul has outgrown, is not something Christians say. We are bodily creatures, so Christian hope is for the resurrection of the body. (So also – I should add for completeness – is Christian doom also bodily. Those who die at enmity with God and the good, the faith insists, turning down the offer of reconciliation, face the consequences in the resurrected body.) 

The message of the Incarnation and the hope of the resurrection turned something around for early Christians. They no longer found dead bodies frightening. In the ancient world, bodies were to be buried outside the city, cast out from the human community. Christians changed that, and started burying their loved ones inside the city. Bodies were to be treasured, not feared. The bodies of their heroes – those who excelled in virtue, and especially the martyrs – were brought right into their churches. Before long, no altar (the communion table) was quite proper unless it was built over the body of a martyr or other saint, or at the very least contained some part or relic.  

Veneration of relics has not been so common in the Church of England (the church to which I belong) since the Reformation, nor in the wider Anglican Communion. Slowly, however, it has edged its way back. In 2002, the cathedral where I’m a canon, St Albans, received a shoulder blade of St Alban, England’s first martyr, the gift of one of the dozen remarkable Romanesque churches in Cologne. That bone gets considerable honour on the weekend closest to his feast day (22 June). Relics are also familiar in the church in Philadelphia where I currently celebrate the Eucharist once or twice per week. The altars are usually at least lightly decked with relics. During Eastertide, they groan under the weight of them, including some impressive whole-bone affairs. Only in Advent and Lent – penitential seasons – do the relics disappear to the sacristy, replaced with statues of the prophets in Advent.  

It’s easy to grow accustomed to relics after a while. I should remind myself of their strangeness. Defying any trend in religious thought down the ages to denigrate the body in favour of the soul, here the body is holy, recognised as the site of God’s great works. Here, dead bodies are no longer to be feared. They are the most precious things the church owns, and threaten no contamination. Or, rather, if they suggest any contagion, it is a contagion of the good.  

Care towards the bodies of the dead reflects both poles of Christian attitudes to death. On the one hand, Christians have preserved the bodies of the dead with great care because death is an affront. Death is the enemy that falls upon us all, even the most holy among us. Lamenting that loss, we keep bodies safe until it is reversed. And there is also the other side of the Christian attitude to death: alongside lament there is hope in death’s destruction.  

Christianity, at its wisest, has not skipped through lamentation too quickly, but neither has it given lamentation the final word. Day-by-day funeral practice probably connects most clearly with the sadness, although the hope is woven through. The place of relics in many strands of Christianity (although by no means all), swings more towards an emphasis on death’s defeat. It rejoices in having among us, in all those slivers of bone, fragments poised towards Resurrection, when ‘death shall be no more’. 

  

Article
Belief
Creed
4 min read

We’ve been seeking that festival feeling for millennia

Why else do we endure discomfort, queues, and sleep deprivation?

Jamie is Associate Minister at Holy Trinity Clapham, London.

A singer on a stage holds out his arms to conduct the crowd.
Chris Martin enchanting Glastonbury.
Raph_PH, CC BY 2.0, via Wikimedia Commons.

Why do we go to festivals? It was something I contemplated at 4am while trying to stop a marquee from setting sail into the air during a quintessentially English late July storm. Thankfully we pinned it down, but sometimes it seems we can't get a handle on something until it's been taken away from us. Lockdown allowed us to indulge in some soul-searching about our appetite for summer festivals.  A Department of Digital, Culture, Media and Sport select committee survey of 36,000 people showed that what people most missed about festivals during the pandemic was 'the atmosphere'. The atmosphere, much like that airborne marquee, is something difficult to put your finger on, but whatever it is, you do want to soak it up.  

So, what contributes to that ‘atmosphere’? Harry van Vliet from the Amsterdam University of Applied Sciences compared over 20 studies into motivations for festival-going. He distilled them into: escape, family togetherness, socialisation, and novelty. Other researchers, such as Rippen and Bos, cite realising significance, giving meaning and giving shape, and deploying, developing and maintaining competencies. As abstract and ethereal as our motivations are, at festivals we want to ram the tent peg into the ground, staking the opportunity to escape or to imagine the future. Why else would you endure discomfort, questionable cuisine and sanitation, queues and sleep deprivation? We endure little inconveniences because we have bigger thirsts. 

Then there's the gap between what people hope to get out of a festival and what the organisers are aiming for. Spare a thought for those who booked onto the FYRE Festival, which promised ‘a new type of music festival that would ignite the energy and power of its guests’. Instead, they ignited fury, lawsuits, and six years in prison for the founder. The driver here was greed. If festivals are an immersive experience, what the festivalgoers unsuspectingly immersed themselves in was the sad fruit of that particular rotten orchard. Instead of the gourmet meals and luxury villas, the staff ate sandwiches in styrofoam boxes and guests who’d spent up to $100,000 to attend fought over a limited number of mattresses and tents. One legal document from a guest claimed guests were lured into ‘a complete disaster, mass chaos and post-apocalyptic nightmare’. 

The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

We know if we’ve immersed ourselves in something more hopeful. I’ve spoken to several people who’ve been to Taylor Swift gigs, all still ‘buzzing’. Cities and countries keep reporting the bounce, the economic uplift they’ve all experienced from a Swift visitation. Deep down, at concerts and festivals alike we all probably know that we’re not there to ignite the energy and power of us as the guests, but to spectate the energy of the maestro at work. They are the ones who plumb the depths of creative introspection for us. They are the ones who concoct, via musical alchemy and a large support team, something reaching transcendence. If we can immerse ourselves in that, then, however fleetingly, all the inconvenience will have been worth it. 

Festivals, therefore, are a pick-n-mix of artistry that we can come up close to. And therefore, the thought goes, their creative genius. Which is almost as elusive as the atmosphere of an immersive festival itself. Elizabeth Gilbert, the author of Eat, Pray, Love, says it was a mistake when we placed the human at the centre of the universe, and the pressure that comes from having to be a creative genius. In her 2009 TED Talk she spoke about Socrates believing he had a daemon that spoke to him, and the Romans believed that they had a ‘sort of disembodied creative spirit’ called a genius. The performer, therefore, is like a prophet or a priest. We get to enter little portals to the divine. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’ 

But what if the founder of the FYRE Festival was actually right? What if the guests themselves at festivals have energy and power, and not just Chris Martin? Millenia ago, this idea was once also floated at the festival of tabernacles, or Sukkot, where the Israelites made a pilgrimage to the Temple in Jerusalem and would camp in tents for seven days. 

The gospel writer John says that Jesus spoke to whatever it was people had pitched up tents by the temple for: 

‘On the last and greatest day of the festival, Jesus stood and said in a loud voice, ‘Let anyone who is thirsty come to me and drink. Whoever believes in me, as Scripture has said, rivers of living water will flow from within them.’ 

John goes on to explain that ‘By this he meant the Spirit, whom those who believed in him were later to receive. Up to that time the Spirit had not been given, since Jesus had not yet been glorified.’ 

Where the Holy Spirit had previously been given to specific people, for specific times and purposes, including creativity, here the Holy Spirit was promised to anyone who would believe in him. And as well as their own fulfilment, the divine creative energy would flow through them to others. 

More than a mere atmosphere or nebulous spirit, Jesus claims to be one with the creative energy who hovered over the waters at the start of the Bible, the dwelling place at the end of the Bible where God will be with his people, and drove a stake, or a cross, into the ground to enable this to happen. 

Maybe Coldplay can be right, when on the Pyramid stage at Glastonbury they sang to tens of thousands, ‘you’ve got a higher power.’