Explainer

Creed

Humility

Leading

Pride

Weirdness

20 May 2024

5 min read

Humility is just plain weird

Can leaders be humble?

Graham Tomlin

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

The Pope, wearing white, kneels, crades a bare foot, and kisses it.

Pope Francis kisses the foot of a woman inmate of the Rebibbia prison.

Vatican Media.

Last week I met the Pope. You don’t often get to write a sentence like that but despite the shameless name-dropping, I mention it because it got me thinking about something that shed light on our political and social life.

It wasn’t just me and him. I was with a group of Anglican bishops and Archbishops and we had an hour with Pope Francis in one of the grand reception rooms in the Vatican. When you enter the Vatican, you can’t but be impressed by the sheer grandeur and size of the place. Long corridors with statues and huge windows, large reception rooms with elaborate frescoes of biblical scenes, Swiss guards with their brightly coloured uniforms saluting as you walk past.

The grandeur is perhaps not surprising, and perhaps even modest for an institution that that has 1.4 billion followers – that’s about the population of China – and one of the greatest patrons of the arts in western history.

We filed into a long elaborately painted room with marble floor, and decorated ceiling, took our seats and waited. Finally, a frail, white-robed figure hobbled in, aided by attendants in suits and white bowties. Pope Francis was a bit unsteady on his legs, but sharp, mentally alert, and with a smile that broke out over his face from time to time.

If the Vatican felt like the palace of an ancient city state, the headquarters of a global network, like the Kremlin or the headquarters of Google, something else felt very different. The difference was brought to mind by a picture I saw a few weeks ago.

... but Rishi Sunak or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird.

Just before Easter, the Pope went to prison. In case you are wondering how you missed this extraordinary story, it wasn't of course that he had been convicted of some terrible crime, but on this occasion, he went to visit the Rebibbia prison in Rome. While there, the 87-year-old, increasingly frail pontiff, stepped out of his wheelchair, and bent down to wash the bare feet of twelve women prisoners, many of whom were in tears as he did so. There is an extraordinary picture of him with his eyes closed, kissing the right foot of one of the women, clothed in her grey prison tracksuit trousers, as if it was him who had the privilege in the encounter and not her.

When I saw this picture, it struck me how truly extraordinary this action was. Here is the leader of the world’s 1.4 billion Catholics, performing an act of such staggering…. well, meekness, is the only word I can find for it - kissing the sweaty feet of criminal women, feet that had presumably led them into decidedly questionable places in the past, while doing so not reluctantly but gladly, thinking this was the most wonderful thing he could ever do.

I tried to imagine the residents of other grand buildings - the American president, the UK's Prime Minister, the leader of the European Union, the President of China, or the CEO of Google doing something similar. And couldn't. I could imagine politicians visiting a homeless centre to dole out food for the social media coverage, but Rishi Sunak or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird.

If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God.

Yet was not entirely surprising, because humility is a distinctly Christian virtue. The Greeks were decidedly lukewarm about it. Aristotle wrote: “With regard to honour and dishonour the mean is proper pride, the excess is known as a sort of ‘empty vanity’, and the deficiency is undue humility…” Humility was appropriate for slaves but not for noble-born people, certainly not for political leaders, leaders of multinational giants – or popes for that matter.

Yet Christians have always valued humility. One of the New Testament writers says: “Clothe yourselves with humility toward one another, because, God opposes the proud but shows favour to the humble.” So why does God show favour to the humble?

The answer is, I think, surprising. It is not that God is majestic and demands humility from us measly creatures. It is that, in the Christian understanding, God is humble. Even though he appears to have not that much to be humble about. If the phrase that captures the understanding of Allah in Islam is ‘God is Great’, the main claim of Christianity is that ’God is Love’. And love cannot be proud or arrogant. It has to be humble.

The God Christians believe in doesn’t draw attention to himself, and doesn’t shout about his own qualities. Instead, he leaves it to others to do that for him. That fits with the way the world is made. If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God. There is no signature written in the sky, billboards or flashing neon lights saying ‘Made by God, just for YOU!’. In fact it is quite possible to go through life and completely miss God altogether.

If there is a God, he seems oddly reticent, unwilling to advertise his existence, or as the prophet Isaiah put it, perhaps in a moment of frustration many centuries ago, “Truly, you are a God who hides himself.” This theme, of the ‘hidden God’ has fascinated theologians and philosophers from St Paul to Martin Luther, from Blaise Pascal to Søren Kierkegaard.

Even when God does reveal himself, in the arrival on the human scene of Jesus Christ, even then he is oddly hidden. Jesus was perplexingly reluctant to identify himself as God. He didn’t by and large go around saying “Look at me, I am divine!” It was possible to meet Jesus of Nazareth face to face and go away thinking he was just another Jewish rabbi or teacher. In fact, he was more likely to be found acting out the role of a servant, washing the feet of his friends, providing them with food, living a wandering homeless existence, dying on a criminal’s cross, than doing important things like wearing robes, exerting political power or living in palaces. Nowhere does God appear to us unmistakably. He is not an in-your-face kind of God. He seems, odd though it is to say it, quite shy. Or perhaps the best word is simply: humble.

So what the Pope did in that Italian prison may have been unlike any other ruler. Yet on another level it was just like the ultimate ruler of all things.

Interview

Books

Creed

S&U interviews

9 February 2024

9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan.

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.”

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”

C.S. Lewis.

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ.

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”.

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”.

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.”

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith.

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.”

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.”

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.”

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.