I believe in breadboards: cutting through the meaning of belief

A turn of phrase leads Andrew Steane to consider what we say and what we really mean when we say we believe in something.

Andrew Steane

Andrew Steane has been Professor of Physics at the University of Oxford since 2002, He is the author of Faithful to Science: The Role of Science in Religion.

bread a piece of cutlery rest on a breadboard

Photo by Caio Pezzo on Unsplash.

On holiday with my family around Easter this year, we rented a small cottage and went self-catering. This is a lovely way to enjoy a week, heartily recommended by me, at least.

As anyone who has done it will know, one of the standard experiences of the holiday house is the search of the kitchen for the items you need at mealtime. This year I was looking for a breadboard. You know: a flat wooden board on which to cut a loaf of bread. There did not appear to be one. But there were two marble boards which were plainly cutting boards. I then made a remark to my dear companion and wife Emma, I said,

“I think maybe the owners don’t believe in breadboards”.

This turn of phrase came quite naturally to me. It is a way of speaking that has been common in England for a long time, though it is less prevalent now. As I say, this way of speaking has a long history and it is not about abstract questions of existence. It is about practical questions of usefulness. If someone says:

“I believe in breadboards”

it does not mean

“there is some doubt as to the reality of breadboards, but I think they are real.”

What it means is:

“I think breadboards are useful; I think they help; they are a Good Thing.”

If someone says:

“I don’t believe in breadboards”

it means:

“I don’t think we need breadboards; they don’t help; we can cut bread another way.”

I am interested in this way of speaking because I am interested in what is going on when Christians recite, as many do, the summary statements called creeds, which mostly begin with the phrase “I (or we) believe in God, the Father almighty, creator …”.

I’ll come back to that in a moment. Before I do, let’s note some other ways in which the phrase “believe in” can be used. Sometimes someone may ask “do you believe in ghosts?” The question arises because ghost stories are strange and hard to verify and the very notion of a ghost is questionable, so the question is asking “do you think there is in fact any such thing as a ghost?” It is asking, “are ghosts real?”

And there are other contexts in which statements about belief might be made. Suppose a group of soldiers is cut off after an advance by opposing troops, and they are in doubt as to the way back to their own front line. Maybe the captain is advocating a choice which seems wrong to the private soldiers. They might debate among themselves. In this case, when putting into words his judgement on the matter, a soldier might find himself using the phrase, “I believe in the captain”, or, as the case may be, “I don’t believe in the captain.” Again, it is not a statement about whether there is a captain; it is a statement about whether trust in this particular captain is well-placed.

Now imagine a more homely scenario which has played out in many a household over the years. A daughter is telling her parents about her boyfriend. Perhaps the parents are not quite sure about this young man. They do not know him as well as their daughter does. They want to trust her judgement, but they are hesitating. Is our dear child perhaps a little blinded by infatuation?

What might the daughter say to explain how she feels? Having happily listed the boyfriend’s other good qualities, she might choose to add, “and he believes in me.” What does she mean by that? Is it that there is some doubt as to whether she exists, but the young man thinks she does? Of course not. What she means is that she feels that her friend knows her well enough to see her as she really is, and he affirms what he sees. He affirms that she has something to offer; she herself and not some other person or some other version who is not truly her.

There is a related experience which I have had many times with Emma. When faced with a decision about raising small children (what time should they go to bed? When can they go out on their own? etc.) I have often had the great boon of being able to say to myself “I believe in Emma.” What it means is, I think she has a lot of wisdom and good judgement on this issue, so I don’t need to agonise on it for too long; she has very likely already found a good answer.

Belief is much talked about in life more generally of course. There is the notion (quite dubious I think) that if you “believe” then you can realise whatever hopes and dreams you may have. Sometimes people speak of “belief” when what they really mean is hope. I won’t go into all these usages. The main point of this article is to say that if, in the context of a Christian gathering, you are invited to join in and recite a creed beginning with the phrase “We believe in God” then you do not need to make it function as an abstract statement about reality and existence, the way the question about ghosts functions. This is because “We believe in God” can function much better as a statement about practical helpfulness, like the statement about breadboards.

We Christians believe in God the way we believe in breadboards. We believe in God the way we believe in the good judgement of a close companion. It means we think our life as a community will go better if we pay the right kind of attention to our ultimate context, and the values and possibilities which are held there. We do not use the word “God” to refer to an airy being who might not exist. The word is, rather, a short (arguably too short) way to direct our attention. Our attention is drawn to those aspects of reality which can rightly and properly command the loyalty of a good and wise person. We don’t pretend to completely know what those aspects are. But we want to learn. Our gatherings and our creeds help us to acknowledge and embrace this ultimate context more fully.

Review

Art

Culture

26 April 2024

5 min read

Blake, imagination and the insight of God

A new exhibition focuses on seekers of spiritual regeneration and national revival.

Jonathan Evens

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

William Blake's illustration of God squatting down to create with his hair and beard blown to one side

Blake's Ancient of Days.

The Fitzwilliam Museum.

The exhibition William Blake’s Universe at the Fitzwilliam Museum, Cambridge, enables visitors to discover a constellation of European Romantic artists who sought spirituality in their lives and art in response to war, revolution and political turbulence.

The exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from the Fitzwilliam Museum's collection, alongside artworks by Blake's European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now. Though they never met or connected in their lifetimes, Blake, Runge and Friedrich shared an unwavering belief in the power of art to redeem a society in crisis.

Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison.

The exhibition also places Blake within his artistic network in Britain, drawing parallels with the work of his peers, mentors and followers including Henry Fuseli, John Flaxman, and Samuel Palmer. In the exhibition catalogue Esther Chadwick draws attention to a little-known series of paintings in which ‘Blake is shown partaking in an immense community of like-minded intellectuals of the European Romantic generation.’ These include writers and poets associated with Runge, as well as artists and poets such as Flaxman, William Wordsworth and Samuel Taylor Coleridge. Flaxman introduced Charles Augustus Tulk, a well-known Swedenborgian, to Blake, to whom Tulk later introduced Coleridge saying ‘Blake and Coleridge, when in company seemed like congenial beings from another sphere breathing for a while on our earth’.

Exhibition curators David Bindman and Chadwick have said: “This is the first exhibition to show William Blake not as an isolated figure but as part of European-wide attempts to find a new spirituality in face of the revolutions and wars of his time. We are excited to be able to shed new light on Blake by placing his works in dialogue with wider trends and themes in European art of the Romantic period, including transformations of classical tradition, fascination with Christian mysticism, belief in the coming apocalypse, spiritual regeneration and national revival.”

Independently of each other, Blake and Runge were inspired by the writings of German mystic Jacob Böhme, who, as Bindman and Chadwick explain, ‘believed that all being arises from the dynamic interplay of opposites: between darkness and light, life and death, hot and cold, male and female’. As a result, he viewed our spiritual quest as ‘the reconciliation of differences to produce spiritual and philosophical regeneration’. Bryan Aubrey has also shown that Böhme believed human beings can share in the divine imagination, through which we act ‘with, and on behalf of, the creator’. Böhme ‘equated the strong imagination with the faith that moves mountains’ while Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. Blake was, as a result, indebted to Böhme for his concept of the imagination and his doctrine of contraries.

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival.

Melanie Öhlenbach has argued that ‘Runge's life, his theory and works bear testimony to Böhme's importance’. For Runge, art ‘is considered as the revelation of God and the artist as its tool, while the artist's imagination creates the insight of God’. He believed it is ‘the artists' duty to re-create the diverging harmony of man and cosmos in the sense of an artistic-spiritual revolution’. She writes that due to his early death, ‘Runge managed only partly to put his ambitions into practice’, notably in his Times of Day series which represent not only the changing times of day, but the seasons, the ages of humanity and historical epochs. Similarly, Friedrich’s seven sepia drawings The Ages of Man are thought to be inspired by Runge’s interest in visual representations of time, meaning that this exquisitely delicate series is associated with the themes of change in nature, the cyclical representation of time and the temporality of human life.

The significance of these artists is, in part, as prophets within the Christian tradition. Lucy Winkett has noted that ‘Blake’s faith was in the Jesus whom he believed the Church had abandoned’. As a result, ‘he was — and still is — an internal rather than external critic of the way in which the Christian faith is practised by its adherents; and so, for those who have ears to hear, his is a prophetic rather than destructive force within the Christian tradition’. Richard A. Rosengarten states that ‘Blake wanted to stir things up because he thought the Christian revelation was meant to stir things up’. He argues that, for Blake, the ‘first step in doing so (after reading the Bible from stem to stern) was to liberate Imagination from the shackles of Reason’. This is what ‘could make us fully human again, and thus much more approximately the creatures of God that we truly are’.

Malcolm Guite suggests that both Blake and Coleridge: ‘recognised Jesus as the Divine Imagination and Love bodied forth for us and kindling afresh in us the love and imagination which is God’s lost image deep in our souls. Both men were calling for England (‘Albion’ in Blakes terms) to awaken from the sleep of materialism, greed and conquest, and to be renewed in Christ through an awakening of the spiritual imagination.’

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. In our own time of war, revolution and political turbulence, it may be that this is a prescient exhibition bringing us artists who, as Winkett said of Blake, have ‘a distinctively Christian voice for our time’.

In Jerusalem, one of Blake’s illuminated books from which many plates are shown in this exhibition, Blake writes: ‘I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination – Imagination, the real & eternal World of which this Vegetable Universe is but a faint shadow, & in which we shall live in our Eternal or Imaginative Bodies when these Vegetable Mortal Bodies are no more.’

William Blake’s Universe, 23 February 2024 - 19 May 2024, Fitzwilliam Museum.