Article
Creed
Mental Health
5 min read

It’s OK to be angry about this, right?

Anger's real gift is the desire for action.

Anthony is a theology professor at Seminary of the Southwest in Austin, Texas.

In a darkened room, a man's angry face is lit as he rests on arms folded tightly around it.
Abhigyan on Unsplash.

When is anger appropriate? When we hear of hideous acts of war in civilian villages, shouldn't we be angry? When I read about a shell exploding in a Gaza hospital, I get angry. I do also when something unjust happens to me, or to someone close to me. Some moments seem to call for anger as the right, and perhaps righteous, response.  

But I often don't feel very "right" when I'm angry. In fact, I feel a bit out of control, like some other force or energy has taken over my body and my will. This is especially true when my anger leads me to say or do something that is hurtful to someone else.  

Is there such a thing as Christian anger? If so, what does it look like? How can anger be the sort of emotive response that deepens, rather than erodes, my connection to God, myself, and others?  

It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice. 

Anger is a passion 

The ambiguity of anger stems from its grouping within what Thomas Aquinas, here as usual following Aristotle, calls "the passions." A passion is a creature's reaction to either the loss of something or to a gaining of something. We are passive, or receptive, to this giving or taking. Sickness is a loss of health; sorrow is a lack of happiness. When on the other hand a friend sees me sick or sad and brings me a bowl of soup, I am receptive not only of the soup but of a passion, or a feeling—a receiving rather than a losing in this case— of pleasure.  

The passions are morally neutral: we cannot really be praised or blamed for being sad or pleased any more than for being sick. They often do, though, lead to actions, and this is where virtue and vice come into play.  

Love, for instance, is a passion: it identifies a desire within me, received through contact with something or someone beyond me. The act that this gives birth to might be virtuous: kindness or affection toward that something or someone. In these cases, the passion becomes the catalyst to the greatest of the theological virtues, caritas, or charity, translating the Greek word "agape", used by St Paul. It may also, however, be vicious, as when my desire leads to me to attack someone whom I perceive to be standing in its way (think “crimes of passion” here).  It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice.  

Anger originates in such a taking or giving. Something or someone is taken from us, and we get angry: something that I perceive—rightly or wrongly—as belonging to or with me. Or perhaps something inappropriate (which literally means "not my property") is given to me which is not mine to have: a false accusation, say, or a punch to the jaw.  

When anger leads me to hurt someone as a result of that loss or addition, I commit sin. But sometimes it also leads to virtue. How does this happen?  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply to act, rather than to seek counsel to ensure that I act prudently. 

Prudence is the virtue anger needs 

The key to understanding how anger about such losses or gains could lead to a virtuous, or let's say a righteous act, is in another virtue - the one Thomas calls prudence. Prudence is the form wisdom takes on within human practices. Its goal is wise action shaped by the particular context in which it is needed. The prudent person knows how to calibrate the next thing she does so that it leads will to the specific end she is pursuing.  

This "know how" in turn comes through counsel. I know the next practical step not because I have memorized formulas in right action, but because I can learn from others, past or present, in ways that will instruct me in the art of finding the next right thing.  

Prudence is the key to understanding righteous anger because anger is supremely a passion that demands activity. Anger wants action, as the therapists teach us. It pumps blood through my body, it makes my muscles flex and my jaw clench, and so prepares me for some bold and likely aggressive act.  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply act, rather than to seek counsel to ensure that I act prudently. Most likely I will act out of a desire for revenge: to cause equal or greater harm. What I need in that moment is the outside input that can help me shape my act in accordance with reason. This is how, Thomas says, the neutral passion becomes meritorious passion: anger becomes righteous.

Righteous anger has a gift to give 

Anger's desire for action is in the end its real gift. Notice how anger and sorrow are different sorts of passions. In sorrow, what is taken from me is joy. I long for the lost joy and am tempted to become even more passive. Depression takes me to the zenith of inactivity. Even getting out of bed or calling a friend feels like too much action.  

Anger though is all about action. Yes, to act too brashly, too quickly, to seek revenge on the one whom I perceive to have harmed me. Or even to harm the nearest one to me regardless of their involvement (the sin of kicking a dog or abusing a child). Still: anger calls me to act, and for all its risky unhinged-ness, this is potentially a good thing. 

Disordered, which is to say un-counseled by practical wisdom, anger can lead to harm. In these cases we make matters worse by calling our anger righteous: that self-justifying claim may in fact be blinding us to the real price of our next act.  

But well-ordered, anger can draw us into deeper community with God, ourselves, and others. First comes the passion itself: I am angry and primed for action. Then comes the seeking of counsel, so that my desire for action can shift from the immediate to the prudently discerned. Finally comes the act itself, which anger was calling for in the beginning, now tempered by practical counsel. In such moments I am enacting a right and righteous anger.  

And on those days when a loss or an unwanted gain is enough to make me wish to withdraw from the world of human activity, anger may be just the gift I need.  

Article
Art
Creed
Space
5 min read

How black holes illuminate love’s greatest story

The universe’s darkest mysteries hold strange parallels with Christ’s Passion

Jake is a former BBC journalist turned writer and speaker about art and faith.

A spital galaxy coloured red, white and black.
A composite image of Andromeda galaxy.
NASA/JPL, Public domain, via Wikimedia Commons.

Thanks to the BBC radio show In Our Time, I’ve found a new pleasure in life. It is this: to learn about the enormity of outer space, and the absurdity of what goes on there, and to share what I find with anyone who’s interested. By ‘anyone’, I mean my wife. But now that Seen & Unseen have published this, I mean you too. 

Or that mysterious cosmic rays from deep space regularly sail straight through the bodies of each of us, and scientists are baffled as to what might have created them? Did you know that a tiny, pale area of the night sky once named the ‘little smudge’, is now known to be the biggest thing anyone will ever see with the naked eye: the Andromeda galaxy? And did you know that the strength of gravity on Venus would crush you instantly? I could go on indefinitely. 

The centrepiece of all this galactic trivia, however, is reserved for black holes. Almost everything about them fascinates, baffles and scares me.  

Black holes are the remnants of dead stars that have collapsed in on themselves, creating a gravitational field so powerful that nothing – not even light – can escape. If you were to pass over its threshold, you’d be obliterated as you get pulled towards the black hole’s infinitely dense centre.  

They get even stranger though. Inside them, astrophysicists say, the laws of physics break down completely. Time and space somehow swap places, they say. And even though anything pulled in by a black hole's gravity is crushed by unimaginable force, in some sense it may be preserved and – in theory – might end up elsewhere, in a new form. It is a death that might not in fact be the end of us. 

There are many black holes – there’s one at the centre of our galaxy. But even though we can study them and develop scientific theories about them, we have not come close to grasping them in all their terrifying and monumental glory. What goes on inside them is, and perhaps always will be, an unfathomable mystery. 

This is why I’d love to see them refracted through the eyes and hearts of poets and artists, philosophers and theologians. What might their strangeness tell us about their creation, their creator? What might they tell us about how to live our lives? And if gravity at its most intense can upturn the laws of science, bamboozle great minds, and maybe even turn death into new life, then might other forces of attraction that do not adhere to known laws of physics, like love, do the same?  

Scenes from the Passion of Christ by Hans Memling.

A painting of a medieval cityscape.
Hans Memling, Public domain, via Wikimedia Commons

In dwelling on questions like these, I have found this painting to be strangely helpful. It tells a love story that – in terms of its sheer intensity, its pull upon us, its utter strangeness, its death-defying endpoint – is not a bad match for a black hole. It’s called Scenes From The Passion Of Christ, it’s by the northern European painter Hans Memling, and when I first saw it I thought it looked silly.  

Why cram onto one small canvas over twenty scenes from the final eight days of Jesus’s life on Earth? It’s like a cartoon strip without the white lines to divide up each scene. We see Jesus welcomed by a crowd, betrayed by Judas, denied by Peter, sentenced by Pilate, stripped by henchmen, humiliated by another crowd, crucified by soldiers, and buried by loved ones. We see him upending a table, praying for an escape route, sharing bread and wine, carrying a cross, emerging from the grave, and appearing to his followers.  

It reduces the crucifixion to a few square millimetres at the top. It sidelines the heart of Jesus’ story – the resurrection – to the far right edge. It shrinks Jerusalem to a tiny labyrinth resembling an MC Escher painting. It is daytime and nighttime. It is disorientating. And it is claustrophobic. But I think it is also brilliant, and it’s made me look in a new way at the strangest of weeks in the story of the world.  

By showing us so much convening at this moment in space and time, we sense how impossible it would have been for Jesus’s followers to compute anything that went on during that week. As each event unfolded, they would have had to rethink what might come next, whilst dealing with some pretty overwhelming emotions. They would have had no time or space to process any of it. It seems perfect, therefore, that in this painting, we don’t either.  

But as I look at it now, I wonder: have we actually processed these events, two thousand years later? Do Christianity’s attempts to explain everything that went on here really do justice to a story in which divine love does some of the unfathomably strange things that a black hole does? Or do these explanations tell us more about our own way of thinking than they do God’s?  

I think there is a tendency – which I see in myself and in most churches I have attended – to resist the weird, mysterious and inexplicable nature of this story. We draw heavily on logic and evidence to try and explain a story that defies both. But just as it is within the boundaries of a black hole, so it is within the frame of this painting: the old rules no longer apply. Divine love manifests itself in ways we cannot yet fathom. Pretending otherwise saps power from the story.   

At the top right corner of the painting, there is a tiny dot on the seashore. It’s the last image of Jesus in this painting. And next to it, a church. Here, the baton is being handed over from Jesus to those who follow him. The church is now the ‘body of Christ’, tasked with embodying infinite love in a world that badly needs it.  

What a daunting task. Frankly, it can be easier to believe in a bizarre series of events from two millennia ago, than in a church here and now, comprised of people as flawed as I am, that is meant to be capable of embodying a world-changing love.  

And that is why I am so drawn to black holes, and to this painting. In them, I see that impossible things can and do happen; that unfathomable mysteries are littered throughout reality; that these mysteries are not so much problems to solve as they are wonders to revel in; that the narrow, rational mindset in which I too often dwell is small and limiting; and that an overwhelming force of attraction can and will overpower anything in its way. 

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