Essay
Belief
Creed
8 min read

Questioning the question

Seemingly rational questions can suck the oxygen from the room. Andrew Steane was in such a room when it happened.

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.

A modern staging of King Lear has the cast across the page. King Lear is front of stage gesturing while the others look on
A 2012 production of King Lear at Hamburg State Opera.
rinkhoff-Moegenburg, professional photographers from Lüneburg, CC BY 3.0, via Wikimedia Commons

We all know that asking questions is important. Asking the right questions is at the heart of most intellectual activity. Questions must be encouraged. We know this. But are there any questions which may not be asked? Questions which should not be asked?  

Many a young adult might instinctively say “no: never! All questions must be encouraged!” but when invited to think it through, they will come to realise that there is a little more to it than that. There are, for example, statements which present themselves in all the innocent garb of questions, but which smuggle in nasty and false assertions, such as the phrase “why are blond people intellectually inferior to dark people?” There are questions which mould the questioner, such as “will I feel better if I arrange for this other person to be silenced?”  

Questions can serve horrible purposes: they can focus the mind down a channel of horror, such as, “what is the quickest way to bulldoze this village?” Even more extreme examples could be given. They make it clear that not all statements that appear to be questions are primarily questions at all, and not all questions are innocent.  

Every question is a connector to all sorts of related assumptions and projects, some of them far from morally neutral. 

On reflection, then, it becomes clear that every question you can ask, just like every other type of utterance you can make, is not a simple self-contained thing. Every question is a connector to all sorts of related assumptions and projects, some of them far from morally neutral. This makes it not just possible, but sometimes important and a matter of ethics and duty, not just to refuse to answer, but to raise an objection to the question itself. More precisely, one objects to the assumptions that lie behind the question, and which have rendered the question objectionable. 

“Have you stopped beating your children?” 

“Tell me, my daughters … which of you shall we say doth love us most?” 

“How do you reconcile your rationality with your religious faith?” 

In all three cases the question is itself faulty. It is at fault because it has brought in an unjustified and untrue assumption. Such questions have no answer except to object to such assumptions and try to help the questioner see the situation more truthfully.  

In the first case, if the question is pressed, and I am hauled up before the judge in a court of law, then I will protest, with a clear conscience and as forcefully as I can, that I never did beat my children in the first place and therefore the question is itself at fault. (Such a question is like the unethical practice called “leading the witness” which a good judge will rule out of order in a court of law.) 

The second example is the question asked by King Lear in Shakespeare’s play. The play revolves around the fact that Lear has misunderstood the very nature of love. The one who loves him best will not, and cannot, reply in the way he anticipates. His daughter Cordelia chooses largely silence, and to show her love by her behaviour.  

The third question is the one that prompted this article. I have been asked it, either explicitly or implicitly, many times. Every time I have been aware that the very atmosphere of the question has prejudged the issue. It is like being asked whether you have stopped beating your children.  

To be fair, it is not as bad as the children example, but I use the comparison to help the reader get some sense of the issue. In the case of faith and reason, for any reasonable person, no reconciliation is required because their faith was never divorced from their rationality in the first place. Rather, the two have walked along together, each moulding the other from the start. Being asked to explain this is like being asked to explain that you are honest.  

This is not to say that a dishonest or confused person might well have cognitive dissonances - muddles and inconsistences between what they tried to trust and what they had sufficient reason to believe. So, they would have some intellectual and spiritual work to do. And none of us is perfectly honest and clear-headed so we all have some learning to do. But most of us are not starting out from a place of complete dishonesty or contradiction. In particular, our scientific understandings and religious commitments are not pulling in different directions, as the dubious question seems to assume they are. Rather, the deeper our understanding of each, the deeper our appreciation of their roles as two aspects of a single dance becomes.  

I recall clearly a discussion with a friend by the side of a football field where our children were playing in a match. The subject turned to religious matters and, with a view to briefly describing his position, my friend said he based his conclusions on reason, and then gestured to some vague idea that I had something else called faith. The obvious implication was that his conclusions had a basis in reason and mine did not. This was not argued or demonstrated; it was the very starting-point of the way he thought the conversation should operate. This floored me. What could I say? It was like being told you are a sub-species, some sort of childish person who does not appreciate reason and therefore should shut up while the adults are talking. (It was also a bit like an amateur wrestler thinking he could advise Muhammad Ali on how to box).  

What about the questions which betray assumptions which are themselves questionable, but which we don’t recognise as such, because of the assumptions of our culture and the intellectual habits it promotes?

Now we have arrived at the point of this article, which is not, I will admit, the general issue of questioning the question, but the specific issue of religion and rationality. I want to focus attention on where the issue of questioning the question really lies. The issue is not, “are there questions which are objectionable?” (we already settled that). Nor is it, “let’s have some intellectual amusement unpicking what is objectionable about some ill-posed question which we find it easy to tell is ill-posed.” No, the heart of this issue is: what about the questions which betray assumptions which are themselves questionable, but which we don’t recognise as such, because of the assumptions of our culture and the intellectual habits it promotes? 

For example, where do you start in response to a question such as “how do you reconcile science and religion?” 

I think you start by pointing out that if one has a healthy version of both then they are not estranged in the first place.  

In order to show this, the discussion has to unpack the difference between a valid and invalid grasp of the nature of scientific explanation, and the difference between healthy and unhealthy religion. It will also include some effort to clarify what a person means by the term ‘religion’. The discussion may include some consideration of the history of science, and the lived experience of a research scientist. It should also bring in the brave efforts of reformers down the ages to realise fairer forms of human society. 

In the room when it happens 

But in order for this discussion to get going, there has to be some oxygen in the room. I have been in rooms where the question, “how do you reconcile science and religion?” has made me feel every bit as queasy as the “beating your children” one. The hollow feeling of having been pigeonholed before you can open your mouth. The feeling of being in the presence of people whose mental landscape does not even allow the garden where you live. The feeling of being treated like a mental underling - it is all there.  My reaction is strong because rationality is a deeply ingrained part of my very identity. It is every bit as important to me as it is to the self-declared ‘rationalists’, so that to face a presumption of guilt in this area is to face a considerable injustice.  

On the other hand, religion is a broad phenomenon, having bad (terrible, horrendous) parts and good (wonderful, beautiful) parts, so the question might be a muddled attempt to ask, “what type of religion is going on in you?” It still remains a suspicious question, like “are you honest?” but in view of the nastiness of bad religion, perhaps we have to live with it. Perhaps we should allow that people will need to ask, to get some reassurance, and to help them on their own journey. But we can only make a reply if the questioner does not come over like an inquisitor who has already made up their mind. The question needs to be, in effect, “I realise that we are both rational; would you unpack for me the way that rationality pans out for you?”  

We all go forward in our lives with some sort of reliance on the ultimate well-spring of reality, whatever that is. We can’t do anything else.

Faith, in its healthy forms, is a kind of willingness. It is a willingness based on a combination of suggestive evidence, value, and lived experience. We all go forward in our lives with some sort of reliance on the ultimate well-spring of reality, whatever that is. We can’t do anything else. The faith which is called religious may include willingness to acknowledge this ultimate well-spring of reality in personal terms. We may express gratitude, for example, and objection, and we may ask for forgiveness or renewed hope. We thus behave in ways which cannot be addressed to a machine or a mere set of principles, worthy though those principles might be. When discussing science and religion we need the questioner at least to be open to the idea that this willingness can be a thoroughly rational willingness. It can be as subtle and deep as great poetry, not just shallow and thoughtless like greetings-card doggerel. Its relation to reason can be compared to the attitude we adopt when we recognize other humans as agents with aspirations and their own concerns. That is, it is in tune with reason, not unreason, but it is larger than reason. It is larger in the sense of richer, engaging more not less of us, as the arrival of the Nimrod movement in Elgar’s Enigma Variations is larger than a single melody.  

This article is a re-write based on one originally written in 2014 for the OUP blog. 

Article
Art
Creed
1 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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