Neil Diamond’s ‘Be’ as a Mystical Poem

Image by Anurag Jain at Unsplash

IN college I was fortunate to see the film Jonathan Livingston Seagull in its premiere run at the Village Theater in Westwood. While the film itself disappointed, the soundtrack — featuring songs by Neil Diamond and orchestral arrangements by Lee Holdridge — was magnificent.  To hear the score in a large auditorium with a state-of-the-art sound system added much.  It was a profound experience.  The film itself didn’t really matter.  It was just a setting for the soundtrack.  Few people were able to hear the soundtrack so dramatically performed.

The main song, “Be” goes far beyond the plot of the story — a fictional seagull’s coming of age — into the realm of religion.  It speaks of the I AM experience, a deep, religious experience of the momentousness of ones existence. David Wild, author of “He Is…I Say: How I Learned to Stop Worrying and Love Neil Diamond,” calls the song “A 6-minute flight of pure existentialism.”  But it’s more than that.

One can look at the lyrics and say, “Neil Diamond, a popular contemporary singer, basically wrote what people wanted to hear — some pleasant but not terribly deep quasi-religious commonplaces.”  But, instead, approach them expecting something deeper.  What if you were told this is a poem by Rumi?

Lost, on a painted sky
Where the clouds are hung For the poet’s eye

Most days we ignore the sky, or perhaps casually notice it for a moment. But how often do we *seek* to see the beauty that is there. The various cloud shapes against a blue sky, so appealing to the imagination.  Remember how as children we would play at finding shapes in them?  Is there any activity more delightful?  But do we do this as adults?  One must open the poet’s eye. It is for this the clouds are made.

You may find him
If you may find him
There, on a distant shore
By the wings of dreams, through an open door
You may know him
If you may

The literalist understands this to mean to find Jonathan, the seagull.  But in an inspired sense it can mean to find God. Can you not look at the hints of blazing sun behind layers of billowing clouds and imagine glimpsing the Throne of God in all its Eternal Glory?

Be, as a page that aches for words
Which speaks on a theme that is timeless
While the Sun God will make for your day
Sing, as a song in search of a voice that is silent
And the one God will make for your way

And we dance, to a whispered voice
Overheard by the soul, undertook by the heart
And you may know it
If you may know it

The first stanza above says not only “Be,” but as a page that aches for timeless theme.  This is not the existentialist’s lament that ones desire for purpose is pointless, as life is meaningless.  It, rather, affirms there is a timeless theme, and that our aching for meaning is not in vain, and finding this meaning is essential to realize who and what we are.

In the next stanza we hear of  a “whispered voice” — easily understood as God’s.

While the sand, would become the stone
Which begat the spark, turned to living bone
Holy, holy
Sanctus, sanctu

Perhaps I read too much into this, or perhaps not. But it raises such thoughts as these: 20 billion years after the Big Bang, stars formed of hydrogen and began making other light elements.  After many millions of years, these died; their atoms diffused through space, combined with atoms from other stars, and formed new generations of stars that produced heavier elements.  These stars died too.  About 5 billion years ago, our Sun and Earth came into being, formed of their predecessor’s dust.  3.7 billion years ago, primitive life began on earth.  About 500 million years ago, the vertebrates emerged.  Within 250 million years, the first mammals appeared, then, 25 millions years ago apes, and 2.5 years ago, our genus, homo.  From atoms, to sand, to living bone, to human consciousness.  Somehow, by a process we don’t understand, inanimate matter became infused with spirit and consciousness. Miracle of miracles! All of this so you may complete Creation by experiencing the Mighty Spectacle by entering into the NOW: as part, witness, and recipient of Creation, giving praise and glory to the Creator.  Else all this for naught.

It is an inspired song.  The ancients would say a divine Muse inspires such things. May we not allow that it comes from the Superconscious?  But by all means listen to it. More than a prose poem, it’s a song and musical performance .

Stand on a cliff overlooking the ocean on a sunny day, gaze into the expanse of sea and sky (maybe see if you can spot a soaring gull), play the song in your headphones and see if you don’t have a mystical experience!

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The Seven Vices and Fifty Subvices of Medieval Christianity

Tree of Vices” from Speculum Virginum, Walters Art Museum Ms. W.72, fol. 25v

AS  a previous post on the Seven Virtues and Fifty Subvirtues of Medieval Christianity is one of the most oft-visited here, it seems fitting to supply a sequel on vices and subvices.  Joint diagrams of virtues and vices are found in many medieval manuscripts.  The closest we have to a text source is De fructus carnis et spirits, a work of the 11th century, today tentatively attributed to Conrad of Hirsau  (c. 1070 – c .1150) and previously to Hugh of St. Victor (c. 1096 –1141).

An important patristic source for the medieval diagrams is Gregory the Great’s Moralia in Job, 31.xlv.87−88. Spencer (2014, 177 f.; cf. Straw, 2005, 38 f.) lists the vices/subvices as found both in Gregory and Cassian. Medieval tree diagrams are fairly consistent concerning the vices, but variation exists in subvices (these vary in number from 48 to 52; again we’ll just say roughly 50).

Just as the virtues and subvirtues are rooted in Humility, the vices and subvirtues derive from a common parent, Pride (superbia).

We should not look at these vices and subvices as mere historical curiosities.  They have modern relevance at the level of practical cognitive psychology: each corresponds to a significant form of negative thinking common to us all,  which we need to overcome.  There is considerable interest in the application of ancient Stoic virtue ethics to modern life.  The patristic and medieval literature on the virtues and vices is an extension (and arguably more refined version) of Stoic moral psychology and ought to interest us at least as much.

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I. VAINGLORY (vana gloria)

1. Hipocrisy (hypocrisis)
2. Disobedience (inobedientia)
3. Boasting (lactantia)
4. Presumption (praesumptionis)
5. Arrogance (arrogantia)
6. Talkativeness (loquacitas)
7. Obstinacy (pertinacia)

II. ENVY (invidia)

1. Hatred (odium)
2. Envying others’ good fortune (afflictio in prosperis)
3. Exulting in others’ adversity (exsultatio in adversis)
4. Malice (malitia)
5. Detraction (detractio)
6. Bitterness (amaritudo)
7. ‘Whispering’ (susurratio); “by which, either by a hiss of hateful flattery or contempt, one is roused to the hatred of the other.”

II. ANGER (ira)

1. Accusation (clamor)
2. Blasphemy (blasphemia)
3. Insult (contumelia)
4. Mourning or dwelling on an injury by another (luctus)
5. Reckless outburst (temeritas)
6. Fury (furor)
7. Indignation (indignatio)

IV. SADNESS (tristitia)

1. Despair (desperatio)
2. Rancor (rancor)
3. Mental torpor (torpor)
4. Fear and anxiety (timor; menti fluctuans angustia)
5. Acidie (acidia)
6. Complaint (querela)
7. Pessimism (pusillanimitas)

V. AVARICE (avaritia)

1. Love of money (philargyria)
2. Perjury (perjurium)
3. Violence (violentia)
4. Usury (usura)
5. Fraud (fraus)
6. Robbery (rapina)
7. Deceit (fallacia)

VI. GLUTTONY (Ventris ingluvies)

1. Drunkenness (ebrietas)
2. Overeating (crapula)
3. Dulness of sense and in understanding (mentis hebetatio)
4. Laziness (languor)
5. Delicacy of appetite; desire for delicious foods beyond one natural needs (delicatio)
6. Disregard of health (oblivio)

VII. LUST (Luxuria)

1. Voluptuous pleasure (voluptas)
2. Lewdness (lascivia)
3. Languid rejection of virtue (ignavia)
4. Rash, consuming desire (petulantia)
5. Weakness of spirit or body given over to indulgence (titubatio)
6. Enticement (blanditiae)
7. Excessive sensual delight (deliciae)

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Bibliography

Bliss, James and anonymous (trs.). St. Gregory the Great: Morals on the Book of Job. Three vols. Library of the Fathers. Oxford, 1844−1850. Book 31.

Bloomfield, Morton. The Seven Deadly Sins: An Introduction to the History of a Religious Concept, with Special Reference to Medieval English Literature. East Lansing, 1952; repr. 1967.

Goggin, Cheryl Gohdes. Copying manuscript illuminations: The Trees of Vices and Virtues. Visual Resources, 2004, 20:2-3, 179−198. https://doi.org/10.1080/0197376042000207552

Hugo de S. Victore (attr.). De fructibus carnis et spiritus. J. P. Migne. Patrologia Latina, Paris, 1854; cols. 997−1010 (rough diagrams of the Tree of Vices and Tree of Virtues appear at the end of the work).  Latin text is online: http://mlat.uzh.ch/?c=2&w=HuDeSVi.DeFrCaE

Katzenellenbogen, Adolf. Allegories of the Virtues and Vices in Medieval Art from Christian Times to the Thirteenth Century. Alan J. P. Crick (tr.). London: Warburg Institute, 1939.

Kerns, Brian (tr.). Gregory the Great: Moral Reflections on the Book of Job. Six vols. Liturgical Press, 2014−2022. (English translation of Latin critical edition.)

Mews, Constant J. (ed.). Listen, Daughter: The “Speculum virginum” and the Formation of Religious Women in the Middle Ages. The New Middle Ages Series. Palgrave, 2001.

Newhauser, Richard G. In the Garden of Evil: The Vices and Culture in the Middle Ages. Toronto, 2005.

Robertson, D. W. The Doctrine of Charity in Mediaeval Literary Gardens: A Topical Approach through Symbolism and Allegory. Speculum, vol. 26, no. 1, 1951, pp. 24–49. Reprinted in: Robertson, Durant Waite. Essays in Medieval Culture. Princeton University Press, 1980 (repr. 2014); pp. 21−50.

Powell, Morgan. Gender, Reading, and Truth in the Twelfth Century: The Woman in the Mirror. Arc Humanities Press, 2020.

Straw, Carole E. Gregory and Cassian on the cardinal vices. In: Richard G. Newhauser (ed.), In the Garden of Evil: The Vices and Culture in the Middle Ages, Toronto, 2005, pp. 35−58.

Tucker, Shawn R. The Virtues and Vices in the Arts: A Sourcebook. Wipf and Stock Publishers, 2015.

Young, Spencer E. Scholarly Community at the Early University of Paris: Theologians, Education and Society, 1215–1248. Cambridge University Press, 2014; Ch. 5, Parisian theologians and the seven deadly sins. (pp. 168−207).

Watson, Arthur. The Speculum Virginum with special reference to the Tree of Jesse. Speculum, vol. 3, no. 4, 1928, pp. 445–69.

Wenzel, Siegfried. The Seven Deadly Sins. Speculum 43, 1968, 1−22.

Art: “Tree of Vices” from Speculum Virginum, Walters Art Museum Ms. W.72, fol. 25v; early 13th century manuscript from the Cistercian abbey of Himmerode, Germany.

Active Imagination and the Mysteries of the Rosary

Artist unkown: The Annunciation

LET’S continue the topic of experimenting with meditation on the Rosary Mysteries as tools for personal growth — spiritual, psychological and philosophical. To repeat in brief what I’ve said before, the guiding premise is that the ‘author’ of the Rosary Mysteries is the collective unconscious. They represent a cumulative attempt, crafted and refined by countless inspired individuals, to express in symbolic form stages or components of ones spiritual self-realization.  They are therefore of universal value.  One need not be a practicing Roman Catholic to benefit from them.  They concern universal and (what a follower of Jungian psychology would call) archetypal principles of the human psyche.

There is a standard formula by which Roman Catholics consider these mysteries while praying the Rosary.  However one is entirely free to experiment and improvise, and there are advantages with this. In particular, one might apply the Jungian technique of active imagination to this task — for example, by looking at artistic portrayals of these Gospel events — and creatively ‘engaging’ with them.  Almost the whole point of active imagination is spontaneity.  Nevertheless, another element of Jungian psychology can be used profitably here, namely his well-known distinction between four kinds of cognitive activity: sensing, thinking, feeling and intuiting.  (These of course are the four personality dimension of the Meyers-Briggs inventory).

Elsewhere I’ve related what was explained to me by a retreat director years ago — how these four cognitive activities can be used in connection with the traditional practice of lectio divina (holy reading) for interpreting Scripture. As understanding the complex messages of art is much like interpreting Scripture, it’s plausible to apply this approach to the former.

Accordingly, this works as follows.  Quiet your mind, and arrange time to devote to studying some work of art that portrays one of the Sorrowful, Joyful, Glorious or Luminous Rosary Mysteries.  In succession, spend some amount of time considering it exclusively by each cognitive function:

Sensing.  Examine the literal details without analyzing them.  Notice every important object and detail.  Scan the entire image so nothing is missed.  Notice shapes, colors, shadings, arrangement of figures, foreground and background, etc.

Thinking.  Now think about the objects in the painting.  Don’t force things or be overly analytical; in fact, more of a playful approach might be most appropriate.  For example, applying this process to interpret Scripture, one technique is to make puns or find alternative, varied meanings — however implausible — in the actual words.  Something similar might be done here.  The idea is not to form any definite conclusions, but rather to activate and exercise the rational faculty.

Feeling.  Here again, one should feel free to experiment. How does the art make you feel? One possibility is to cycle through the characters portrayed, and to imagine what that figure is feeling towards each of the others — or try to have the same feeling yourself.

Intuiting. Pause, take a breath, close your eyes.  Put yourself in the loving ‘shalom’ of God’s presence.  Now open your eyes and let the picture speak to you.  Imagine, if you like, it speaking directly to your heart, without specific words, giving intuitions and insights.

This is enough to say.  Of necessity this should be a completely personal method, and each person will need to discover what works best for them.  I would just encourage you to make the experiment.  Regardless of ones religious affiliation, these Mysteries and their associated art are a great cultural resource available to help your process of self-realization.

As for the picture above, I don’t know it’s source, but it is a rather unusual representation of the Annunciation.  What I like about it is that it –somewhat uniquely — focuses on Mary experiencing an ecstasy.  As such, it can be interpreted as an allegory for deep religious contemplation — as, perhaps, do the other Joyful Mysteries (and Sorrowful, Glorious and Luminous Mysteries).

 

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The Archetypal Meaning of Hercules at the Crossroads

Annibale Carracci, The Choice of Hercules (1596)

THE ATHENIAN philosopher and rhetorician, Prodicus, a contemporary of Socrates, wrote an essay commonly known as Hercules at the Crossroads, which he often delivered orally to appreciative crowds. A moral allegory of deep psychological significance, it describes a young Hercules at a crossroads confronted by two women who personify Vice and Virtue.  Each appeals to him to take a different route: Lady Vice claims the easy path will lead to pleasure and happiness; Lady Virtue reminds him that the road to true and lasting satisfaction is the harder and more toilsome route.

Our best source of the story is Xenophon’s dialogue Memorabilia (2.1.21–34), wherein Socrates is presented as relating Prodicus’ story to a young protege named Aristippus (evidently not the eponymous founder of the Cyrenaic philosophical sect).

Thanks to Xenophon, the story was well known and often alluded to throughout antiquity and beyond. Philo of Alexandria (fl. ca. 20 AD), the Jewish Middle Platonist philosopher (and, as it happens, the virtual father of Christian allegorical interpretation of the Bible), expanded on Prodicus’ theme in a discussion of the ‘two wives of the soul’ (On the Sacrifices of Cain and Abel 1.5.21−34).  Philo’s treatment is quite interesting in its own right, in part because of his remarkable list (section 1.5.31) of over 150 negative adjectives to describe a votary of Pleasure.  Readers of Philo will recognize the connection of the story with his allegorical interpretation of the Garden of Eden myth.

Centuries later, St. Ambrose of Milan (fl. 390 AD), in Cain and Abel 4.13−5.15, paraphrased Philo’s discussion and connected it with the ‘strange woman‘ (Uebersax, 2009) in the Book of Proverbs (Prv 2:16−19; 5:3−8; 5:15−19; 5:20; 6:24−26; 7:5−27; 9:13−18; 20:16; 22:14; 23:27−35; 27:13, 15), a personification of pleasure and/or folly, and opponent of the virtuous ‘wife of thy youth.’ (Prv 5:15−19).

Cicero, in On Moral Duties (1.32.118; 3.5.25), a work addressed to his son, mentions Prodicus’ tale in the context of choosing ones career.  Others, too, have understood the tale as referring choosing one’s long term course in life.  However we have good reason to believe the story has a deeper psychological and more existential meaning. One clue to the deeper meaning is the strong appeal of the story throughout the centuries to the artistic imagination.  As Erwin Panovsky (1930) in a seminal work on art history describes, Prodicus story elicited scores of paintings and drawings beginning in the Renaissance.

Another clue to a deeper meaning is to see how this same theme is expressed in many variations throughout antiquity.  The earliest and best known example in the Greek tradition is Hesiod’s Works and Days 1.287−294.

Wickedness (κακότητα; kakotes) can be had in abundance easily: smooth is the road and very nigh she dwells. But in front of virtue (ἀρετῆς; arete) the gods immortal have put sweat: long and steep is the path to her and rough at first; but when you reach the top, then at length the road is easy, hard though it was.
Source: Hesiod, Works and Days 1.287−294 (tr. Evelyn-White)

This passage serves as a virtual epitome of book 1 of Works and Days, which also contains the Pandora and Ages of Man myths, both allegories of the moral fall.

The Judgment of Paris

Sandro Botticelli, Judgment of Paris (c. 1488)

In Greek mythology, a similar trope is found in the Judgment of Paris, where Paris (prince of Troy and brother of Hector) must choose which goddess is more beautiful: Athena, Hera or Aphrodite — allegorically symbolizing Wisdom, domestic virtue, and sensory pleasure, respectively.  His choice of Aphrodite over Athena and Hera led to the Trojan War.  If we understand the Trojan War as allegorically symbolizing the principle of psychomachia, or conflict between virtuous and unvirtuous elements of the human psyche, then the Judgment of Paris may be understood as symbolizing a depth-psychological dynamic that precipitates a fundamental form of  inner conflict.

Plato cites the above passage of Hesiod in two of his works (Republic 2.364d  and Laws 4.718e−719a). Moreover, in two underworld myths presented in his dialogues (Republic 10.614c−d and Gorgias 524a−527a), he describes a parting of two paths — one associated virtue and leading to the Isles of the Blest, and one associated with vice and leading to punishment in Tartarus. If we understand the underworld as symbolizing depth-psychological processes, it suggests that Plato is saying that orienting our mind wrongly leads to internal self-inflicted punishments, the ultimate aim of which is to educated and reform us (Gorgias 525b−c).

The Pythagorean Y

The same trope of a parting of the ways in an underworld journey is found in Book 6 of Virgil’s Aeneid (Smith, 2000).  Further, an epigram attributed (probably incorrectly, but perhaps written within a century of Virgil’s death) describes what is commonly called the Pythagorean Y (so-named because of the resemblance of ‘Y’ to a forking path):

This letter of Pythagoras, that bears
This fork’d distinction, to conceit prefers
The form man’s life bears. Virtue’s hard way takes
Upon the right hand path, which entry makes
(To sensual eyes) with difficult affair ;
But when ye once have climb’d the highest stair,
The beauty and the sweetness it contains,
Give rest and comfort, far past all your pains.’
The broadway in a bravery paints ye forth,
(In th’ entry) softness, and much shade of worth;
But when ye reach the top, the taken ones
It headlong hurls down, torn at sharpest stones.
He then, whom virtues love, shall victor crown
Of hardest fortunes, praise wins and renown:
But he that sloth and fruitless luxury
Pursues, and doth with foolish wariness fly
Opposed pains (that all best acts befall).
Lives poor and vile, and dies despised of all.
(tr. George Chapman)

Like Hercules at the Crossroads, the Pythagorean Y inspired many Renaissance works of art.

The theme of two paths associated with a choice or judgment concerning virtue vs. wickedness occurs throughout the Old and New Testament.  Perhaps best known is Psalm 1 (traditionally called The Two Paths).

When we find the same theme like this so prominently expressed across many times and traditions, it implies some universal, archetypal psychological dynamic of fundamental significance. That, I believe, is the case here. This is not a simple, prosaic morality tale such that “one must choose good and not evil.” Rather it confronts us with the existential fact — readily verifiable by introspection and close attention to thoughts — that we are always, every moment at our lives, faced with the two paths:  we can direct the immediate energies of our mind towards seeking physical pleasure, or to virtue, spirituality and higher cognitive activity.  When we choose the latter, all is well. Our mind is a harmony.  This is the path of life. But the moment we stop actively choosing virtue, our mind lapses into its immature state dominated by the pleasure principle; we are no longer true to our genuine nature, and a cascading sequence of negative mental events ensues.

This is not unlike the Freudian distinction between the pleasure principle and the reality principle, which, according to him, it is the principal task of the ego to broker.  However in this case, the reality principle is replaced by what we might call the virtue principle:  that our psyche is, in its core, fundamentally aligned with virtue.  In a sense this is still a reality principle — but, here the reality is that our nature seeks virtue.

To choose the path of virtue, wisdom and righteousness on an ongoing basis is not easy. It is, rather, as Plato calls it, the contest of contests (Gorgias 526e) and requires a degree of resolve and effort we may perhaps rightly call Herculean.

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Bibliography

Colson, F. H.; Whitaker, G. H. (trs.). Philo: On the Sacrifices of Abel and Cain. In: Philo, Volume 2. Loeb Classical Library L227. Harvard University Press, 1929.

Evelyn-White, Hugh G. (tr.). Hesiod: Works and Days. In: Hesiod, Homeric Hymns and Homerica. Loeb Classical Library L057. Harvard University Press, 1943.

Marchant, E. C. Xenophon: Memorabilia and Oeconomicus. Harvard University Press, 1923. http://data.perseus.org/texts/urn:cts:greekLit:tlg0032.tlg002.perseus-eng1

Miller, Walter (tr.). Cicero: De Officiis. Loeb Classical Library L030. Harvard University Press, 1913. https://archive.org/details/deofficiiswithen00ciceuoft

Panofsky, Erwin. Hercules am Scheidewege und andere antike Bildstoffi in der neueren Kunst, Studien der Bibliothek Warburg 18, Leipzig, 1930.

Rochette, Bruno. Héraclès à la croissé des chemins: un topos dans la literature grécolatine. Études Classiques 66, 1998, 105−113.

Savage, John J. (tr.). Saint Ambrose: Hexameron, Paradise, and Cain And Abel. Fathers of the Church 42. Catholic University of America, 1961.

Smith, Richard Upsher. The Pythagorean letter and Virgil’s golden bough. Dionysius 18, 2000, pp. 7−24. https://dialnet.unirioja.es/revista/10126/A/2000

Uebersax, John S.  The strange woman of Proverbs. 2009. https://catholicgnosis.wordpress.com/2009/05/19/the-strange-woman-of-proverbs/

1st draft, 1 Mar 2020

Hugh of St. Victor: Noah’s Ark as an Allegory for Contemplation

Art: (c) Conrad Rudolph

the ark is the secret place of our own heart

IN THE early High Middle Ages, before Scholasticism arose to dominate Christian theology, the Abbey of St. Victor in Paris was a leading intellectual center. Some work performed there built on the writings of Pseudo-Dionysius (translated into Latin two centuries earlier) to develop what we might call a science of contemplation, laying important groundwork for later Christian mysticism. Allegorical interpretation of Scripture supported this. Hugh of St. Victor’s (c. 1096–1141) exegesis of the story of Noah’s Ark is an example.

Philo (Questions and Answers on Genesis 1.89−2.78) and St. Ambrose (De Noe et Arca; PL 14.361−416) had, much earlier, allegorically interpreted the story of Noah and the Ark. In the light of these writings, the story emerges as a far more subtle and relevant myth than people ordinarily suppose. It’s very important to attend to specific details — such as the ark was three stories high, had a window and door, and that Noah first sent out a raven.

According to art historian Conrad Rudolph, Hugh lectured on the topic using a large, 10-foot square painting summarizing the symbolism. The figure shown above is Rudolph’s reconstruction.

Now the figure of this spiritual building which I am going to present to you is Noah’s ark. This your eye shall see outwardly, so that your soul may be fashioned to its likeness inwardly. You will see there certain colours, shapes, and figures which will be pleasant to behold. But you must understand that these are put there, that from them you may learn wisdom, instruction, and virtue, to adorn your soul. …

The third [ark] is that which wisdom builds daily in our hearts through continual meditation on the law of God. …

[W]hoever makes it his endeavour to cut himself off from the enjoyment of this world and cultivate the virtues, must with the assistance of God’s grace erect within himself a building of virtues three hundred cubits long in faith of Holy Trinity, fifty cubits wide in charity, and thirty cubits high in the hope that is in Christ, a building long in good works and wide in love and lofty in desire, so that his heart may be where Christ is seated at the right hand of God. …

If, then, we have begun to live persistently in our own heart through the practice of meditation, we have already in a manner ceased to belong to time; and, having become dead as it were to the world, we are living inwardly with God. We shall then easily make light of anything that fortune brings upon us outwardly, if our heart is there fixed where we are not subject to change, where we neither seek to have again things past, nor look for those to come, where we neither desire the pleasant things of this life, nor fear things contrary. Let us therefore have right thoughts, let us have pure and profitable thoughts, for of such material we shall build our ark. These are the timbers that float when they are put into the water and burn when placed in the fire; for the tide of fleshly pleasures does not weigh down such thoughts, but the flame of charity enkindles them. …

As we have said before, the ark of the flood is the secret place of our own heart, in which we must hide from the tumult of this world. But because the feebleness of our condition itself prevents our staying long in the silence of inward contemplation, we have a way out by the door and window. The door denotes the way out through action, the window the way out through thought. The door is below, the window above, because actions pertain to the body and thoughts to the soul. That is why the birds went out through the window and the beasts and men through the door. …

But the fact that the door is situated in the side denotes that we must never leave the secret chamber of our heart through our own deliberate choice, but only as necessity may happen to demand. …

But the fact that the door is situated in the side denotes that we must never leave the secret chamber of our heart through our own deliberate choice, but only as necessity may happen to demand.  …

Now we go out by action in four ways. For some actions are carnal those, that is to say, which are concerned with physical need; others are spiritual, and are concerned with the instruction of the mind. Good men and bad go forth for both. Those who are enslaved to the outward fulfilling of their lusts are like the unclean animals that went forth from the ark. Those, however, who discharge them from necessity are animals indeed, but clean. …

Eve ‘saw that the tree was pleasant to the eyes, and was good for food, and she took of the fruit thereof, and did eat’. Those who in this way issue forth through thought are like the raven which did not return. For when they find outside what gives them evil pleasure, they never want to come back again to the ark of conscience. …

The other three kinds of contemplation, however, are symbolized by the going forth of the dove who, when she was sent out and found no rest for her foot, returned at evening carrying in her mouth an olive branch in leaf. She went out empty, but she did not return so. For she found outside that which she did not have within, although the thing that she brought in she did not love outside. The olive branch in leaf denotes a good state of soul.

Source: Hugh of St. Victor, De arca Noe morali. In: Hugh of St. Victor: Selected Spiritual Writings, Translated by a religious of the Community of St. Mary the Virgin,  Harper, 1962.  [ebook].

Latin: Hugh of Saint-Victor. Omnia opera. Patrologia Latina, ed. J. P. Migne, vol. 176. Paris, 1854. Cols. 618−680.

Art:  Rudolph, Conrad. The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century. Cambridge University Press, 2014.

Archetypal or Allegorical Interpretation of the Annunciation

Today is the commemoration of the Annunciation, which celebrates the Angel Gabriel appearing to the Blessed Virgin Mary and announcing that she will bear a son who is to be named Jesus (‘Savior’). How might we interpret this event of the New Testament at an archetypal or allegorical level? Perhaps as follows:

To deliver us from the suffering and bondage of our own errors (selfishness, attachment to pleasure, fear, doubt, envy, etc.), God (or the God of our soul), by grace (unearned gift), communicates to the compassionate, nurturing, pure, and innocent principle of our soul (the Virgin Mary), that she will bring forth a Savior (manifest the Christ principle). Therefore despite our suffering and an awareness of our own tendency to error, and of our inability, because this tendency to error runs so deep that we by ourselves cannot correct it, we have hope in a still higher or deeper principle within, the Self-Realization or Christ principle.

Specifically, she is promised that she will bear a son who is both God and man. When the Christ principle is born within us, we are in correct relation to the universe, namely, that of bringing form, purpose, beauty, harmony, integrity and morality to the material universe, living simultaneously as a material and a spiritual being, connecting or yoking heaven and earth. This yoking is the meaning of the word ‘yoga’ (and of the word ‘religion’, the syllable ‘lig’ meaning connection, as in ‘ligament’).

Since salvation comes as a free gift from God, what is our role in the process?  It is to adopt an attitude of pious humility and trust.  We should most definitely be active in the process, but act in response to the promptings of God and the Holy Spirit, and not rely overmuch on ‘our own wisdom’ or be carried away by our own schemes for reform.  That is, our soul should say with the Virgin Mary, “Behold the handmaid of the Lord.”

Important symbols in paintings of the Annunciation are the lily (purity), and a book (Wisdom).

As always, it is to be emphasized that interpretation of Scripture at an allegorical level does not preclude a more literal or historical interpretation. For Christians allegory enhances, not replaces, traditional teachings. For non-Christians, it supplies a way to understand Christian Scripture as personally relevant.

A second point to repeatedly emphasize is that allegorical interpretation does not deliver a fixed doctrine or certain theory.  Rather, by its very nature allegorical interpretation is suited only to produce hypotheses, which one may then test and potentially confirm by personal experience, reading, or other lines of inquiry, or to suggest general principles which might lead to more accurate interpretative insights.

Neoplatonism and Christian Iconography

One picture is indeed worth a thousand words.  Once someone asked me for a simple definition of Neoplatonism, and I was surprised to find myself at an almost complete loss for words.  It’s not that the principles of Neoplatonism are too complicated, but more that they involve so different a way of looking at things  that simple definitions do not readily suggest themselves.  Christian Neoplatonism seems at least as difficult, and perhaps more so, to define in a few words as Neoplatonism.

Therefore I was quite pleased to discover this illustration, which appeared quite by accident in the course of other pursuits, and which expresses several basic premises of Christian Neoplatonism.

About this work I know nothing – not the artist, source, or even original medium.  The style is suggestive of late 19th century British or American Christian art.

The literal scene, in any case, is the Transfiguration of Jesus (Matt. 17:1-9, Mark 9:2-8; Luke 9:28-36):

1. Jesus appears as the main figure, flanked left and right by Moses and Elijah.
2. Kneeling in the foreground are the apostles John (with folded hands), who kneels beside his brother James, and Peter kneeling by himself.
3. Surrounding Jesus is an almond-shaped ‘aura’, known technically as a mandorla.  This artistic motif is analogous to a nimbus or halo, but surrounds the body of a divinity rather than the head.  An oval mandorla around Jesus is a staple of Transfiguration art.

Now for the Neoplatonic elements.  We hasten to remark that whether the artist knew something of Neoplatonism, or if instead these elements derive solely from unconscious inspiration, is not known.  A third possibility, imitation of other works, cannot be excluded, but the uniqueness of the iconography here tends to suggest originality.

The work can be parsed as a set of intersecting or overlapping circles:

4. The largest circle, encompassing most of the area, could be interpreted as the material world.  This area itself is composed of concentric rings.  Notice, for example, the band containing radiating tongues of flame, suggesting the Sun.  Beyond that is the celestial, starry realm.  This much reminds us of ancient ‘concentric spheres’ models of the universe.
5. Coming from above is a second circle (or set of circles).  This clearly seems to correspond to God, or God the Father.   Note, though, the similarity of elements between this circle and the larger one.  The similarity could be understood as God containing the archetypes of all that is present in the material world.  That is, everything in the material realm — the earth, Sun, stars, etc. — first exists as ideas in the mind of God, or what Neoplatonists called the noetic cosmos.
6. Connecting the two circles of God and the material world is Jesus.  The viewer’s eye is drawn to the large and elaborate halo of Jesus as distinct from his body.  The halo again contains the details found in the God and earth circles; this would fit with the idea of Jesus, as the Word (Logos) of God, being in a sense an ‘image’ or ’emanation’ of God. (We use these words very loosely,  however; Christian theologians expressly deny that Jesus Christ is an emanation of God the Father; all we are really considering here is the idea of possible structural homologies between God, Jesus Christ, and the material world).
7. The God circle includes a smaller circle, which (a) again, structurally recapitulates the elements of the other circles, and (b) contains a prominent hand.  The hand seems to be connecting God the Father and Jesus.  The placement of this circle and hand seems to suggest their mediating relationship between God and Jesus.  One feature of Neoplatonism (e.g. Proclus) and Christian Neoplatonism (e.g., Dionysius the Areopagite) is the frequent postulation of mediating levels or agents between other levels or agents.

Whether the hand is meant to suggest the Holy Spirit is not clear.  It’s placement just above Jesus’ head would be consistent with such an interpretation; however the artist must have intentionally chosen to place a hand, rather than a dove here,  and perhaps with greater artistic effect.

Christianity for Agnostics

Introduction

One way of expressing the thesis presented here is this:  if one were to design an ideal spiritual-philosophical system for Americans and Europeans, I believe it would contain everything that traditional Christianity has, except for some problematic and potentially dispensable doctrinal elements (e.g., the idea that religious authority can replace personal free inquiry in religious matters). One may participate in the psychological experience of Christianity, in my personal opinion, while at the same time reserving judgment on certain specific doctrines of this kind.  Doctrine can never be perfect, because ultimate realities cannot be expressed in words; any attempt to do so must inevitably produce contradiction.  Or to simply look at the matter historically, the Christian authorities were wrong about Galileo, and it is certain that some doctrines of today will follow the route of the earth-centered universe.

But such limitations are no cause to ‘throw the baby out with the bathwater’. The Christian tradition already exists.  It is the product of centuries of continual refinement, a consummate work, polished and refined by the wise, loving, and inspired hands of countless individuals – each potentially the image of God, but in any case a human being with angelic abilities and aspirations, unimaginable creative potential, and loving instincts  Moreover, this tradition is an organic cultural whole, which operates according to principles yet unknown to science. The suggestion that one might begin from scratch, constructing a new, personal religion, spirituality, or psychological system of equal or comparable quality, by selectively borrowing pieces here and there is unlikely at best.  Such a view is hubris of a very high order, and elevates to personal godhood that meager sliver of consciousness denoted by the word ‘ego’. One may as well try to equal Beethoven in writing a symphony, or Raphael in painting.

Although I am a Christian myself, for this article I wear my hat as psychologist.  My interest in that capacity is to assist others, as best I can, to achieve psychological integrity and self-actualization.  Nothing asserted is contrary to reason. To a significant extent I follow the theories of Carl Jung here (but disagree with Jung on several important points, and would hesitate to call myself a ‘Jungian’).  More fundamentally, I follow the basic trend of intelligently-based rejection of radical empiricism that began with the Romantic movement and is associated, for example, with writers like Coleridge and Wordsworth.  The leading principle of the Romantic argument – which has tragically been lost in the 20th and 21st centuries (yet are  more urgently important now than ever) – is that Enlightenment rationalism allows no place for the experience of the sublime, or those things which give deepest meaning to our lives.

While written from a Roman Catholic perspective,  the points below apply with similar force to other liturgical Christian denominations, such as the Anglican, Orthodox, and Eastern Catholic Churches.  Many of the same arguments might also apply to traditional Judaism.

This, then, is sufficient introduction.  What follows is a brief listing of specific points, organized around the categories of (1) Psychology, Anthropology and Ethics; (2) Cultus; and (3) Metaphysics.

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1. Psychology, Anthropology and Ethics

Ethics

Christianity is an advanced ethical system that promotes the abandonment of personal egoism.

The pronounced emphasis in Christianity on acts of charity follows from and supports the abandonment of egoism.  In the West, Christian saints and charitable institutions set the standard for egolessness.

The abandonment of egoism, or humility, as it is technically known, also manifests itself in a surrender to God’s will.  Here we encounter a constellation of concepts – Providence, Grace, the Logos, etc. – associated with an orderly plan for all Creation, and man’s role therein. These all point to the potential attainment of a state of harmony between thought, action, and Nature.  While Christianity is often criticized as being dualistic (e.g., denigrating the natural world, and tolerating , or even supporting its exploitation), true Christianity aims for a condition of non-duality.

If one investigates the matter attentively and honestly, one will readily observe within oneself a definite capacity to (1) act in ways that harm oneself; (2) act in ways that harm others; and (3) have negative thoughts (i.e., thoughts which disrupt, rather than serve to integrate the mind).  The honest person will also recognize a tendency to self-deceit, and lack of objectivity in evaluating ones thoughts and actions.  Lacking a better term, we may lump all of the preceding under the provisional term of “sin.”

Sin, therefore, is a useful concept, because it denotes a range of important related phenomena, for which no other term is available.  We could as easily name it “what traditional religions call sin”, but that would be a bit awkward.  Various associations to guilt, punishment, penance, etc., or the idea that “sin” may be defined unconditionally by an ecclesiastic authority we may exclude from our operational definition.

This thing, “sin”, then, exists, and is to our detriment.  Unless one is courageous and honest enough to accept ones capacity for “sin” in some sense, it is difficult to see how one will find happiness, achieve personality integration, or improve ethically.

Soteriology

Salvation.  It is similarly apparent to the honest observer that one exists in a state of need and deprivation.  Most of us live day to day in various degrees (often severe) of unhappiness and lack of fulfillment.  (Recall Thoreau’s remark:  “The mass of men lead lives of quiet desperation.”)  All too infrequently, we live in states of anxiety, depression, aimlessness, confusion, wasted energy, etc.  For this reason, each person, then, instinctively seeks what we may call psychological salvation.  Christianity is not necessarily the only theoretical means of achieving psychological salvation; but it is an established means, tested by time, designed for this purpose, and especially adapted to the personality structure of Westerners.  It would be difficult to demonstrate that any other means is more effective.

The Christ Principle

Many psychologists speak of a “self-actualizing” principle in the human psyche:  a force, drive, principle, or telos which directs one to levels of greater integration, completion and happiness.  For Christians, this self-actualizing principle can be understood as an inner Christ.  We may call it by other names, but that does not change the significance of this salvific principle.

Inasmuch as this principle is present in all people, it is reasonable to think of there being a universal Archetype – an original principle of which all individual instances are images.  This Archetype would correspond to Jesus Christ as a cosmic principle.  However, it must be admitted that this latter part is more speculative, and more a matter of personal faith and intuition.  The point to be made here is that modern psychology affirms the existence of an individual self-actualizing principle, and this principle is both acknowledged by and central to Christianity.

Forgiveness

The principle of forgiveness is central to Christian ethics.  The earnest Christian affirms, “as I forgive those who trespass against me” with each recitation of the Lord’s Prayer.  The Apostle’s Creed also affirms as a basic Christian belief “the forgiveness of sins.”  Christ died, Christians are taught, for the forgiveness of sins.  Nearly his last words on the cross were, “Father, forgive them.” St. Paul, who became one of the greatest Apostles, was previously a great sinner — as though this aspect of his life was meant to engrain in our minds the availability of forgiveness.

If one probes deeply into human nature, one may observe that issues of guilt and forgiveness are of immense concern.  Almost all of our difficulties, personal and social, relate, in some way or another,  to an inability or failure to forgive.  Yet there is never anything gained by not forgiving.  Holding onto anger and resentment is a deep-seated and pervasive flaw in human character.

In no other religion is an emphasis on forgiveness so pronounced. Christianity might well be called a religion of forgiveness.   That this is an ideal many find themselves unable to live up to completely is incidental for our purposes.  What matters is that it is an ideal.

The God-image

A central tenet of Christianity is that the human being is made in God’s image.  This has profound implications for how we view ourselves and other people.

2. Cultus

The eminent psychologist Carl Jung once wrote that, if one of his patients reported that he or she had returned to participation in the Catholic Church, he (Jung) considered that patient cured, or in any case advanced beyond the point that psychotherapy would be of further use.  By this he meant that within the human psyche are archetypal principles and forces that are largely beyond our ability to scientifically understand, but are effectively dealt with by religion.  Religion, properly practiced, in Jung’s view, is a primary means by which our culture has evolved for grappling with these archetypes, and achieving integration of the personality.

This brings us to the important subject of  cultus, which we may define here as all the non-doctrinal practices and traditions of Christianity.

Opponents of religion and Christianity typically level their accusations against specific Christian doctrines. This mistakenly equate Christianity with doctrine.

But much of Christianity’s value comes from its cultus.  This cultus is the result of a millennia-long process of cumulative development and improvement.

Just as our material culture – how to mix cement or build bridges – has improved  through the centuries inexorably, regardless of regimes or wars, the  culture of Christianity, its cultus, has been gradually improved and refined.  Any time an innovation in cultus emerges, it is compared with the present counterpart and the better chosen.  A successful innovation introduced one place can be immediately imitated elsewhere.

So Christianity has grown gradually to satisfy the aesthetic, intellectual, emotional and spiritual needs of its flock.  When a process like this continues for a long time it produces considerable refinement.  Christian cultus  continually improves to accommodate the deepest needs and propensities of the human psyche.

Three important divisions of Christian cultus are Art, Literature, and Practices.

Art

Fine art. Christianity has inspired many of the finest works of art that Western culture has produced, including paintings, sculptures, illuminated manuscripts, stained glass windows, and so on.

Music.  Similarly, Christianity has inspired great productions of music from composers such as Bach, Handel, Vivaldi, Schubert, Vaughan-Williams, and innumerable others.  This superlative music evokes feelings and intuitions of the highest order, which no words adequately describe, although terms like Joy, Beauty, Wonder, and Mystery are related to it.  But who has ever composed an Atheist Oratorio or a Skeptic’s Symphony?

Architecture.  What has been said above can also be said of the magnificent churches of Christianity, the basilicas and, especially, the Gothic cathedrals of Europe.  To enter one of these buildings is to enter the realm of the sublime – or, as some would have it, heaven itself.

Literature

Scripture.  Even were it not religious, the Bible would command our utmost attention as an unsurpassed work of literature and psychology.  Every aspect, problem, difficulty and puzzle of human life is somewhere addressed therein.  It has grown organically, reflecting the judgment of erudite and lofty-minded collators and translators.  It passes to us a gem of human wisdom and insight.

I do not believe the Bible is literally true in every detail.  In fact, I find such an assertion contrary both to reason and Christian teaching itself!  But I do consider the Bible as something sacred, numinous – as exemplifying or manifesting a reality higher than this material one.  Whatever you seek from ancient lore, from mysterious writings of great import, however you honor that sacred human urge – seek it first in the Bible and you will not be disappointed.  The Bible is your book.  Approach it as if it were written for you alone.

Patristic literature.  Along with the Bible, we also possess an immense literature by the so-called Fathers (and Mothers) of the Church, both West and East.  Luminaries in this constellation of geniuses include Origen of Alexandria, St. Augustine of Hippo, the Cappadocian Fathers (St. Basil, St. Gregory of Nyssa, St. Gregory of Nazianzus), St. John Chrysostom, St. Ambrose of Milan, and St. Maximus the Confessor, among others.

These great authors have produced profoundly beautiful and deeply insightful works.  Nobody who reads them is disappointed.  No modern writer today’s approach them degree of knowledge, rationality, and skill.

One might ask:  if these writers are so profound, why are they not better known?  The answer is largely that, in many cases, it has only been recently that their works have appeared in modern languages.  Even the works of St. Augustine have not yet been fully translated.

Doctors of the Church.  Another category of traditional Christian writers is that of the Church Doctors.  Examples include St. Thomas Aquinas, St. Teresa of Avila, St. John of the Cross, St. Catherine of Siena, and St. Francis of Sales.  Again, these writers show remarkable humanism and insight into psychology.  It is most unfortunate that their works, sources of deep insight and inspiration, are neglected solely because they are Christian or Roman Catholic.

Christian mysticism. The Christian contemplative and mystical tradition is a living one.  Today there are still many monastic centers, carrying on a tradition of mystical practices that originated in ancient times – perhaps even before Christianity.  The works of, say, St. John Ruysbroeck, command our attention if for no other reason than their sheer beauty.

Asceticism.  Many Westerners today, and even many psychologists, recognize the benefits of practices like mindfulness meditation and the watching and analyzing of thoughts.  There is no doubt that these practices have evolved to a very high degree in Eastern traditions such as Buddhism.  Yet no less impressive is the ascetical psychological tradition of the West, found in Catholic and Orthodox Christianity.  The  Philokalia  is an outstanding example of this tradition.   The Western ascetical tradition is in no way inferior to the Eastern tradition, yet is better suited to the culture, moirés, and temperament of Americans and Europeans.

Practices

The Mass.  Even were it viewed only as a form of ritual art, the Mass’s value  would be more than sufficiently demonstrated.  Cross-cultural evidence reveals a universal human interest in ritual.  Ritual appears to satisfy needs that cannot be met any other way.  Ritual is a language of the unconscious, and, as such, needs no rational defense.  Many rituals, the Mass included, are connected with personal transformation.  Because Carl Jung’s essay, ‘Transformation Symbolism in the Mass’ (Collected Works, Vol. 11, Psychology and Religion: West and East, 1975, pp 201-98) has treated of this subject admirably well, we need say no more here in this regard.

Other rituals.  The ancient rituals, rites and ceremonies associated with special occasions – baptisms, marriages, the Easter and Christmas seasons, and so on – must also be mentioned.   It is difficult to convey the aesthetic and deeply satisfying quality of these to any who have not seen them first-hand.  They are a living connection with our ancient past.

In the tradition of Greek pagan religion, one sometimes encounters the idea of theurgy – or ritual practices aimed to promote spiritual growth, in connection with various gods or goddesses.  Some people today find such ancient pagan religions attractive for this very reason.  Yet within Christianity there is the same sort of thing – namely the liturgies, rituals, and sacramental practices – developed to a much higher degree.  But in the case of Christianity, this is a living tradition, not one that modern people have tried to reconstruct based on scanty past evidence and conjecture.

Prayer.  What good person has never felt the deep and spontaneous urge to pray for another, whether it be a relative, friend or the victim of unfortunate circumstance?  The urge to pray is so universal that we can little imagine it not having decidedly positive effect – even if only in the mind of the one who prays.  If we are to pray, if we are pray-ers by disposition, may we not conceive of a technology of prayer?  Should prayer be the only aspect of human life in which tradition and the cumulative experience of others is be of no benefit?  Christianity teaches us how to pray.  Moreover, it contains a rich store of formulas and prayers suitable for every circumstance in life.

Christian prayer is supported by traditional practices. Consider, for example, the folding of hands by a Christian in devout prayer.  In the terminology of yoga, this is called a mudra – a ritual position of the hands, thought to have psychological or spiritual value.  It is good to study yoga, with its various mudras and asanas; yet one should not, in the process, neglect the store of comparable postures and actions in the Christian tradition – the kneeling, the crossing of oneself, the bowing of the head, the raising of hands in characteristic ways.  The ritual positions and actions of a priest saying Mass are exceptionally interesting in this regard, yet are typically taken for granted.

Liturgical calendar.  Over the centuries, the Christian Church has evolved an elaborate and rich calendar, associating festivals and commemorations with various days and seasons.  These no doubt reflect very ancient traditions.  They connect us with the changing seasons, and promote a harmonization of our lives and souls with the natural world

Veneration of saints.  What is remarkable is not so much that there are saints, but that there are so many.  Each saint is the expression of some virtue or human excellence of which the human being is capable.  Each saint, it may be said, corresponds to some archetype of the individual soul.  Each constitutes an ideal whose example we are naturally inclined to imitate.  By studying the lives of the saints, we learn about our own deepest aspirations and potentialities.

3. Metaphysics

The Holy Trinity. To some, the doctrine of the Holy Trinity may seem a strange and arbitrary one.  But, in fact, the doctrine partly derives from the speculation and theories of pre-Christian, Platonic philosophers.  The Trinity solves certain meaningful theological and metaphysical problems.

Divine Mother.  Christianity also makes ample room for and pays due homage to a Divine Feminine principle.  Admittedly, the written doctrine on this point is somewhat unclear and perhaps even a little contradictory.  But, to return briefly to the idea of cultus, clearly at that level considerable attention is paid to the Divine Feminine, and this promotes psychological integration.

Angels.  This subject is a broad one, but one aspect of particular interest is the idea of a guardian angel.  This Christian concept corresponds to very ancient notions of a companion spirit associated with the individual person.  I hope to write more on this at another time; for now let it suffice simply to suggest a possible connection between this concept and a Higher Self.

Communion of Saints.  One of the most extraordinary innovations of Christianity is the concept of a communion of saints – a spiritual community of Christians, both living and dead, into a kind of super-personal organism or institution.  This makes a lot of sense.  If our souls are eternal, and if we may, as many suppose, communicate and help each other at a spiritual level, then would it not be in our interests to form some kind of spiritual organization for mutual benefit and to effect God’s work together?

Look at the challenges of the world today, the great social needs, the injustice, the terrible deprivation of so many.  If you are reading this, it presupposes that you are the kind of person who is moved to concern and action by such things.  Can you solve them by yourself?  Perhaps you have tried, and, if so, likely have not gotten very far.  Would it not make sense to at least explore the possibility of working within a spiritual communion of similarly inclined souls?  If God wants these problems solved, would it not make sense that He would employ such a means as this?

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In the interests of the reader, this list has been kept short and minimal.  Many more items could be included and elaborated on at length.  Let these suffice, however, to supply an honest view of how one Christian views his faith.  Hopefully even the most inveterate skeptic will discern that there is a much firmer foundation here than mere superstition, or failure to exercise disciplined reasoning – the two objections raised most commonly today against Christianity.

The Hunterian Psalter

The Hunterian Psalter is a twelfth century illuminated manuscript, thought to have been produced in England c. 1170. It is regarded as the greatest treasure of William Hunter’s (1718-83) magnificent library of books and manuscripts.

Dozens of excellent images can be seen by clicking the picture below: