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IN DEFENCE OF CHRISTIANITY

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In 2017, the online video subscription service, Hulu, embarked on the production of Margaret Atwood’s (1939 – ) 1985 novel, The Handmaid’s Tale. The story is set in the fictional, totalitarian state of Gilead: a society run by fundamentalist Christians who overthrew the previous secular state and set up a theocracy in its wake. For years, influential thought leaders and other arbiters of popular opinion have espoused the opinion that broader society would greatly benefit from the abolition of Christianity. It is my belief that such an occurrence would have precisely the opposite effect.

No group has criticised Christianity more than the New Atheists. Frequently deriding it as nothing more than “science for stupid people”, prominent New Atheists have ridiculed Christianity and dismissed its positive effects. Atheists and anti-Christians turn Christianity into a straw man by reducing it down to his most basic elements (they are helped, unfortunately, by those fundamentalist Christians who still assert that the earth is literally six-thousand years old). They then use this straw man to discredit the idea of faith. The philosopher, Sam Harris (1967 – ) argued in his book, The End of Faith that religious belief constituted a mental illness. More alarmingly, the British Scientist, Richard Dawkins (1941 – ) took things one step further by claiming that religious instruction constituted a form of child abuse.

The basis for much of Christianity’s negative portrayal finds its roots in the philosophies of the political left. A central tenet of the left-wing worldview is an adherence to secularism, which appears set to replace Christianity as the prevailing cultural belief system. (This is not to be confused with atheism, which denies the existence of a creator). On the one hand, secularism promotes both religious liberty and the separation of church and state (both of which are good things). On the other hand, however, proponents of secularism reject the knowledge and wisdom religious institutions can impart on the world. In a secular society, God can be believed to exist, but not in any sort of a productive way. God is something to be confined the private home or the sanctuary of one’s local Church. God is something to be worshipped behind closed doors where no one can see you.

Of course, anti-Christian rhetoric has been a facet of popular culture since the 1960s. Today, finding a positively-portrayed devout Christian family is about as likely as finding a virgin in the maternity ward. Christians are routinely depicted as stupid, backwards, hateful, and extreme. By contrast, atheists are routinely depicted as witty, intelligent, and tolerant. In short, Atheism is deemed as good and Christianity is deemed as bad. And, of course, this attitude has filled some with a kind of arrogant grandiosity. During an interview in 1966, John Lennon (1940 – 1980) opined: “Christianity will go. It will vanish and shrink. I needn’t argue with that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first, rock and roll or Christianity.”

The mainstream media rarely discusses the persecution of Christians. Indeed, prejudice and discrimination against Christianity is treated with a type of permissiveness that prejudice and discrimination against other religions, Islam being a primary example, is not.

Christians are estimated to be the victims of four out of five discriminatory acts around the world, and face persecutions in one-hundred-and-thirty-nine countries. Churches have been firebombed in Nigeria. North Koreans caught with Bibles are summarily shot. In Egypt, Coptic Christians have faced mob violence, forced removals, and, in the wake of the Arab spring, the abduction of their females who are forced to marry Muslim men.

In China, Christian villagers were instructed to remove pictures of Christ, the Crucifix, and Gospel passages by Communist Party officials who wished to “transform believers in religion into believers in the party.” According to the South China Morning Post, the purpose behind the drive was the alleviation of poverty. The Chinese Communist Party believed that it was religious faith that was responsible for poverty in the region and wanted the villagers to look to their political leaders for help, rather than a saviour. (Wouldn’t it be wonderful if the Chinese Communist Party looked at their own evil and ineffective political ideology as the true cause of poverty in their country rather than blaming it on religion?). As a result, around six-hundred people in China’s Yugan county – where about ten percent of the population is Christian – removed Christian symbology from their living rooms.

Popular culture and thought in the West has attempted, with a great deal of success, to paint Christianity as stupid, backwards, dogmatic, and immoral. It is the presence religion that is to blame for holding the human race back. It is religion that is to blame for racism, sexism, and all manner of social injustices. It is religion that is the cause of all wars. So, on and so forth.

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I strongly disagree with this argument. Indeed, it is my belief that the abolishment of Christianity from public life would have the effect of increasing intolerance and immorality. Christianity’s abolishment will have precisely this effect because it will abolish those metaphysical doctrines – divine judgement, universal and absolute morality, and the divinity of the human soul – that has made those things possible.

Christianity and Western Civilisation are inextricably linked. In the field of philosophy, virtually all Western thinkers have grappled with the concepts of God, faith, morality, and more. As the writer, Dinesh D’Souza (1961 – ) wrote in his book, What’s So Great About Christianity:

“Christianity is responsible for the way our society is organised and for the way we currently live. So extensive is Christian contribution to our laws, our economics, our politics, our art, our calendar, our holidays, and our moral and cultural priorities that J.M. Robers writes in Triumph of the West: ‘We could none one of us today be what we are if a handful of Jews nearly two thousand years ago had not believed that they had known a great teacher, seen him crucified, died, and buried, and then rise again’.”

The primary contribution of Christianity to Western civilisation has been to act as a stabilising force, providing society with an overarching metaphysical structure as well as rules and guidelines that act as a moral foundation. This shared metaphysical structure and moral foundation, combined with traditions and cultural customs, has the effect of bringing a country, a township, even a school or parish, together.

When Christianity lost its supremacy in society it was replaced by smaller, less transcendent and more ideological, belief systems. Where people had once been unified by a common belief, they have now become more divided along ideological lines. Religious belief has not been replaced by rationalism or logic, as the New Atheists supposed. Rather, people have found outlets for their need to believe in other places: social activism, political ideologies, and so forth.

The most prevalent contribution that Christianity has made to the Western world comes under the guise of human rights. Stories like The Parable of the Good Samaritan have had a remarkable influence on its conception. Human rights stem, in part, from the belief that human beings were created in the image of God and hold a divine place in the cosmos.  Christianity has played a positive role in ending numerous brutal and archaic practices, including slavery, human sacrifice, polygamy, and infanticide. Furthermore, it has condemned incest, abortion, adultery, and divorce. (Remarkably, there are some secularists who wish to bring back some of these antiquated practices).

Christianity placed an intrinsic value on human life that had not been present in pre-Christian society. As the American Pastor, Tim Keller (1950 – ) wrote in Reasons for God: “It was extremely common in the Greco-Roman world to throw out new female infants to die from exposure, because of the low status of women in society.” Roman culture was well known for its brutality and callousness. Practices of regicide, gladiatorial combat, infanticide, and crucifixion were all common. Seneca (4BC – AD65), Nero’s (AD37 – AD68) chief advisor, once stated that it was Roman practice to “drown children who, at birth, are weakly and abnormal.”

Christian morality has had a notable effect on our views on human sexuality and has helped to provide women with far greater rights and protections than its pagan predecessors. Christianity helped to end the hypocritical pagan practice of allowing men to have extra-marital affairs and keep mistresses. It formulated rules against the cohabitation of couples prior to marriage, adultery, and divorce. Unlike the Ancient Greeks and Ancient Romans, Christians do not force widows to remarry, and even allowed widows to keep their husband’s estates.

The Christian faith has been instrumental in the enactment and promotion of public works. The instigator of the Protestant Reformation, Martin Luther (1483 – 1546) championed the idea of compulsory education and state-funded schools. Similarly, the Lutheran layman, Johann Sturm (1507 – 1589) pioneered graded education. Christianity has been the source of numerous social services including health-care, schooling, charity, and so forth. Christianity’s positive belief in charity and compassion has lead to many orphanages, old-age homes, and groups like the Sisters of Charity and Missionaries of the Poor, the YMCA and YWCA, Teen Challenge, the Red Cross, and numerous hospitals and mental health institutions being founded by the faithful.

One of the frequent criticisms levelled at the Christian faith, particularly the Catholic Church, has been that it has stymied scientific and technological development. In truth, Western science and technology have been able to flourish because of the influence of Christianity, not in spite of it. This is because the Christian belief that God created everything lends itself to the idea that everything is worth contemplating. It is certainly true that the Catholic Church has been hostile to those discoveries that do not conform to its doctrine. Galileo, for example, was forced to retract his claim of heliocentrism because it challenged the Church’s doctrine that the earth acted as the centre of the solar system. For the most part, however, Christianity has been largely supportive of scientific endeavour. Christian scientists have included Gregor Mendel (1822 – 1884), Nicolaus Copernicus (1473 – 1543), Johannes Kepler (1571 – 1630), Galileo Galilei (1564 – 1642), Arthur Eddington (1882 – 1944), Isaac Newton (1643 – 1727), Blaise Pascal (1623 – 1662), Andre Ampere (1775 – 1836), James Joule (1818 – 1889), Lord Kelvin (1824 – 1907), Robert Boyle (1627 – 1691), George Washington Carver (1860s – 1943), Louis Pasteur (1822 – 1895), Joseph Lister (1827 – 1912), Francis Collins (1950 – ), William Phillips (1914 – 1975), and Sir John Houghton (1931 – ), and more.

The forces behind the stratospheric success of Western civilisation has not been its art or music or architecture, but the ideas it has built itself upon. It is notions like the rule of law, property rights, free markets, a preference for reason and logic, and Christian theology that are responsible for making Western society the freest and most prosperous civilisation that has ever existed. It cannot survive with one of its central tenents removed.

THE LADY VANISHES

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This week for our cultural article, we will be examining Alfred Hitchcock’s (1899 – 1980) 1938 film, The Lady Vanishes.  Set primarily on a train bound for England from Central Europe, Hitchcock’s film weaves an intriguing and intense narrative around characters united and divided by their snobbery, self-centredness, complacency, and nationalism.

The Lady Vanishes is one-part comedy, one-part murder mystery, and one-part thriller. The film’s first act is rather comedic in nature. A recent avalanche has blocked the train lines, forcing most of the residents to remain at the hotel overnight. The hotel in question becomes so overbooked and so strained in its resources, that two of its guests are forced to sleep in the maid’s quarters. This first act draws the audience in with its lighthearted attitude and its mixture of verbal and physical humour. Not even the murder of a folk singer outside the hotel is enough to distract us from the revelry.

The first act ends with the disappearance of the film’s titular character, Miss Froy (May Whitty, 1865 – 1948). From this point, the film becomes a murder mystery with Iris Henderson (Margaret Lockwood, 1916 – 1990), a wealthy socialite, and her helper, the musicologist Gilbert Redman (Michael Redgrave, 1908 – 1985), searching for her. Here Hitcock begins to play subtle tricks on our minds. We, like Iris Henderson, know Miss Froy exists, but the other characters deny ever having seen her. Simultaneously, Hitchcock plays with our curiosity and our frustration. Eventually, Miss Froy is found and the film then climaxes with a thrilling and action-packed third-act.

Eventually, Miss Froy is found and the film then climaxes with a thrilling and action-packed third-act. This act becomes a fight for survival as the film’s British characters are forced to fight against unnamed foreign forced outside.

Throughout the Lady Vanishes, themes of nationalism and class-snobbery pop-up.  The film’s British characters and arrogant and insular in their attitudes. When it appears that they are about to be killed by foreign police officers, one Brit rather proudly exclaims: “They can’t do anything to us. We’re British subjects.” This is juxtaposed by the subtle undercurrent of politics, exemplified by the film’s antagonists, who may or may not be in league with Fascist Italy.

Then there’s the notion of social class and the snobbery and divisiveness that goes with it. (A reality Hitchcock, as the son of a trader, was quite familiar with). Hitchcock cynically links money and title together by having Iris return to England to marry Lord Charles Forthingale for no other reason than to appease her father, who is reportedly “aching to have a coat of arms on the jam label.” Then there’s the cricket-obsessed Charters (Naunton Wayne, 1901 – 1970) and Caldicott (Basil Radford, 1897 – 1952) representing the idle upper-class. (These two would become popular stock characters in numerous films, radio plays, and television shows).  And then there’s the travelling lawyer (Cecil Parker, 1897 – 1971) and his mistress (Linden Travers, 1913 – 2001) who avoid contact with those they deem beneath them, and who are perfectly prepared to lie to protect their precious social status.

The Lady Vanishes has frequently been credited as Hitchcock’s last great British film.  Hitchcock masterfully weaves elements of mystery, suspense, humour, international politics, class-snobbery, and nationalism together to form an intriguing story. The Lady Vanishes is still as intriguing today as it was nearly eighty years ago.

ROCK IS MASCULINE

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This July, Elvis Presley’s first single, That’s All Right, turned sixty-three years old. For the youth of the time, Elvis Presley’s arrival marks the cultural shift away from the Bing Crosby and Doris Day mentality of their parents’ generation to one that is centred around youth and adolescence. The repercussions of this seismic shift can still be felt.

Like all cultural phenomena, rock was denounced as a passing fancy at best, and satanic at worst. And like all cultural phenomena, many have failed to grasp its masculine cultural symbology: while there have been some great female rockers (Grace Slick, Suzi Quatro, Joan Jett, Deborah Harry, to name a few), rock has primarily been the manifestation of raw masculine energy and lust.

Rock music owes a lot to the myths and folklore of the past. In his book, the Secret History of Rock ‘n’ Roll, Christopher Knowles postulates that rock music is deeply rooted in the mythological figures of Orpheus, Cybele and Attis, Isis, Mithra, the Druids, and so forth. Knowles writes:

“What did the Mysteries offer that other cults of time did not? Almost exactly what rock ‘n’ roll would, thousands of years later. Drink. Drugs. Sex. Loud music. Wild pyrotechnics. A feeling of transcendence – leaving your mind and your body and entering a different world, filled with mystery and danger. A personal connection to something deep, straight, and impossibly timeless. An opportunity to escape the grinding monotony of daily life and break all the rules of polite society. A place to dress up in wild costumes and dance and drink and trip all night.”

Nowhere is this sentiment better expressed than in heavy metal. A genre whose thematically operatic power is drawn from themes of violence, madness, mythology, and the iconography of horror. Central to heavy metal music are fantasies of masculine virtuosity and control. According to Robert Wasler, author of the book Running with the Devil, “metal songs usually include impressive technical and rhetorical feats on the electric guitar, counter-posed with an experience of power and control that is built up through vocal extremes, guitar power chords, distortion, and sheer volume of bass and drums.”

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Originally, the term ‘rock ‘n’ roll’ was an African American euphemism for sexual intercourse. Blues music, one of the roots of rock, contains a plethora of examples of the raw masculine aggression and lust that later rock music would allude to. Muddy Water’s Hoochie Coochie Man, for example, utilises the theme of masculine self-mythologization:

“The gipsy woman told my mother

Before I was born

I got a boy child comin’

He’s gonna be a son of a gun

He’s gonna make pretty women’s

Jump and shout

Then the world wanna know

What this all about

But you know I’m him

Everybody knows I’m him

Well you know I’m the hoochie coochie man

Everybody knows I’m him.”

In a similar way, Muddy Water’s Mannish Boy, itself a response to Bo Diddley’s I’m a Man, continues the theme of masculine self-mythologization:

“Now when I was a young boy

At the age of five

My mother said I was gonna be

The greatest man alive

But now I’m a man

I made twenty-one

I want you to believe me, baby

I had lots of fun

I’m a man,

Spelt ‘m’, ‘a-child’, n’

The represents ‘man’

No ‘b, o-child, y’

That spells ‘mannish boy’.”

Sex forms another important theme in blues music. Waters’ song Got My Mojo Working features themes of hoodoo – an African American form of folk spiritualism – and seduction. Other songs, such as Screaming Jay Hawkins I Put a Spell on You, focuses on the raw, animalistic qualities of lust:

“I put a spell on you

Because you’re mine

Stop the things you do

Watch out!

I ain’t lying, yeah

No running around

I can’t stand

I can’t stand, no put me down

I put a spell on you

Because you’re mine

Watch out, watch out

I ain’t lying

I love you

I love you

I love you, yeah

I don’t care if you don’t want me

I’m yours right now

I put a spell on you

Because you’re mine.”

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Masculinity and sex have always been themes in rock music. These themes manifest themselves most peculiarly in the quasi-religious experience of rock concerts. No one who has seen footage of Woodstock or its darker equivalent, Altamont, can fail to notice the undercurrents of tribalism present at these events. As one observer noted: “one of the most interesting developments in the United States in 1956 was the behaviour of hundreds of thousands of mostly white, middle-class girls, who screamed, danced, and sobbed to the point of ‘enthralment’, ‘near hysteria’, ‘mass hysteria’, or ‘pandemonium’.”

Rock songs of the 1960s, 70s, and 80s contained a plethora of references equating masculinity with sex. Dion’s the Wanderer is about a cad who roams ‘from town to town.’ Bob Seger’s Night Moves refers to a woman’s breasts – a natural object of male desire – as ‘points all her own sitting way up high, way up firm and high.’ More darkly, the Rolling Stones’ Brown Sugar contains themes of slavery, rape, interracial sex, underage sex, physical abuse, and drug taking. Then there are the music videos, many of which were banned from play on mainstream media. Duran Duran’s Girls On Film features nudity and mud wrestling. Queen’s Fat Bottom Girls features nude women riding bicycles around a sport’s track.

And, of course, it is not unusual for rockstars to enjoy favouritism from the opposite sex. Indeed, sexual prowess and adulation from women form an important theme in rock lore. Groupies of heavy metal artists, for instance, are not just female fans but are seen as extensions of the musician’s artistic identity. Women and access to sex are almost gifted to the rock star, much like the harems of the Ottoman Sultan, the mistresses of European monarchs, or the concubines of Chinese Emperors.

Rock music is the modern reincarnation of ancient myths and folklore. It relies on the same motifs and themes and therefore has a similar effect on the human psyche. As a result, rock music and mythology and folklore share many of the same tropes. Rock music glorifies masculine energy and lust through symbols and metaphors. It raises the rockstar to an exalted position and then confers benefits upon him by giving him greater access to women and sex. This, in turn, gives the rockstar an almost deific quality. Feelings of unity and tribalism are expressed through the quasi-religious nature of the rock concert. The long-lasting popularity of rock music arises from its ability to give expression to ancient symbols of masculinity, and in its capacity to provide an outlet for the more repressed aspects of our nature.