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I Ain’t Got No Body: Embodiment (or not)

Here we talked about the creation of the material world and embodied intelligences (us) by God.  Over here we looked at how truly free creatures must be created at a certain “distance” from God’s perfection, with the (probably inevitable) corollary that at least some, if not most, of them will fall away to one degree or another.  Let us now start connecting these two threads and see where this leads us.

First, it is worth pointing out a slight nuance in the concept of the Fall.  To the orthodox, the Fall of mankind came after embodiment.  That is, humans were originally created as embodied souls.  Since humans were, in this narrative, primordially innocent, there was thus nothing “wrong” with embodiment.  Had the Fall not occurred, humans would have lived embodied lives in innocent perfection.  Embodiment is a feature, not a bug, so to speak.  The Fall distorted the relationship of body and soul; but that relationship in and of itself is fundamentally good.  It is also important to point out that in this  model, we don’t have a body; that is, we are not actually a spirit that just inhabits a corporeal form.  Rather, we are a body; or better, we are a holistic combination of body and soul making up one single hypostasis (person).

C. S. Lewis puts it in somewhat mystical language in Chapter 14 of The Great Divorce:

I saw a great assembly of gigantic forms all motionless, all in deepest silence, standing forever about a little silver table and looking up on it.  And on the table were little figures like chessmen who went to and fro doing this and that.  And I knew that each chessman was the idolum or puppet of some one of the great presences that stood by.  And the acts and motions of each chessman were a moving portrait, a mimickry or pantomime, which delineated the inmost nature of his giant master.  And these chessmen are men and women as they appear to themselves and to one another in the world.  And the silver table is Time.  And those who stand and watch are the immortal souls of those same men and women.

Thus the body and the soul are in a sense different manifestations of the same thing, merely seeming different (puppet vs. giant) because of our perception of time.

In the Gnostic mythos, the body, along with the rest of the material cosmos, is created by the evil and/or ignorant Demiurge, who makes it as a sort of imperfect, Bizarro-world copy of the dimly perceived Pleroma (the perfect spiritual world of the Aeons, the angelic intelligences created by God).  Thus, embodiment is a bad thing, as the material world itself is a bad thing, at best a pale reflection of the true Good, at worst a cesspit of suffering and limitation.  Some versions of the Gnostic mythos posit embodiment as a theft of the Light–the spiritual essence that comes from the Pleroma–by the Demiurge and his Archons; in some versions, Sophia (the Aeon whose sin led to the existence of the Demiurge in the first place) deliberately “seeds” the human body with the Light, as a long-term “time bomb” that will defeat the Demiurge and ultimately bring about the end of the material cosmos.  In this reading, embodiment is a good thing for the goal it will ultimately achieve; but it is still bad for us at the present.  Our goal is to escape embodiment and return to the Pleroma.

Thus, the Gnostic perspective holds embodiment to happen after the Fall, or perhaps to be a sort of Fall itself; and the antagonism of the spirit and the body is not an accident, but it is baked into the cake, so to speak.  We are not a body-soul amalgam, as in orthodoxy, but a soul–our true self–which is unfortunately connected to a body (or possibly many bodies–some forms of Gnosticism posit reincarnation) as a result of the entrapment of the Light in matter.

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All Things Dull and Ugly

In which I try to show that God is better than we are.  But of course he is! you say.  Let me explain.

I ran across this on Facebook a couple of days ago, and it is certainly food for thought.  I was moving in a certain direction with my last few posts on universalism, but this and some other things have induced me to deviate a bit on the way to where I’m going with the series, since pertinent issues keep arising.

One issue with hell that’s often brought up is this:  Those in Heaven experience perfect happiness; and yet if some (or many) are in hell, then some of those in Heaven will have friends and loved ones–even spouses, parents, or children–in Hell.  This would obviously seem to make heavenly bliss impossible.  So how can the saved experience Heaven if some whom the love are in Hell?

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His Dark Materials, Part 2: Commitments, Propaganda, and Blurry Lines

Just to be clear, if you’ve clicked on the video before reading, I’m not invoking, nor am I exemplifying, Godwin’s Law.  Read on and you’ll see what I mean.

I began writing about Philip Pullman’s series of novels His Dark Materials with a discussion of what I believe to be the wrong reasons for dismissing, criticizing, or derogating it.  Many, especially in Christian circles, have dismissed it as a piece of atheist propaganda meant to destroy children’s belief in God.  Pullman, in essays about C. S. Lewis, has made the counter claim that Lewis, in his Narnia books, was propagandizing to bring children into the Christian fold.  My contention was that whether or not either one of them was right was beside the point in terms of the literary merit of either series of books.  What I want to do briefly here is to explore that blurry boundary between writing with a passionate aim and propagandizing, and how these relate to art.

To some extent art is about technique and skill.  The very word “technique” comes from the Greek technēs, very inadequately translated as “art”.  It is better translated as “skill” or “craft” or “art” in the sense of the “art” of doing something.  The word for builder or carpenter, tektōn (the word, by the way, which in the New Testament describes the professions of Joseph, husband of Mary, and of Jesus of Nazareth, and which doesn’t necessarily imply what we call carpentry), is related to technēs.  Without skill or craftsmanship, without having mastery of one’s craft and doing a good job at it, one cannot create art, be it painting a picture, carving a statue, building a good house, building a stone wall, writing a novel, singing a song, or making a movie.   Read the rest of this entry

Open and Closed Systems, 1: Open Systems

In this post I want to give a rationale for my “Towards a Gnostic Orthodoxy” series.  After all, one might say, “If you’re orthodox, then why isn’t that enough for you?  Or, if you have that many problems with orthodoxy, why not be honest and leave outright?”  There are less polite ways in which these questions could be posed, obviously; but they are legitimate.  Thus, I want to look at what I’m trying to do here and give at least some motivations for it.

All religions, philosophies, and world views acknowledge, at least in principle, the finitude of the human mind and the human condition.  Our minds and understanding are limited; enormously limited, in fact, with respect to all there is to know in the universe in all its complexity.  We know very little, and with respect to all that there is to be known, we may always know very little.  What seem like great strides to us may be minute baby steps, little children chipping pebbles from the side of Mount Everest, in the big scheme of things.  So much as this everyone, in principle at least, would agree. Read the rest of this entry