Author Archives: Jeffrey Fisher

Jesus of Nazareth, King of the Jews

Posted on by

Images of the Crucifixion









(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

On Good Friday every year,* Christians around the world commemorate the death by crucifixion of Jesus of Nazareth, rabbi, prophet, Son of God, Son of Man, messiah, and all-around trouble-maker.

The truth is that very little is known of Jesus’ life and teachings from verifiable accounts, but this has not stopped generation after generation of Christians from telling his story, beginning with Jesus’ semi-official biographers, the evangelists of the New Testament. Almost everything we know about the life and teachings of the physical human being Jesus are in those writings, which do not portray him always in compatible ways, and which are almost entirely unconfirmed by any external source. The Roman historian Tacitus mentions (with disdain if not disgust) Jesus’ cult following, as does the Jewish historian and philosopher Josephus, but neither gives us anything to work with as historians (or, for that matter, as theologians). For the record, Suetonius and Pliny also talk about Christians, but these piecemeal sources tell us much more about Roman perceptions of Christians than about Christ and his teachings, or even necessarily Christian beliefs and practices.

What, then, can we reasonably say about Jesus?

It is almost impossible to find universal agreement around anything more than a few basics, including most importantly Jesus’ crucifixion. The Gospels narrate it; Paul the Apostle (who never met Jesus in the flesh, as it were) hangs his theology on it, together with the equally important resurrection; and no contemporary sources (Christian or otherwise) dispute it.

But it’s when we ask why Jesus was crucified that things start to get interesting.

What did he do? The two men he is traditionally said to have been crucified with are commonly understood to be “robbers,” but that they were common criminals is highly unlikely. Crucifixion is a horrible death designed to make a very public statement about the crucified, the sort of thing you use on gladiator-slave rebels like Spartacus, not on pickpockets and roustabouts. The Greek term used for these two men (lestai) is consistent with the description of the released Barabbas as one who had participated in rebellious activities, whose “criminality” was related to his revolutionary business. Moreover, the name “Barabbas” means literally “son of the father,” a purely symbolic and surely entirely fictional name, and that the people choose to have him released indicates their affinity for him as a thorn in the side of the Romans. He is thus contrasted with Jesus, the other son of the father, the peaceful (apocalyptic) revolutionary.

So Jesus would have been crucified as a political criminal, a rebel. This would make sense of accounts of his having been identified by the Romans as “Iesus Nazarenus Rex Iudaeorum”: “Jesus of Nazareth, King of the Jews.” Anyone claiming to be king (and “son of God” was a Jewish way of talking about the king of Israel recorded clearly in Psalm 2), would, if taken seriously, be understood as challenging Roman authority.

Insofar as Jesus seems to have been deliberately poking the Romans’ local running dogs, the Sadducees and the Temple priests, his seizure and termination were surely inevitable. If his teaching is as opposed to violence and unconcerned with “politics” as it seems to have been, it’s hard to believe the Romans would have noticed him without some prodding, this coming not from the “crowd,” but from the leadership (who in Mark and Matthew incite the crowd). Indeed, the priests and scribes look for ways to arrest him when the crowds are not around, because they fear a riot.

If we take the Gospel of Mark at all seriously, Jesus was preaching a new kingdom of God, an apocalyptic redemption of the people of the earth by God’s direct intervention (and with Jesus as the sacrificial pesach lamb). If we take the Gospel of Luke seriously, Jesus spoke in a classic prophetic mode, calling people — Jew and Gentile both — to care for the oppressed of the earth, the poor and the hungry and the helpless. Both Jesuses called for people to be better to each other, to love each other, and indeed to love each other when love was, according to common sense, the foolish thing.

Why would this get you executed?

Well, in itself, it wouldn’t. But the Gospel of Mark tells us of Jesus speaking with a man who realizes that all the animal sacrifices in the world don’t amount to a hill of beans (in that crazy world). When love counts more than sacrifice, we are undermining the Temple. When we go into the Temple, start knocking things over, and say it’s become about robbing the poor and not about loving God and one’s neighbor, we are undermining the Temple. And to undermine the Temple’s authority is also to undermine Rome’s authority, and Rome’s cash flow.

Jesus, like the Essenes he may or may not have associated with, was a purist.

The Temple was full of collaborators and exploiters, the kind seen before in the history of Israel (and berated by prophets like Isaiah and Amos), the kind hated also by the Dead Sea community of apocalyptic purists awaiting a final showdown between God and evil (i.e., the Roman Empire and their local potentates, the Temple authorities).

Jesus, like other Jewish prophets before him, thought that Judaism was about something. That it was somehow about justice and not just about following rules or waiting around for things to get better: that it was about our making the world a better place, and not just making our own lives better.

Start talking that way and get people on your side, and you’re fairly likely to get killed, even twenty centuries later.

* Though the actual date (even the year) of the execution marked by the movable feast of Good Friday is fundamentally unknowable, there are some present-day astronomer types who’d like to sell you April 3, 33 A.D.

On this day..

Feast Day of Boethius

Posted on by

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

Today is the feast day of Neoplatonic philosopher and Christian theologian Boethius (Anicius Manlius Severinus Boethius), author of The Consolation of Philosophy, and according to tradition martyred in 524 or 525, or possibly 526, by the Ostrogothic king Theodoric.

Well, maybe.

We know roughly as much about why Boethius was killed as when or how. We do know that he came from a line of prominent Romans (including a couple of popes back there, depending on who you count as “pope”), was himself consul in 510, and his sons were rather astonishingly joint consuls in 522. At that time he moved up to Ravenna accepting an appointment at Theodoric’s court as the Master of Offices, something like the equivalent of chief of staff, managing the work of Theodoric’s officers.

But then things went horribly wrong.

There is a long tradition, going back at least to the eighth century, regarding Boethius as having been executed for maintaining the Catholic faith against the Arian Theodoric. While Theodoric was probably paranoid about spies representing the Catholic eastern emperor-in-waiting Justinian (who would, in fact, later “reconquer” the Italian peninsula), and Boethius claims in the Consolation that he was hated for being smarter than everyone else, the truth is probably that he was caught up in the usual machinations of an imperial court.

A member of the Senate was accused of treasonably conspiring with Justinian’s predecessor Justin I against Theodoric. Boethius defended the accused (apparently the only person to do so, although the charges were surely trumped up), and in the Consolation, Boethius says he was only defending the Senate (implying that the accusations were meant to undermine the authority of the Senate by challenging its loyalty to the king).

In any event, the sources we have say that Boethius was condemned by the Senate (who appear to have thrown him under the bus) without being able to speak in his own defense. After an indeterminate time of imprisonment, he was executed.

It was while he awaited death that he wrote his most famous and arguably most influential work, The Consolation of Philosophy.
A few of the many editions of The Consolation of Philosophy available. Others are available free at Project Gutenberg (here, here and a Latin one here), as is a podcast version.

Boethius’ translations of and commentaries on ancient Greek philosophy were the only such texts available in Europe for much of the Middle Ages, but the Consolation was translated and widely read even outside of the philosophical circles in which his other work was so important.

Written in the form of Menippean satire (alternating verse and prose) as a dialog between Boethius and Philosophy, the Consolation is Boethius’s attempt to think through and make sense of the sad state of his affairs.

Ultimately, it was both the universal nature of the problem (why are these horrible things happening to me?) and the compelling way in which he tackled the problem (a combination of Plato, Aristotle, and Stoicism) that have made this text so widely read and imitated.

There is no way in this space to do justice to the Consolation, which addresses the very idea of philosophical discourse (“would you like us to clash together our arguments, for perhaps out of a conflict of this kind some beautiful spark of truth my fly out?”), the nature of time and God’s perspective outside of time, the difference between providence and fate, and the nature of and way to the Good itself.

But the gist of Boethius’s argument about the sufferings of the good person maybe be quickly summarized. In short, Boethius has forgotten his true nature, which never changes, and gotten caught up in the things of this world, which come and go. If he but remembers himself, he will have something no injustice, no turning of the wheel of fortune, can take away from him. And as for the unjust and the evil, they also have their “reward”:

But since goodness confers on each man his reward, he will only lack it when he has ceased to be good. [ . . . Now] since the good itself is happiness, it is clear that all good men are made happy for this reason, that they are good. But those that are happy, it is agreed, are gods; and therefore that is the reward of good men, which no time can lessen, no man’s power diminish, no man’s wickedness obscure, to become gods. These things being so for good men, no wise man can doubt either of the punishment inseparable from evil men; for since good and evil, and also punishment and reward, are directly opposite to one another, what we see added in the case of the good man’s reward must necessarily be reflected in an opposite manner in the evil man’s punishment. As therefore goodness itself is the reward for good men, so for wicked men wickedness is itself the punishment.

On this day..

1302: Dante Alighieri condemned

Posted on by

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

On this day in 1302, the governing commune of the city of Florence condemned to death Dante Alighieri, statesman, philosopher, and above all, poet. Arguably the greatest mind of his generation, Dante is most famous for his authorship of the Divine Comedy, relating his journeys through, successively, hell, purgatory, and heaven.

Born in 1265 to a noble family of Florence that, while not the city’s most prominent family, had already seen several of his ancestors banished as a result of political turmoil, Dante could hardly have avoided becoming embroiled in public life had he even wanted to. In brief, a long-running struggle between pro-imperial (the so-called Holy Roman Empire) and pro-papal factions was finally won by the pro-papal forces, known as the Guelphs. Two decisive battles in 1289 established both Florence’s independence (particularly from their old nemesis, Pisa) and the rule of the Guelphs, Dante’s own party.

Dante is likely to have taken part in those battles and was active in city politics in the following decade, culminating in a turn in 1300 as prior (one of six key counsellors to the city, serving a two-month term). Florence prided itself on a tradition of democratic rule going back to the death of the Holy Roman Emperor Frederick II in 1250.

Persona Non Grata

Giotto painted Dante prior to his exile — the oldest portrait of Dante known.

Unfortunately, by the time Dante took on the priorate, the old rivalries had reshaped themselves into new factions eerily parallel to their predecessors: the so-called “Black” Guelphs, who aligned themselves with the Pope (as of 1294, Boniface VIII), and “White” Guelphs, who took a more moderate political stance and saw themselves as defending an independent Florence from the Pope and his allies (namely, the Blacks).

Things got so bad that, at the time of Dante’s priorate, the city’s ruling body banished leaders of both sides in an effort to stabilize the city. The pope took the opportunity to send emissaries to Florence on the pretext of negotiating a peace. After more than a year of this maneuvering, the commune sent Dante and two others to have words with Boniface in Rome in 1301.

The Pope “invited” Dante to stay in Rome while his companions returned to Florence to try to bring the commune around. In the meantime, the Pope’s key man had got himself into Florence and helped the Blacks take power, whereupon they confiscated properties and levied fines.

Dante was ordered to appear before a tribunal to answer for his alleged crimes. When he did not show up, he was banished to two years of exile, permanently banned from holding city office, and ordered to pay a further fine of some five thousand florins–a staggering sum–within three days. When that did not happen, either (Dante was apparently in Siena, a short ways from Florence, when he heard this news), the commune confiscated all of his goods and condemned him to death by burning should he ever return.

Fortunately, there were others in Italy at the time who had more sense, but Dante spent the rest of his life–almost another twenty years–wandering from city to city with his sons. He was excluded from an amnesty in 1311, and when he refused the terms of another in 1315, his death sentence was not only reaffirmed, but extended to include his sons. Despite all this, he still held out hope of returning to Florence to be crowned as poet, declining to be so crowned in Bologna as little as a year or two before he died.

Art in Exile

It was over the course of that time in exile that Dante composed his political and philosophical works, together with what must be considered his single greatest contribution to letters, the three-volume Divina Commedia.

There is no way to do justice to any of these works, much less all of them, but in the present context it is worth noting that in three key works — the Commedia (Dante’s title is this simple), Il Convivio (or The Banquet), and De Monarchia (On Monarchy) — Dante develops a serious, even strikingly modern, religious political philosophy.

In contrast to many of his religious contemporaries, taking issue with the great St. Augustine even as he espouses positions derived from Thomas Aquinas, Dante argues in favor of a strong central secular authority, specifically an emperor, and even more particularly, that this authority should be understood by Christians as co-equal with, not subordinate to, the spiritual authority of the Church: “two suns,” he says, rather than the sun and the moon (which merely reflects the light of the sun).

Indeed, he held out an almost messianic hope for the return of an emperor who would restore peace and order. He even wrote public letters to the Emperor Henry VII requesting that he restore justice in Florence (and this is surely a factor in the commune’s treatment of him with respect to amnesty). When Henry died before accomplishing these things, much of Dante’s hope for imperial cohesion died along with him.

(Consider this Open Yale Courses podcast series for more Dante appreciation.)

He Knew Beatrice All Along

It would be nothing short of travesty to write anything of this length about Dante and not mention Beatrice, the love of his life from the age of nine, when he first laid eyes on her, to the day he died in exile. Beatrice, who only spoke to Dante once and who died an early death, directly inspired his poetic-explicatory work, the Vita Nuova (New Life), an exemplar of the dolce stil nuovo (“sweet new style”) movement in poetry. As a character in the Commedia, Beatrice sends Virgil to rescue Dante from a dark forest in the Inferno, and guides him through the spheres of Heaven in Paradiso.

“Dante and Beatrice in the Constellation of Gemini and the Sphere of Flame”, one of William Blake‘s (uncompleted) series of watercolors illustrating Dante’s magnum opus.

Despite two decades of exile, Dante never gave up hope of returning to Florence in his lifetime, and clearly hoped (perhaps “expected” is more accurate) to be united with his other true love in the next. His body remains in Ravenna, where he died and was buried in 1321.

Florentines wish they could have him back.

Part of the Themed Set: The Written Word.

On this day..

203: Perpetua, the earliest Christian woman whose writings survive

Posted on by

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

There are many accounts of Christian martyrs in the annals of Christianity, but none quite like that of Perpetua, thrown to the beasts and put to the sword on March 7, 203, in Carthage.

There is no doing justice to the Passion of Saints Perpetua and Felicity in a brief essay such as this; the fifteen minutes or so it takes to read the original document, which includes the earliest writing we have from a Christian woman (Perpetua herself), will be well spent.

In short, the twenty-two-year-old Perpetua, her slave girl Felicity, their friend Saturninus (whose first-person account is included in the Passion), and two of their companions were arrested for converting to Christianity, Septimius Severus having forbidden conversion on pain of death. As you might suspect, the document recounts their being browbeaten and intimidated, until eventually they are killed in public, as a matter of sport.

But this isn’t what’s really interesting about the story.

Women are common as saints and martyrs, and they often must resist or convert a pagan man, typically a husband. While Perpetua’s husband is peculiarly absent from her story, her pagan father appears repeatedly, pleading with her, begging her for his sake to renounce her Christianity and save her own life. Her retellings of these episodes are striking for the very human sympathy she has for her father, despite, or perhaps in part because of, the spare prose in which she relates it. She insists on maintaining her faith, but grieves for her father’s suffering, and not only when he is beaten before her eyes by the Roman governor.

Children also figure prominently in the Passion. Perpetua nurses her newborn son while in prison. At one point during prayer, she has a vision of her seven-year-old brother, who had previously died a horrible death, and is assured in a second vision that her fervent prayers for him had brought him peace. Felicitas worries that she will not be able to die with Perpetua and the others due to rules against executing pregnant women. Thankfully, the group’s prayers are answered and Felicity gives birth a mere three days before they are to be killed.

The most famous aspect of Perpetua’s account is a dream in which she climbs a ladder, arriving at a garden where a man in shepherd’s clothing, milking sheep, gives her some of the curd he has from the milk. The questions it presents are interesting but also perhaps at once too obvious and too thorny to enter into here.

More interesting for us, perhaps, is the description of the martyr’s death, which (like the account of her comforting her dead brother) does have some controversial elements. Suicide is not martyrdom, and while martyrs will submit to death (like Christ), there is a line (sometimes a blurry one) that divides willingness from desire. It is a key trick of any martyr to be able to persuade us that God could have saved her had God chosen to do so (and this persuasion often involves the failure of initial attempts to kill the martyr), but that God chooses to give the persecutor “victory” of a sort even as God grants greater victory to the martyr. Similarly, the martyr must be willing to die, even happy to die, and at the same time convey that this is only for special people at special times, because God created human beings to live their lives.

Consider the following from the account of Perpetua’s death, when the soldier comes to deliver the coup de grace:

But Perpetua, that she might have some taste of pain, was pierced between the bones and shrieked out; and when the swordsman’s hand wandered still (for he was a novice), herself set it upon her own neck. Perchance so great a woman could not else have been slain (being feared of the unclean spirit) had she not herself so willed it.

This cannot of course be precisely true, or she should have lived. But we are also supposed to understand that it is only through some concession to the weakness of the persecutor that the persecuted is finally slain. In this respect, the editor of the Passion might be said to do his subject a disservice, as she has rendered herself so much more “great a woman” than he (most likely a he) with his martyrologist’s tropes. He has, however, done her and us a tremendous service in preserving and handing down her story as she herself wrote it.

Part of the Themed Set: The Written Word.

On this day..

Feast Day of St. Sebastian

Posted on by

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

Sebastian In Art






Martyrdom — dying for the sake of one’s religious beliefs — has been one of the defining aspects of Christian self-understanding since at least about 100 CE, when the Book of Revelation was composed. Only a few systematic persecutions of Christians can be even minimally documented, but the idea that Christians suffer and even die for their faith — at the hands of the Jewish establishment, or the Roman authorities, or, today, secular humanists — is absolutely central to Christian identity for many Christians.

One of these ancient periods of persecution for which there is some historical evidence is in the late third and early fourth centuries, around the time of the Emperor Diocletian. On this day in 287, according to tradition, Diocletian martyred Saint Sebastian, at the time an officer in the Praetorian Guard.

The story goes that Sebastian’s Christianity was unknown to the Emperor until Sebastian balked at his job of executing Christians who refused to offer a libation to the emperor (a god, according to the emperor cult of the time). Indeed, Sebastian went so far as to encourage two Christians martyrs in their faith, and to convert several others. Upon hearing of all this, Diocletian ordered Sebastian tied to a tree and shot to death with a firing squad of the ancient sort: bows and arrows.

This, then, is how Sebastian is best known and most commonly represented: as a beautiful youth tied to a tree or a pillar and pierced with arrows.

Like the martyr Saint Catherine, however, whose iconic imagery is also a form of execution* survived by the saint, Sebastian was riddled with arrows and left for dead but did not die. He was rescued by St. Irene, who nursed him back to health. He lived until he heckled the Emperor sometime later, at which point Diocletian had him beaten and, making certain he was dead, threw him into a privy.

The truth is that we know next to nothing of the historical Sebastian. The Catholic Encyclopedia has a very short article that says mainly that. But this has not diminished his importance or cultural prominence, and he has quite the account in the Golden Legend.

Sebastian walks in a solid tradition of military martyrs, including St. George and St. Martin of Tours, and is like George a patron saint of soldiers. Interestingly, while George was also martyred, George is typically represented in strength, slaying a dragon, while Sebastian is represented (again, like Catherine) at an ostensibly powerless moment that is simultaneously his nadir as a human and his pinnacle as a saint.

The image has fascinated artists (and writers) for millennia, including most especially Renaissance Italian artists and early modern artists from all over Europe. Botticelli painted Sebastian twice, but perhaps the single most famous painting is that of Andrea Mantegna, who painted the saint three times. The fame of these paintings may be due in part to the way in which they typify the conception of the saint and his representation as a complex icon of fantastic vulnerability and strength, suffering and fortitude, and with striking homoerotic potential (perhaps having to do with the complex relationship between pain and pleasure), which is more fully realized in, for example, Botticelli’s earlier work or in Guido Reni’s painting.

More recently, St. Sebastian has a cameo in the video for REM’s “Losing My Religion,” which seems to be very much about the hazards of being young and gay in a heteronormative culture.

There is no more or less reason to think that Sebastian himself was gay than to think that he was in the Praetorian Guard, from Gallia Narbonensis, or even, really, that he was martyred. But he has been an important icon in what we might call gay culture since at least the Italian Renaissance, and it’s not clear that it matters whether he was gay any more than it matters whether or not he even existed.

* The breaking wheel, which is said to have shattered at her touch.

On this day..