Why Each Story and All of Literature Is Christ-Haunted https://chrisonet.com/wp-content/uploads/2019/08/universe-book-300x128.jpg
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Why Each Story and All of Literature Is Christ-Haunted

Of all of the apologetic arguments for the existence of God, the sort that’s most likely least persuasive to skeptics (although most philosophically compelling for believers) is ontological arguments, a class of philosophical arguments that depend on the character of being.

Though such arguments could also be of restricted worth in convincing atheists, they might be of extra worth in literary criticism and interpretation. The rationale they are often helpful is as a result of they set up that the God of the Bible exists throughout the construction of each narrative and story that has ever been informed.


Relying in your perspective this can be an absurd declare or a banal fact.* However earlier than you dismiss it as both, let’s take into account what which means and the way it can illuminate literature.

Why God Should Exist in All (Doable) Worlds

(Notice: Ontological arguments are a bit sophisticated and aren’t all the time straightforward to observe. If you happen to get slowed down making an attempt to make sense of this part, strive skipping forward to the tip of the article after which coming again to this half later.)

The acclaimed thinker Alvin Plantinga formulated an ontological argument that depends on modal logic and the idea referred to as doable worlds. As Wikipedia explains:

Those that use the idea of doable worlds take into account the precise world to be one of many many doable worlds. For every distinct approach the world might have been, there may be stated to be a definite doable world; the precise world is the one we in actual fact dwell in. The modal standing of a proposition is known when it comes to the worlds during which it’s true; thus:

• True propositions are these that are true within the precise world (for instance: “Richard Nixon became President in 1969.”)

• Doable propositions are these that are true in a minimum of one doable world (for instance: “Hubert Humphrey became President in 1969.”)

• Contingent propositions are these that are true in some doable worlds and false in others (for instance: “Richard Nixon became President in 1969,” which is contingently true, and “Hubert Humphrey became President in 1969”, which is contingently false.)

• Essential propositions are these that are true in all doable worlds (for instance: “all bachelors are unmarried.”)

• Inconceivable propositions (or essentially false propositions) are these that are true in no doable worlds (for instance: “Melissa and Toby are taller than each other at the same time.”)

The primary ideas to concentrate to on this checklist are “necessary” and “impossible.” These are propositions that both have to be true or have to be false in any and all doable worlds

Plantinga makes use of the idea of doable worlds in his case for the existence of a “maximally great being” (i.e., a being who has such qualities as omnipotence, omniscience, and ethical perfection). A maximally nice being would even be a obligatory being (i.e., it have to be true that the being exists). One model of his argument is as follows:

1. It’s doable {that a} maximally nice being exists.

2. Whether it is doable {that a} maximally nice being exists, then a maximally nice being exists in some doable world.

3. If a maximally nice being exists in some doable world, then it exists in each doable world.

4. If a maximally nice being exists in each doable world, then it exists within the precise world.

5. If a maximally nice being exists within the precise world, then a maximally nice being exists.

6. Due to this fact, a maximally nice being exists.

Notice the important thing premise (“It is possible that a maximally great being exists”) is a metaphysical declare (i.e., referring to the basic nature of being) relatively than an epistemic declare (i.e., referring to what may be recognized). Ontological arguments usually attempt to use the institution of the metaphysical declare (i.e., that God’s existence is an ontological necessity) to persuade folks of an epistemic declare (i.e., we should always imagine that God exists). However I need to use it in a barely totally different approach that’s directed towards Christian theists.

‘God in All Stories’ Theorem

Christians don’t must be satisfied that God exists. We all know that he exists and that he exists in this world, the precise world, the world he created. What the ontological argument helps us to ascertain is that God should additionally exist in any world during which we will think about. The argument may very well be outlined as:

  1. By definition, just one maximally nice being can exist.
  2. God is a maximally nice being that exists within the precise world.
  3. If a maximally nice being exists in some precise world, then that very same being should exist in all doable worlds.
  4. Tales and narratives, whether or not fictional or true, are set in both the precise world or some doable world.
  5. Since God exists in each the precise world and all doable worlds, he essentially exists on the planet of each story or narrative (even when he isn’t immediately acknowledged within the literary construction).

Which means, regardless of the authorial intent, there may be no tales during which a author or artist creates an imaginary world during which God—the true God, the Father, Son, and Holy Ghost—doesn’t exist already. By the principles of logic—which even nonsensical worlds should observe to some extent—the story can not exclude obligatory truths or obligatory beings, such because the God revealed within the Bible.

Whether or not this “God in All Stories Theorem” has any substantial significance for literary criticism is one thing I’ll go away to certified students of literature to determine. However I feel there may be a minimum of a method it might show helpful to put critics and odd readers of imaginary fiction.

As a reader of fantasy and sci-fi novels I are typically drawn in by works that specific a excessive diploma of verisimilitude, or likeness to the reality. A narrative can have uncommon or fantastical parts—resembling speaking animals—if it is smart inside the doable world. That’s the reason tales that try and be atheistic, resembling Phillip Pullman’s His Darkish Supplies trilogy, don’t resonate with me. The creators of such tales try to camouflage the existence of the Final Creator inside their sub-creations.

In distinction, tales resembling C. S. Lewis’s Chronicles of Narnia, J. R. R. Tolkien’s Lord of the Rings trilogy, and even George R. R. Martin’s A Track of Ice and Hearth collection**, appear extra true as a result of they’re clearly set inside a doable world that acknowledges the existence of the indisputable fact that everyone knows the one true God (Rom. 1:19-20). Even imaginary worlds populated with speaking horses, wandering hobbits, and flying dragons really feel extra actual as a result of they’re imbued with a tacit recognition that they’re in a universe made by our God.

On this approach these tales set in various “possible worlds” are much like the American South as portrayed in Flannery O’Connor real looking fiction. As O’Connor as soon as stated,

[F]rom the standpoint of the author, I feel it’s secure to say that whereas the South is hardly Christ-centered, it’s most actually Christ-haunted. The Southerner, who isn’t satisfied of it, may be very a lot afraid that he might have been shaped within the picture and likeness of God. Ghosts may be very fierce and instructive. They forged unusual shadows, notably in our literature.

The ontological argument might not allow you to win over an atheist. However it could assist us perceive why tales are, as O’Connor would possibly say, all most actually Christ-haunted.


See additionally: How C. S. Lewis Put the Ontological Argument for God in Narnia


*On reflection, this concept appears apparent, which leads me to imagine I wasn’t the primary to consider it or develop it as an idea. If of another person who has beforehand made the sort of declare or argument, please let me know.

** All through the collection many of the characters look like polytheists or henotheists. However within the fourth novel, A Feast for Crows, it turns into clear that the characters merely have a heretical view of Trinitarian monotheism:

“There is no cobbler above [referring to the Cobbler God],” Podrick protested.

“There is, lad . . . though you may call him by another name. Tell me, which of the seven gods do you love best?”

“The Warrior,” stated Podrick and not using a second’s hesitation.

Brienne cleared her throat. “At Evenfall my father’s septon [i.e., priest] always said there was but one god.”

“One God with seven aspects. That’s so, my lady, and you are right to point it out, but the mystery of the Seven Who Are One is not easy for simple folk to grasp, and I am nothing if not simple, so I speak of seven gods.” (p. 369-370)

Why Each Story and All of Literature Is Christ-Haunted

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