In English class we studied a poem by Robert Frost, “The Oven Bird.” The poem asks “what to make of a diminished thing.” That diminished thing, said the teacher, was human experience in the modern world. Oh dear. Modern aesthetics. We must learn from this poem “in singing not to sing.” To my undergraduate self I thought, “But what if I like to sing?” And then my philosophy professor assigned us Jonathan Edwards’s Doctrine of Original Sin Defended, in which Edwards argues for “the arbitrary constitution of the universe,” illustrating his point with a gorgeous footnote about moonlight that even then began to dispel the dreary determinisms I was learning elsewhere. Improbable as that may sound to those who have not read the footnote.
At a certain point I decided that everything I took from studying and reading anthropology, psychology, economics, cultural history, and so on did not square at all with my sense of things, and that the tendency of much of it was to posit or assume a human simplicity within a simple reality and to marginalize the sense of the sacred, the beautiful, everything in any way lofty. I do not mean to suggest, and I underline this, that there was any sort of plot against religion, since religion in many instances abetted these tendencies and does still, not least by retreating from the cultivation and celebration of learning and of beauty, by dumbing down, as if people were less than God made them and in need of nothing so much as condescension. Who among us wishes the songs we sing, the sermons we hear, were just a little dumber? People today—television—video games—diminished things. This is always the pretext.
In our strange cultural moment it is necessary to make a distinction between religious propaganda and religious thought, the second of these being an attempt to do some sort of justice to the rich difficulties present in the tradition.