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Peace in the Face of War

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Our Associate, Carol<strong>in</strong>e Walton, provides compell<strong>in</strong>g excerpts from her<br />

previously published work on <strong>the</strong> Siege <strong>of</strong> Len<strong>in</strong>grad. She focuses on<br />

manifestations <strong>of</strong> spiritual peace under extreme physical deprivation, <strong>in</strong><br />

this case, mass starvation. Tak<strong>in</strong>g us <strong>in</strong>to <strong>the</strong>atres and along streets to visit<br />

famished actors, craftsmen, artists and musicians, as well as <strong>the</strong> ord<strong>in</strong>ary<br />

people, she documents how, <strong>in</strong> spite <strong>of</strong> <strong>the</strong>ir destitution, some shared <strong>the</strong><br />

little <strong>the</strong>y had. Those who survived and found spiritual peace, she tells us,<br />

were not <strong>the</strong> strongest that looked after <strong>the</strong>mselves, but those that shared<br />

<strong>the</strong>ir t<strong>in</strong>y morsels and <strong>in</strong>defatigable talents with o<strong>the</strong>rs.<br />

The popular Christian social philosopher, Nicholas Berdyaev, writ<strong>in</strong>g<br />

at <strong>the</strong> start <strong>of</strong> <strong>the</strong> Second World <strong>War</strong>, avers that peace is found through<br />

creative acts. For him, creativity is not necessarily artistic; it is even more<br />

importantly social. The emancipation, <strong>the</strong> lift<strong>in</strong>g up <strong>of</strong> those enslaved by<br />

socio-political or spiritual entanglements are for him creative acts. These acts<br />

are accomplished <strong>in</strong> an eschatological frame <strong>of</strong> reference; that is, <strong>in</strong> union<br />

with <strong>the</strong> Div<strong>in</strong>e. Now <strong>the</strong> idea <strong>of</strong> eschatology, or End Time, might require<br />

some unpack<strong>in</strong>g. It presupposes a Div<strong>in</strong>e purpose, an overarch<strong>in</strong>g plan for<br />

creation. That purpose is <strong>the</strong> sanctification <strong>of</strong> humank<strong>in</strong>d: its deification,<br />

or transformation to God-manhood. Now <strong>the</strong> End penetrates all th<strong>in</strong>gs at<br />

all times even though, be<strong>in</strong>g Providential, it is itself outside time and space.<br />

Indeed its accomplishment assumes that <strong>the</strong> world is already encompassed<br />

by Div<strong>in</strong>e reality. The world as we know it will pass away, not physically but <strong>in</strong><br />

its present conceptual order with all its distorted emphases. Yet none <strong>of</strong> this<br />

can be forced: humank<strong>in</strong>d is free to choose. To <strong>the</strong> extent that we let go <strong>of</strong> this<br />

world, its passions and desires, and align ourselves with God’s purpose, we<br />

already enter to some degree <strong>in</strong>to <strong>the</strong> eschatological fulfillment, which br<strong>in</strong>gs<br />

us freedom. But to <strong>the</strong> extent that we hold on to this world and its allures,<br />

that freedom becomes only relative, more an <strong>in</strong>timation than <strong>the</strong> fullness.<br />

Christians believe that Christ palpably brought ‘<strong>the</strong> End’ <strong>in</strong>to ord<strong>in</strong>ary human<br />

time. For Berdyaev, <strong>the</strong> End is experienced through those true creative acts<br />

that lead o<strong>the</strong>rs to freedom. These actions to some degree also br<strong>in</strong>g history<br />

to an end, for <strong>the</strong> historcal narrative is noth<strong>in</strong>g o<strong>the</strong>r than a history <strong>of</strong> war,<br />

<strong>the</strong> cessation <strong>of</strong> freedom. The notion <strong>of</strong> <strong>the</strong> Apocalypse assumes a f<strong>in</strong>al<br />

resistance to Providence, and hence a ‘last battle.’ While Berdyaev does not<br />

discount such, he would emphasise it as a battle for <strong>the</strong> collective soul to<br />

choose <strong>the</strong> good and reject evil. Whatever, war and death paradoxically lead<br />

<strong>the</strong> collective conscious to a sense <strong>of</strong> <strong>the</strong> End. <strong>War</strong>, never to be advocated<br />

or condoned, yet <strong>in</strong>spires people to desire freedom; it also <strong>in</strong>spires<br />

creativity. Such creativity renews <strong>the</strong> world, re-creat<strong>in</strong>g it. On <strong>the</strong> largest<br />

possible scale <strong>the</strong>n, war engages humank<strong>in</strong>d with <strong>the</strong> End, for good or ill.<br />

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