This loosely argued manifesto contains some suggestions regarding what the philosophy of religion might become in the twenty-first century. It was written for a brainstorming workshop over a decade ago, and some of the recommendations and predictions it contains have already been partly actualized (that’s why it is now a bit "untimely"). The goal is to sketch three aspects of a salutary “liturgical turn” in philosophy of religion. (Note: “liturgy” here refers very broadly to communal religious service and experience generally, not anything specifically “high church.”) The first involves the attitudes that characterize what I call the “liturgical stance" towards various doctrines. The second focuses on the “vested” propositional objects of those attitudes. The third looks at how those doctrines are represented, evoked, and embodied in liturgical contexts. My untimely rallying-cry is that younger philosophers of religion might do well to set aside debates regarding knowledge and justified belief, just as their elders set aside debates regarding religious language. When we set aside knowledge in this way, we make room for discussions of faith that in turn shed light on neglected but philosophically interesting aspects of lived religious practice.

This chapter and the next probe genres and subgenres whose formal schemes, whether fully codified or not, afford powerful energetic templates. Chapter 9 focuses on the polyphonic mass, laying out some of the genre’s conventions while wrestling with recent discourses about the idea of musical unity in five-movement mass cycles. A concluding section explores the limitations of a holistic, genre-based approach through the example of the five-voice tenor motet.

During the age of devotion, monasteries were the dominant institutions for the production, preservation, and consumption of books. This chapter uses a spatial device to map the character and range of monastic writing and reading. Monastic book consumption is described in terms of three zones. The first zone is the church, with the books needed for the performance of the liturgy and to support services every day of the year. The second zone can be represented by the refectory or other communal space, where the monastic Rule advised that, rather than engage in idle chatter, the brethren should listen to the reading of instructive and edifying texts. The third zone is the individual cell, the zone of texts for private reading. The chapter’s main temporal focus is on the period from the late fourteenth century to the end of the fifteenth century, the main age of monastic expansion.

This chapter provides a survey of ecclesiastical and monastic organisations and how lay people engaged with them. There was no singular ‘Frankish Church’. There was considerable variation in what people wanted, how the liturgy was arranged, access to church councils and books, and how communities connected to Roman, English, Irish, Spanish, or Byzantine religious worlds. Communities were united by relatively compact beliefs, not least the need for imminent moral reform and penance ahead of an inevitable appearance at Judgement Day – whether it was at hand or far in the future.

The presence and power of Jesus in early Christian material culture are mediated through texts, visual depictions, and other objects, representing and re-presenting Jesus across various contexts. Focusing especially on the first five centuries ce, the analysis addresses Jesus in the materiality of text, liturgy, relic, and symbol, revealing early Christian theologies and practices that resonate in later historical periods and highlighting the complex dialectic of Jesus’s presence and absence in material forms.

George Eliot and Mary Ward explicitly reject orthodox Christianity and hold a prominent place in standard accounts of Victorian doubt. However, their professed unbelief and yet simultaneous interest in liturgy reveals once again the problem with excarnated accounts of religion. To reduce religion merely to interior belief is to miss how Eliot and Ward use ritual forms to embody their post-Christian ethics. In Eliot’s Daniel Deronda (1876), Jewish ritual galvanizes Daniel’s own ethical aspirations, and Christian liturgy frames key scenes in Gwendolen Harleth’s moral progress. Similarly, the protagonist of Ward’s Robert Elsmere (1888) is more than just a moral exemplar who imitates a purely human Jesus by working for social justice. Rather, he founds a new religion with its own liturgical forms, some of them borrowed directly from traditional liturgies. Thus, even the unorthodox Eliot and Ward feel the threat of excarnation and the attraction of ritual.

The fin-de-siècle aesthetes, of course, react against the moral project expressed in realist novels like Eliot’s and Ward’s. Indeed, Oscar Wilde uses liturgy to attack what he sees as realism’s stunted imagination. But, as this chapter and the next show, aestheticism too is deeply suspicious of how excarnation separates the material and the spiritual. Again, if modernity typically sunders these realms, liturgy joins them. It therefore offers the perfect channel for aestheticism’s veneration of material reality – of beautiful bodies, lovely objects, and stimulating experiences. Such devotion pervades Walter Pater’s novel Marius the Epicurean (1885) – itself a kind of liturgical and aesthetic bildungsroman. Set in second-century Italy, the novel follows the pious Marius, who cherishes the pagan rituals of his boyhood and finds their fulfillment in the early Christian Mass. For Marius, the Eucharist not only sacralizes material objects but also defends matter – specifically the body – against the ritual violence of imperial Rome. Just as Wordsworth depicts industrialism as a liturgy of desecration, Pater sees Roman imperial power in similar terms.

In “Impressions of Isaiah in Classical Rabbinic Literature,” Joshua Ezra Burns surveys the reception of Isaiah in postbiblical Jewish culture. Focusing on the works and folkways of the rabbinic sages, the author illustrates how early Jewish interpreters understood the book of Isaiah as a testament to the life and vocation of its ancient namesake and as a source of reassurance for future generations of Jews. Innocent of contemporary science concerning his book’s composition, the sages portrayed Isaiah as a brash prophet of unmatched visionary ability who foretold the destruction of the first Jerusalem Temple and its restoration with uncanny accuracy. The fulfillment of his visions made Isaiah’s prophecies valuable resources for liturgies, homilies, and other rabbinic literary compositions expressing hope in another national revival led by their long-promised Messiah following the loss of the second Jerusalem Temple and subjection of the Jews to Christian imperialism.

The work of modernist poet and visual artist David Jones provides a retrospective vantage of the central claims of Liturgy, Ritual, and Secularization in Nineteenth-Century British Literature. Jones saw the nineteenth century as a moment of breakage with the past. This rupture, according to Jones, threatens the work of the artist by depleting the sacramental meaning of reality – that is, the ability of concrete things to signify unseen spiritual depths. In both a dramatic biographical encounter with the Mass during his time on the front lines of World War I and in his subsequent art and poetry, Jones turns to liturgical forms to confront the breakage that began in the nineteenth century. Viewed from Jones’s perspective, the Romantic and Victorian interest in liturgy takes on new significance for the overarching genealogy of modernity and secularization. These liturgical fascinations intervene in – and resist – the long story of modernity’s separation of the material and spiritual, the natural and supernatural.

In The Prelude (1805/1850), Wordsworth reimagines time through the ritual calendar and festivals of revolutionary France. The Revolution’s rituals, moreover, complicate the common notion that Wordsworth retreats from politics into poetry. By way of ritual, Wordsworth enters what Walter Benjamin calls now-time or higher time, moments in which the past – via memory – becomes simultaneous with the present. Such now-times allow Wordsworth to juxtapose, on the one hand, his own past calling to a poetic vocation with, on the other hand, the Revolution’s founding vocation to bring liberty. In that juxtaposition, Wordsworth’s own faithfulness to his poetic calling tacitly critiques the Revolution’s infidelity to its origins. The higher time of ritual, then, mediates between Wordsworthian memory and revolutionary history. Wordsworth provides foundations for many Victorian liturgies. His sacralization of material reality, his resistance to the market’s dehumanizing rituals, his imbrication of memory and higher time – each of these undergoes further elaboration as the century unfolds.

The liturgical forms depicted in William Wordsworth’s Excursion (1814) provide the foundational instance of the nineteenth-century resistance to excarnation and the natural/supernatural binary. Rather than naturalizing otherworldly Christian doctrines – as seminal readings of Romanticism suppose – The Excursion’s rituals disclose how material reality already participates in the divine. This participatory vision challenges voluntarist pictures of God as a large, powerful being who exercises his arbitrary will over creation – a picture of God often unwittingly adopted by modern readers. Divine participation, moreover, challenges typical readings of Wordsworth’s lyrical inwardness. For, liturgy not only draws the poem’s characters out of themselves, it also sacralizes nature. Nature’s sacredness in turn opposes the desecrating rituals – or anti-liturgies – of industrialization. Via liturgy, then, Wordsworth comments on material conditions and remains historically engaged. The Victorians will repeatedly echo this use of liturgy to sacralize material reality and to resist any forces that would violate that sacrality.

Walter Pater also anticipates Oscar Wilde’s liturgical moves. Pater depicts Marius the Epicurean as a liturgical subject – that is, Marius relishes the forms of liturgy and yet those forms do not become rigid structures but rather gateways into mystery. Wilde pushes this liturgical subjectivity still further. For him, the porosity of the liturgical subject leads to a full-blown liturgical constructivism: If the self remains open before the mystery of ever further aesthetic experience, then perhaps all things – not just the human self – are malleable. In his critical writings, Wilde denounces the mechanistically closed world of the realist novel, which he sees as slavishly imitating nature. By contrast, Wilde argues that art can reshape nature. Liturgical language and ritual action especially reveal how words remake reality: The priest’s Words of Institution and the drama of the Mass transform – even transubstantiate – the bread and wine. As it did for Wordsworth, liturgy helps Wilde imagine nature not as self-enclosed but rather as participating in a higher, transcendent reality.

This chapter locates a shift in beginning in the seventh century in which the power to halt quakes began to move away from collective repentance and toward saintly intercession. First, it examines the seventh-century Life of St. Symeon Stylites the Younger, a Syrian pillar saint with ties to Constantinople. It focuses in particular on hymns recorded in the Life for earthquakes that purportedly caused them to cease when sung by the holy man. The chapter shows how seventh-century Byzantines could have constructed the role of the saintly intercessor when faced with natural disasters. Next, it analyzes changes in Constantinople’s earthquake commemoration rite in the eighth century, specifically the introduction of the Theotokos as the city’s chief protection against earthquakes. Eighth-century liturgical editors borrowed from the rites commemorating the enemy invasions of Constantinople in 623, 626, and 717–18, in which the Theotokos was remembered to play a prominent role in protecting the city. It shows how the earthquake commemoration liturgy no longer saw earthquakes as divine judgment against the sin of the city, but as outside threats to the city for which powerful heavenly intercessions were needed.

This chapter discusses how East Roman emperors utilized the theology of divine chastisement, particularly the efficacy accorded to repentance, to their advantage. During the earthquakes of 396 and 447, Emperors Arcadius and Theodosius II, respectively, led mass penitential rituals and performed public acts of humility until the quakes ceased. Such public acts of repentance posed a political risk to emperors since they could appear to confirm their responsibility for the disasters. However, imperial supporters like bishop Severian of Gabala and historian Socrates Scholasticus highlighted the quakes’ cessation rather than their cause, and located the power to halt quakes in the humble prayers of the rulers themselves rather than worshippers as a collective. In the aftermath of these earthquakes, authorities framed Roman emperors as “New Davids” – effective spiritual intercessors as well as military protectors – inaugurating a biblical typology for emperors that would continue throughout Byzantine history.

This chapter concerns Constantinople’s liturgical rite for the commemoration of earthquakes in its original, fifth-century form. Celebrated each year on the anniversary of certain quakes, worshippers ritually reenacted local earthquakes, performing a long, penitential procession that retraced the earthquake evacuation route. The rite was structured by biblical readings, hymns, and prayers that framed the people of Constantinople as the sinful, biblical people of God. In ritual performance, worshippers could envision quakes as manifestations of divine wrath against the sins of the city, and their collective repentance as effective in restoring stability to the earth and balance within the human-environment-divine relationship. After discussing the liturgical rite, its performance, and theology, the chapter locates the origins of its theology of divine chastisement in local homilies and ritual responses to earlier quakes, focusing in particular on the archbishop John Chrysostom’s Constantinopolitan homilies on earthquakes from the early fifth century.

This chapter examines the ways in which Byzantine political and ecclesiastical elites recast local earthquakes as divine blessing upon the city rather than manifestations of divine wrath as evinced in the liturgical commemoration rite. First, it examines a legend that arose in connection with the earthquake of 438 that framed it as a divine theophany. Following the divisive Council of Chalcedon in 451, ecclesiastical authorities in Constantinople’s imperial church used the legend against their miaphysite opponents to cast the quake as divine approval of Constantinople’s political and theological claims. Next, it turns to the earthquake of 557, which partially destroyed the famous church of Hagia Sophia built by the emperor Justinian in 537. Justinian rebuilt the church in 562 and held an elaborate ceremony complete with a liturgy of rededication for the church. This ceremony and its liturgy eschewed the theology of divine chastisement and framed the quake as a temporary setback, an opportunity for Justinian to display his prowess over the destructive effects of nature by rebuilding the church to be more magnificent than before.

This chapter describes how medieval Constantinople ceased to commemorate new local earthquakes on its liturgical calendar and instead crafted new ways of responding liturgically to seismicity. First it discusses new liturgical hymnography added to the commemoration rite for the quake of October 26, 740, and the establishment of that day as an annual “earthquake day” on which worshippers could reflect on natural disaster in the abstract, even as the hymns presented an incoherent set of conflicting theologies of earthquakes. It then examines how earthquakes from the distant past became potent ideological symbols in this period. It concludes with an examination of a prayer from the late eighth century created for use whenever earthquakes struck, a form of liturgical response that came to replace the practice of commemorating new quakes.

Early medieval charms invoke the service of the Visitation of the Sick through the use of liturgical elements central to that rite, as Chapter 4 argues. Charms import the singing of psalms, sprinkling of holy water, praying of anointing and healing formulas, imposing of hands, anointing of the body, and the chanting of antiphons and litanies. Once present in charms, these and other sacred practices serve as indices of the Visitation of the Sick. When allusions to the Visitatio Infirmorum are successfully recognized or evoked, charms invoke the liturgy. Because recognition proves crucial, the question of charm participants’ familiarity with the Visitation of the Sick leads us to assess the resonance of Visitatio references through the construct of a continuum. At one end we find charms containing references to the Visitation of the Sick that seem subtle in light of their brevity or context. At the opposite end we find charms with numerous, lengthy utterances based in the sacramental rite. Over all, associations with Christ’s healing and liturgical Unction are meant to transform faithful charm participants in their time of need.

Liturgical prayer plays a significant role in Anglo-Saxon healing remedies. It is not, contrary to recent studies on prayer, “relatively rare in medical remedies” (Thomas 2020: 224). Chapter 1, “Invoking Baptism,” argues that charms borrow crucial verbal and physical components of the baptismal liturgy in order to invoke the sacrament and its celebration. The most vital of the texts gathered as incantations is the Creed, which lies at the foundation of Baptism. Alongside the Creed appears the Pater Noster, anti-demonic utterances and exorcistic gestures, water and its use for washing, and the Sign of the Cross or Triune blessing. The allusive force of these liturgical artifacts is clear and strong enough, especially when they act as a collective, to evoke the liturgy. The act of recalling the liturgy within the performance arena results in the summoning of the liturgy’s power as a force for healing. Through the manipulation of baptismal forms, charms translate Baptism’s ability to heal the soul into the ability to heal the body. While charms do not exorcize the devil or baptize people in the name of Father, Son, and Holy Spirit, as is done at Baptism, the sacrament is so essential to the people’s spiritual welfare that healers harness its associations and apply them medicinally in traditional remedies.