Eschatology

Eschatology (pronounced es-kuh-tol-uh-jee)

(1) Any system of doctrines concerning last, or final, matters, as death, final judgments or the future state.

(2) The branch of theology dealing with such matters.

(3) Of or pertaining to the end of times, notably in Jewish, Christian and Islamic theology and in Christianity, associated particularly with the second coming of Christ, the Apocalypse or the Last Judgment.

1844: From the Greek ἔσχατον (éskhaton), neuter of ἔσχατος (éskhatos) (last, furthest, uttermost, extreme, most remote), the construct being was éschato(s) + logy.  Origins were in academic theology, the study of the four last things: death, judgment, heaven & hell.  Eschatology, eschatologism & eschatologist are nouns, eschatological & eschatologic are adjectives and eschatologically is an adverb; the noun plural is  eschatologies.

Most interesting aspect of the etymology is the -logy suffix.  Although use has extended, -logy originates with loanwords from the Greek, usually via Latin and French, where the suffix - λόγος (lógos) is an integral part of the word loaned, a sixteenth century English example being astrology, from astrologia.  The French -logie was a continuation of the Latin -logia, also ultimately from the Greek -λογία (-logía).  Within Greek, the suffix is an abstract from Ancient Greek λόγος (lógos) (account, explanation, narrative), itself a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English, the suffix quickly became productive, applied particularly to the sciences, often analogous to names of disciplines borrowed from the Latin, such as the earlier mentioned astrology and geology from geologia.  By the later eighteenth century, it became applied to compositions of terms with no precedent in Greek or Latin, sometimes imitating French or German templates such as insectology (1766) after the French insectologie or terminology (1801) from the German terminologie.  Linguistic promiscuity soon followed with the rapid application to words long wholly absorbed into English; undergroundology was noted in 1820 and hatology in 1837.  The form -ology is also used when including the connecting vowel -o- that is frequently used in connecting two elements of Greek origin.

The Four Horsemen of the Apocalypse

The Four Horsemen of the Apocalypse are written of in the Book of Revelation, the last book of the New Testament which tells of God summoning four beings who ride out on white, red, black, and pale horses. The four riders are usually described as symbolizing Pestilence (black), War (red), Famine (black) and Death (pale) and in Christian eschatology are sent by God to deliver upon the earth a divine apocalypse as harbingers of the Last Judgment.

The Four Horsemen of the Apocalypse (circa 1496), woodcut by Albrecht Durer (1471–1528).

Jewish and Christian eschatology differ but whatever the theological divergence, there are structural similarities in the visions of the Old and New Testaments.  In Ezekiel 1:5-14, God summons another quadrumvirate:

5: And from the midst of it there came the likeness of four living creatures. And this was their appearance: They had the likeness of a man.

6: And every one had four faces, and every one of them had four wings.

7: And their feet were straight feet, and the sole of their feet was like the sole of a calf's foot; and they sparkled like the sight of burnished bronze.

8: And the hands of a man were under their wings on their four sides. And the four of them had their faces and their wings thus:

9: Their wings were joined one to another; they did not turn as they went; each went straight forward.

10: As for the likeness of their faces, they had the face of a man; and the four of them had the face of a lion on the right side, and the four of them had the face of an ox on the left side, and the four of them had the face of an eagle.

11: And thus their faces were. And their wings were spread out upward; two wings of each were joined one to another, and two covered their bodies.

12: And each went straight forward; wherever the Spirit was to go, they went; they did not turn as they went.

13: As for the likeness of the living creatures, their appearance was like burning coals of fire, like the appearance of torches; the fire went to and fro among the living creatures, and the fire was bright; and out of the fire went forth lightning.

14: And the living creatures ran to and fro like the appearance of a lightning bolt.

Amateur painter George W Bush (George XLIII, b 1946; US president 2001-2009) putting the finishing touches to his take on the Four Horsemen of the Apocalypse.  Mr Bush wasn’t noted for his subtle irony so he probably was thinking only of the Book of Revelation when he depicted Pestilence, War, Famine & Death although for many the sight of the painting might summon memories of (1) the former president, (2) Dick Cheney (born 1941; US vice president 2001-2009), (3) Condoleezza Rice (b 1954; US secretary of state 2005-2009) and (4) Donald Rumsfeld (1932–2021: US defense secretary 1975-1977 & 2001-2006).  The art and theology departments in some (liberal) university should include an exam question inviting students to explain which horse each neocon best represented, points to be deducted for anyone who took the easy option and called Dr Rice “Pestilence”.

Doomsday

Doomsday (pronounced doomz-dey)

(1) In Christian eschatology, the day of the Last Judgment, at the end of the world (sometimes capital letter); the end of days; the end of times.

(2) Any day of judgment or sentence (sometimes initial capital).

(3) In casual use, the destruction of the world, since the 1950s, by means of nuclear weapons.

(4) As doomsday weapon(s), the device(s) causing the destruction of the world; anything capable of causing widespread or total destruction.

(5) Given to or marked by forebodings or predictions of impending calamity; especially concerned with or predicting future universal destruction.

(6) As Doomsday Clock, a symbolic warning device indicating how close humanity is to destroying the world, run since 1947 as a private venture by the members of the Bulletin of the Atomic Scientists.

Pre 1000: A compound from the Middle English domes + dai from the Old English construct dom (judgment) + dæg (day), dōmesdæg (sometimes dōmes dæg) (Judgment Day) and related to the Old Norse domsdagr.  Dome was borrowed from the Middle French dome & domme (which survives in Modern French as dôme), from the Italian duomo, from the Latin domus (ecclesiae) (literally “house (of the church)”), a calque of the Ancient Greek οἶκος τῆς ἐκκλησίας (oîkos tês ekklēsías); doublet of domus.  Dom was from the Proto-West Germanic dōm and was cognate with the Old Frisian dōm, the Old Saxon dōm, the Old High German tuom, the Old Norse dómr and the Gothic dōms.  The Germanic source was from a stem verb originally meaning “to place, to set”, a sense-development also found in the Latin statutum and the Ancient Greek θέμις (thémis).  Dai had the alternative forms deg, deag & dœg all from the Proto-West Germanic dag; it was cognate with the Old Frisian dei, the Old Saxon dag, the Old Dutch dag, the Old High German tag, the Old Norse dagr and the Gothic dags.

In medieval England, doomsday was expected when the world's age had reached 6,000 years from the creation, thought to have been in 5200 BC and English Benedictine monk, the Venerable Bede (circa 672-735) complained of being pestered by rustici (the "uneducated and coarse-mannered, rough of speech"), asking him "how many years till the sixth millennium be endeth?"  However, despite the assertions (circa 1999) of the Y2K doomsday preppers, there is no evidence to support the story of a general panic in Christian Europe in the days approaching the years 800 or 1000 AD.  The use to describe a hypothetical nuclear bomb powerful enough to wipe out human life (or all life) on earth is from 1960 but the speculation was the work of others than physicists and the general trend since the 1960s has been towards smaller devices although paradoxically, this has been to maximize the destructive potential through an avoidance of the "surplus ballistic effect" (ie the realization by military planners that blasting rubble into to smaller-sized rocks was "wasted effort and bad economics").

The Domesday Book

Domesday is a proper noun that is used to describe the documents known collectively as the Domesday Book, at the time an enormous survey (a kind of early census) ordered by William I (circa 1028-1087; styled usually as William the Conqueror, King of England 1066-1087) in 1085.  The survey enumerated all the wealth in England and determined ownership in order to assess taxes.  Domesday was the Middle English spelling of doomsday, and is pronounced as doomsday.

Original Domesday book, UK National Archives, London.

The name Domesday Book (which was Doomsday in earlier spellings) was first recorded almost a century after 1086.  An addition to the manuscript was made probably circa 1114-1119 when it was known as the Book of Winchester and between then and 1179, it acquired the name by which it has since been known.  Just to clarify its status, the Treasurer of England himself announced “This book is called by the native English Domesday, that is Day of Judgement” (Dialogus de scaccario), adding that, like the Biblical Last Judgment, the decisions of Domesday Book were unalterable because “… as from the Last Judgment, there is no further appeal.”  This point was reinforced by a clause in the Dialogue of the Exchequer (1179) which noted “just as the sentence of that strict and terrible Last Judgement cannot be evaded by any art or subterfuge, so, when a dispute arises in this realm concerning facts which are written down, and an appeal is made to the book itself, the evidence it gives cannot be set at nought or evaded with impunity.”  It was from this point that began in England the idea of the centralised written record taking precedence over local oral traditions, the same concept which would evolve as the common law.

The Doomsday Book described in remarkable detail the landholdings and resources of late eleventh century England and is illustrative of both the power of the government machine by the late medieval period and its deep thirst for information.  Nothing on the scale of the survey had been undertaken in contemporary Europe, and was not matched in comprehensiveness until the population censuses of the nineteenth century although, Doomsday is not a full population census, the names appearing almost wholly restricted to landowners who could thus be taxed.  It was for centuries used for administrative and legal purposes and remains often the starting point for many purposes for historians but of late has been subject to an increasingly detailed textual analysis and it’s certainly not error-free.

The Doomsday Clock

The Doomsday Clock is a symbol that represents the likelihood of a man-made global catastrophe.  Maintained since 1947 by the members of the Bulletin of the Atomic Scientists (BOTAS), the clock was created as a metaphor for threat to humanity posed by nuclear weapons.  On the clock, a hypothetical global catastrophe is represented as the stroke of midnight and BOTAS’s view of the closeness to that hour being reached by the number of minutes or seconds to midnight.  Every January, BOTAS’s Science and Security Board committee meets to decide where the second-hand of the clock should point and in recent years, other risk factors have been considered, including disease and climate change, the committee monitoring developments in science and technology that could inflict catastrophic damage.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

These concerns do have a long history in philosophy and theology but the use in 1945 of nuclear fission to create atomic weapons focused the minds of many more on the possibilities, the concerns growing in the second half of the twentieth century as the bombs got bigger and proliferated extraordinarily to the point where, if all were detonated in the right place at the right time, almost everyone on Earth would have been killed several times over.  At least on paper, the threat was real and even before Hiroshima made the world suddenly aware of the matter, there had been some in apocalyptic mood: Winston Churchill's (1875-1965; UK prime-minister 1940-1945 & 1951-1955) “finest hour” speech in 1940 warning of the risk civilization might “…sink into the abyss of a new Dark Age made more sinister, and perhaps more protracted, by the lights of perverted science”.  It had been a growing theme in liberal interwar politics since the implications of technology and the industrialisation of warfare had been writ large by the World War I (1914-1918).

HG Wells’ (1866–1946) last book was Mind at the End of its Tether (1945), a slim volume, best remembered for the fragment “…everything was driving anyhow to anywhere at a steadily increasing velocity”, seemingly describing a world which had become more complicated, chaotic and terrifying than anything he had prophesized in his fiction. In this it’s often contrasted with the spirit of cheerful optimism and forward-looking stoicism of the book he published a few months earlier, The Happy Turning (1945), but that may be a misreading.  Mind at the End of its Tether is a curious text, easy to read yet difficult to reduce to a theme; in his review, George Orwell (1903-1950) called it “disjointed” and it does have a quality of vagueness, some chapters hinting at despair for all humanity, others suggesting hope for the future.  It’s perhaps the publication date that tints the opinions of some.  Although released some three months after the first use of atomic bombs in August 1945, publishing has lead-times and Wells hadn’t heard of the A-bomb at the time of writing although, he had in 1914 predicted such a device in The World Set Free.  In writing Mind at the End of its Tether, Wells, the great seer of science, wasn’t in dark despair at news of science’s greatest achievement, nuclear fission, but instead a dying man disappointed about the terrible twentieth century which, at the end of the nineteenth, had offered such promise.

In 1947, though the USSR had still not even tested an atomic bomb and the US enjoyed exclusive possession of the weapon, BOTAS was well aware it was only a matter of time and the clock was set at seven minutes to midnight.  Adjustments have been made a couple of dozen times since, the most optimistic days being in 1991 with the end of the Cold War when it was seventeen minutes to midnight and the most ominous right now, BOTAS in 2023 choosing 90 seconds, ten seconds worse than the 100 settled on in 2020.

The committee each year issues an explanatory note and in 2021 noted the influences on their decision.  The COVID-19 pandemic was a factor, not because it threatened to obliterate civilization but because it “…revealed just how unprepared and unwilling countries and the international system are to handle global emergencies properly. In this time of genuine crisis, governments too often abdicated responsibility, ignored scientific advice, did not cooperate or communicate effectively, and consequently failed to protect the health and welfare of their citizens.  As a result, many hundreds of thousands of human beings died needlessly”.  COVID-19 they noted, will eventually recede but the pandemic, as it unfolded, was “a vivid illustration that national governments and international organizations are unprepared to manage nuclear weapons and climate change, which currently pose existential threats to humanity, or the other dangers—including more virulent pandemics and next-generation warfare—that could threaten civilization in the near future”.  In 2023, the adjustment was attributed mostly to (1) the increased risk of the use of nuclear weapons after the Russian invasion of Ukraine, (2) climate change, (3) biological threats such as COVID-19 and (4) the spread of disinformation through disruptive technology such as generative AI (artificial intelligence).

The acceleration of nuclear weapons programs by many countries was thought to have increased instability, especially in conjunction with the simultaneous development of delivery systems increasingly adaptable to the use of conventional or nuclear warheads.  The concern was expressed this “may raise the probability of miscalculation in times of tension”.  Governments were considered to have “…failed sufficiently to address climate change” and that while “fossil fuel use needs to decline precipitously if the worst effects of climate change are to be avoided”, instead “…fossil fuel development and production are projected to increase”.  Political factors were also mentioned including the corrosive effects of “false and misleading information disseminated over the internet…, a wanton disregard for science and the large-scale embrace” of conspiracy theories often “driven by political figures”.  They did offer a glimmer of hope, notably the change of administration in the US to one with a more aggressive approach to climate change policy and a renewed commitment to nuclear arms control agreements but it wasn’t enough to convince them to move the hands of the clock.  It remains a hundred seconds to midnight.

The clock is not without critics, even the Wall Street Journal (WSJ) expressing disapproval since falling under the control of Rupert Murdoch (b 1931).  There is the argument that after seventy years, its usefulness has diminished because over those decades it has become "the boy who cried wolf": a depiction of humanity on the precipice of the abyss yet life went on.  Questions have also been raised about the narrowness of the committee and whether a body which historically has had a narrow focus on atomic weapons and security is adequately qualified to assess the range of issues which should be considered.  Mission creep too is seen as a problem.  The clock began as a means of expressing the imminence of nuclear war.  Is it appropriate to use the same mechanism to warn of impending climate change which has anyway already begun and is likely accelerating?  Global thermo-nuclear war can cause a catastrophic loss of life and societal disruption within hours, whereas the climate catastrophe is projected to unfolds over decades and centuries.  Would a companion calendar be a more helpful metaphor?  The criticism may miss the point, the clock not being a track of climate change but of political will to do something to limit and ameliorate the effects (everyone having realised it can’t be stopped).

Antichrist

Antichrist (pronounced an-ti-krahyst)

(1) In Christian theology, a particular personage or power, variously identified or explained, who is conceived of as appearing in the world as the principal antagonist of Christ.

(2) An opponent of Christ; a person or power antagonistic to Christ (sometimes lowercase).

(3) A disbeliever in Christ (often initial lowercase)

(4) A false Christ (often initial lowercase).

1400s: From the Middle English, from the (pre 1150) Late Old English antecrist (an opponent of Christ, an opponent of the Church, especially the last and greatest persecutor of the faith at the end of the world), from the Late Latin Antichrīstus, from the Late Greek ἀντίχριστος (antíkhristos & antíchrīstos (I John ii.18)), the construct being aντί- (anti-) (against) + khristos (Christ); the Greek Χριστός meaning "anointed one".   This was the earliest appearance of anti- in English and one of the few before circa 1600.  In contemporary English, it’s often (but not always) preceded by the definite article: the Antichrist.  Antichrist is a noun, antichristian is a noun & adjective, antichristianism is a proper noun, antichristianly is an adverb and antichristic is an adjective; the noun plural is antichrists.

The Antichrist and the End of Days

The Antichrist is mentioned in three passages in The New Testament, all in the First and Second Epistles of John (I John 2.18-27, I John 4.1-6, 2 John 7).  Common to all is the theme of Christian eschatology, that the Antichrist is the one prophesied by the Bible who will substitute themselves in Christ's place before the Second Coming.  Biblical scholars note also the term pseudokhristos (false Christ) in the books of Matthew (chapter 24) and Mark (chapter 13), Jesus warning the disciples not to be deceived by false prophets claiming to be Christ and offering "great signs and wonders".  Other imagery which can be associated with an Antichrist is mentioned in the Apostle Paul's Second Epistle to the Thessalonians and, of course, the Beast in the Book of Revelation.  The scriptural language is redolent with drama, the Antichrist spoken of or alluded to as the “abomination of desolation”, “the son of perdition”, “the man of lawlessness” or “the beast” (from earth or sea).

For most of the Middle Ages, it was the scriptural construct of the Antichrist as an individual which dominated Christian thought; the Antichrist born of Satan but yet an earthly tyrant and trickster, perfectly evil in all he was and did because he was the diametric opposite of Jesus Christ, perfect in his goodness and deeds.  Jesus Christ, the son of God, was born of a virgin into earthly existence and the Antichrist, the son of Satan would be born of the antivirgin, a whore who, like her evil offspring, would claim purity.  More than a fine theological point, it’s also quite deliberately a hurdle for Christ to cross in his Second Coming.  Where Christ was God in the flesh, the Antichrist was Satan in the flesh and point was to beware of imitations.  This was the framework of the medieval narrative, well understood and hardly remarkable but writers fleshed it out to create essentially two threads.  For centuries there was the idea of the single Antichrist who would accrue his disciples, have his followers accept him as the Messiah and put to the sword those who did not.  He would then rule for seven years before until his defeat and destruction by (depending on the author) the archangel Gabriel or Christ the true and his divine armies, all before the resurrection of the dead and the day of Final Judgement.

For two-thousand-odd years, there has been speculation about the identity of the Antichrist. 

By the late Middle Ages, another narrative thread evolved, this one with a modern, structuralist flavor and one more able to be harnessed to a political agenda.  Now the Antichrist was presented not as a force of evil outside the Church but the evil force within, the deceiver perhaps the Pope, the institution of the papacy or the very structure of the Church.  This was a marvellously adaptable theory, well suited to those seeking to attack the institutional church for it rendered the Antichrist as whatever the construct needed to be: the flesh incarnate of a pope, the sins and corruption of a dozen popes and his cardinals or the very wealth and power of the institution, with all that implied for its relationships with the secular world.  That was the position of the more uncompromising of those who fermented the Protestant Reformation of the sixteenth century.  The monk Martin Luther (1483-1546) saw about him venality, depravity and corruption and knew the end of days and the Final Judgement was close, the pope the true “end times Antichrist who has raised himself over and set himself against Christ”.  Unlike the long tradition of antipopes, this was true eschatology in action.  There have been many Antipopes (from the Middle French antipape, from the Medieval Latin antipāpa) although just how many isn't clear and they came and went often as part of the cut and thrust of the Church’s ever-shifting alliances and low skulduggery.  While some of the disputes were over theological or doctrinal differences, sometimes they were about little more than whose turn it was.

The Reverend Dr Ian Paisley, European Parliament, Strasbourg, France, 11 October 1988.

For centuries, Antichrist was a label often used, Nero, Caligula and the prophet Muhammad all victims, sometimes with some frequency and the epithet was often exchanged in the squabbles between Rome and Constantinople.  In the modern, mostly secular West, while the Antichrist has vanished from the consciousness of even most Christians, in the pockets of religiosity which the general godlessness has probably afforced, Antichrists appear to have multiplied.  Like “fascist” in political discourse, “Antichrist” has become a trigger word, a general category where disapprobation is not enough and there’s the need to demonise though even the hunter can be captured by the game.  In October 1988, Pope John Paul II (Karol Wojtyła 1920–2005; pope 1978-2005), who had often warned of the Antichrist waving his antigospel, was interrupted during a speech to the European Parliament by the Reverend Dr Ian Paisley (1926–2014; leader of the Democratic Unionist Party (DUP) 1971-2008 & First Minister of Northern Ireland 2007-2008), who loudly denounced him as ''the Antichrist.''  Standing and holding a large red placard displaying his message, Dr Paisley shouted out ''I renounce you as the Antichrist!''.  He was soon ejected, his holiness seemingly unperturbed.  The late Reverend had a long history of antipathy to popery in general and the “Bachelor bishop of Rome” in particular and, when later interviewed, told the press ''I don't believe he is infallible. He doesn't have the power to turn wine into the blood of Christ.''

Coming usually from the evangelical right, south of the Mason-Dixon Line, it seems to play well and it’s been aimed at the usual suspects including Barack Obama, Osama bin Laden, Saddam Hussein, Adolf Hitler, Joseph Stalin, Bill Gates, George Soros, at least two ayatollahs and, perhaps most plausibly, crooked Hillary Clinton.  Interestingly, although never denying practicing witchcraft or voodoo, crooked Hillary Clinton did feel the need to deny being the Antichrist.  In What Happened (Simon & Schuster, 2017, 512 pp ISBN: 978-1-5011-7556-5), a work of a few dozen pages somehow padded out to over five-hundred using the “how to write an Amazon best-seller” template, a recounting of the denial is there and the exchange does have a rare ring of truth.  It’s a shame that didn’t extend to the rest of the book; claimed to be a review of the 2016 presidential election, it might have been an interesting apologia rather than a two-inch thick wad of blame-shifting.

Never despair.  In the Christian tradition, the Antichrist will finally be defeated by the armies of God under the leadership of Christ with the Kingdom of God on earth or in heaven to follow.  Good finally will prevail over evil.

Medieval

Medieval (pronounced mee-dee-ee-vuhl (U), med-ee-ee-vuhl (U), mid-ee-ee-vuhl (non-U) or mid-ee-vuhl (non-U))

(1) Of, pertaining to, characteristic of, or in the style of the Middle Ages.

(2) In informal (usually disparaging) use, extremely old-fashioned; primitive; backward; uncivilized.

1820-1830: A creation of Modern English from the New Latin medium aevum (the middle age, thus pertaining to or suggestive of the Middle Ages), the construct being medi(um) (the middle) + aev(um) (age) + -al (the Latin adjectival suffix appended to various words (often nouns) to make an adjective).  The Latin medium was from the primitive Indo-European root medhyo- (middle); aevum was from the primitive Indo-European root aiw- (vital force, life; long life, eternity), also the source of eon.  Mediaeval & mediæval are the now rare alternative spellings.

Between Rome and the Renaissance

The noun medievalism, originally a descriptor of the beliefs and practices characteristic of the Middle Ages, dates from 1846, later used to describe the academic discipline studying the epoch; the adverb medievally was first noted in 1844; the noun medievalist, first used in 1847, meant "proponent of medieval styles, one who sympathizes with the spirit and principles of the Middle Ages”, but was from 1882 a companion word to the later sense of "medievalism” and used to describe historians and others “versed in the history of the Middle Ages".

Lindsay Lohan dressed in "medieval" flavor, Wendy Nichol's fashion show at the Elizabeth Street sculpture gardens, New York Fashion Week, September 2013.

The Middle Ages (or the Medieval) is one of the three epochs in Western Civilization: (1) Antiquity, (2) the Middle Ages and (3) the Modern Age (itself not to be confused with modernism or modernity).  It’s a modern construct.  The writers and historians working during the Medieval period divided history into periods such as the "Six Ages" or the "Four Empires", and, under the influence of Christian eschatology, seem universally to have though their own time to be the last before the end of the world, all referring to their age as "modern".  The phrase "Middle Ages" appeared first in Latin in 1469 as media tempestas (middle season) and this, over centuries, spawned many variants, including medium aevum (middle age) in 1604 and media saecula (middle ages) in 1625.  The more familiar medieval (and the now rare mediaeval & mediæval) is from medium aevum, its creation reflecting the enduring European reverence for the classical world (which still exists in academic historiography’s Greek and Roman factions).  The tripartite division of Western history had been used by historians for some time and became (more or less) standard after the seventeenth century German classical scholar Christoph Cellarius (1638–1707) in 1683 published his Universal History Divided into an Ancient, Medieval, and New Period.

Be prepared: Medieval armor.

Historians date the beginning of the Middle Ages from either in 410 or 476, depending on whether they prefer the Visigoth’s sack of Rome or the final overthrow of the last Roman Emperor as the crucial turning point.  A date around 1500 is usually accepted as the end of the Middle Ages but there’s no precise end-date and the transition to the modern era was marked by immense regional differences, some parts of Europe remaining distinctly medieval well into the twentieth century.  The end was more a milieu, events such as the discovery of the "New World" (1492), the fall of Constantinople (1453) and the Protestant Reformation (1520s onward) all landmarks of the transition.

Lighting up the Dark Ages: The burning of Protestant heretics, in English historian John Foxe’s (circa 1517–1587) Actes and Monuments (1653) (often published with the title John Foxe's Book of Martyrs).

The once parallel term "Dark Ages" does cause confusion.  It adopts a traditional light-versus-darkness imagery to contrast the “light” (the learning and progress Antiquity and the Modern Age) with the “dark” (the violence, backwardness and stultification of the Middle Ages), the phrase derived from the Latin saeculum obscurum (dark age), originally applied by Italian cardinal and ecclesiastical historian Caesar Baronius (1538–1607) in his writings about an especially tumultuous period during the tenth and eleventh centuries.  A memorable phrase, it caught the popular imagination and the concept came to characterize the entire Middle Ages as a time of intellectual darkness between the fall of Rome and the Renaissance, a slur most widely applied during the eighteenth century Age of Enlightenment.  It’s now less used and English-speaking historians, following their German counterparts, generally subdivide the Middle Ages into "Early", "High", and "Late", avoiding “Dark Ages” completely, those who make any mention generally noting it can apply only to the earliest centuries and then usually in the context of the paucity of documents and other historic records rather than as a damnation of a thousand-odd years.

Christ Rescuing Peter from Drowning (1370) by Lorenzo Veneziano (known as Lorenzo the Venetian, his dates of birth and death are unknown but he was active between 1356–1372).  A number of paintings from the medieval era featured the famous New Testament story in which Christ is said to have walked on water during a mighty storm.  Lorenzo's work depicts the fishing boat in which Jesus’ disciples were traveling in across Israel’s Sea of Galilee.  The story appears in three of the four Gospels (Matthew 14:22-33; Mark 6:45-52 & John 6:16-21), each telling the tale in a subtlety different way.

Valhalla

Valhalla (pronounced val-hal-uh or vahl-hah-luh)

(1) In Norse mythology, a dwelling in Asgard, the Norse heaven, the hall of Odin, reserved to receive the souls of those who fell in battle and others who died heroic deaths.

(2) In casual use, by extension from the classic meaning, an abode of the gods or afterlife in general.

1696: From the New Latin Vahalla, from the Old Norse Valhöll, the construct being val(r) (the slain in battle (and cognate with the Old English wæl)) + höll (hall).  The heavenly hall in which Odin receives the souls of heroes slain in battle appears often in Norse mythology and the word Vahalla was introduced into English in Archdeacon William Nicolson’s (1655–1727) English Historical Library (1696).  Valr (those slain in battle) was from the Proto-Germanic walaz (source also of Old English wæl (slaughter, bodies of the slain)) from the Old High German wal (battlefield, slaughter), from the primitive Indo-European root wele (to strike, wound (source also of Avestan vareta- (seized, prisoner), the Classical Latin veles (ghosts of the dead), the Old Irish fuil (blood) & the Welsh gwel (wound)). Höll (hall) is from the primitive Indo-European root kel- (to cover, conceal, save).  Nicolson’s work was long known only to scholars and it wasn’t until the word was re-introduced in the eighteenth centuries by antiquaries there was any revival of interest but it was the work of Richard Wagner (1813–1883) in the next century that popularised the Norse myths and, in some circles, made Valhalla a cult.  The familiar figurative sense has been used since 1845.  Vahalla was also spelled Valhall, Walhalla & Walhall; the plural is Valhallas (and not always with the initial capital).

Hermann Burghart's (1834-1901) design of Valhalla and the rainbow bridge for the staging of Das Rheingold, Bayreuth, 1878.

Valhalla is the great hall where the god Odin houses the dead whom he deems worthy of dwelling with him.  In the Old Norse poem Grímnismál (The Song of the Hooded One), the architecture of Valhalla is described as honouring military tradition, the roof of the “gold-bright” Valhalla made from the shields of fallen warriors with their spears its rafters.  Around the many feasting tables are chairs made from breastplates and the gates are guarded by wolves, eagles circling above but there are different depictions and there's no one view of where Valhalla was.  In some Old Norse literature, it’s said to be located in Asgard, the gods’ celestial fortress yet other texts suggest it was underground, one of the many places of the underworld.

The dead who reside in Valhalla, the einherjar (the ɛinˌherjɑz̠, (those who fight alone, literally "army of one")), live on as warriors, fighting among each-other and enjoying vivid adventures during the day.  Yet every evening, their wounds are healed, and, restored to full health, they feat on roasted wild boar (Saehrimnir (from the Old Norse Sæhrímnir of unknown origin)) and a mead from the udder of the goat Heidrun (from the Old Norse Heiðrun of unknown origin), all the while waited on by the same beautiful Valkyries who circled the battlefields on which they were slain.  But the einherjar are doomed because Odin has recruited only the bravest soldiers for he wants them for his army in his struggle against the wolf Fenrir during Ragnarok, a battled which Odin and the einherjar are fated to lose.

Robert Lepage's (b 1957) design of Valhalla for the staging of Das Rheingold, Met Opera, New York, 2010.

Like the mythology of Greek and Roman antiquity, it’s possibly some of what was passed down during the middle ages is just one variation of the original myth(s) and it’s only in the poetry of Icelandic historian Snorri Sturluson (1179–1241) that there’s a statement of the path of the fallen to Valhalla.  Snorri’s Prose Edda (circa 1220), a four-volume work drawn from many sources remains the most complete and extensive collection of the Norse mythology known still to exist but the author was also a lawyer and politician and scholars have noted he wrote long after the old Norse paganism had been replaced by Christianity; there’s the suspicion this may have been an influence in the way he synthesized strands from earlier traditions with Christian teaching.  Snorri said those who fell on the field of battle ascend to Valhalla, while those who die a less heroic death are consigned to hell, the underworld.  That does seem unfair (and probably bad public policy) and elsewhere in the Edda, he’s not above allowing the odd fudge, just as Roman Catholic theologians would invent limbo, their own medieval conjecture to tidy up the margins of God’s mysterious ways.  Snorri makes no attempt to justify his (actually quite blatant) contradictions and it’s thought what he wanted to achieve was a kind of lineal alignment between the pagan ways and the Christian, Valhalla and Hel the same diametric opposite as Heaven and Hell in Christian eschatology.  However, as many surviving fragments from earlier texts attest, the tidy, systematized paganism described by Snorri was not entirely that which had been practiced.

Rapture

Rapture (pronounced rap-cher)

(1) Ecstatic joy or delight; joyful ecstasy; bliss, beatitude, exaltation.

(2) The carrying of a person to another place or sphere of existence.

(3) In Christian theology, the experience, anticipated by some fundamentalist Christians, of meeting Christ midway in the air upon his return to earth.

(4) The act of carrying off (archaic).

1590: A compound word, the construct being rapt + ure (the suffix -ure was from the Middle English -ure, from the Old French -ure, from the Latin -tūra and was used to create a word meaning (1) a process; a condition; a result of an action or (2) an official entity or function).  Rapt was from the Medieval Latin raptūra, (seizure, rape, kidnapping), from the Classical Latin raptus (a carrying off, abduction, snatching away; rape (the future active participle of rapiō)).  In the sense of “carrying off”, the English use was in parallel with the Middle French rapture with the meaning drawn from the Medieval Latin raptura (seizure, rape, kidnapping, carrying off, abduction, snatching away) and the word rape is a cognate of this.  The sense of "spiritual ecstasy, state of mental transport or exaltation" is recorded by circa 1600 (as “the raptures”), the connecting notion being a sudden or violent taking and carrying away.  The meaning "expression of exalted or passionate feeling" in words or music is from the 1610s and from here it became frequently used in sacred music and art.

El rapto de Europa (The Rape of Europa (1628-1629)), oil on canvas by Peter Paul Rubens (1577-1640), Prado Museum, Madrid.  It follows a 1562 work in the same vein by Tiziano Vecelli (circa 1489-1576 and known in English as Titian).

The earliest attested use in English is with women as objects and in the seventeenth century it sometimes carried the meaning of the verb “rape”.  The use of the word “rape” in the sense of “carrying off” in so much art and sculpture from Antiquity and the Middle Ages is the cause of much misunderstanding in modern audiences.  Sense of "spiritual ecstasy or state of mental transport” was first recorded in the 1630s and rapture as a verb meaning "to enrapture, put in a state of rapture" (implied in raptured) became widely used.  The adjective rapturous (ecstatically joyous or exalted) dates from the 1670s, the adverb rapturously having emerged a decade earlier.  The verb enrapture, a creation apparently of the church, is attested from 1740.  The adjective ravishing, dating from the mid fourteenth century and meaning "enchanting, exciting rapture or ecstasy" (present-participle adjective from the verb ravish) is now probably associated with Mills & Boon romances but the origin was sacred, the figurative notion being "carrying off from earth to heaven"; the adverb was ravishingly.

In Christian eschatology, the rapture refers to the end of days when all Christian believers (both the living and resurrected dead) will rise into the sky and join Christ for eternity, a vision in Paul's first letter to the Thessalonians (1 Thessalonians 4:17)). 

Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.

Rapturists prefer this to less exclusive second comings such as those mentioned in Second Thessalonians, Matthew, First Corinthians and Revelation.

Home Thoughts from Abroad (1845) by Robert Browning (1812–1889)

I

Oh, to be in England now that April’s there

And whoever wakes in England sees, some morning, unaware,

That the lowest boughs and the brushwood sheaf

Round the elm-tree bole are in tiny leaf,

While the chaffinch sings on the orchard bough

In England—now!

II

And after April, when May follows

And the white-throat builds, and all the swallows!

Hark, where my blossom’d pear-tree in the hedge

Leans to the field and scatters on the clover

Blossoms and dewdrops—at the bent spray’s edge—

That’s the wise thrush: he sings each song twice over

Lest you should think he never could re-capture

The first fine careless rapture!

And, though the fields look rough with hoary dew,

All will be gay when noontide wakes anew

The buttercups, the little children’s dower,

Far brighter than this gaudy melon-flower!

Rapture (2019) by Roberta J Heslop, oil & acrylic on canvas.