Menu
Chapter 4 of 13

05 The Harrowing of Hell

8 min read · Chapter 4 of 13

THE HARROWING OF HELL

Since, then, this item of creedology is one of crucial significance in all Christian doctrinism, it becomes necessary to re-examine it in the light of a deeper understanding of the ancient symbolic method of literary expression and of the principles of the occult soul-science cultivated by the sagacious theologists of old. The true import of the doctrine has been elaborated at full length and with succinct clarification of its subtle semantic intimations in the author’s major works. But certain phases of its relation to the theological edifice in Christianity and the bearing upon it of numerous Biblical passages, as well as its extensive treatment in both the Patristic Christian and the Apocryphal literature of the early centuries, render a new survey of the theme eminently desirable.

Attention has been focused all afresh on this item by our recent perusal of a remarkable book dealing exhaustively with the doctrine from the distorted orthodox point of view, but marshalling the relevant data with a brilliant flourish of scholarship. It is the work entitled The Harrowing of Hell, by a prelate of the Anglican Church, J. A. MacCulloch, Canon of St. Ninian’s Cathedral and Hon. Canon of the Cathedral of the Holy Spirit, Cumbrae. It is subtitled: A Comparative Study of an Early Christian Doctrine. It is thoroughgoing and ably handles the assemblage and classification of basic data. Praise must stop short there, for it completely misses the correct interpretation of the great doctrine it deals with, leaving the reader as deeply mystified by the strangeness of the doctrine itself and as abjectly confused by it all at the end as at the beginning. In fact in the way of a literary oddity it is a phenomenon of exceptional uniqueness. We venture to assert that in its interpretative theses it misses the true import of its data completely. And in addition to its freakish character in this respect it can claim an exceptional mark of queerness from the fact that at one or two places it actually advances the hint of what would make the true interpretation and as summarily discards it, clinging doggedly to the erroneous theses postulated by orthodoxy. The book is, as said, a fine scholarly survey on a wide comparative basis of the universal ancient tradition of the Christ’s descent to hell, the references to the doctrine being collated from a considerable library of the texts of the early Christian Fathers, exegetists and commentators, closely integrated with the texts from the Bible itself. This product of extensive research and correlation is a valuable one in spite of the entire miscarriage of the meaning, which is carried from its true locale of reference into a world in which the meaning cannot possibly apply. Error damns a book generally; but this work becomes, by way of accentuation of its true significance through sharp contrast with a false rendering, an exceptionally enlightening study through its very error. As the doctrine assumed prominence in early dogmatic formulations, it received elaboration and imaginative reconstruction at the hands of the Christian writers, who presented it in the full array of all its poetic embellishment, its correlative features and its Pagan antecedent background. It is in the light of these ancillary particulars that the study here undertaken, by virtue of its application of the recovered lost keys to the arcane wisdom of olden time, can take on the character of a veritable new revelation of all Scriptural theology.

What becomes apparent first is the realization that the doctrine, with all its strange and mystifying features, had a far greater, more detailed and expanded exegesis in the Patristic, Apocryphal and Pseudo religious literature of the first five or six Christian centuries than it was accorded in the canonical Gospels, Epistles or the Apocalypsis. In this range of evangelical writing it is seen as far from an isolated episode, an irrelevant occurrence of Gospel history. For it is found in close and integral connection with the whole main body of basic Christian doctrinism. But also it is the comparison of much material from diverse sources that accentuates the clashes, the inconsonance and the confusion in which the whole panorama of orthodox interpretation is from beginning to end ludicrously involved. It is the purpose here to elaborate and expose the major points of such confusion, as part of the effort to realign this important element of Christian creedology with a true comprehension.

MacCulloch’s book gives us, so to say, the pegs on which to hang the cardinal issues of the discussion. The legend of the descent of the deific power to an underworld and its wrestling there to overcome the forces of evil is almost universally present in the religions of the world. It is significant that this descent usually followed upon the hero’s decease on earth. In this nether world the dead were believed to be detained until they were awakened, reanimated, liberated and led forth to regain an upper world of light and air through the sacrificial agency of the hero god, or other divine emissary. Death itself was personified, likewise Hades, as powers holding souls in captivity, so that the Son of God has to break their hold on the dead to set the prisoners free. Dramatically the old texts tell of the astonishment, dread and final panic of the rulers of Hades when the mighty light that radiates from the presence of the celestial person illumines the dark grottoes of hell. "Who is This King of Glory?" they cry in stupefied fright. "The Lord of Hosts, he is the King of Glory," the voice of God resounds in reply. "The Lord mighty in battle (Psalms 24:8-10)." He has entered Hades to overthrow the powers of death and hell and bind the lord of the underworld in chains for the millennium. As he overcomes the reign of death he unbars the aeonial portals, he bursts the confining bolts of hell, he throws down the gates and topples the walls of the city of death and leads out to freedom the hosts of those lying inert.

Passages are found profusely in the various texts in which the souls bound in Hades, like Jonah in the belly of the great fish, raise their pleas to the heavenly Father that he will not suffer them to see corruption in Hades. The one in Acts (Acts 2:27) is notable: "Because thou wilt not leave my soul in hell, neither wilt thou suffer thine Holy One to see corruption." Similar appeals from the soul in the underworld abound in the Old Testament.

Again the symbol of "death" is exchanged for that of its twin brother "sleep". It is said that Jesus descended and preached "to them that slept." Those who had been held in some ill-defined condition of suspended life awaiting the coming of their liberator were often, as particularly in Egyptian lore, described as lying asleep in their coffins. The Christ is assigned the role and function of Awakener of the Dead. Resort is even had, as in Ezekiel, to the figure of bringing together dry bones, reconstituting them in their proper relation, clothing them with flesh, and restoring the organism to life (Ezekiel 37:1-10). As Jesus descended after his death, conquered the powers of darkness and came forth victorious, he is said to have achieved resuscitation also for all the saints who, freed by his power to melt their bonds, ascended up to heaven with him.

MacCulloch shows that the theme of the descent formed a definite part of the teaching of the Apostles; but that they missed its true esoteric intent and relevance is as clear as anything can be. The precincts of the underworld were guarded by powers in the service of death denominated by the Greeks Archons. They are the doorkeepers and wardens of Hades, and the souls bound under their guardianship have to wait for the coming of Jesus, who alone can free them. These jealous wardens have to be overcome, generally from stupefaction from terror inspired by the coming of the radiant One, if the enchained captives are to be released.

Many times the rite of burial accompanied the Saviour’s "death" in the underworld; "dead and buried", as in the creed. So prominent was the doctrine of the Christly descent to Hades in early Church theology that the Nicene-Constantinople Council of 381 A.D. condemned those who denied that the Lord, "in his reasonable soul", had descended to Hades. The first canon of the fourth Council of Toledo, 633 A.D., Contains in Latin this statement: The Logos "descended to the lower regions that he might release the saints who were there detained, and he resurrected them from the vanquished rule of death." An early creed-form recites that the Logos descended into hell and trod down the sting of death. Dramatically, as St. Paul puts it, the victorious cries of those released from the despot’s clutches hurl back at him the jubilant taunt, "O Grave, where is thy victory? O Death, where is thy sting? (1 Corinthians 15:55)" In certain writings God is said to have "remembered his righteous ones", or "his holy ones", or "his dead ones who slept in the land of sepulture." The Apocryphal Gospel of Peter has the phrase: "Hast thou preached to them that slept? (Gosp. Pet. 41)" Jesus was heralded as the "first fruits of them that slept (1 Corinthians 15:20)."

It may be injected here that the sheer stolidity of mind which permitted the Christian leaders early and late to read a literal sense into this "sleep" of the tenants of the fabled underworld, or Hades, thus giving it a quasi-historical significance, must be regarded as a phenomenon of stupendous magnitude and singularity. In a thousand particulars the material of a spiritual allegory, which renders its message with sublime aptness and luminosity as long as it is taken as allegory, almost invariably becomes ridiculous and impossible when it is transposed into historical realism. The "preaching" of a Christ spirit to a race of men unawakened to mystico-spiritual apprehensions can be well considered and understood, and this is unquestionably the only true sense which this allegory was intended to convey. But it is surely illogical to read a meaning in any way factual into the objective reality of a man, a human person, while his body lay dead in a rocky tomb in Palestine, entering any such kingdom as Hades and addressing an audience of all the earth’s past dead lying fast asleep. From any point of view that makes it realistic, it is a stupid and silly presupposition. And its acceptance as such testifies vociferously to the havoc that pietistic credulity can wreak upon uncritical minds. If one tries to recreate this scene realistically, the Christ stalking about among the billions of sleeping wraiths in the dark caverns of Hades, the utter senselessness of it all - redeemable to sense only if taken as poetic representation of spiritual reality - will preclude any rational acceptance of it. Its acceptability on any factual terms presupposes that all these countless dead were collected at one place if they were to be within hearing of the divine oration. Of course the whole matter gains credence in the religious mind on the presumption that spirits are not bound by the laws of the physical realm. It will be said that the Christ’s voice in this preaching was not a vocal resonance, but a spiritual radiation that shot electrically through all the corridors of the underworld. However the irrationalities of the situation are to be "explained", it has to fall back on "miracle" in the end. And this is the inevitable resource whenever the ostensible framework of an allegory is transmuted into the alleged actuality of an event. It is sure to be the case that in the construction of allegory fancy creates situations that, like children’s fairy tales, become fantastic, grotesque and bizarre when taken to be real objective occurrence. To be held in the category of history these things had to be classed as "miracles". Gerald Massey has, with irrefutable logic, found all the "miracles" performed by Jesus in the Gospels to have been pre-existent as allegories in old Egypt’s immemorial literature. They were mythical constructions portraying the divine powers and attributes of the Christ figure of Horus, by dramatic representation.

Everything we make is available for free because of a generous community of supporters.

Donate