True Christian zeal motivated St. Helena. Eusebius described her as follows: “Especially abundant were the gifts she bestowed on the naked and unprotected poor. To some she gave money, to others an ample supply of clothing; she liberated some from imprisonment, or from the bitter servitude of the mines; others she delivered from unjust oppression, and others again, she restored from exile. While, however, her character derived luster from such deeds … , she was far from neglecting personal piety toward God. She might be seen continually frequenting His Church, while at the same time she adorned the houses of prayer with splendid offerings, not overlooking the churches of the smallest cities. In short, this admirable woman was to be seen, in simple and modest attire, mingling with the crowd of worshipers, and testifying her devotion to God by a uniform course of pious conduct” (The Life of Constantine, XLIV, XLV).
For a decidedly novel and novelistic take on Helena, check out Evelyn Waugh’s novel Helena. It was his favorite of all of his novels. Some people hate it, but I love it. When I was working as editor of the Loyola Classics series, the book was amazingly out of copyright in the US, so we were able to publish it with an introduction by George Weigel. I see that the copyright issue has gone another way, it seems, so the book is now published as part of a series of Waugh novels by Back Bay Books . You can get copies of the Loyola edition here, and a current edition from another publisher here.
Some, as I said, hate it because, they say, it’s basically the type of characters you find in Vile Bodies and Handful of Dust – 1920’s British upperclass twits – plopped down in the 4th century. Well, that’s part of the reason I like it. It’s entertaining in that way.
But also – when you read deeper, you see that this novel is about the search for truth – the True Cross is a real thing, but it’s also a metaphor. Helena’s life is a search for faith, and what she is seeking is something that is true and real. She is offered all sorts of different options that are interesting, intricate, sophisticated or satisfy her wants and desires, but none of them are real. Except one. From Weigel’s introduction:
Waugh was not a proselytizer, and Helena is no more an exercise in conventional piety than Graham Greene’s The Power and the Glory, whose hero is an alcoholic priest. But Waugh was a committed Christian apologist, and his apologetic skills are amply displayed in Helena. Thus Helena was not only addressed to those Christians who were trying to figure out the meaning of their own discipleship; it was also intended as a full-bore confrontation with the false humanism that, for Waugh, was embodied by well-meaning but profoundly wrong-headed naturalistic-humanistic critics of the modern world like Aldous Huxley and George Orwell.
More specifically, Waugh wanted to suggest that an ancient pathogen was lurking inside the hollowness of modern humanisms: gnosticism, the ancient heresy that denies the importance or meaningfulness of the world. So, to adopt a neologism from contemporary critics, Helena is, “metafictionally,” an argument on behalf of Waugh’s contention that modern humanistic fallacies are variants on the old, gnostic temptations exemplified by the Emperor Constantine and his world-historical hubris. And at the core of the gnostic temptation was, and is, the denial of the Christian doctrine of original sin – which is, in effect, a denial of some essential facts of life, including the facts of suffering and death. In Helena, the arrogantly ignorant Constantine puts it in precisely these terms to old Pope Sylvester, as the headstrong young conqueror heads off to his new capital on the Bosporus: “You can have your old Rome, Holy Father, with its Peter and Paul and its tunnels full of martyrs. We start with no unpleasant associations; in innocence, with Divine Wisdom and Peace.”
And what was the answer to the gnostic fallacy, which produced in Constantine’s time, as in ours, a kind of plastic, humanistic utopianism? For Helena, and for Waugh, it was what the aged Empress went to find: the “remorseless fact of the lump of wood to which Christ was nailed in agony,” as Waugh biographer Martin Stannard put it. This “remorseless lump of wood” reminds us of two very important things: it reminds us that we have been created, and it reminds us that we have been redeemed. Helena believed, and Waugh agreed, that without that lump of wood, without the historical reality it represented, Christianity was just another Mediterranean mystery religion, a variant on the Mithras cult or some other gnostic confection. With it – with this tangible expression of the incarnation and what theologians call the hypostatic union (the Son of God become man in Jesus of Nazareth) – a window was open to the supernatural, and the “real world” and its sufferings were put into proper perspective. For God had saved the world, not by fetching us out of our humanity (as the gnostics would have it), but by embracing our humanity in order to transform it through the mystery of the cross – the mystery of redemptive suffering, vindicated in the resurrection of Jesus from the dead.
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Although set more than a millennium and a half ago, Helena is a bracing antidote to this contemporary gnosticism: this “bosh” and “rubbish,” as Waugh’s Helena would put it. From her childhood, Helena is determined to know whether things are real or unreal, true or false — including the claims of Christianity. For her, Christianity is not one idea in a world supermarket of religious ideas. Christianity is either the truth — the Son of God really became man, really died, and really was raised from the dead for the salvation of the world — or it’s more “bosh” and “rubbish.” The true cross of Helena’s search is not a magical talisman; it is the unavoidable physical fact that demonstrates the reality of what Christians propose, and about which others must decide.
One Waugh biographer suggests that the novelist’s later years were marked by an agonizing spiritual quest for compassion and contrition. As for many of us, the contrition likely came easier than the compassion. But it is difficult to read Helena without discerning in its author the capacity for a great compassion indeed – a compassion for the human struggle with the great questions that are raised in every life, in every age. Evelyn Waugh’s comic energy was once sprung from his pronounced power to hurt others, as a novel like Vile Bodies demonstrates. But in the mature Waugh, the Waugh who wrote Helena and thought it his finest achievement, the farce has been transformed into comedy, and the comedy has become, for all the chiaroscuro shadings, a divine comedy indeed.
St. Helena is in the Loyola Kids’Book of Saints.…first page here…her section is “Saints are people who are strong leaders.”
