"The system of idolatry, invented by modern christianity, far surpasses in absurdity anything that we have ever heard of"
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Pratt swings a hammer labeled modern Christianity, but the blow is really aimed at authority itself: who gets to define worship, and who gets to police its boundaries. Calling it a "system of idolatry" reframes a faith that imagines itself icon-smashing as the very thing it condemns. The move is strategic. He is not nitpicking doctrine; he is accusing an entire religious establishment of manufacturing devotion to the wrong objects and then laundering that devotion as orthodoxy.
The phrase "invented by modern christianity" is doing heavy work. It implies decline, corruption, and novelty - a sly inversion of Christianity's claim to ancient continuity. Pratt positions himself as the defender of the original against the counterfeit, even as his own 19th-century movement was routinely dismissed as an upstart. That paradox is the subtext: the outsider accuses the mainstream of being the true innovator.
"Far surpasses in absurdity" is calibrated outrage. It's not a careful theological dispute; it's ridicule deployed as delegitimization. In a century when American Protestant culture was saturated with suspicion of "Popery", images, and priestly mediation, "idolatry" was a hot word - shorthand for spiritual tyranny and mental submission. Pratt taps that cultural reflex, then redirects it: the real idols, he suggests, are not statues but sanctioned practices, revered institutions, and perhaps even creeds treated as untouchable. The line works because it turns piety into comedy and makes orthodoxy look like the eccentric fringe.
The phrase "invented by modern christianity" is doing heavy work. It implies decline, corruption, and novelty - a sly inversion of Christianity's claim to ancient continuity. Pratt positions himself as the defender of the original against the counterfeit, even as his own 19th-century movement was routinely dismissed as an upstart. That paradox is the subtext: the outsider accuses the mainstream of being the true innovator.
"Far surpasses in absurdity" is calibrated outrage. It's not a careful theological dispute; it's ridicule deployed as delegitimization. In a century when American Protestant culture was saturated with suspicion of "Popery", images, and priestly mediation, "idolatry" was a hot word - shorthand for spiritual tyranny and mental submission. Pratt taps that cultural reflex, then redirects it: the real idols, he suggests, are not statues but sanctioned practices, revered institutions, and perhaps even creeds treated as untouchable. The line works because it turns piety into comedy and makes orthodoxy look like the eccentric fringe.
Quote Details
| Topic | Faith |
|---|---|
| Source | Help us find the source |
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