The aim of the book is to show, from a historian’s point of view, how strange the early Christians must have seemed to their contemporaries and what difficulties they faced in living their faith in a non-Christian world. In doing so, it will become clear that Christians chose a huge variety of paths and that there was no linear progression toward later forms of Christianity. Therefore, the seemingly familiar early Christians are strange even to modern observers. In order to make clear their diversity and strangeness, I do not follow chronological order, but treat the subject matter according to different topics, in four main chapters. The first illustrates the difficulties for Christians to position themselves between Jews and pagans, the second the dispute over forms of authority within the Christian group, the third the challenges of everyday life for Christians, the fourth the relationship to the political system up to Constantine the Great, who turned to Christianity. In addition, I discuss the methodological and theoretical issues involved.

Muḥammad is usually known among Muslims simply as the Prophet or Messenger, but he was by no means the only prominent prophet in his own lifetime, although the others were eventually overtaken by him. This chapter attempts to place Muḥammad in the prophetic milieu of his own lifetime and to identify his leading rivals, which included at least one with a Qurʾān of his own.

Dante’s distinctive political theology lies behind two of the most startling surprises of his otherworldly vision, in relation to previous traditions both popular and learned about the afterlife. First, of the approximately 300 characters in Dante’s otherworld, 84 are pagans, and 51 of these are located in a region entirely of Dante’s own invention: the limbo of the virtuous pagans. Second is Dante depiction of contemporary popes, at least four of whom are allotted a place in hell.

Locke’s doctrine of the fundamentals has important irenic implications. His omission of disputed doctrines from his account of Christianity implies toleration of all those accepting the Law of Faith. Moreover, his theological writings do not describe affiliation to a church as essential to salvation. This position implicitly makes denominationally uncommitted Christians tolerable. This is a step beyond the mere separation between the state and religious societies, which Locke affirmed in his “letters” on toleration. However, Locke argued that acceptance of the Law of Faith could lead not only to salvation, but also to properly comprehend and observe the divine law. This position is problematic, since Locke avoided extending toleration from competing conceptions of salvation to competing conceptions of the good. But, to Locke, those who believe in God, although rejecting the Law of Faith, are tolerable, because they acknowledge the divinely given Law of Nature and, thus, can meet at least minimally decent moral standards. This is why he did not exclude non-Christian believers from toleration, while he was intolerant of atheists and censured the immoral ideas held by Roman Catholics.

This chapter addresses the political dimension of Dante’s ethical thought. Where scholars have tended to emphasise ‘the fundamental difference’ between the ethical–political theories expounded in the Monarchia and the Commedia, this chapter demonstrates their fundamental unity. No less than his Latin prose treatise in three books, Dante’s vernacular poem in three canticles was potent propaganda for the Imperial faction in Italy, and a controversial manifesto for the radical reform of the Roman Church.

Chaucer’s God considers how characters invoke God, both in terms of the everyday language of late medieval England and in the ways that the idea of God is reflected in Chaucer’s fiction. Conventional, non-theological utterances of the names for God by Chaucer’s characters as part of their, by turns, outwardly pious and unthinkingly impious phraseologies are discussed in the opening section, God Woot – ‘God knows’. Under the heading God Forwoot – ‘God foreknows’, some of the more challenging invocations of God are considered, such as the implications of divine foreknowledge and predestination on human free will in the Knight’s Tale, the Nun’s Priest’s Tale and Troilus and Criseyde. The concluding section, God in a Cruel World, asks whether in the Clerk’s Tale and the Franklin’s Tale, if Chaucer allowed his tales to reflect, and characters to reflect upon, the heretical notion of a God lacking in compassion for humanity.

Chaucer’s God considers how characters invoke God, both in terms of the everyday language of late medieval England and in the ways that the idea of God is reflected in Chaucer’s fiction. Conventional, non-theological utterances of the names for God by Chaucer’s characters as part of their, by turns, outwardly pious and unthinkingly impious phraseologies are discussed in the opening section, God Woot – ‘God knows’. Under the heading God Forwoot – ‘God foreknows’, some of the more challenging invocations of God are considered, such as the implications of divine foreknowledge and predestination on human free will in the Knight’s Tale, the Nun’s Priest’s Tale and Troilus and Criseyde. The concluding section, God in a Cruel World, asks whether in the Clerk’s Tale and the Franklin’s Tale, if Chaucer allowed his tales to reflect, and characters to reflect upon, the heretical notion of a God lacking in compassion for humanity.