Article
Church and state
Creed
Politics
6 min read

The Church and the State need to disagree on asylum seekers

Politicians don’t always get how church and state relate, but both have a vital and different role to play when it comes to immigration. Graham Tomlin explores the age-old tensions between clerics and politicians

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A woman dressed in a blue suit sits at a table talking and gesticulating with her hands.
Then Home Secretary Suella Braverman, answer to a parliamentary committee, December 2022.
House of Lords, CC BY 2.0, via Wikimedia Commons.

As we all know, Suella Braverman thinks the church is aiding and abetting bogus asylum seekers. The case of the Afghan migrant Abdul Ezedi, who carried out an acid attack on a woman and her children and reports that residents of the Bibby Stockholm barge were attending churches nearby has added fuel to the former Home Secretary’s charge that churches are naively supporting the asylum claims of immigrants to the UK. Everyone on the right of British politics seems to have weighed in to the issue, from Nigel Farage to Priti Patel, Robert Jenrick to Melanie Phillips. Now, even the left has joined in. Keir Starmer has indicated he would close loopholes for those who falsely claim conversion if he becomes Prime Minister (quite how he will do that is not explained).  

I feel personally invested in this story. When I take confirmation services as a bishop, quite regularly these days, among the list of candidates, there will be Iranian or Syrian refugees who have apparently become Christians, waiting in line among the 12-year old schoolkids, the new parents who want spiritual help in bringing up their children and the elderly man approaching death who realises he needs do something he’s been putting off for years.  

I have confirmed several Iranian refugees. I can’t look into their heart, or even my own to guarantee all of them were genuine converts. Yet I have seen their desperation to escape an oppressive regime, and although some may have started out coming to church to improve their chances of asylum, in the process some of them at least, have found, to their surprise, real faith. Several that I know have gone on towards ordination in the Anglican Church. If that is a ploy to get past the immigration system, it does seem to be taking things a bit far.  

It’s hard not to think the attack on the church is some kind of retaliation for the bishops’ opposition to the government’s Rwanda scheme. But underneath this argument there are deeper issues at play. 

The wrath of God is more severe than the wrath of Suella. And the generosity of God is wider than the Home Office.

This dispute is in reality another outbreak of the age-old tension between the Church and Caesar. In the early years of the church, Roman emperors never really understood Christianity and thought they could use it for the purposes of the Roman Empire just like they were used to doing with the pagan cults.  

Yet the Christians had other ideas and higher loyalties. As Augustine put it, the loyalty of the church is ultimately to the City of God rather than the earthly city. And in time, they developed a careful understanding of the way the church related to the state.  

So when it comes to immigration, the church will always take a different approach from the state. St Paul, in the very early years of the Christian Church, wrote: “Welcome one another, therefore, just as Christ has welcomed you.” In the very foundations of the Christian faith was this idea that even though we humans were moral and spiritual vagabonds, God has extended us a welcome into his presence. So woe betide any Christian who failed to welcome others into their fellowship if they wanted to join.  

If the Christian life was a matter of imitating and displaying God's ways in the ordinary business of life, then hospitality became one of the core Christian virtues. As one early Christian writer put it: "Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it." To risk offending an angel - a messenger of God – was a bad idea. The wrath of God is more severe than the wrath of Suella. And the generosity of God is wider than the Home Office.

Now of course such hospitality could be abused. The New Testament also has warnings about naively welcoming scoundrels who speak falsehood and lies: "Do not receive into the house or welcome anyone who comes to you... for to welcome is to participate in the evil deeds of such a person." So, the early Christians were told to be on the lookout for fakes, just like clergy today. Walk down a street with a dog collar and you are a magnet for people telling you that they have lost their wallet and could you give them the train fare to visit their dying mother in Newcastle. With their doctrines of sin and the deceitfulness of the human heart, vicars should know more than most that not every claim to charity is genuine. Yet that dose of realism always took place in the context of a presumption to welcome. To think the best of people not the worst. To give people the benefit of the doubt. 

The state on the other hand has a different role. Later political theology developed more nuanced ways of putting it, but it goes back to St Paul’s claim that civil authorities are “God’s servants, agents of wrath to bring punishment on the wrongdoer.” It is their job to be suspicious, to investigate fully, to winkle out fake claims and to set proper limits, while  tempering justice with mercy and be willing to welcome the genuine person in need. And wisdom is found in the tension between the two. It was always a mistake for the church to act like the state, being overly suspicious and critical. It was equally a mistake for the state to act like the church, being overly optimistic about all claims to asylum or innocence.  

So, when asylum seekers turn up at church asking to be baptised, the local vicar should not act like an agent of the state, assuming they are all bogus, just wanting to fiddle the system. She must act out of loyalty to her faith which tells her to welcome the stranger. The immigration officer on the other hand, whether he happens to be Christian or not, has to play it differently. Of course, there needs to be proper scrutiny of people's application for asylum - that's why we have an immigration system and quite right too. But vicars are not immigration officers. Their job is not start out by doubting motives but to act out the welcome of God, even if it draws the ire of the Daily Telegraph. This is the way that church and state should work together, one reminding the other of the Kingdom of God - a whole different way of life where welcome and grace takes centre stage. The other, conscious of the human tendency to deceive, being rightly cautious.

Suella's problem is, at root, a theological one. She hasn't understood the way Christian faith works. She hasn't understood the relationship between the church and the state. And let's be honest, sometimes in the past, the Church has tried to play the role of the state as well, which is equally a mistake. There is an inevitable tension in this relationship, where sometimes the church will believe the state is being too harsh, or the state will believe the church is being too soft, as we have seen in recent times. But it's one of those creative tensions where each side needs the other.

Perhaps in other, wiser ages, we understood this delicate balance between church and state, and the careful work that went into defining their relationship. Maybe it's time to recognise the role that each plays, not just for the sake of a healthy social life, but for the sake of those people who come to our shores desperately seeking a new life – whether with good motives or bad. 

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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