Essay
Comment
Royalty
5 min read

Coronation vows and the relationships they make

The coronation contains significant words that are cornerstones for the state and much more. M. Ciftci explores their implications.

Mehmet Ciftci has a PhD in political theology from the University of Oxford. His research focuses on bioethics, faith and politics.

A painting shows a young Queen Victoria, in her coronation dress, resting one hand on the bible, taking her oaths
Queen Victoria taking the coronation oath, by George Hayter..
George Hayter, Public domain, via Wikimedia Commons

What is the point of the coronation ceremony? Many, such as Orwell, have praised the monarchy for absorbing our desire to exult those who rule us, so that we do not fawn over the politicians who hold real power, as they do in some presidential regimes. Instead, we treat politicians with no fanfare, but as mere ministers of the Crown, and hence as ministers of the good of the entire country. But why do we need an explicitly Christian coronation ceremony, taking place in the middle of an Anglican service of Holy Communion?  

We can find an answer in The Meaning of the Coronation, an appreciative essay written after the last coronation by two left-leaning sociologists, Edmund Shils and Michael Young. Every society, they claim, relies on an implicit consensus around certain moral values. “What are these moral values which restrain men’s egotism and which enables society to hold itself together? A few can be listed illustratively: generosity, charity, loyalty, justice in the distribution of opportunities and rewards, reasonable respect for authority, the dignity of the individual and his right to freedom.” 

 The apparently ordinary nature of these values should not deceive us.  

“The sacredness of society is at bottom the sacredness of its moral rules, which itself derives from the presumed relationship between these rules in their deepest significance and the forces and agents which men regard as having the power to influence their destiny for better or for worse.”  

Our sense that moral rules and values ought to be respected calls us to use all the power of rite and ritual to invest them with the authority of the sacred. The monarchy is eminently suited to serve this purpose, since “the monarchy has its roots in man's beliefs and sentiments about what he regards as sacred,” albeit in a vague, and hence more inclusive, way that can be appreciated without membership of the Church of England (to which I do not belong either), or Christian belief of any defined sort. Therefore, Shils and Young argue, the

“Coronation is exactly this kind of ceremonial in which the society reaffirms the moral values which constitute it as a society and renews its devotion to those values by an act of communion.” 

We can better appreciate how the Coronation reaffirms various political and moral principles by considering some key parts of the ceremony. One of them is the taking of the Oath to “solemnly promise and swear to govern … according to their respective laws and customs” the UK and Commonwealth Realms. These words are the cornerstone of our tradition of common-law constitutionalism. As the Queen takes the Oath, according to Shils and Young, she “acknowledges that the moral standards embodied in the laws and customs are superior to her own personal will.” Historically, as H.L. Morton wrote,  

“The king’s task was to uphold the law, not to make law, still less to govern by personal will as an autocrat.”  

The Oath, then, stands in judgement over the ministers of the Crown: have they acted in accordance with existing laws, or did ministers rule by personal decree? A question always worth asking, as Lord Sumption reminded us during the pandemic. 

Another key moment is the presentation of the regalia, the symbols of how the monarch should reign. The most important regalia to be handed to the King by the Archbishop are the Sceptre with Cross and the Sceptre with Dove. The Archbishop will then say a new and somewhat clumsy prayer to ask: 

“that you might exercise authority with wisdom, and direct your counsels with grace; that by your service and ministry to all your people, justice and mercy may be seen in all the earth.”  

By contrast, in 1953, the Archbishop said:  

“Receive the Rod of equity and mercy. Be so merciful that you be not too remiss; so execute justice that you forget not mercy. Punish the wicked, protect and cherish the just, and lead your people in the way wherein they should go.”  

This conveys more clearly and artfully the significance of the Sceptre and Rod, which is to circumscribe the purpose of the state, defined simply as that of upholding justice and public order. All those who act in the King’s name, such as parliamentarians, judges, magistrates, and members of the armed forces or police, are thus entrusted with authority to carry out the King’s Oath to “cause Law and Justice, in Mercy, to be executed”. By implication, if they do or desire anything that does not strictly serve this purpose, such as gaining power and influence for its own sake, or interfering with society arbitrarily, then they go beyond their commission.  

But law is also meant to be tempered with mercy. Hence one of the ceremonial swords, the curtana, carried into the Abbey at the beginning of the ceremony has a blunt tip. The ceremony is embedded with the Christian belief that we must be humbled by knowing we are sinners presuming to judge others. Our sense of justice is imperfect. What fallible judgements we mete out to others should, where possible, be open to reintegrating the wrongdoer back into society.    

Finally, there is the anointing itself, the central act following the taking of the Oath and before the presentation of the regalia. This is the most archaic part of the rite, hearkening back to prophets, priests, and kings of Israel who, according to scripture, were anointed with oil to signify that God had dedicated them to perform a role for the good of the whole people.  

The anointing was one of two moments in the ceremony that were not televised in 1953, a precedent that will be followed again this year. For the anointing is an act that is really a prayer – and who likes to have people gawping at them when praying? The King removes his Robes of State before the anointing because this is the moment when he asks humbly to be given divine aid to dedicate himself to the service of his people.  

There are too many examples of failed and collapsed states to make us doubt that the continued existence of any state is not something we can guarantee by our ingenuity.

The Sovereign’s dedication to public service is one side to the covenant that binds the country together. Rather than a social contract between individuals to protect their self-interest, in our Constitution there is an exchange of vows, binding one to another with rights and obligations. The monarch and those acting on his behalf swear to serve us (and condemn themselves when they fail to do so), and we swear to bear true allegiance in return.  

Whether those promises will be kept is not a matter of effort and skill alone. Just as in a marriage, the weightiness of the promises makes us naturally feel unequal to the task and in need of strength greater than we can muster. There are too many examples of failed and collapsed states to make us doubt that the continued existence of any state is not something we can guarantee by our ingenuity. Hence, at the heart of the Coronation is the unfashionable but humbling idea that to remain faithful to the vows pledged, and for there still to be a United Kingdom in future generations, are gifts given by something above us and beyond our ability to control. 

Article
Belief
Comment
Wildness
7 min read

In Search of Wild Gods: Nick Cave and Tom Holland in conversation

On unexpected and remarkable connections in a time of change.

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

A view of an in-conversation on a stage, with a video screen above showing a close up.
x.com/readalanread

“I’ve got to ask this, the opening lyric of one of your most famous songs says, ‘I don’t believe in an interventionist God.’ Do you now?” 

A nervous, but anticipant chuckle, rippled around the audience. How would the world-famous rock star answer? 

With his band the Bad Seeds, Nick Cave, was in the middle of a world tour having completed the European leg with two sell-out nights at the O2 in November. 

“I don’t know.” He said. 

“I don’t sort of test God. I do pray, but I don’t pray for things.” 

It was a cold January evening, a Thursday, and actually freezing outside in central London. But inside the hall 800 souls had turned out to hear a conversation billed as In Search of Wild Gods. A not-so-subtle nod to Cave’s critically acclaimed recent album, Wild God

Organised by the online news and opinion website UnHerd, and hosted by its editor Freddie Sayers, Cave was joined in the conversation by The Rest is History podcaster, Tom Holland. Two men who on the surface would appear to have little in common and exist in different worlds. 

Sayers confessed that, though a non-Christian himself, he found something ‘enticing’ about his guests. Especially so in the way they think deeply about the biggest questions of life, faith, values and personal experience. 

The conversation was candid. Cave spoke movingly about how in the structure and liturgy of a twelfth century church he had discovered the purpose-built place for his ‘existential sorrow’.  He shared how he and his wife Susie were quietly prayed for by an old lady at a communion service and had experienced ‘a deeply, deeply moving movement from a kind of inner despair to a sort of relief’.  

For Cave there is something ancient, something beautiful, something that evokes a profound sense of humility that this form of worship immerses and buries him in. Then it is the Christian story that pulls everything into focus. 

“I’m a storyteller, it’s the way I see the world. I see the world naturally, symbolically, poetically and so the story of Christ fits in there very well.” 

And the album Wild God charts the movement in his journey towards joy. 

“I called all around me, said have mercy on me please 

For joy. For joy. For joy. For joy. For joy.” 

Tom Holland’s story is different. Having grown into an atheist who considered the supernatural to be ‘essentially nonsense’ he happily became a writer of vampire fiction. However, as he progressed into writing history, he realised that to properly understand the world of the Romans or Vikings you have to imaginatively enter their supernatural world. If you don’t, it doesn’t make sense. 

First writing about the ancient world, and then about the beginnings of Islam, he realised how alien they seemed to his own core instincts. His journey had begun. He was discovering the fruit of having been brought up in a society and culture shaped by Christianity for a thousand years. 

Writing his best seller Dominion only further deepened this conviction. The realisation that his belief of every human being endued with an inherent dignity and value rests on the Genesis story of God creating men and women in his own image was a revelation. If this biblical framing is lost then human life is even more vulnerable to exploitation, manipulation or extermination. As some radical voices proposed during the pandemic, ‘humans are the real virus!’ 

Then, fear driven experiences added a further dimension to his growing convictions. While filming in Iraq, having previously entered no-man’s land between the Kurdish and ISIS forces, he entered an Armenian church ISIS had trashed. The one unbroken object was a framed picture of the Annunciation and the Angel Gabriel speaking to Mary. In that moment he felt the rush of something very strange and felt the presence of an angel. This was something of a surprise. He reflected: 

“… realising that if I could seriously think that I could experience an angel it was kind of an amazing experience. I would have never in my wildest dreams imagined that I could literally be able to believe in an angel, and for a brief moment I did believe that I could experience an angel … I know what it's like to believe this and it is incredible.”  

For Holland, allowing himself to consider that the world may be stranger than he thought was a game changer. Having been diagnosed with cancer during the pandemic he believes a prayer for divine help at the site of an apparition of the Virgin Mary was answered. It left him with the bemused thought, ‘this is brilliant I'm a Protestant Atheist who is contemplating the possibility of a Marian intervention.’ 

When Sayers asked Holland and Cave whether they think about themselves as Christians, Holland was clear, ‘I do’. He has come to own that his deep-seated ‘gut convictions’ have no objective justification outside of Christian faith. Added to this his profound experience of the supernatural is Christian and he has no experience of any other way of approaching the divine. He admitted that even allowing himself to contemplate the possibility of faith felt a little illicit at the time. Yet he realised opening himself up to the possibility made his life happier and more interesting. Even so, he still does not believe in life after death. 

Cave was more circumspect. He didn’t feel the need to call himself a Christian or not a Christian. 

“… but I have to say there are moments in church where this feeling is washing over me and I'm thinking about these claims that are being made, and I can kind of believe it. It feels like there is something that is both truthful and imaginative … that is more beautiful than rational truth and feels like something that I really truly can believe in. That doesn't mean that I feel that way all the time, but I do feel that really seeping into my life more and more and I guess this is the beauty of the ritual of going to church.” 

Sayers wondered whether we are at a ‘change moment’ in Western culture. With past certainties falling away, political upheavals and technological changes he wondered whether we were at the beginning of momentous shifts? ‘It does feel’ he suggested, ‘like this is a time where things are being revisited at a really fundamental level and people are searching.’  

Holland was not so sure. He saw the rapid fading of Christianity in the West and the subsequent fading of the ‘muscle memory of values’ as pointing in the other direction. Atheists at least took Christianity seriously, but he saw a rising generation with no understanding or interest in the stories that underpin our culture. 

He was happy to identify himself a Christian and sees this as being inextricably linked with the cultural values that have shaped contemporary Britain. Along the way he hopes that others might be provoked by his example to undertake a similar journey to his own. 

Cave, likewise, didn’t think there was a ‘crisis of meaning’ in the world at large. He was more concerned with what he saw as a ‘general demoralisation’ going on in the West as a result of what was happening in the world. A kind of flattening of expectations, which led him to be concerned about what might rise up on the back of it. 

Yet he sensed there was a change, a ‘quite remarkable’ and fundamental change. Given the kind of platform UnHerd is, he observed: 

“… you've invited me along to talk about my religious ideas no one would have done that five years ago.” 

And maybe that’s it.  

As a musician and poet, through personal tragedy, sorrow and searching, Cave has insights to share about ‘life, the universe and everything’. 

As an historian, Holland’s reflections and personal experience have led him to make, what for him, have been unexpected and remarkable connections. 

Truth be told, Cave and Holland stand in a long line of artists and academics, public figures and popular heroes who have had similar experiences and journeys. Individuals who have made the same kind of connections and sought to share them with whoever wanted to listen. From the author G.K. Chesterton to journalist Malcolm Muggeridge, and the scientist Francis Collins who led the Human Genome Project to physicist John Polkinghorne the list is a long one. 

Maybe what is happening in our culture is the beginning of an opening up of new possibilities in our public conversations. 

The wars and the rumours of wars. The climate crisis. Fuel poverty. The ascendancy of a different brand of political leadership offering a very different view of the world. The existential threat that rapidly advancing technology typified by AI offers, accompanied by the prospect of unimaginable and hopeful advances. All of these trends, and an ever-lengthening list of others, promise a disruption to the patterns of life with which we have become familiar and comfortable. 

Maybe this disruption is the portent of revisiting the more fundamental matters of our existence. 

Maybe, in future, we will look back to Cave and Holland as contemporary prophets whose reflections paved the way forward. If there are cracks in our old inherited order, maybe … 

“There is a crack, a crack in everything  
That's how the light gets in.”

(‘Anthem’ by Leonard Cohen, 1992)

 

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