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Royalty
8 min read

Fanfare for the familial: what the coronation really showcases

The culmination of family saga or a snapshot of the universal family? John Milbank analyses the wider meaning of the coronation.

John Milbank is a theologian, philosopher and poet. A co-founder of the Radical Orthodoxy movement, he is an Emeritus Professor of the University of Nottingham.

King Charles and Prince William hold a tree sapling upright.
The family tree. King Charles and Prince William with a Queen’s Green Canopy sapling.
The Royal Family.

Nothing rivets our attention more than a family drama played out in public. Currently we are fascinated, either avidly or guiltily, by the tensions surrounding Harry’s attendance and Meghan’s absence at the coronation of King Charles III.  

Monarchy is popular and comprehensible in a way that law, finance, mercantile logistics and military strategy are not, just because it involves real persons and their relationships. This translates great matters of state into terms which resonate with the ordinary person - however terrible, besides consoling, those matters may turn out to be.  

Yet for many of the more formally educated this is not right at all. We should not be confusing the private with the public, the intimate with the objectively open.  

Familiarity, and still more the familial, is thought to contaminate the ethical.

Fairness is, today, supposed to require a lack of association with the parties involved, such that increasingly the interviewers of a candidate for a job are not allowed to have any previous knowledge about her. Familiarity, and still more the familial, is thought to contaminate the ethical, which suggests that ideally appointments should be made by artificial intelligence and all judgements be systematically computed.  

Already our individual assessments are no longer trusted, along with the quirkiness of intuition and all tacit knowledge acquired by direct acquaintance. Instead, we are expected to act as much like robots as possible and to reach verdicts only by box-ticking according to pre-assigned criteria.  

For such an outlook, monarchy is a supreme anomaly: the subversion of public process by private whim rendered hereditary. It surely enthrones not just a man but corruption and forms the capstone for the continuing operation of a decadent inherited establishment.  

Yet there is another way of looking at all this. Is it any accident that King Charles, who has not arrived at his position by following due process or pandering to the needs of faction and fashion, has consistently been able to argue for and to promote more serious long-term concerns of the common good than have most politicians? Our built environment, the stability of nature, the sustaining of craft-skills and the training in disciplined virtue of the young, whatever their class origins, all matter supremely, and yet it is the Crown and not Parliament that has been most freely able to point to these things and to do something about them.  

Where do any of us first learn to obey, to share and to sacrifice, besides how to exercise our positive creative talents? Always within the bosom of the family, in whatever conventional or unconventional way this may be constituted.

More fundamentally, there are reasons to doubt the simple association of the private with interested corruption, and the publicly abstract and objective with ethical disinterest. Where do any of us first learn to obey, to share and to sacrifice, besides how to exercise our positive creative talents? Always within the bosom of the family, in whatever conventional or unconventional way this may be constituted. Moreover, within this bosom, rivalry and even competition are actually discouraged, even though they inevitably arise. Our parents want us to succeed, but not at the expense of our siblings. Self-expression and self-realisation are fostered rather than suppressed and yet they are not permitted to overrule cooperation.  

Within the family we learn that nothing is possible for us alone and that we have a part to play in a greater whole. School expands this vision and yet to some degree it already undermines it. We are now openly and almost shockingly encouraged to compete and to outperform; the less successful children are effectively abandoned by their new surrogate parents. The Victorians deliberately tried to counteract this by encouraging also house and school loyalty and a genial competition in sports and debating with other schools and colleges.  

Yet when we leave school and university and join a workplace of whatever kind this geniality starts to vanish, and the competition becomes more cut-throat. We now need to help undercut rival operations and even systematically to exploit our clients or customers. In consequence, evil gets ever more reduced to crime: we are allowed to do some pretty bad things so long as they stay within the rules and we, and above all our employers, stay out of jail.  

Some of us will go on to become politicians or will have pursued that career from the outset. Now things get worse: in the international context even the rule of law becomes patchy and shaky. Even where the international rules are followed, it is understood that national self-interest prevails and is wholly legitimate. It would be beyond shocking for a parent to tell their children that they must pursue selfish family interests at school, and work to sustain that at the expense of all other people, by whatever means possible. It’s just such an attitude that defines the mafiosi or the camorra. And it would still be shocking for a businessperson to tell their employees that they must pursue profit at the expense of their own town or country, even if this is often what covertly pertains.  

Yet a politician can readily get up and say that the interests of Britain or whatever other country come, for her, first and last. Even the claim to be fighting for freedom and democracy (or some such) cannot survive if it is seen to clash with the interests of the nation: despite everything Biden has had to concede to Trump on this one.  

The very selfishness and ruthlessness that is excoriated at the domestic hearth is ultimately encouraged in the public citadel.

There thus results something that has perplexed me ever since I was a child. The very selfishness and ruthlessness that is excoriated at the domestic hearth is ultimately encouraged in the public citadel. Does this mean, as the French philosopher Henri Bergson suggested, that most ethics really exists just to ensure the solidarity and efficiency of a war-machine; that what we take to be ‘moral’ is little more than an ethnic survival mechanism? 

Bergson accordingly suggested that real ethics must be global and universal. But as we are discovering today, that seems too abstract and unrooted for most people. We cannot really love everyone effectively and equally. That is why Augustine suggested instead an ‘order of love’ whereby we extend our love in ever-widening circles from the closest to the most far-off, while allowing that our sympathy with remote people has to take the form of some support for those who are truly close to them.  

The only way, therefore, to counteract the tendency of morality to mutate into disguised crime the nearer one reaches the boundaries and the margin of society is to extend the familial principle, such that all are variously sisters and brothers, mothers and fathers, daughters and sons (as indeed we truly are as constituting a single race). At the same time, one big human family can only be an effective family if it is also a family of cooperating families – a vast extended family if you like, on a principle of covenanting cousinship.  

The world religions, and especially the Christian religion, have exactly operated this principle of an extension of the familial across all borders which can alone ensure that ethical action is both immediate and real, and yet not the mask of a collective egoism. Beyond the merely political community, the Church like the family is all-inclusive in its purpose: it offers at once citizenship, educational formation, reconciling process and collective cult, linking us to the divine.  

At the most ultimate boundary of the human race it can also ensure that humans respect other natural creatures. And at the most ultimate boundary of all, that of finite reality as such, it can ensure that the principle that reigns is not mere utility or survival but our love of God who is in himself inner loving relation.  

The aim of the ethical as love is itself relational connection and it is only the latter that puts a break on our worst instincts which we cannot always for ourselves override. 

Such covenanting cousinship, or dividing only in order to link, always puts relationality at the centre, instead of mere self or collectivity. The aim of the ethical as love is itself relational connection and it is only the latter that puts a break on our worst instincts which we cannot always for ourselves override. Family members check each other, as do citizens, and as also should corporate bodies, if they seek finally organic cooperation rather than unlimited competition.  

It not only should be but also actually is the same with nations. As the German philosopher Friedrich Schelling declared, it is in the end nations interacting with other nations that put a brake on tyranny arising within nations -- something that no mere constitution or inner balance of power can curb forever. For a nation thinking of itself alone always risks descending into a shared ruthlessness that will typically be exercised both within and without.  

The Church as an extended family is not a democracy but a ‘mixed constitution’ involving single headship, the wise advice of a few and the popular consent and modification of proffered norms by the many.  From a Christian perspective a good social order, as familial, should echo this, and that is why constitutional monarchy would appear to be a suitable, though by no means the only possible form, for a Christian country to take.  

An aristocracy ought in theory to be the opposite of a mafia: not the subordination of public interest to family but a particularly strong and sacrificial association of person and family with public interest

Its mixed constitution involves some role for ‘aristocracy’ or wise leadership in the widest sense. An aristocracy ought in theory to be the opposite of a mafia: not the subordination of public interest to family but a particularly strong and sacrificial association of person and family with public interest. This is one crucial and political way in which the familial principle of the order of love can be constituted and rendered real. Of course, today, what we have instead is rather the covert extension of the rule of the mafiosi as big moneyed crime undercuts law and even operates outside its sway altogether. 

As a seeming anachronism, monarchy stands at the apex of the aristocracy and yet also transcends its concerns by a more direct linkage to the whole population, to whose attitudes and needs it needs to be especially alert. I have already mentioned just why and how King Charles performs this role effectively and in such a way as to counteract existing trends which more and more make a mockery of ordinary morality and decency, reducing it indeed to discipline for the mass troops, corralled into the service of armed power.  

Charles instead continues to serve the religious (and not just Christian) principles of the extended familial, of the order of love and covenanted cousinship, upon which alone the survival of ethics depends. Not only is there no salvation outside the Church (thus understood) -- there can be no genuine moral life either.  

For these reasons the coronation, which we eagerly await, will be indeed a truly Christian event and sacrament: an influx of grace in these unprecedentedly darkening times.  

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5 min read

I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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