Explainer
Culture
Royalty
4 min read

How faith helped the monarchy flex

Understanding how the British monarchy has evolved, means understanding its foundation in faith. Ian Bradley explains.

Ian Bradley is Emeritus Professor of Cultural and Spiritual History at the University of St Andrews.

an etching shows William and Mary is a classical scene, priests stand to their right while dogs chew bones at their feet.
A broadsheet illustration celebrates William and Mary, and the Glorious Revolution of 1688.
Lambeth Palace Library.

Christian monarchy has played a central part in the history of the British Isles, promoting the rule of order, justice and mercy in conformity with the values of the kingdom of God and cementing a close alliance between the institutions of crown and church.  

Both these aspects are well illustrated in the life and deeds of the first English king to convert to Christianity. Aethelbert, who ruled Kent from 587 to 616, seems to have come to faith through a combination of the influence of his wife, Bertha, the daughter of a Frankish Christian king, and the preaching of St Augustine, who arrived in Thanet in 597, having been sent from Rome by Pope Gregory. According to one account, 10,000 of Aethelbert’s subjects followed him in converting and underwent a mass baptism. Among his first actions as a Christian king were to issue the first set of laws in the English language and to grant land to Augustine on which to build an Abbey, which later became Canterbury Cathedral.  

Reign responsibly 

Exemplified by such figures as Arthur and Alfred, Christian kingship brought new titles as well as new responsibilities for Britain’s rulers. The first to be appropriated was that of ruling through the grace of God, or Deo Gratia, the idea that is still expressed on every coin of the realm through the abbreviation DG. The late eighth-century Anglo-Saxon king Offa described himself as ‘by the divine controlling grace king of the Mercians’. From the mid-tenth century, several English kings also began styling themselves Christ’s Vicar or deputy. Edgar, Alfred’s great grandson who ruled from 957 to 975, so described himself when founding a new monastery at Winchester in 966. Some years later Ethelred II stated that ‘the king must be regarded not only as the head of the church but also as a vicar of Christ among Christian folk’. 

Cult kings 

The Middle Ages saw the flowering of the cult of Christian monarchy as both splendid and servant-like, pious and chivalrous, full of knightly virtue, gung-ho triumphalism and miraculous powers, as exemplified in the widespread belief that the king’s touch could cure those suffering from scrofula. While Medieval monarchs cultivated magnificent splendour, they also espoused the theme of the servant-king and acknowledged their utter dependence on God’s grace. Both these elements were reflected in the civic triumphs staged around Epiphany or Advent for the entrance of monarchs into the cities of their realms with the king being portrayed as the type of Christ and the queen as the bearer of heavenly glory. Deliberately modelled on Jesus’ entry into Jerusalem, they served as a reminder of the journey to be undertaken by all souls, including royal ones, towards death and the throne of heaven.  

Moderate monarchy 

The crown played a crucial part in the English Reformation which was initiated by Henry VIII with the help of his loyal lieutenant Thomas Cranmer. Together they created what was effectively a nationalised state church of a moderately Protestant hue with the monarch at its head, bishops and a conservative liturgy in English. Subsequent sovereigns made their influence felt on the emerging Church of England, with Edward VI steering it in a more Protestant direction and playing a key role in the preparation of the first English Prayer Book of 1549, and Elizabeth steadying it to produce the Anglican via media which has remained one of its distinguishing characteristics to this day.  

The monarch's headship of the Church of England was a key part of the Reformation settlement. It was established in the 1534 Supremacy Act which declared King Henry VIII 'the only supreme head in earth of the Church of England' with full authority to intervene in its affairs. Elizabeth I modified the monarch’s title from ‘Supreme Head’ to 'Supreme Governor', which it has remained ever since. Alongside it goes the title of ‘Defender of the Faith’, represented on coins as F.D., originally given to Henry VIII by the Pope in 1521 for his defence of the traditional sacraments of the Catholic Church against the novel teaching of Martin Luther. Although revoked after the Reformation, it has continued to be used by and about all monarchs since, although its meaning has never been precisely defined. 

Media monarchy 

Stuart monarchs tended to push Christian monarchy in a more absolutist direction, being enamoured of the doctrine of the Divine Right of Kings, although they also did much to forward Christianity in their realms. James VI of Scotland and I of England made a particularly valuable contribution in his patronage of the version of the Bible which still bears his name and is also known as the Authorised Version. He was adamant that it should not be a narrow reflection of a single theological position but rather an irenicon, or instrument of peace, breadth and moderation in the new United Kingdom over which he reigned. 

Modified monarchy 

The so-called Glorious Revolution of 1688-9, when James II was deposed because of his Catholicism and perceived absolutism and William of Orange invited by Parliament to occupy the vacant throne, effectively signalled the triumph of a covenant theory of monarchy over that of divine right. The constitutional settlement that followed it rested on a concept of limited monarchy and was based on an essentially secular concept of social and civil contract. However, neither the Reformation notion of the godly prince ruling the godly commonwealth nor the close connections between Crown and Church were swept away. Indeed, they were strengthened, with the role of the United Kingdom monarch as protector of Protestantism being expressed in the accession and coronation oaths still taken today. 

Modern monarchy 

Christian monarchy developed in nineteenth and twentieth century Britain to focus much more on philanthropy, civic duty and spiritual leadership demonstrated through attendance at religious services and public exhortation. The close relationship between the crown and the churches, and especially the Church of England, has remained strong while being extended in recent decades to other faith groups as the monarch has increasingly taken on the role of ‘Defender of Faith’. Television has made the monarch’s Christmas Day broadcast a significant national moment of spiritual reflection.

 

Review
Culture
Film & TV
Fun & play
Justice
5 min read

Boom! I love this new Superman!

Eschewing ennui, it’s a great fairy tale for the modern age
Superman talks to his dog amid the ice.
Superman and Krypto the dog.
Warner Bros.

…and that’s what makes this film so enjoyable! 

Oh, apologies for any confusion.  

No tortuously ‘relevant’ preamble from me today. I’m starting the review right in the middle of the action, because that is exactly what Superman does. No initial slog through a ‘backstory’ that everyone knows – even my wife, who has never read a comic book in her life, is familiar with who and what Superman is. The closest we get to contextualisation is a quick sequence of text: informing us that Superman landed 30 years ago (adopted by the Kent couple, and given the name Clark), began his superhero career three years ago, stopped the fictional nation of Boravia invading the equally fictional Jarhanpur three weeks ago, and three minutes ago lost a battle for the first time. 

Boom! 

Then straight into the action! 

Superman lands in the frozen tundra of the Antarctic and can barely breathe. He lets out a whistle and the next thing we know there is a tremendous snowy disturbance. Krypto the Superdog dashes into view! No explanation – just delight in the fact that there is a mischievous canine with unbelievable power. Krypto drags Superman ‘home’ to the Fortress of Solitude. There the Superman robots heal him with a concentrated dose of radiation from the Yellow Sun which gives him his power. He immediately departs to continue his bout against the nationalist supervillain ‘Hammer of Boravia’, who is secretly being controlled by the evil genius and billionaire Lex Luthor. 

The pace of this film isn’t fast…its hypersonic. It flies by at the speed of Superman himself. There isn’t any lag, any let up. Even the quieter moments, such as those meditating on Superman’s dual identities (the alien superhero Kal El/Superman and the human reporter Clark) or his burgeoning relationship with investigative journalist Lois Lane, keep the story moving. Exposition doesn’t take place through inexplicable monologues; it is always pacy conversation, which teaches us something about the characters and their relationships and their motivations. 

This is the great triumph of writer/director/producer James Gunn. After his success over at Marvel Studios, he has taken the helm of DC and started to create a universe of characters and stories that doesn’t waste time with painful ‘exploration’ and moralising. This was always the issue that held DC films (arguably featuring the more beloved and well-known characters in comic-book culture) back from matching the success of Marvel. Christopher Nolan is a genius, giving us a superb Batman trilogy, and Zac Snyder produced an underrated dark take on Superman, but neither seemed to delight in the bright, bubble-gum, kaleidoscopic colourfulness of the comic-book medium. 

Gunn refuses to make his Superman film gritty or realistic. Characters appear in all their flash and bombast and are welcomed as cheery additions. The ‘Justice Gang’ are simply there – including the always enjoyable Nathan Fillion with an arrogant smirk and an almost offensive bowl cut. Luthor’s genius allows his to create a parallel dimension…why couldn’t he!? If we can suspend our disbelief to accept a protagonist who is an alien superhero, why not a mini-universe?  

There is none of the former focus on psychological trauma and existential crisis and the sheer overwhelming ennui of being. In previous films the ethical lesson wasn’t just ‘on the nose’…it flattened your nose with a Mike Tysonesque haymaker! Here, Superman simply IS. He IS good. He IS upstanding. He IS fighting for truth and justice. He refuses to allow political and public-relations considerations to corrupt and dilute his absolute commitment to do (and to BE) what is right. One of the most dramatic scenes isn’t a grand battle, it is a quiet moment where Clark allows Lois to interview him as Superman. The more she questions the realpolitik implications of stopping an invasion, the more Clark becomes incensed. How could someone not allow themselves to save innocent life and serve justice to the oppressed against the oppressor? 

The film is such a ‘sigh of relief’ in a bloated comic-book-film market. Yes, the script is hilarious – this is Gunn’s forte. Yes, the music is sublime – both John Murphy and David Fleming’s score (with wonderful nods to the John Williams original) and Mr Gunn’s own needle-drops. The performances are excellent across the board – special mention to David Corenswet, who doesn’t quite look like Superman to me…but boy does he embody the very essence of the character, to the point where you can’t imagine anyone else having played the alien since Christopher Reeve. But its truest strength and victory is its joy in the simplicity (especially moral) of this comic-book genre. 

This is what is so refreshing about Gunn’s vision. Superman IS pure. Lex Luthor (Nicholas Hoult not missing a baldy beat) IS so prideful and vain that it has warped him into something twisted and evil and collapsing in upon his own ego. Watching the film, I was put in mind of C. S. Lewis’ writing on the nature of fairy tales: 

“For in the fairy tales, side by side with the terrible figures, we find the immemorial comforters and protectors, the radiant ones…” 

Comic-books are the great fairy tales of the modern age…why would we make them brooding deconstructions of the human condition, a la Cormac McCarthy? That isn’t their point or purpose. Lewis again: 

“Since it is so likely that they [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” 

Gunn has given us a film that isn’t just fun and fluffy, but important. In his sugary, childlike wonder and delight in the genre, he has given us a tale of good versus evil that is a true fairy tale: something gleaming and good, something radiant and right, something attractive and aspirational. Superman is a fairy tale where we can be comforted and emboldened by the moral (nay, ontological!) certainties of love and hope.  

5 stars

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief