Article
Belief
Creed
Politics
7 min read

If a King can pray with a Pope, there's hope for MAGA and woke to talk

Once bitter enemies found peace through prayer - offering a quiet challenge to today’s culture warriors

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

The Pope and King Charles walk together from the Sistine Chapel
Royal.uk

Last week, King Charles met the Pope.  

There was a part of me that wondered what Martin Luther, Thomas Cranmer, and even the young Ian Paisley would have of made it. Not much I imagine. The days of sharp theological barbs thrown between Protestants and Catholics over the mass, purgatory, the place of Mary, praying to the saints and so on are largely over. I imagine they had a cup of tea, admired Michaelangelo’s painting in the Sistine chapel and had a chat, but the main thing they did was to pray together - the first time a British monarch had met to pray with a Pope since the Reformation.  

So this was quite a big deal. Prayer carries much more significance than tea. But why did it matter so much?  

To make sense of it, you have to remember the history.  

In the aftermath of the English church’s break from Rome under Henry VIII, later consolidated under Elizabeth I, one of the most influential books that emerged from the English Reformation was Foxe’s Book of Martyrs, originally published in 1563. Alongside the ubiquitous King James Bibles, copies were to be found in English homes up and down the country for centuries afterwards. The book was a grisly catalogue of Christian persecution down the ages, and a thinly veiled side-swipe at the author’s main target - the Roman Catholic church, or “popery, which brought innovations into the church and overspread the Christian world with darkness and superstition.” Back then, that was how most British people saw the papacy.  

In 1605, a plot led by a group of English Roman Catholics to kill King James I of England (and VI of Scotland) and to blow up the Houses of Parliament was rumbled – the infamous Gunpowder Plot. For centuries afterwards on the anniversary of the conspiracy (until Health & Safety and modern squeamishness toned it down) the English lit bonfires, launched fireworks, and burnt effigies of the Catholic plotter Guy Fawkes to celebrate the deliverance of the nation from papal tyranny. At the time - and partly as a result of that event - Catholics were feared in England much as militant Islam is today in parts of the west – as a shadowy force infiltrating the nation from other European countries (mainly France and Ireland in this case), intent on changing the religion of the country, and imposing arbitrary and tyrannical rule on the population of Britain.  

Later in the same century, the looming prospect of a Catholic monarch put Britain into a spin. Charles II had been restored to the throne in 1660 after his father’s execution during the Civil Wars. Charles’ own Protestant credentials were always shaky – a fear that was confirmed by his deathbed conversion to Catholicism in 1685, but at least during his lifetime he remained a Protestant Anglican. The real problem was the heir – Charles’ younger brother James, the rakish Duke of York who was most definitely a Catholic. The same fears of papal tyranny and arbitrary rule, taking away the precious freedoms of the British people were the talk of the coffee houses and broadsheets of the 1670s and 80s.   

All the more remarkable then, that relationships between Anglicans and Roman Catholics have develop to such an extent that Anglicans (alongside other churches) were guests of honour at the late pope’s funeral and the inaugural mass of the new pope - and a King prays with a Pope.  

So why have things changed so much?  

Part of the answer is that times have changed. Europe is less obviously Christian than it was back then. The Christian churches have realised they don’t have the luxury of fighting over such matters. With Christian theology becoming less of a ‘public truth’ that held nations together (much as notions of freedom and democracy do for us today) arguments over it became less fraught and charged.  

Another reason is the lengthy conversations that have taken place between churches in the ecumenical movement throughout the last century that have carefully been able to unpick the disagreements, clarifying what was and wasn’t at stake in the fights between Lutherans, Catholics, Anglicans, Orthodox and others. These conversations haven’t solved all the issues. Different Christian denominations still disagree on a lot, especially today on issues like human sexuality and the like, but over time, they have at least brought clarity and a certain harmony to some of the historic disagreements. Anglicans still convert to Catholicism, and Catholics become Anglicans (or Orthodox or Pentecostals). The King and the Archbishop of York could not take Holy Communion with the Pope, but they could pray. I know from personal experience the depths of friendship that come when you recognise a brother or a sister in a Christian that you disagree with but in whom you can still recognise an essential commonality. 

Another key part of the answer is that the Roman Catholic church has changed. Last year for example, the Vatican department that oversees relationships with other churches issued a study document called ‘The Bishop of Rome’. It was part of an ongoing conversation between the Roman Catholic Church and other world churches on the role of the Pope in the modern world. It talked about the Papacy as having a ‘primacy of service’, its authority linked not to the triumphant but the suffering Christ, of how the Pope offered a kind of ‘personal’ kind of leadership, Orthodox churches a ‘collegial’ form (led by groups of bishops) and the Protestant churches a form that stressed the importance of the whole community.  

In other words, here was the Vatican asking other churches how the Papacy can be a help and support to Christians around the world. Back in the nineteenth century, in the first Vatican Council of 1869, the language was very different. The papacy was there by ‘divine right’, essential for the church, implying that other churches really ought to come back into the fold of the Church of Rome. The Roman Catholic church now seems to take a humbler, more generous stance which makes it possible for a King to pray with a Pope again.  

It's a heartwarming story. We constantly lament today the polarised, fragmented and angry nature of our politics and our cultural debate. The ecumenical movement of the Christian churches over the last hundred years may not be the sexiest development in recent cultural history. It involved long and painstaking conversations, the building of friendships and relationships across suspicion, a willingness to see the good in the other even when you could not agree. Yet this combination of time, patient conversation and humility has yielded fruit. 

In the seventeenth century, British Protestants saw Catholics as the deadly enemy seeing to undermine everything they hold dear - pretty much as some people do today see Muslims, or as progressives see conservatives or vice versa. Does this story hold out any hope of finding healthier ways to live together across our religious and political divides? Maybe. It's different of course because Catholics and Anglicans share the same basic faith, they recite the same Creed, they read (almost) the same Bible, they worship the same Jesus. With Islam we're talking about a different faith altogether. The ‘woke’ and the ‘MAGA’ people don’t seem to share much at all. 

But yet we do share a common humanity. And with patience, conversation, a willingness to look for the good in the other, some form of peaceful co-existence, with freedom to debate, or even to change religion might become possible.  

For that we can hope. And like the King and the Pope, pray.  

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Review
Culture
Music
6 min read

The biblical undercurrent that the Bob Dylan biopics missed

In the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A colorful mural depicts the eyes of Bob Dylan staring to the side.
Dylan mural, Minneapolis.
Nikoloz Gachechiladze on Unsplash.

The Bob Dylan biopic A Complete Unknown begins with his arrival in New York and concludes with his performance at the Newport Folk Festival in 1965. He begins the film as a complete unknown, as he arrives with no backstory to share or, where he does, one that he has invented. He ends it as a complete unknown, because he consistently refuses all the boxes or labels in which others want to imprison him. 

This aspect of Dylan’s life and career has also characterised many of the earlier biopics, such as 2007’s I’m Not There which features six different versions of Dylan as poet, born-again Christian, outlaw, actor, folk singer, and electrified troubadour. Suze Rotolo, his girlfriend throughout much of the time covered by A Complete Unknown, described the way in which he absorbed influences at this time like a sponge:  

“He had an incredible ability to see and sponge – there was a genius in that. The ability to create out of everything that’s flying around. To synthesize it. To put it in words and music.” 

Focusing on this aspect of Dylan’s life and practice can, however, lead to a minimising of his upbringing and also to a misleading sense of brilliant but entirely disconnected phases – essentially a series of rejections – as having characterised his career. There are some important elements of Dylan’s life and ideas that are overlooked, underplayed or simply lost as a result. Many of these involve the particular expression of spirituality that has informed his work from the beginning. 

As Rabbi James Rosenberg has explained: “Robert Allen Zimmerman was born in Duluth, Minnesota, on May 24, 1941. He spent the majority of his childhood, including his high school years, in Hibbing, about 60 miles northwest of Duluth. His father and mother, Abram and Beatie, whose parents were immigrants from Eastern Europe, sent both him and his younger brother David to the local synagogue for their Jewish education leading to Bar Mitzvah at age 13.”  

As a result, Dylan’s songs have from the beginning of his career been suffused with the phrases and imagery of the Bible; interestingly, not just the Hebrew Bible, but the Christian Bible too. Whether it’s the references to Judas in “Masters of War” and “With God on Our Side” or quoting Jesus in ‘the first one now will later be last’ (“The Times They Are A-Changin’”) or the Old Testament stories that feature at the end of “When the Ship Comes In”, wherever you look within Dylan’s lyrics the influence of the Bible is apparent. 

Follow that thought with another which notes the prevalence of apocalyptic images (storms, hurricanes etc) and events (‘The hour when the ship comes in’, the moment when “The Times They Are A-Changin’” or the night when the “Chimes of Freedom” ring, for example). Then think from where images of apocalyptic events primarily derive in the Western imagination and you’ll be circling back to the Bible, and the Books of Daniel and Revelation in particular. That is of course what Dylan himself did following his born-again experiences in the late ‘70s and early ‘80s, but the Bible was always the original seedbed for his images and ideas. 

Then, look deeply into one of the most apocalyptic of his early songs – “A Hard Rain’s A-Gonna Fall” – and you’ll see a manifesto to which he has held throughout his career and which illuminates his work in every decade and every change of direction within his lengthy career. The central character in “A Hard Rain’s A-Gonna Fall” commits to walking through an apocalyptic world in order to tell and think and speak and breathe and reflect what he sees in order that all souls might see it too. In a much later manifesto song – “Ain’t Talkin’” – he puts it like this:    

Ain’t talkin’, just walkin’ 

Through this weary world of woe … 

Heart burnin’, still yearnin’ 

In the last outback, at the world’s end 

Throughout Dylan’s career, he writes songs about people travelling through life in the face of apocalyptic storms seeking some form of relief or salvation or entry to heaven. So, what we have in the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century (and then twenty-first century) culture. 

It's actually all there right at the beginning in the song that he wrote for and sang to his hero Woody Guthrie:  

I’m out here a thousand miles from my home 

Walkin’ a road other men have gone down 

I’m seein’ your world of people and things 

Your paupers and peasants and princes and kings 

  

Hey, hey, Woody Guthrie, I wrote you a song 

’Bout a funny ol’ world that’s a-comin’ along 

Seems sick an’ it’s hungry, it’s tired an’ it’s torn 

It looks like it’s a-dyin’ an’ it’s hardly been born

(“Song to Woody”) 

Dylan’s songs, from that point onwards, have documented where his pilgrim journey in the eye of the apocalypse has taken him; often with imagery of storms lighting his way. He has travelled the paths of political protest, urban surrealism, country contentment, gospel conversion and world-weary blues. On his journey he: saw seven breezes blowing around the cabin door where victims despair (“Ballad of Hollis Brown”); lightning flashing for those who are confused, accused and misused (“Chimes of Freedom”); surveyed “Desolation Road”; talked truth with a thief as the wind began to howl (“All Along the Watchtower”); sheltered with an un-named woman from the apocalyptic storm (“Shelter from the Storm”); felt the idiot wind blowing through the buttons on his coat, recognised himself as an idiot and felt sorry (“Idiot Wind”); found a pathway to the stars and couldn't believe he'd survived (“Where Are You Tonight? Journey Through Deep Heat”); rode the slow train up around the bend (“Slow Train”); was driven out of town into the driving rain because of belief (“I Believe in You”); heard the ancient footsteps join him on his path (“Every Grain of Sand”); felt the Caribbean Winds, fanning desire, bringing him nearer to the fire (“Caribbean Wind”); betrayed his commitment, felt the breath of the storm and went searching for his first love (“Tight Connection to My Heart”); then, at the final moment, it's not quite dark yet but he’s walking through the middle of nowhere trying to get to heaven before the door is closed (“Tryin' To Get To Heaven”): 

The air is getting hotter, there's a rumbling in the skies 

I've been wading through the high muddy water 

With the heat rising in my eyes. 

Everyday your memory grows dimmer. 

It don't haunt me, like it did before. 

I been walking through the middle of nowhere 

Tryin' to get to heaven before they close the door.

(“Tryin' To Get To Heaven”) 

Whatever the crises we face, whether personal or political, there’s a Dylan song that says there’s light at the end of the tunnel if you keep walking toward it and, whatever the song, there’s a depth of insight and compassion for those who are struggling along the way. 

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If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

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