Explainer
Culture
Royalty
4 min read

Making sense of the coronation’s oaths, oils and acclamations

The significance of the thousand-year-old coronation ceremony is unpacked by Ian Bradley to reveal the vulnerability at its heart.

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

A medieval illustration of King Edgar's coronation shows him between his predecessor and successor, while angels hover above him.
King Edgar enjoys his coronation, the first in English history.
Life of St Edward the Confessor, CC BY-NC 3.0, University of Cambridge.

Coronations point to the sacred nature of the United Kingdom monarchy. Packed with religious symbolism and imagery, they exude mystery, bind together church and state through the person of the monarch and clearly proclaim the derivation of all power and authority from God and the Christian basis on which government is exercised and justice administered. At their coronations kings and queens are not simply crowned and enthroned but consecrated, set apart and anointed, dedicated to God and invested with sacerdotal garb and symbolic regalia. Here, if anywhere, we find the divinity which, as Shakespeare observed more than four hundred years ago, hedges the British throne.  

The United Kingdom is the only country which still marks the accession of a new monarch with a coronation. Of the other European monarchies, Belgium, Luxembourg and the Netherlands have never held coronations, Spain discontinued them in 1492 (they were not revived when the monarchy was restored there in 1975), Denmark in 1849 and Sweden in 1873. Norway abolished coronations in 1908 although since then its monarchs have undergone a ceremony of consecration or blessing in Nidaros Cathedral, Trondheim, with the royal regalia present in the church but not used in the ceremony. 

Anglo-Saxon innovation

Coronations are religious services rather than constitutional ceremonies. While details have been subtly adapted over the centuries, the basic format has essentially remained the same for over a thousand years. The crowning of the monarch is just one of several distinct elements in the service. Others include recognition by the assembled congregation representing the people of their new sovereign, administration of oaths, anointing with holy oil, investiture with the royal regalia and celebration of Holy Communion. All these elements are present in the earliest surviving order for the coronation of an English monarch, prepared by St Dunstan as Archbishop of Canterbury for the Anglo-Saxon King Edgar in 973. 

Edgar’s coronation, which took place in Bath Abbey, included many features found in all subsequent coronations. Held on Whit Sunday, the traditional day for ordinations to the priesthood, it laid considerable emphasis on the theme of consecration and the priestly aspects of kingship, exemplified by the wearing of priestly robes. Anointed and crowned by Dunstan, Edgar was entrusted with the protection and supervision of the church and graced with the titles rex dei gratia (king by the grace of God) and vicarus dei (Vicar of God). His wife, Aelfthryth, was anointed and crowned as queen. This practice, of a double crowning and anointing, was followed in the coronations of all subsequent married kings and queens as it will be with Charles and Camilla on 6 May. 

Oaths and oil 

Edgar was led into Bath Abbey by two bishops, as Charles will be as he enters Westminster Abbey which has been used for all English coronations since 1066. Before crowning, he was required to swear three oaths which form the basis of those still taken by every British monarch. As now framed, they include promises to adhere to the rule of law and the principles of justice and mercy, and to maintain the laws of God, the Protestant religion and the Church of England. Having taken the oaths, the monarch is anointed with holy oil, a further sign of being set apart and consecrated in the manner of a priest.  

Earning the right 

Edgar’s coronation included the celebration of Mass and it remains the case that the coronation is embedded in a celebration of Holy Communion. Dunstan’s order clearly established the church’s control over royal inauguration rites in England and specifically the key role of the Archbishop of Canterbury in presiding over the ceremony. In the sermon that he preached at a second coronation over which he presided, that of Ethelred the Unready at Kingston Upon Thames in 979, he preached on the duties of a consecrated king, describing him as the shepherd over his people and reminding him that while ruling justly would earn  him ‘worship in this world’ as well as God's mercy, any departure from his duties would  lead to punishment at Doomsday. 

A sense of sharing 

Rooted in tradition as they are, coronations still have the power to connect with the popular spiritual and religious instincts that remain strong, if often hidden, in our so-called post-Christian society. In a much-quoted article on Queen Elizabeth II’s coronation in 1953 two sociologists, Edward Shils and Michael Young, described it as:  

‘the ceremonial occasion for the affirmation of the moral values by which the society lives. It was an act of national communion and an intensive contact with the sacred.’  

They noted that it was frequently spoken of as an ‘inspiration’ and a ‘re-dedication of the nation’. The ceremony had ‘touched the sense of the sacred’ in the population, heightening a sense of solidarity in both families and communities. They pointed to examples of reconciliation between long-feuding neighbours and family members brought about by the shared experience of watching the ceremony together on television.  

We have recently witnessed something of this sense of national communion and intensive contact with the sacred in the public reaction to the death of Elizabeth II, as shown by the numbers who came out to witness the progress of the late queen’s coffin on its last journeys and to file past it in the High Kirk of St Giles in Edinburgh and Westminster Hall.  

Ultimately, Christian monarchy points beyond itself to the majesty, mystery and vulnerability of God. It is a lonely, noble and sacrificial calling.  What our sovereign needs and deserves most is our loyal and heartfelt prayers. As we prepare for the king’s coronation, we could do well to reflect on and respond to the request that his mother made before hers:  

“You will be keeping it as a holiday; but I want to ask you all, whatever your religion maybe, to pray for me on that day, to pray that God may give me wisdom and strength to carry out the solemn promises I shall be making, and that I may faithfully serve them and you, all the days of my life.” 

Review
Culture
Digital
Fun & play
4 min read

The grand narrative that’s made it on mobile

The Serpent & The Seed is a welcome addition to the cosy games genre.

Giles Gough is a writer and creative who hosts the God in Film podcast.

A mobile game still shows a robin standing close to a seated man.
Mungo and Adam.

The Serpent & The Seed is a game with a difference: an imaginative retelling of the world's greatest story. In a world overtaken by an evil serpent, you play the character of Mungo, a young robin encouraged by his owl friend to read an old, mostly forgotten book that holds the promise for salvation.   

Released last Easter by Discipleship Tech (the creators of the Prayer Mate app) The Serpent & The Seed aims to tells the story of the Bible as a mobile adventure game. Turning the Bible story into an app feel like quite a novel idea. A cursory search shows that there’s no shortage of Bible based games to play on your phone, but most of them appear to be quiz or trivia based. Seeing this grand narrative, from creation to crucifixion, in game form feels both novel and inevitable, how you might imagine seeing the gospel story be put on film for the first time. “Throughout history, Christians have created, shaped and used technology for God’s glory” the Discipleship Tech website tells us; seen in that light, using a mobile game to deliver the gospel is simply the next step in a line of technological use that stretches back to the invention of the codex.  

Although the game has only been in development for just over four years, it’s had a much longer gestation period than that. “It's an idea I've had for about 20 years now,” says project leader, Andy Geers, “I grew up playing lots of computer games and knowing Jesus and getting to know the Bible better… So I kind of thought: wouldn't it be great if we could combine those two things?” Geers says that the catalyst for this game was a research project. According to the Bible Society’s Lumino research project, a quarter of the UK population are "open to the Bible and finding out more". The Serpent & The Seed is Geers’ way of meeting that need.  

This is clearly a labour of love for all involved and it shows. The dialogue sparkles with cheeky irreverence at times thanks to scriptwriting from Amy Green (BAFTA-winning writer/developer of That Dragon Cancer, the video game centring on the loss of her infant son, Joel). Ostensibly aimed for players ‘9+’, the narrative has to dance around some of the more unpleasant parts of the Old Testament, which it does so lightly and humorously. At one point in the Garden of Eden level, Adam tells our robin character Mungo, that naming things is hard work, and he needs a rest. Mungo then ponders whether Adam has any idea what hard work is! The framing narrative of talking animals in a world full of thistles and thorns ruled by an evil tyrant has shades of Narnia, which may have been an unconscious influence and is very much appreciated.  

One particular highlight is the musical interludes. The developers aimed for the music to be a leading character in this mobile game, and the score was composed by song-writing duo Poor Bishop Hooper. When you unlock another chapter in the game, the almost transcendent songs kick in, combined with the logo appearing in its beautiful lettering, creating an enjoyable experience. It also features music from Canadian artist Jim Guthrie, whose Superbrothers: Sword & Sworcery EP was something of an inspiration for the atmosphere of the whole game.  

The game appears to be connecting with the public, many of whom are praising its art design. Greg Clifton’s illustrations are soothing and light-hearted (I’m pretty sure Moses is rocking an awesome quiff). “It seems to be pitched as a chilled, interactive story with some minor puzzle solving, a subgenre that is increasingly popular these days,” writes gamer and RS teacher Natalie Minaker. “I imagine that this game can provide a few hours of mental respite to any stressed-out Christians!”  

Unfortunately, the lack of challenge is hard to avoid mentioning. As this game is telling a very well-established story, there’s very little jeopardy and as a result, the pace lags a little in parts. “The gameplay is gentle and seems to promote a sense of mindfulness rather than any real sense of peril or challenge,” continues Minaker. In certain levels there are Christian themed takes on popular mobile games - Angry Birds, Flappy Bird, and even Snake (which will be a pang of nostalgia for those of us who had a Nokia in the 90s). What is clear is that playability takes a back seat to story here, and when that story is the Bible, that’s understandable. There’s also a distinctly estuary English accent to the voices shouting “hosanna” as Jesus enters Jerusalem on a donkey which might momentarily take you out of the story, but this is merely nitpicking.  

Whether it will effectively compete for pre-teens’ attention in a saturated market remains to be seen, but this is another useful tool to have in a kids or youth leader’s toolkit. It might also serve as the kind of homework an RE teacher could set that the students might enjoy completing! Older gamers or committed Christians might not find much of the content particularly revelatory, but they may find its gentle pace and soothing aesthetics a welcome addition to the emerging ‘cosy games’ genre. 

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