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6 min read

Making vows: How binding promises can lead to true freedom

We make all kinds of vows - to marriage promises, to keep up subscriptions, some even make a vow to live a monastic life. Alex Hughes explores what motivates a vowed life and its often counter-intuitive commitments.

Alex Hughes is Archdeacon of Cambridge in the Diocese of Ely.

A monk in a wheekchair works on an icon in an art studio. In the foreground is a completed icon.
At Mucknell Abbey, an Anglican Benedictine community, Brother Michäel paints an icon.

Quid petis? (What do you seek?) 

What will you commit to, and for how long, and at what cost or for what benefit? And how will you structure your life in order to fulfil your commitments?  

These questions touch on the very mundane – gym membership, streaming subscriptions, etc. – and the most serious aspects of life, such as romantic partnerships and career moves. Do you decide these matters in accordance with an overarching philosophy of life or by some golden rules you follow?  

The same questions are faced with momentous intentionality by people in religious communities. According to ancient tradition, admission to the religious life begins with a ritual answer to the question, “Quid petis?”, and the community rule ensures that its pattern of life supports and fulfils the quest. 

The question of what we most want in life rarely leads people to become a monk or a nun. For most of us it seems impossible to believe that personal fulfilment could be found within the limits of a strictly vowed life. And yet, more people live under religious vows than you might first imagine.  

The notion of a binding, life-long commitment is still quite an alien thought.

The most common vows in many Christian traditions are made at baptism, confirmation and marriage; as well as ordination vows for those who become clergy. But even if this makes the idea of a vowed life a little more familiar, the notion of a binding, life-long commitment is still quite an alien thought. However, a new book on The Vowed Life in the Anglican Church argues that not only do vows demand more attention within the church than they seem to have garnered recently, but they are actually a point of considerable interest and allure to those outside the Church and may be seen as liberating and life-giving for those who undertake them. 

In his most famous sermon (the Sermon on the Mount), Jesus says:  

“Where your treasure is, there your heart will be also.”  

.At first, this seems counterintuitive. Surely he meant to say:  

“Where your heart is, there will your treasure be also”?  

I don’t think so. There is a romantic idea that people follow their hearts, but if that were the case, advertising would be a fool’s errand. Advertisers know very well that our hearts’ desires are unstable and that they are easily attracted by the treasures of beauty, wealth, fame and so on. And most of us will have had the experience of being led to desire something – a flashy car, a bigger house, a better job, a sexier partner – only to discover that the treasure that captured our hearts does not bring the lasting satisfaction for which we yearned. At the heart of religion is the belief that God is the treasure we seek; that only God can truly satisfy our deepest desire. For Christians, this does refer to the future - to “treasure in heaven” - but not only to that; or at least, not in a simple way. This is where vows come in. 

Our identities, including the pattern of our desires, are to an extent given, not self-made. 

Probably the most puzzling of all religious vows are the ones made by parents and godparents for children at their baptism. How can anyone make a vow by proxy? How can anyone dare to make a vow on behalf of someone else? Surely everyone, especially children, should be free to make their own decisions? Well, it is certainly true that vowing a child to Christian life goes against the modern ideal of the autonomous human subject who freely makes unconditioned choices for themself. But anyone who has ever raised a child will know that whatever its critical benefits, it is also a myth.  

Parents make multiple significant decisions about how their child will grow up, and those decisions have a deep and lasting effect on the child, for good or ill. Such formation is inescapable and no one, not even with the help of skilful introspection or expert psychoanalysis, can step outside their personal history and make unconstrained choices about who they become. Our identities, including the pattern of our desires, are to an extent given, not self-made. This remains true even in the light of postmodern resistance to the idea that people have a fixed identity, rather than one that changes and shifts as it is performed, since the performance does not arise ex nihilo (out of nothing). We are, as Heidegger said, “thrown” into life: we are conditioned, contingent, and no achievement of individual can release us from that. 

In the first act of King Lear, as his faculties begin to unravel, the king famously asks:  

“Who is it that can tell me who I am?”  

Christians answer this with reference to the voice of God discerned in the Hebrew scriptures:  

“I have called you by name; you are mine.” 

These words are spoken to those who are confirmed, when they renew their baptism vows, which (as I have said) were often made for them when they were too young to speak for themselves. The invitation at confirmation is to take mature responsibility for those solemn promises, which is easier to understand than the earlier vows made by proxy. But even this is not entirely straightforward, because while someone might joyfully receive the gift of a God-given identity – “I have called you by name” – which is not subject to successful performance, how could anyone agree honestly with the divine claim, “you are mine,” since even the greatest saint knows that their daily performance is largely governed by self-interest? This leads us to the crux of the vowed life, where we can begin to see how it is possible, and even desirable, to bind oneself to something despite the risk of failure. 

This is the deep context of our lives, into which we are “thrown,” not by blind chance but by divine choice. 

I have already alluded to the matter of choice in our lives and the conflicts that may arise between a religious, a modern and a postmodern perspective; but there is something more, and much more important, to be said from a Christian point of view. The Christian view is that it is not so much our choice about God that matters than God’s choice about us. God chose to create the world and God chooses each one of us, which is the only choice that matters ultimately. This is the deep context of our lives, into which we are “thrown,” not by blind chance but by divine choice. Fundamentally, therefore, all religious vows are about choosing to be who we already are; choosing to live as one who has been chosen by God. Every other choice is made in this light so that whatever happens, no matter what choices we make in the future, good or bad, God’s fundamental choice of us never changes. And the experience of living under this promise is one of liberation.  

The (post-)modern ideal of complete personal freedom necessarily entails total responsibility, so that the overall success or failure of our lives lies in our hands alone. Perhaps a few narcissistic individuals can easily accept this – “He was a self-made man, and he worshipped his creator!” – but it is a heavy burden of responsibility. The religious alternative does not deny the importance of responsibility - the Bible is concerned from beginning to end with the demands of justice and righteousness - but it does not make our performance the final measure of our worth, and therefore of our identity. If we have bound ourselves to the identity God gives, any account of ourselves such as, “I am a failure … a loser … a disappointment” is covered by “I am a beloved child of God”. It is by living into the divine indicative – “I have called you by name” – that we can begin to let go of self-reliance and welcome and inhabit the sustaining power of God’s “you are mine”.  

For sure, the idea of binding, life-long promises may be countercultural today but, rightly understood, they can be seen as joyful and liberating. Those who seek this way of life seek a heavenly treasure that enriches life at every step. 

  

Further reading

The Vowed Life, eds. Sarah Coakley & Matthew Bullimore (Canterbury Press, 2023) 

Review
Art
Culture
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5 min read

From witchcraft to statecraft: inside the mind of King James

A new exhibition examines art the monarch commissioned and inspired

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A portrait of King James VI, his eyes fix the viewer.
King James, by an unknown artist.
National Galleries of Scotland.

James IV and I devoted his twenties to trying to rid his kingdom of witchcraft. And 400 years after his death, witches continue to cast a long shadow over his reign. While James’ beliefs on evil developed and refined over his 58-year reign, his reputation as solely a torture and femicide perpetrator remains stubbornly hard to shift. For many, identification with the abused, marginalised- yet- magical trumps all other historical considerations. 

In the exhibition World of James VI and I, the National Gallery of Scotland presents a more rounded picture of the cradle king, who gained the throne of Scotland at 13 months old and became the first joint monarch of Scotland and England in 1603, on the death of Elizabeth I. The beginning of James’ reign in England saw the first productions of Shakespeare’s Macbeth, King Lear and The Tempest. Inigo Jones’ appointment as Surveyor of the King’s Work introduced the classical architecture of Rome to the country, designing The Queen’s House in Greenwich and the Banqueting House at Whitehall. 

The painted ceiling of the Banqueting House by Peter Paul Rubens provides insight into James’ preoccupations. Commissioned by James in 1621, the tennis court sized series was installed in 1636 becoming a memorial to the late King. In The Apotheosis of James I, the King is depicted ascending into heaven on a giant eagle belonging to Jupiter, ruler of the Roman gods. The winged figure of Victory, together with a figure representing Great Britain hold a laurel wreath above the King’s head, in exchange for his earthly crown. Parallels between the King and divine power are explicit, underlined by the figure of Religion holding the freshly translated Bible showing the first words of St John’s gospel ‘In the beginning’ (was the Word). In a side panel to The Union of the Crowns, where the King is presented in a Biblical setting, Minerva, goddess of wisdom is stamping on Ignorance, represented by an old woman, naked and floored. 

Rubens’ identification of an old woman as low status and powerless did not come out of thin air. In the social hierarchy of seventeenth century northern Europe, most ordinary people had few rights and women had next to none, entitled only to the legal protection of their husband’s rank. But lack of rights did not prevent women from influencing their communities’ moral tone. The victims of the infamous East Berwick witch trials in 1590-92 and Pendle witch trials in 1612, first came to the attention of authority through accusations and feuds within their own communities. 

Daemonologie, published in Edinburgh in 1597, was written following James perceived experiences of witchcraft when storms imperilled his voyage from Denmark to Scotland, returning with his new 15-year-old bride Anne. It is believed the King was involved in interrogations of witchcraft suspects in East Berwick, authorising their torture and execution. One suspect’s ability to recount a conversation from the royal bridal chamber, convinced James the accused were the tools of diabolical powers intent on killing the royal couple. Beliefs around women’s inherent weakness, positioned them as easier prey for malevolent forces:  

‘sexe is frailer than man is, so is easier to be intrapped in these grosse snares of the Devill’ 

In later life James became more sceptical about claims of witchcraft and demonic possession, and searched for evidence to discount what was only the work of fantasy and attention-seeking. 

But the King’s family history and tumultuous times he lived through, made the road to discernment a long and winding one. James last saw his mother, Mary Queen of Scots as an 11-month-old infant. His father Lord Darnley was killed in a mysterious explosion, possibly arranged by his own wife. Mary was imprisoned in England by Elizabeth I and executed in 1587 at Fotheringhay Castle in Northamptonshire. In the lead up to his marriage James lamented that as a child he was ‘alone, without father, mother, brother or sister.’ 

The normalcy of removing troublesome relatives is illustrated by a 1605 portrait of Lady Arabella Stuart, attributed to Robert Peake the Elder. The King’s cousin died in the Tower in 1615, where James had her imprisoned, in case her marriage to William Seymour gave her too strong a claim on the throne. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role...  has no historical precedent.

Death also stalked James and Anne’s family, with only two out of their seven children surviving into adulthood. Their eldest son and heir Prince Henry Frederick died aged 18, and was mourned throughout Europe in the decades that followed the death in 1612, as he was seen as the great hope of the continent’s future.  

The World of King James VI and I is full of visual meditations on death. On entering visitors are greeted with Livinius de Vogalaare’s The Memorial of Lord Darnley, 1567, a substantial canvas, with a crowned, grey-robed infant James, kneeling before his father’s coffin. Darnley’s effigy with hands in prayer lies on top the casket, unicorns either side of his head. An engraving of Prince Henry Frederick’s Hearse, 1640 copy from 1612 original, shows the richly decorated hearse, complete with a wax effigy dressed in the prince’s clothes, which was accompanied by 2000 mourners as it made its way to Westminster Abbey. Eighteenth century artist James Mynde’s engraving The Mausoleum of James VI and I, illustrates the Jacobean era’s fondness for lavishly dressed effigies of the deceased, surrounded by figures of classical deities. 

Charm stones, believed to cure sickness in people and animals, formed part of James’ cosmology, together with the new translation of the Bible he commissioned, intended to sound beautiful for this age of oracy. James advocated for Protestantism and the reformation, while being in regular communication with the Papacy. He also brought a more English style of worship to the independent-minded Scottish kirk, insisting they used chalices and altar cloths. The monarch was devout, yet flexible, in his Christian beliefs. 

A simple reading of the Jacobean court is not possible. It was a place of ritualised gift-giving, with ciphered and initialled jewels indicating who was in or out of favour, whose power was rising, and whose power was waning. James believed he was sent by God to rule and protect his people, and felt justified in extinguishing anyone or anything threatening his divine project. Self -proclaimed, or community-nominated witches provided useful scapegoats for discontent around James’ rule, underlined in 1605 by the Gunpowder Plot. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role and presenting a blank screen for the dark projections of the powerful, has no historical precedent for bringing liberty or social transformation. Cos-playing the historically marginalised will not make things better for today’s excluded and underserved, but focusing on down to earth, earthly political and economic power will. 

 

The World of James I and VI, National Galleries of Scotland, until 14 September.