Article
Character
Creed
Romance
6 min read

‘Marriage is martyrdom', seriously?

Arguing relationship requires sacrifice ignites a sleepy tutorial.
Quizzical-looking students look across a tutorial to others.
Nick Jones/Midjourney.ai.

It is late afternoon on a rainy Monday. My students mooch through the door, filling up the seats in our overheated, clinically modern tutorial room. They are a particularly young class this term – nearly all teenagers still. The setting feels entirely the wrong for poring over texts that are thousands of years old, texts written by some of the earliest Christians, now displayed on flashy laptops and smartphones.  

The first excerpt is short – part of a hand scribbled note by Ignatius of Antioch. He wrote it even as he was marched to his execution at the hands of the Romans.  

Suffer me, my brethren; hinder me not from living, do not wish me to die… Suffer me to receive the pure light; when I ­ shall have arrived ­ there, I ­ shall be a ­ human being.  

Ignatius shows no fear despite facing his impending martyrdom, I explain, because he goes to his death as one who was utterly convinced by the hope of resurrection. To him, death was life, and life was death.  

From the mixture of expressions on the faces around the room, I can easily tell which members of the class have attended Professor Behr’s lectures on this week’s material, and which members of the class have attended only to their mattresses and duvets. (‘Twas ever thus with undergraduates.) “Let’s look at Professor Behr’s own chapter on the subject,” I suggest, adding with a certain emphasis, “It was your required reading for this tutorial.”  

Reading Ignatius, along with some other texts from this period, Behr summarises the argument as follows: earthly life is a transitory thing, and driven by the fear of death, it becomes all too easy to focus on and hang on to this fleeting life. However, the Christian hope is that the self-sacrificing death of Christ, who gave up his life in the service of others, has transformed the reality of death. Death is no longer just the end of this life but the beginning of another one – a better, eternal life. And this, for each Christian, becomes the impetus to pursue one’s own journey towards self-sacrifice, towards laying down one’s earthly life for another, following in the example of Christ, just as Ignatius wished to do. Behr writes: 

“Through Christ’s having ‘changed the use of death’ we are able to change the ground of our existence from necessity and mortality to freedom and self-sacrificial love…”

I glance around the room. A few students seem mildly interested, some others are gazing at their screens, scrolling. Perhaps their curiosity has been piqued by the chapter that they are meant to have already read? More likely they have zoned out and are flicking through TikTok. One guy at the back stares glumly out of the window, mouth half open, the one next to him is dismantling a ballpoint pen.  

“Any thoughts?” I ask the room. Every pair of eyes is on me, and I know that there are thoughts – the silence is thick with them. 

A few moments later, however, and all their eyes are on me. Why? Because in the second part of his chapter, Behr takes this argument of self-sacrifice, of death to life, and uses it as a lens through which to examine the specific human phenomenon of marriage. I read out a few well-chosen excerpts – juicy ones that include the words “eros”, “sexuality” and even “ecstasy” – and it is no surprise that a room full of drowsy teenagers becomes somewhat more alert.  

It is through the natural human desire to be united with another person, argues Behr, that we are truly drawn out of ourselves, and by doing so we learn to give out of our own lives for the sake of the life of another. To commit one’s life and one’s body to another in marriage is the epitome of dying to self, even a kind of martyrdom. And, if marriage leads to parenthood, then the opportunity to live a life of self-sacrifice only increases. However hard it might be, those who are married, parenting, or both are driven by love to place the lives of their spouses and children before their own.  

  “Any thoughts?” I ask the room. Every pair of eyes is on me, and I know that there are thoughts – the silence is thick with them. But who will be brave? Patiently I stare them down. Eventually someone cracks, and a hand creeps up into the air.  

“Yes, go ahead…” I encourage.  

“Well… I think you should never be in a relationship where you have to do that!”  

“OK.” We’re off. “Never have to do what, exactly?”  

“Like, be expected to give up your life for someone else. Like, it’s your life. No one else has a right to ask for you to sacrifice yourself.” 

The conversation went on from there, the class getting more and more animated, a polemic against the idea that marriage, or just long-term relationships in general, should involve the sacrifice of one’s ‘self’. A spouse, they insisted, should be someone who affirms and celebrates everything that you are, and who supports you in whatever dreams or ambitions that you want chase. And children? Well, they should only be brought into the equation to fulfil your dreams, not to limit them. Marriage is many things, but it should not be a sacrifice, less still a martyrdom. 

Well, let us not be too hard on the optimism of youth. The optimism that imagines marriage and family life will be something that gives, and gives, and will never take anything away. How can they know – those who have never been awake at 3am with a projectile-vomiting toddler, and those who have never had to calmly negotiate over where all the money goes? It is the optimism of those who have never had to pass up on a job or an opportunity because it doesn’t fit in with the spouses’ promotion or the kids’ schooling. These, and a thousand other moments of self-sacrifice: the gritty realities of a daily choice to stick in a marriage (or any kind of long term relationship) and make it work.  

This is a much slower kind of martyrdom, a decision made not once but daily, in a society where such decisions are frequently undone. 

But is this gritty reality a giving up of life, or an embracing of it? Perhaps, like Ignatius, in this kind of death to self we actually find life. In a committed union, we carefully place our lives in the service of another, not because they expect us to, but because out of love we choose to. This is done, of course, in trust that the other person will do the same in return. There is no suggestion, either here or in Behr’s chapter, that someone should stay in a union where that placing of oneself is being merely used and abused. But where two people find a true mutuality in that laying down of self, well, love has funny way of making limits feel like a kind of freedom after all.   

“Hinder me not from living…” writes Ignatius, as he is marched to his certain death. His eyes were filled with the image of new self, a better self, that would come to him all at once and suddenly through the laying down of his life for what he believed in.  With a faith so strong, this may have been an easy kind of martyrdom – a decision made once, which could not, by him, be undone. But let us also hinder not those who choose to unite their lives to another. This is a much slower kind of martyrdom, a decision made not once but daily, in a society where such decisions are frequently undone. One day some of these young people will feel the call to this kind of death, and that in this death there is life. Hinder them not to die.  

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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