Column
Creed
Easter
4 min read

Pilate: a lord of misrule

Agents of chaos still inhabit our world today.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A balcony scene viewed behind shows a Roman ruler leaning over a balcony to the crowd while gesturing to a semi-naked Christ.
Ecce homo – behold the man.
Antonio Ciseri, Public domain, via Wikimedia Commons.

I’ve had a lot of Pontius Pilate in my life lately. And this week he’s set to play arguably the second-biggest role in human history, as the Passion of the Christ reaches its climax on Good Friday. 

The reason I’ve been spending a lot of time with Pilate is that I’ve done a podcast about him for Things Unseen, which sounds like a sister operation for this platform, but isn’t. Its title was Pontius Pilate: A man like us and addressed the question “Was the man who sent Jesus to the cross evil or merely weak?” 

I’m accustomed to Pilate being a paradigm for flawed human leadership – vain, indecisive, distracted, cowardly. A former archdeacon of London, the Ven. Lyle Dennen, had a very good stock sermon entitled “Pontius Pilate’s Brother”, in which he recalled that his elder sibling had played Pilate in a school play. 

Consequently, the headmaster had made a habit of greeting little Lyle in the corridor with the words: “Ah, if it isn’t Pontius Pilate’s brother.” It was an engaging way to develop the thought that we’re all Pilate’s brothers and sisters, collectively executing the Christ on a daily basis. 

My fellow podcast panellist, the novelist and musician Chibundu Onuzo, was having none of this “Pilate inside us” stuff, making the case for his particular circumstantial weakness. It’s a good listen. But it’s set me thinking, since we recorded it a fortnight ago, a whole lot more about the local Roman procurator, the man who has history’s worst morning at the office.

I’ve come to consider that there is a third way, a via media, between this being a verbatim transcript and a metaphor for his judgment by worldly authorities.

The veracity of Pilate’s gospel role is hotly disputed. He’s undoubtedly a real historical figure, as is Jesus of Nazareth, and his jurisdiction presided over the crucifixion of the latter. Beyond that, the interpretation of his scriptural role varies.  

Perhaps it was written back, particularly in John’s gospel, as a means of exculpating the repressive Romans of Jesus’s death and putting the blame firmly on the Jews (with very terrible historical consequences). 

If that is even partly so, we’re invited to view Pilate’s interrogation of Jesus in his palace allegorically; especially around Pilate’s rhetorical question of Jesus, “What is truth?”, when the answer is literally standing right in front of him and from which he doesn’t even bother to await an answer. 

So if this gospel section contains the kind of truth that the Nazarene’s parables held, what is it meant to tell us? I’ve come to consider that there is a third way, a via media, between this being a verbatim transcript and a metaphor for his judgment by worldly authorities.

Pilate, as he faces the mob bent of insurrection and baying for blood outside the praetorium, is an agent of worldly chaos too, a lord of misrule 

Before I left for a holiday in the Balkans early this month, I decided on a book to take with me. Should I re-read Ann Wroe’s excellent Pilate: The biography of an invented man, in preparation for the podcast? No, I thought, there’s plenty of time for that. So I took a novel I’ve been meaning to read for decades, Mikhail Bulgakov’s The Master and Margarita

Alarmingly, it turns out that Bulgakov’s novel has a recurrent deconstructive sub-plot of the fate of Pilate running throughout it. This was the sort of coincidence of which we’re taught to be suspicious at theological college. So I paid attention. 

The book’s main narrative is a satire of Stalin’s post-revolutionary Russia. Satan, in the character of Woland, visits Moscow to see how things are going. Death and destruction ensue, as Woland and his weird retinue cause havoc. Yet, along the way (spoiler alert), he reconciles a crazed and failed author (the Master) to the love of his life (Margarita), which is not a bad thing to do. 

A lot of it is in the rather annoying style of magic realism. But annoyance is a point. The work of a devil in human affairs is annoying, but it doesn’t have the last word, just as Pilate doesn’t. 

What I took from this novel was the darkness of chaos before the divine order that is brought in the act of creation, from which humanity constantly falls back into chaos.  

Woland isn’t really evil (he’s quite kind to Margarita and may even be in love with her), he’s just the agent of chaos, like Pilate. A lord of misrule, if you will. 

We have many such agents of chaos in the world, from US and European politics, to Russia (again) and Ukraine, from Israel and Gaza to the famine of Sudan and the global technological interference of China.  

Pilate, as he faces the mob bent of insurrection and baying for blood outside the praetorium, is an agent of worldly chaos too, a lord of misrule. But as Bulgakov’s novel tells us, he can be redeemed. 

The difference between him and us is that we have the benefit of hindsight. When we ask despairingly, like him, on all the Good Fridays that afflict the world, “What is truth?”, we may not (also like him) recognise it. 

But, unlike him, we have the chance finally to recognise that truth, as it stands right in front of us on Easter morning.  

Article
Advent
Christmas culture
Joy
Poetry
6 min read

The Advent poets who can’t wait until the world is sane

Tennyson to Eliot, Rossetti to L’Engle, find despair doesn’t preclude joy.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

Beyond a misty and raindrop streaked window, a colourful triangle shape emerges.
Ricardo Gomez Angel on Unsplash.

After his conversion to Anglo-Catholicism in 1927, critics began to notice a change in T. S. Eliot’s poetry. Some thought this was for the worse, that Eliot’s newfound faith dimmed his literary powers, making his usually impenetrable style more conventional. But there is a less cynical view. I think, instead, that his conversion brought a sense of clarity and purpose to his poetry. I think what really happened is that, like many Christian converts before and after him, he found a sense of joy.  

Nowhere better can we find that distinctly Christian sense of joy than in Eliot’s ‘The Journey of the Magi’, an Advent poem recounting Jesus’s birth from the point of view of the magi travelling to meet him. Like many of my favourite Advent poems, ‘Journey of the Magi’ is not straightforwardly cheerful, instead dwelling on the idea of alienation. The last stanza of the poem in particular is devoted to the magi’s confusion at returning to their old life after witnessing the miracle of Christ’s birth: 

All this was a long time ago, I remember, 
And I would do it again, but set down 
This set down 
This: were we led all that way for 
Birth or Death? There was a birth, certainly, 
We had evidence and no doubt. I had seen birth and death, 
But had thought they were different; this Birth was 
Hard and bitter agony for us, like Death, our death. 
We returned to our places, these Kingdoms, 
But no longer at ease here, in the old dispensation, 
With an alien people clutching their gods. 
I should be glad of another death. 

It’s hard not to read these lines and imagine that Eliot himself might have experienced a feeling of alienation, as a new convert, when looking back on his old life. And yet, the magi’s sense of being ‘no longer at ease’ in their old home, of being among ‘an alien people’, is not something that only converts experience. All of us, whether we are converts or reverts, whether we were brought up in the Christian faith or are still contemplating it with uncertainty, have a moment when we realise that believing in Christ’s birth, death, and resurrection radically changes the way we look at the world. 

And conversion isn’t something that just happens once. Every year, during Advent, we are asked to meet despair with joy. For those of us living in the northern hemisphere, we’re specifically asked to do this in the darkest and coldest time of the year, when nature looks so gloomy and unwelcoming. As Christina Rossetti puts it in one of our country’s most beloved Christmas hymns, Jesus comes not at a time of flourishing nature, but rather ‘in the bleak midwinter’, when the earth is ‘hard as iron’ and water frozen ‘like a stone’. Just as we persevere in our yearly hope that spring will come again, so too we are called to renew our conversion of heart each Advent, waiting in hope for Christ’s birth.  

But hope doesn’t have to mean blind optimism. The older I’ve become, the more I’ve come to think that rejoicing during Advent doesn’t have to involve unadulterated cheerfulness. Grief has its place within joy, as counterintuitive as that may seem. In fact, Advent is an opportunity to cultivate the virtue of hope in spite of grief, and in spite of the evils that we see in the world. ‘Were we led all that way for / Birth or Death?’, ask the magi. The answer is both. Each year Christ’s birth reminds us that faith requires us to die to our old selves. For some, this means having uncomfortable conversations with family or friends who don’t understand their conversion to the faith. For others, it means facing illness or death of a loved one or other kinds of trauma without giving in to despair.  

None of this is easy, of course. Clinging to hope in dark times can truly feel like ‘bitter agony’, as Eliot writes. And yet, as one of the magi says in the final line of Eliot’s poem, ‘I should be glad of another death’. When we die to our selves, we also experience a new birth in Christ. Even as we celebrate his birth, we are reminded of his death on the cross for us, of the fact that he so loved us that he was willing to bear unbearable pain for our sake.  

That kind of love, although it doesn’t remove all the sources of suffering in our daily life, does call for rejoicing. Another wonderful Advent poem, Madeleine L’Engle’s ‘First Coming’, emphasises the necessity of joyfulness in the face of a corrupted world. L’Engle begins by reminding us, stanza after stanza, that Jesus didn’t wait for humanity to become perfect before coming to us: ‘He did not wait till the world was ready’, she begins, before adding, ‘He did not wait for the perfect time’, ‘He did not wait till hearts were pure’. Rather, Christ came ‘in joy’, to ‘a tarnished world of sin and doubt’, right ‘when the need was deep and great’.  

L’Engle ends ‘First Coming’ by encouraging us to imitate Christ not just in his patience, but also in accepting joy now, not when we world finally stops being rife with sin and pain: 

We cannot wait till the world is sane 
to raise our songs with joyful voice, 
for to share our grief, to touch our pain, 
He came with Love: Rejoice! Rejoice! 

We can’t wait until ‘the world is sane’ to be joyful. Joy is remembering that Christ really did come ‘to share our grief’, no matter how seemingly unbearable it may be. Lord Tennyson expresses a similar sentiment in his poem In Memoriam, an elegy written after the loss of his dear friend Arthur Hallam. He admits that the pain at his friend’s death is so intense that, as Christmas is drawing near, he almost wishes ‘no more to wake’, and for his ‘hold on life’ to ‘break’. Then, he hears the sounds of bells: 

But they my troubled spirit rule, 
For they controll'd me when a boy; 
They bring me sorrow touch’d with joy, 
The merry merry bells of Yule. 

Happy memories of Christmas bells from childhood are mixed with pain for Tennyson, bringing him ‘sorrow touch’d with joy’. That’s what all the best Advent poems, from Tennyson to Eliot, From Rossetti to L’Engle, show us: that sorrow doesn’t preclude joy. In the weeks leading up to Christ’s birth, it’s normal to dwell on both birth and death; Advent can be a season for both somberness and merrymaking. Most of all, Advent is a time for prayer, that our hearts may be filled with the knowledge that Christ loves us even in our sorrow, and that the very knowledge of Christ’s love may in turn fill our hearts with joy.  

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

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

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief