Essay
Culture
War & peace
7 min read

Swords now, ploughshares later

There’s a moral case for investing in defence capabilities right now.

Tom Simpson is Associate Professor of Philosophy and Public Policy at the Blavatnik School of Government, University of Oxford.

A religious icon is propped on the side of a trench, a soldier can be seen further down the trench.
An icon of St Michael in a Ukrainian army trench.

It is two years since the Russian invasion of Ukraine, on 24 February 2022. We are still sleep-walking, with the British public and political class yet to grasp its implications. The risks of large-scale conflict have surged, and the British military is inadequately prepared for the operations it may soon be called on for. One day, swords will be turned into plowshares. But right now, in this imperfect world, we need more swords. Even if not widely enough, some have realised that the global order has changed. But fewer still are willing to act on that realisation.  

The Russian assault in February 2022 was designed to shock. Repeating the plan which the Soviet Union had used in Afghanistan in December 1979, armoured columns advanced on the capital on multiple axes, preceded by an aviation assault into an airport just outside the main capital, intended to allow invading forces to ‘decapitate’ the government. The 2022 attack was also accompanied by strikes on key targets in Kyiv itself, with Russia mimicking the ‘shock and awe’ campaign with which coalition forces had initiated the invasion of Iraq in 2003.  

The international situation has been parallel, with an immediate shock, galvanising intensive and often heroic action—but the resolve for which has withered with time. Some moments of demonstrated resolve among the public during the early months stand out in my memory. The students in Oxford who were fundraising not just for blankets for refugees, but for body armour, night-vision goggles and, if I remember rightly, even weapons. The stranger who bought a decrepit caravan from me for scrap saying, quietly and undemonstratively, that she would not buy fuel from Shell because it was blood oil. And, the 12-foot-tall statue in Oxford’s Broad Street of a Ukrainian soldier expressing the city’s solidarity.  

This was echoed at the national level. In a welcome act of leadership, Boris Johnson, then Prime Minister, declared that Putin “must fail and must be seen to fail”. This gave the necessary direction for a series of forward-leaning policies, both economic and military, to support Ukraine.  

The shock was short-lived, however, and in its place are concerning questions about both public and political resolve. The underlying issue is the significance of the Russian invasion of Ukraine. While the immediate consequences of this conflict are felt by Ukrainians, it matters more widely—to both the British and the global public. Realising these consequences, and then taking the appropriate action to address them, is now urgent. That action involves serious investment in defence industries, defence capability, and the military.  

The lights on the dashboard of global security are all flashing—some amber, and some red. 

The Russian invasion of Ukraine matters more widely in at least the following four ways. 

First, it has incurred immediate costs on consumers globally. This sounds bland but is not. Soaring energy bills have cost lives, with the Economist estimating that the war indirectly killed more people in Europe in winter 2022 than Covid-19 did; so too do soaring food costs in countries which desperately need a steady, cheap supply of grain.  

Second, the current course of the conflict in Ukraine has dramatically raised the risk of a confrontation between NATO and Russia, which may include either or both of conventional or hybrid conflict. Russia has not succeeded in turning Kyiv into a satellite state. But, unless NATO dramatically increases its supply of materiel, including high-end capabilities, the most likely outcome of the war is that Russia will successfully ‘freeze’ the conflict while controlling approximately a fifth of Ukraine, including the most economically productive part of the country in the East. Such success increases the likelihood of a revanchist Putin, seeking to establish Russian control over its claimed ‘historic’ borders and having put his economy on a war footing, attacking perhaps the Baltic states. Or Russia may simply seek to disrupt NATO countries in forms of conflict that fall short of conventional war, but risk escalation, as witness the recent Estonian arrests of ten people alleged to be part of a Russian destabilisation operation. The collective self-defence pact embodied in NATO’s Article 5 means that UK forces will be involved in any response to such aggression. 

Third, the current inability for the US and Europe to act decisively, due to domestic political irresolution and polarisation, in the face of a clearly deteriorating security environment, emboldens potential adversaries. This is evident daily at the moment, with Republican politicians refusing to approve the $60 billion support package for Ukraine proposed by the Biden administration; as a result, the Ukrainian army has just withdrawn from Avdiivka, because it lacks the artillery shells to defend it. In a post-2016 timeline, and from an external perspective, the West now looks decadent.  

Fourth, that Russia is likely to succeed in its war aims (unless something changes on the battlefield) further undermines the norms of non-aggression which are central to our currentrules-based international order. The domestic political trajectories of Russia, China, and Iran are not presently encouraging. All have stated goals which would see change in who controls relevant territories, and none rule out the use of force in achieving their goals.  

The Russian invasion of Ukraine in February 2022, then, is an inflection point. The lights on the dashboard of global security are all flashing—some amber, and some red.  

But Javelins do not descend ex nihilo from the clouds: they need to be manufactured by advanced industries.  

In the face of such a deteriorating security environment, the urgent task for a responsible government is to ensure that it has the required military capability. This capability must be at minimum sufficient to defend its own citizens. It must also be sufficient to protect more widely those whom it has undertaken treaty commitments to defend. And, as a contribution to the wider public good, it is desirable that that capability should be sufficient to defend other innocent parties globally, subject to appropriate authorisation. Central to this capability is having a defence industry which will develop and manufacture the arms required.  

The defence industry has frequently attracted criticism and controversy, with the most damaging charge being that it sells weapons to authoritarian regimes in corrupt deals. Exporting arms to regimes that will use them repressively, through corrupt contracts, is plainly wrong. But responding to this criticism does not require banning or otherwise abolishing the defence industry. Rather, the correct response is to reform it and then regulate it effectively, on the grounds that if war itself can sometimes be just, then the production of the tools required for war must itself be just.  

If the state is, as St Paul had it, commissioned to punish the wrongdoer, ‘not bearing the sword in vain’, someone must make the swords. 

The Russian invasion of Ukraine in 2022 was a paradigm of wrongful aggression; if war is ever justified as, I think, an imperfect world forces us to accept, it is in such circumstances. Those who would contest such aggression, in defence of innocent lives and sovereign states, need the weapons to be able to do so, and they need the best weapons that are available. One of the immediate actions that Ben Wallace, then UK Secretary of State for Defence, took in response to the invasion was to surge Britain’s stocks of man-portable anti-tank weapons to Ukraine. One of these, the Javelin weapon, literally gained iconic status, in the meme of ‘St Javelin’, styled as an Orthodox saint. But Javelins do not descend ex nihilo from the clouds: they need to be manufactured by advanced industries.  

The defence industry, then, may certainly play a valuable role in a country’s economy. But more than that, in a world of predatory and repressive states, and violent non-state actors, it is a moral necessity. Isaiah foresaw, prophetically, a time when swords will be turned into ploughshares and spears into pruning hooks. But this side of that new reality, we need states that protect the innocent, and without a defence industry to equip the state to do so, the innocent lie vulnerable. If the state is, as St Paul had it, commissioned to punish the wrongdoer, ‘not bearing the sword in vain’, someone must make the swords. The peace dividend at the end of the US-Soviet Cold War has been spent, and we are in ‘the foothills’ of a new one, as the late Henry Kissinger described it. Ploughshares later; it must be swords now.  

How long have we got? It is a basic principle of military planning that, while you should structure your own operations around the enemy’s most likely course of action, you should also, and crucially, have contingencies for the enemy’s worst-case course of action. That worst-case may be with us sooner that we think. In the lead-up to the recent Munich Security Conference, the Estonian intelligence chief estimated that Russia is preparing for confrontation with the West ‘within the next decade’; the chair of Germany’s Bundestag defence committee indicated five to eight years; and the Danish defence minister suggested three to five years.  

With procurement timelines for advanced equipment—such as main battle tanks, frigates, and next generation fighter aircraft—typically taking over a decade, the urgent priority is for defence investment now. The UK’s Armed Forces are in a parlous state, as the recent cross-party report by the House of Commons Defence Committee makes clear. This investment in defence will not be cheap, and the difficult political task is deciding what spending to cut to allow for this uplift. But this debate cannot wait, and politicians must lead the country now in the required mind-set shift. Poland is the only NATO country to have convincingly demonstrated that it understands the times we live in, by investing seriously in its army. The UK government certainly wills the end, of ensuring the country’s security. The present question is whether it wills the means.   

The St Javelin icon meme

A cartoon female saint cradles a portable missile launcher against the backdrop of a Ukrainian flag.
Article
Culture
Easter
Romance
Theatre
6 min read

Hadestown hints at so much more

The subterranean stage hit resonates deeply.

Freya is a curate at St Mary's Church, Islington.

A theatrical staging shows a couple seperated by a man standing between them.
Eurydice and Orpheus separated.
Hadestown.com

Hadestown – a folk jazz opera interpretation of the tragedy of Orpheus and Eurydice – is currently flourishing in London’s West End. Like the myth upon which it is based, Anaïs Mitchell’s opus has had many iterations. I had been listening to these songs for a decade by the time I saw the stage show. As a Christian priest, I am used to relating all myths, narratives, and fables to the story of Christianity. And yet, it was not until I saw Hadestown performed that the resonance with the Christian “myth” hit me all at once.  

In the myth (and the musical), a hero goes down to the underworld to retrieve his beloved from Hades, god of the dead. On Holy Saturday (the day between Good Friday and Resurrection Sunday), the church celebrates Christ’s descent to the dead and his freeing of imprisoned souls. This tradition is commonly known as the Harrowing of Hell. Art imagining this victory often depicts Jesus standing atop hell’s gates, ripped off their hinges, as he plunders the realm of a bound figure. Icons have Christ encircled in ripples of light as if he’s burst through the very walls of time and space to snatch his people from Death’s clutches. In some portrayals, he is pulling Adam and Eve – the original symbols of the rift in the God-humanity relationship – from their graves. The Harrowing of Hell receives more emphasis in Catholic and Orthodox traditions, but all Christians share some concept of Christ as rescuer, saviour, liberator.  

In the mythical world of Hadestown, something is broken. The seasons have collapsed, resources are scarce. Trouble in the underworld is causing everything to be off kilter in the overworld (not an uncommon concept in ancient thought). A contemporary audience can certainly relate to references to rising seas and widespread famine, as well as to the futility and despair permeating everyone’s inner monologue. The question the show poses is: can anyone break this cycle? Is there someone who could restore a broken relationship, rescue a soul back from the underworld…even make Spring come again?  

Humanity’s potential champion is Orpheus, a young man blessed with a supernatural gift for poetry and music. He is composing a melody “to fix what’s wrong”. When the song is finally sung, “Spring will come again” – the world will come “back into tune”, and “all the flowers will bloom”.  

The foil to Orpheus’s optimism is Eurydice, his lover. In this version, she is not killed but leaves for the underground realm of Hadestown, seeking food and shelter. I was moved afresh by her lament (‘Flowers’), sung in the depths of Hadestown’s mines, as Eurydice, like the prodigal son from St Luke’s story, realises what a mistake she has made. Hadestown’s inhabitants, it transpires, are not just trapped by the city walls – they are spiritually captive, indentured to Hades and his vision: eternal industry; perpetual war. Eurydice can no longer remember her beloved’s name, but she can remember that he could make flowers bloom in winter. She sings a petition for him to come and find her “lying in the bed [she] made.” 

We the audience know all along that Orpheus is coming, thanks to the song in the preceding act (‘Wait For Me’). Upon learning where Eurydice is, he undertakes the perilous descent to the underworld, all the while repeating “wait for me, I’m coming”. In a breathtaking moment of set design, the walls of Hadestown move aside in response to the beauty of Orpheus’s song. Eurydice’s prayer is answered by his sudden appearance, and his poignant invitation: “come home with me”.  

After the bows, the cast toast to the Orpheuses of the world, who show us things as they could be.

Orpheus is soon confronted, however, with the ugly reality of Hadestown. Eurydice has already signed her life away. Beaten and defeated, his innocent worldview shattered, Orpheus sings over and over “is it true?”. He is asking something more fundamental than if what is happening around him is real. He is demanding if this, the world that is, is the world that should be. Should we let the truth belong to those who “load the dice”, he asks?  

Hadestown’s walls take pity on Orpheus as they did before, echoing his song through the mines, where the workers – millions of other Eurydices – take up his song. The Dead-to-the-world realise they have been deceived, and remember who they were. And their faith starts to grow – that if Orpheus can walk out of Hades, then they can too. They want freedom.  

Persephone, Hades’ estranged queen, is won over by Orpheus. But Hades understands the truth about love: one flower starts a Spring. The fall of a kingdom begins with a crack in the wall. Unwilling to kill Orpheus because of Persephone, Hades instead sets up the famous tragic terms: if Orpheus can walk all the way to the surface without looking back to check Eurydice is behind him, freedom is theirs. It is a test Orpheus is doomed to fail, thanks to his experience in Hadestown. The mentality of the underworld has come to live in Orpheus’s head, and so “the path to paradise” becomes “the road to ruin”, and the story meets its inevitable end.  

And yet Orpheus does not fail as completely as he thinks. His musical gift has reconciled Persephone and Hades, and this has brought Spring to the world again. After the bows, the cast toast to the Orpheuses of the world, who show us things as they could be, and leave us with the responsibility to keep singing despite the circumstances, to reject despair, to hold on to that vision of every captive soul walking out of Hell. 

Myths tell us what we collectively fear and desire. Contemporary retellings show us how these longings have changed – or not. In what C.S. Lewis called the “true myth” of Christ, we see the fulfilment of Hadestown’s hopeful vision.  An early modern hymn describes Christ like Hadestown’s Orpheus – his presence “sees December turn’d to May”, making all the ground of the expectant “under-earth” turn to flowers. He is the one who has walked “the road that no one ever walked before”. The one who didn’t need to persuade the gods to empathise with him, because he was God. The one who was the perfect advocate for humankind, because he was human. Divinity without caprice, love without finitude: the one who experienced fear, temptation, ridicule – and yet did not turn back from the task. A peasant living under occupation: “this poor boy brought the world back into tune”.  

I was fortunate enough to see Melanie La Barrie in one of her final performances as Hadestown’s Hermes. Her voice gives the divine storyteller a godparental authority: La Barrie’s Hermes doesn’t so much narrate the story as prophesies it. At the inescapable end of the play, Hermes stands looking down like a graveside mourner, searching for the words to reignite the company. Hermes seems to have a divine vocation to keep telling the tale “regardless of how it ends” until it changes. This act is presented to us as faith, hope, resistance. In this new reality, where Spring has returned and the cosmic order has shifted, the tale might turn out differently upon the next telling, and so Hermes strikes up the band once more.  

Every year we sing the sad song again. The betrayal, the trial, the burial: the body in the tomb; the disciples in hiding. For so many, the-world-as-it-is feels like an endless Holy Saturday. The tradition of the Harrowing of Hell whispers to us to hold steady, because the rescuer is coming. “The darkest hour of the darkest night comes right before the dawn”, and a crack is appearing in the wall. 

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