Article
Comment
Royalty
5 min read

What a monarch’s meeting teaches about politics and permanence

A monarch meeting a prime minister is a symbol of a deeper truth in a fleeting world.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A frail old lady, the late Queen, rises from a sofa to shake hands with an approaching woman.
The longest serving monarch meets the shortest serving prime minister.
The Royal Family.

Just about the last constitutional act of our late Queen was to give an audience to Liz Truss, the (temporary as it turned out) Prime Minister and to ask her to form a government. The pictures of a frail but smiling monarch, weakened, but still doing her job, couldn’t help but evoke a mix of admiration and affection, especially when we look back and consider that this was just two days before she died.  

But those pictures raised some questions. A Prime Minister, and a political party that forms a government, is normally chosen by the people. Queen Elizabeth was not. Neither is King Charles. She was, and he now is, our monarch by virtue of birth, something that can seem scandalous to republicans, and even to many who liked the Queen, or admire the King as decent people, but have their doubts about the monarchy. To our democratic instincts, it feels, at least to some, distinctly odd, a relic of a hierarchical past, a hangover from a less enlightened age.  

But perhaps something more significant was hidden in that act. The idea of a constitutional monarch – a figure whose position is out of our hands, as it were – formally asking a politician to form a government - acts as a reminder to us that the will of the people is not the last word, or even the first word. It tells us that, important as democracy is (‘the worst form of government except for all those other forms that have been tried from time to time’, as Winston Churchill famously put it), there is an order, an authority that stands above and beyond the will of the people. When it has worked well, the monarchy, a source of rule above that of people and parliament, has always been a symbol and pointer to a divine authority that can work through, but essentially stands above all human government. 

Because, of course, ’the will of the people’, and governments that claim to enact the will of the people, sometimes get things badly wrong. History, even that of democracies, is littered with tales of nations that have elected bad governments, or regimes that went on to enact a rule of terror in the name of ‘the people’, or where a majority has oppressed minorities. Republics of various kinds have ended up as oppressive and authoritarian. Even Hitler was elected in the first place. 

That a Prime Minister only governs at the pleasure of the Monarch is a reminder of a deeper truth - that all governments are subject to a higher accountability.

Of course, there are good monarchs and bad ones. For most of our lives, those of us who live in the UK are fortunate to have had a very good monarch in Queen Elizabeth, and we hope and pray Charles will prove to be one too. Bad monarchs, whose personal failings and moral selfishness betray the office they hold, blur the picture. They tell a different story, that authority is in itself abusive, oppressive and not to be trusted. But at its best, the continuous institution of the monarchy has served as an anchor for us, pointing away from itself to an unchanging divine presence in the course of history. The fact that a Prime Minister only governs at the pleasure of the Monarch is a reminder of a deeper truth - that all governments are subject to a higher accountability, to a moral law they did not invent, a law that tempers justice with mercy, that our lives are subject to a deeper and more lasting reality than the shifting sands of politics or times and that there is an even higher loyalty than that which we may have felt to our late Queen, or to our democratic political system. 

At the coronation, King Charles will be presented with an orb – a symbol of the world with a cross perched on top of it. It is a sign that ultimate power in this world belongs not to the King, or even the people, but to God. It is a reminder to the King, and to us, that he (and we) are accountable to an authority that stands beyond our own desires, or even the general will of the people. It is an authority represented by a cross – the symbol of love and self-sacrifice for the good of our neighbour, or even our enemy. It is one of those valuable reminders that stops any ruler from starting to think he can become a despot.  

As our constitutional system has evolved, it is the custom that Monarchs don’t get involved in the nitty-gritty of politics and it’s vital that they don’t. That is left, quite properly, to the crucial hard work of democratically elected government and politicians, who have to get on with the important but messy business of governing, working out what to do about the cost of living crisis, how to respond to conflict in Ukraine, or how to respond to those fleeing to our shores from war-torn or poverty-stricken parts of the world.  

The monarchy is a symbol of ultimate permanence, not the source of that permanence 

Over past decades, Queen Elizabeth kept to this custom. She avoided expressing opinions on particular political issues and disputes because that wasn’t her role. Her role was to be a reminder that there is an order of things beyond the temporal, a moral structure to the world that is just given, not created by us, a structure that tells us that compassion, truthfulness, integrity, justice and honesty matter in all the calculations and compromises of political decision making. 

The Queen’s death removed something steady and sure from our lives, as most of us have never known another monarch. Her death shook our sense of permanence, as the Archbishop of Canterbury put it at her funeral. Many of the vox pops we heard during the period of mourning pointed to that longing for permanence, the sense she gave of something enduring and reliable. Yet she was a symbol of ultimate permanence, not the source of that permanence.  

As King Charles is crowned, he becomes a pointer to the unshakeable and steady presence that surrounds us, upholds us and all things - the God that Christians see revealed in Jesus Christ. Queen Elizabeth understood that and showed it in her own faith – the one aspect of her personal life that she was quite open about. And there are signs that King Charles understands that too. Faith in that God is meant to be the foundation of a monarch’s rule. It can also provide a sure foundation for our individual and less public lives too, a sense of permanence in the changes and chances of this fleeting and unstable world.  

Article
Belief
Books
Comment
Film & TV
5 min read

I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief