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Royalty

24 April 2023

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 Tomlin

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.

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Paganism

Sport

28 July 2024

8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim May

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.

da Vinci's Last Supper.

Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.”

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power.

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable.

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos.

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture.

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion.

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire.

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation. Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection.

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where:

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter. The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.