Article
Change
Royalty
5 min read

The art of encouraging

After uncovering the enchanting story of how Prince Albert encouraged Queen Victoria, Belle Tindall explains why it's not only children who crave the art of encouragement.
Under a gilded arch, a statue of a young Queen Victoria sits, between two standing figures.
The Queen Victoria statue in the House of Lords.
Queen Victoria 1819-1901 Reigned 1837-1901 Supporting figures: Justice & Clemency Bas-reliefs: Science Commerce Industry / Useful Arts, Fully-rounded carving by John Gibson , © UK Parliament, WOA S88 heritagecollections.parliament.uk

In the Prince’s Chamber of the House of Lords sits a mighty marble statue of Queen Victoria. 

She is sitting on her throne, holding both her sceptre and her crown, hemmed in on either side by two figures who represent justice and mercy. Her expression is strong, her posture is powerful, she is visibly assured and confident in her identity and role as Queen.

You can view the statue, in all its glory, on Parliament's website.

To say it’s striking is an understatement. It’s simply unmissable.  

And yet, the most remarkable thing about this statue is not that it exists, there are nine similar figures in London alone. No, what’s so notable about this statue is where it exists, and why.  

The story is an admittedly enchanting one. Prince Albert commissioned this particular statue of his wife, and had it precisely placed so that it greeted her head-on as she stepped out of her Robing Room and made her way to the Chamber of the Lords. It had one purpose and one purpose only - to give Queen Victoria courage when she was likely to need it most. 

And that’s exactly where it still sits, its colour may be long faded, but its impact is not. It sits as somewhat of an alter to this historic romance, but more profoundly, as an ode to something that is notably overlooked in our culture: it is an ode to the practice of encouragement.  

Psychologist and Professor Y Joel Wong powerfully defines encouragement as  

‘The expression of affirmation through language or other symbolic representations to instil courage, perseverance, confidence, inspiration, or hope in a person(s) within the context of addressing a challenging situation or realizing a potential’.  

When defined this way, it is clear to see just how integral such expressions of affirmation are to the cultivation of a flourishing life. And yet, Prof. Wong also observes just how underestimated, understudied, and undervalued the art of encouragement is. The vast majority of research that has attempted to theorize encouragement places its focus exclusively on early childhood development, implying that they believe it to be an essential need that humans simply outgrow. And yet, while such an idea floats around on an academic level, it’s likely that we each feel a sense that this is simply not congruent with personal experiences. The delight we feel upon learning the story behind Queen Victoria’s statue in the House of Lords is surely evidence that this kind of encouragement from another person is something that we continue to crave well into adulthood.  

I would suggest that the underestimation of the practice of encouragement may be a subtle symptom of the individualistic culture we now find ourselves in.  

What individualism may starve us of

The political and social philosophy of individualism can be dated back to the late 1700s, primarily as a reaction to the French Revolution. Since then, it has been re-framed and refined countless times, perhaps most influentially by Emile Durkheim in 1893 and Max Weber in 1947. Each philosopher foresaw a society that looks strikingly like ours, here in the 21st Century. A society which expects individuals to grow, learn and flourish independently of each other, which values self-definition, self-sufficiency, and self-actualisation, which ultimately encourages a self-centred and goal-oriented life.  

In his 1841 essay, Self-Reliance, Ralph Waldo Emerson famously wrote that ‘nothing is at last sacred but the integrity of your own mind’. According to this school of thought, the rights and convictions of the individual supersede the duties of the community, and the Western world is arguably steeped in this very notion (of course, there are exceptions to the rule - the NHS and welfare system being two prime examples).  

To condemn individualism completely seems to me to be too simple of a judgment; the notion that one is responsible for their own actions undergirds much of our justice system, our right to question institutions and power structures is integral, while the freedom that each person has (in theory) to pursue their own passions and convictions is a wonderful thing. And yet, it could be argued that the emphasis it places on individual success feeds competition and comparison, which is consequently starving us of empowerment and encouragement.  

Perhaps this is one reason the theorizing of encouragement is notably neglected in so much psychological study.  

Further to that, maybe this is why stories such as Prince Albert commissioning a statue of Queen Victoria, or Marilyn Monroe famously sitting front row at every one of Ella Fitzgerald’s shows in a notoriously segregated club, or the Barcelonian crowd at the 1992 Olympics who erupted in applause as Team GB’s 400m runner, Derek Redmond, weepingly limped across the finish line with a freshly-torn hamstring, affect us so profoundly. Because encouragement is profoundly absent from our culture - and we miss it.  

Christianity and the emotional life 

 Christianity, as you can imagine, has an awful lot to say about the emotional life of humanity and the key ingredients involved in human flourishing. Although it stresses the individuality and dignity of every single human being, while also emphasising the agency (or ‘free will’) of every person, that is largely where its relationship with individualism comes to a halt. To untangle the inherent value of community from Christianity is a mean feat indeed.  

In his book, Unapologetic: Why, Despite Everything, Christianity Can Still Make Surprising Emotional Sense, Francis Spufford writes that Christianity is supposed to make us  

‘full of passion for each other’s minds, hearts, souls, and bodies’ because it is in this curiosity and passion that we ‘recreate as best we can some fraction of the absolute and inimitable love behind everything.’  

This certainly doesn’t leave much room for an exclusively self-actualising existence.  

If Francis Spufford is correct, if Christianity’s worldview has even a little sense to it, then it’s possible that our success is directly linked to the success of others. Individual victories, communal victories, collective losses, personal losses – they are, to a point, inseparable from each other. If this is the case, it is worth suggesting that the art and the impact of encouragement may well be worthy of far more of our attention.

Review
Culture
Royalty
5 min read

Queen Charlotte’s determined love

Is the backstory better than the original? Bex Chapman reviews Queen Charlotte, Netflix’s blockbuster, and finds a determined love story with a lesson.

Bex is a freelance journalist and consultant who writes about culture, the church, and both government and governance.

A regency queen and king stand beside each other looking pensive.
India Amarteifio and Corey Mylchreest play Queen Charlotte and King George.
Shondaland.

Regency romance is very definitely back, if indeed it ever went away.  Fans of Bridgerton will be aware how very binge-worthy the Jane Austen-meets-Gossip-Girl world brought to the screen by Shonda Rhimes is.  But her new spin-off prequal has outdone itself.  Since it landed on Netflix on May 4th, 307 million hours of Queen Charlotte have been watched – especially impressive given it only has six episodes – and now it looks set to become one of Netflix’s most popular series of all time. All the fun and frivolity of the Bridgerton world is here – sumptuous costumes, compelling drama about strong women, electric chemistry between the two leads, supported by a strong and diverse ensemble cast, shown in stunning period locations as they dance at elaborate balls… and all set to a soundtrack of modern pop songs reimagined as orchestral anthems.   

Gentle reader, prequals can be something of a curate’s egg – they can provide the joy of returning to a much loved, familiar world to learn more about favourite characters.  But there might be the devastating discovery that the world you love has become disappointingly plodding, or worse, been leveraged for profit – would this prequel be a Better Call Saul or more of a Cruel Intentions 2?   

Thankfully, Queen Charlotte: A Bridgerton Story is that rare thing – a backstory that betters the original, with more emotional heft as it shows us how several much-loved characters developed.   We see the context for how the Bridgerton world came into being - controversially described previously as colourblind, in this new show race is part of the story as ‘the great experiment’ unfolds; Queen Charlotte is a love story that supposedly leads to a societal shift.   

This is a very modern love story, with a difference.  It remains frothy and funny, but there is a serious focus and insight too. 

While the two leads may be familiar from history lessons, the show opens with the dulcet tones of doyenne Julie Andrews reminding us, in her role as Lady Whistledown, that Queen Charlotte:  

“is not a history lesson. It is fiction inspired by fact. All liberties taken by the author are quite intentional.” 

We all already know how this story ends – and yet as we spend time with such compelling characters the suspense builds all the same.   This is a very modern love story, with a difference.  It remains frothy and funny, but there is a serious focus and insight too.  This is still a swoon-worthy romance, but here women grow in their power as they understand themselves, and each other, better.  Whether or not you have someone to sweep you off your feet (or help you over the garden wall!)  that understanding is something we can all aspire to.     

Meanwhile, many of the men in the Bridgerton world have their own challenges to work through (from abusive fathers to more loving ones who die in front of them), and this show is no exception.  Juxtaposed with the lightness, banter, and of course the love scenes, there is a heaviness and darkness here too.   

We see George struggling with his mental ill-health such that though he has fallen head over heels for Charlotte from the moment of their meet-cute, he feels he must hide himself away from her to avoid hurting her, and then undergoes a shocking, traumatic series of ‘treatments’.  Having seen their relationship from her perspective, we have our eyes opened from episode 4 as his attempts to hide his illness are revealed, first to the viewer and then to his beloved.  His devastating illness is shown compassionately, but despite the empathy, it is still hard to watch.  This is storytelling so strong that it has left many with a passion for a character they previously thought of as the ‘mad king’ from Hamilton who tried to prevent American independence!   

This level of narrative ability is perhaps why the legend that is Julie Andrews called Shonda Rhimes ‘one of the most powerful creative forces in film and television today’.  We live a world where we see many romances on screen just as they are getting started – we see from the meet-cute to the declaration of love or the ‘I do’, ending as we reach a happy ever after.  Yet Shonda Rhimes has been clear that she is not interested in telling the ‘sort of romantic story of a marriage where everything's perfect’.  Each of us knows we are not perfect, and we know that nor (even in the first flush of romance!) are those we love.  The Book of James in the Bible reminds us that ‘we all stumble in many ways’.  But we choose to love anyway.  In this show, love is not just about a belief in destiny, being deserving, or mere attraction.  Lecturing her son, Charlotte reminds him: 

“Love is not a thing one is able or not able to do based on some magic, some chemistry. That is for plays. Love is determination. Love is a choice one makes.”   

From arranged marriage to meet-cute, from working through an unconsummated marriage to having 15 children and devastating long-term mental ill-health, we see a love that remains constant despite the challenges; Charlotte shouts at George ‘I want to fight with you. Fight with me. Fight for me’ when she thinks him indifferent.  

he actress who plays young Charlotte, India Amarteifio, beautifully noted that ‘unconditional love is the river that runs through their relationship’.  Even as George descends deeper in his madness, Charlotte meets him where he is at (frequently literally as well as figuratively!) to be with him.  As fan-favourite Lady Danberry observes: 

“what matters madness when true love flourishes?  For them, the weeds are all part of the process”.   

This is a love that acknowledges the challenges, the imperfection, the pain and the sacrifice, but it persists. How do any of us find the strength to love like that?  We may not all be King George, but we are all imperfect, and flawed – we all make mistakes and must ask for the forgiveness of those we love.  For those with a faith, there is the hope of God with us to help us; the Bible says ‘we love because he first loved us’.  The Dutch priest and psychologist Henry Nouwen powerfully wrote:  

‘our life is full of brokenness – broken relationships, broken promises, broken expectations. How can we live with that brokenness without becoming bitter and resentful except by returning again and again to God’s faithful presence in our lives’. 

In a world filled with perfect-looking screen romances, the bittersweet depth of Queen Charlotte touched me far more than any aspirational happy ending. This was far more interesting, more powerful, and more complex.  Part of romantic love is attraction and feelings, but also choice and action; hearts and flowers if that’s your thing, but also being a team, wanting what is best for them above yourself, supporting one another to be your best.  To quote the passage from the book of Corinthians and so often quoted at weddings, this ‘Love bears all things, believes all things, hopes all things, endures all things’.  In a world filled with perfect-looking screen romances, this depiction of love as a daily choice, made with courage and compassion, is what I long to see more of.   But I’ll happily take it with a side of regency glamour – it wouldn’t be Bridgerton without it!