Article
Creed
3 min read

John Smyth: how evil masks itself as goodness

Be alert to the cloaked and warped wherever it occurs.

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

William Blake's illustration of Satan, a winged angel, flying over a prone Eve.
Satan Exulting over Eve, William Blake.
Getty Museum, via Wikimedia Commons.

Much has been written over these past days about Justin Welby’s resignation and the turmoil in the Church of England. Attention has focused on who knew what, and who did or didn’t act on their knowledge. Less attention has been focused on the dark heart of this story – John Smyth himself and the way he conducted his sinister campaign of manipulation and harm. A campaign that was – the more I think of it – not just abusive, but demonic.  

How could Smyth have got away with it for so long? How could he have persuaded these young men to go along with his sadistic beatings? Why did people try to ignore it, hoping they could keep it quiet?  

If there is one note struck in the Bible about evil, it is its deceitfulness. Jesus called the devil ‘the father of lies’ – and lies always present themselves convincingly as the truth. St Paul once wrote of how “Satan himself masquerades as an angel of light. It is not surprising, then, if his servants also masquerade as servants of righteousness.” The meaning of the name ‘Lucifer’ is literally ‘light bringer’.  

This all reflects the ancient tradition taken up by John Milton’s Paradise Lost, of Satan as a fallen angel – one of the crowd of celestial creatures, usually invisible to humans, who appear at key moments in the Bible, like the visions of Isaiah or the birth of Jesus – one who unlike all the others, resented his subservient role as a messenger of God and set himself up as a rival instead. Yet the point is he still looks like an angel. And so, it seems, did John Smyth, with his fine words, clever sounding theology and earnest prayers. 

A few days ago, I listened to an account from one of the survivors of the way John Smyth went about grooming his victims. Smyth presented himself as a father-figure for young boys away from home in boarding school, looking for older parental figures who would help guide them through the confusions and complexities of adolescence. To justify this, he would say that of course God is our Father, as Jesus says in the Lord’s Prayer, but God is our Father in heaven, not on earth, and that he, John Smyth, was to act as their earthly father. And, as he claimed, fathers discipline their children, he had the responsibility to discipline them physically for their spiritual benefit, with the horrendous results with which we are all now too painfully aware. 

The arrogance of this is breathtaking. For any being – human or celestial - to put themselves in the place of God, to presume to usher God into the distance and to step into his shoes, is an echo of that primal sin of Satan in the garden of Eden, who tells Adam and Eve that they don’t need to listen to God, but instead to him.  

When you survey the carnage Smyth’s warped theology and evil practice has wreaked – most tragically to the lives of those he mistreated so deviously, it is hard not to see something more than merely sinful – but something demonic going on. John Smyth chose to obey the dark instincts of his heart, and to take the Faustian pact that grasps power over others at the loss of one’s own soul. He chose to give in to his evil desires entirely, cloaking them in phony but eloquent religious terminology.  

Acknowledging the deceitfulness of evil is not to excuse those who tried to cover it up. In fact, recognising this is to hear a call to greater vigilance, in that when faced with something of this order we are not facing something obvious, ordinary, easy to spot. “Our struggle is not against flesh and blood,” says the letter to the Ephesians, “but against the spiritual forces of evil in the heavenly places.” If we in the Church have not taken safeguarding seriously enough, it is because we have not taken the nature of evil seriously enough. Remaining alert for the evil that masks itself as goodness – whether in the church or anywhere else for that matter - is a spiritual and moral skill we need to learn more than ever. 

Article
Creed
Death & life
Weirdness
3 min read

Why we project ourselves on Lazarus

Lean into the weird around the ‘unreveal'd’.

Jamie is Associate Minister at Holy Trinity Clapham, London.

A Vincen Van Gogh painting of Lazarus rising from his bed as his astonished sisters lean toward him.
The Raising of Lazarus (after Rembrandt).
Vincent van Gogh, CC BY 4.0, via Wikimedia Commons

Tennyson's poem In Memoriam contains a section about the man Jesus famously raised from the dead, Lazarus, and in it he writes: 

Behold a man raised up by Christ! 

The rest remaineth unreveal'd 

He told it not; or something seal'd 

The lips of that Evangelist 

That evangelist, St John, writes precious little about Lazarus himself. Lazarus is supposedly the main character in the story, but we see far more about his sisters Mary, and Martha, and most of all, Jesus himself. But because Lazarus is a largely anonymous figure, intriguing all sorts of people like Tennyson, we can project ourselves onto him. He emerges from the tomb with graveclothes, and it seems we don't fully see him, but we see ourselves on those graveclothes. His endless capacity to capture something of the human condition is evidenced by appearing in Moby Dick, Crime and Punishment, and Mark Twain writes about him, right through to Nick Cave and David Bowie, with a song written when he was terminally ill. 

It's definitely an account that falls into the 'weird' category. Not only does Jesus raise someone from the grave, but at first his response to Lazarus' grieving sisters seems inexplicable. Regardless, Lazarus is perhaps a good match for us because of our own fears of death. 

It's also why the words of comfort that Jesus offers Martha after Lazarus' death are used in Christian funerals. As a priest, as I process in with the coffin, I read: 

'I am the resurrection and the life. The one who believes in me will live, even though they die; and whoever lives by believing in me will never die.’ 

Just as these words were a great comfort to Martha, these words are a huge comfort to people as they come to the funerals of their loved ones. 

But just like Lazarus isn't actually the main character in this story, at someone's funeral, they are also not the main character in the story. They've died. Funerals aren't just for dead people. Funerals are for the people coming to the funeral. Because Jesus doesn't just say, 'whoever lives by believing in me will never die.' He doesn't just leave that there hanging in the air. He explicitly asks Martha the question: 'Do you believe this?' We are confronted with the same question, non-rhetorically. 

Jesus is asking us to believe something quite extraordinary about the nature of life that is worth considering in the assisted dying debate: that resurrection is not pie-in-the-sky, but a quality and quantity of spiritual life that can begin today, only interrupted by physical death and the bodily resurrection. As someone who lives with disability said to me recently about the debate on assisted dying, 'I'm interested in assisted living'. We could all do with a little assistance. 

Bizarrely, Jesus identifies himself as the resurrection and the life. And so even more intriguing than placing ourselves in the tomb of Lazarus, can be placing ourselves in the death and resurrection of Jesus. The anguish, desperation, exasperation of the sisters toward Jesus (helpful for us to recognise our own ability, and need, to grieve honestly) is met with not only grand declarations about Jesus' divinity, but demonstration of his humanity. Twice in this sequence we see Jesus deeply moved and troubled, most pithily and famously encapsulated in the shortest verse in the Bible: 'Jesus wept.'  

His emotion here, much more raw in the Greek, is appropriate not only to Lazarus' death, but also his own death that is about to come on the cross. Amidst the compassion that drives people to different conclusions in ethical debates, it is worth us considering an even deeper compassion that drove Jesus to raise Lazarus and to go to the cross. 

Although there is much in our lives and in faith which is mystery and 'unreveal'd' as Tennyson would say, our own inability to control our own lives and deaths is met by Jesus in all his humanity and divinity. 

All great artists lean into - rather than avoid - the weird. They also seek to honestly address the human condition in all its suffering, mortality and hope. No wonder so many over the centuries have projected themselves and their characters onto Lazarus as his grave clothes unravel. 

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