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. 

Column
Awe and wonder
Belief
Creed
4 min read

What brings us into bulwark cathedrals?

A band’s tribe trek to a cathedral that’s defied the dark for centuries.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A view from a floodlight footbridge towards a gap between office buildings which reveal a cathedral and its illuminated dome.

I went along to read some Genesis at a local Nine Lessons & Carols service, wearing the coat I’d worn the week before on my annual cathedral benefit tour with the evergreen folk-rock band Jethro Tull. 

The coat still bore the stick-on backstage pass, ‘access all areas’, that acts as some form of security for band, crew and instruments. I hadn’t had time, or the skill to be honest, to soak it off gently to avoid damaging the fabric. 

A number of congregants, both men and women – I hesitate, for contemporaneous reasons, to add “of a certain age” – noticed it. “Does Ian Anderson still stand on one leg when he plays the flute?” asked one. “I’ve still got some Tull albums from the Seventies,” added another. “Great band,” affirmed a third. 

It strikes me that more church congregants recognise Tull than Tull fans recognise the Church of England. That’s to be expected, given that this is a tribe that grew up with a prevalent post-modern atheism. I remember in the early days following a pair of increasingly hairless old hippies into one of these gigs. “Looks like a flippin’ church,” said one. “That’s because it is a flippin’ church,” replied the other (though naturally they didn’t say “flippin’”). 

These cathedral shows, of which there have been about 30 now, sell out easily and very soon after tickets go on sale in the summer. We played Bristol and Salisbury (again) last week. The larger cathedrals benefit to the tune of upwards of £25,000 for a couple of hours of Christmassy rock ‘n’ roll. They come because they like the sound of Jethro Tull and Anderson’s songwriting canon. 

But there’s something else going on. They come, these predominantly unchurched people, to take ownership of their cathedral. They may come because it’s Christmas and it’s the right place to be. They come to be together, if not as the Body of Christ then at least in some sort of communion, which is true of any rock concert gathering in a corporate way, but which is lent something transcendent in a gothic cathedral. 

This raises questions for me. The first is this: Come Christmas, what is it that they and we have all been waiting for, this crowd of people who seem strangely anticipative, not just to hear one of their favourite bands, but to hear something else in the air in a sacred, ancient place? 

I have a theatrical role, somewhere between master of ceremonies, band confessor and rocking retainer. Top hat, tails, leggings, codpiece, pixie boots and a knobbed cane. Oh yes, and my clerical collar. It’s the dog collar that connects me to a reality beyond the show business.  

In addition to cavorting, I deliver a Christmas blessing during the intro to the last number of the night (usually “May the joy of the angels, the wonder of the shepherds…” etc.). I’m struck by how moved many people are and remark on it afterwards in the crowd. There’s a real hunger for peace and goodwill in a broken world, not just an appetite for a thumping bass line to swing hips to, as they raise their eyes to a vaulted, lit ceiling far away, sometimes a thousand years old. 

My second question is relatedly this: What does a merry Christmas mean in this context? Quite often, Tull’s Christmas song from 1977 will be on the setlist, Ring Out, Solstice Bells. It’s pagan in theme (“seven druids dance in seven time”) but it engenders in this setting a strong folk memory of light and cheer in the darkness. There’s a defiance of the dark here and the cathedral stands as a bulwark against it down the centuries. Be of good cheer because all will be well – that’s what it means to wish a merry Christmas. 

A final question: Why do they come back every year, this motley band of ageing rockers (though there are youngsters too)? Part of the answer to that is the comfort of the familiar and eternal – and I don’t mean only songs that are up to half a century old. It’s a truth among other truths that religious observance is growing in some societal pockets, among Gen Z men for example.  

Cathedrals aren’t like parish churches, where you may feel part of a small community. Cathedrals are a part of the world, in all its harsh reality. Katherine Amphlett LINK has written here of Coventry cathedral (where Tull has played) and a feeling of how Christmas is far from twee in these settings – the Christmas story is hard and subversive. To my mind, it’s a story about persecution, homelessness, displacement, oppression, refugees and misogyny. 

A cathedral is big and strong enough to bring all that to. It always has been. We see some of that recognised in the audiences for these Christmas shows. Perhaps you’ll join us at a cathedral near you next year? Meanwhile, merry Christmas. 

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