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‘Marriage is martyrdom', seriously?

Arguing relationship requires sacrifice ignites a sleepy tutorial.
Quizzical-looking students look across a tutorial to others.
Nick Jones/Midjourney.ai.

It is late afternoon on a rainy Monday. My students mooch through the door, filling up the seats in our overheated, clinically modern tutorial room. They are a particularly young class this term – nearly all teenagers still. The setting feels entirely the wrong for poring over texts that are thousands of years old, texts written by some of the earliest Christians, now displayed on flashy laptops and smartphones.  

The first excerpt is short – part of a hand scribbled note by Ignatius of Antioch. He wrote it even as he was marched to his execution at the hands of the Romans.  

Suffer me, my brethren; hinder me not from living, do not wish me to die… Suffer me to receive the pure light; when I ­ shall have arrived ­ there, I ­ shall be a ­ human being.  

Ignatius shows no fear despite facing his impending martyrdom, I explain, because he goes to his death as one who was utterly convinced by the hope of resurrection. To him, death was life, and life was death.  

From the mixture of expressions on the faces around the room, I can easily tell which members of the class have attended Professor Behr’s lectures on this week’s material, and which members of the class have attended only to their mattresses and duvets. (‘Twas ever thus with undergraduates.) “Let’s look at Professor Behr’s own chapter on the subject,” I suggest, adding with a certain emphasis, “It was your required reading for this tutorial.”  

Reading Ignatius, along with some other texts from this period, Behr summarises the argument as follows: earthly life is a transitory thing, and driven by the fear of death, it becomes all too easy to focus on and hang on to this fleeting life. However, the Christian hope is that the self-sacrificing death of Christ, who gave up his life in the service of others, has transformed the reality of death. Death is no longer just the end of this life but the beginning of another one – a better, eternal life. And this, for each Christian, becomes the impetus to pursue one’s own journey towards self-sacrifice, towards laying down one’s earthly life for another, following in the example of Christ, just as Ignatius wished to do. Behr writes: 

“Through Christ’s having ‘changed the use of death’ we are able to change the ground of our existence from necessity and mortality to freedom and self-sacrificial love…”

I glance around the room. A few students seem mildly interested, some others are gazing at their screens, scrolling. Perhaps their curiosity has been piqued by the chapter that they are meant to have already read? More likely they have zoned out and are flicking through TikTok. One guy at the back stares glumly out of the window, mouth half open, the one next to him is dismantling a ballpoint pen.  

“Any thoughts?” I ask the room. Every pair of eyes is on me, and I know that there are thoughts – the silence is thick with them. 

A few moments later, however, and all their eyes are on me. Why? Because in the second part of his chapter, Behr takes this argument of self-sacrifice, of death to life, and uses it as a lens through which to examine the specific human phenomenon of marriage. I read out a few well-chosen excerpts – juicy ones that include the words “eros”, “sexuality” and even “ecstasy” – and it is no surprise that a room full of drowsy teenagers becomes somewhat more alert.  

It is through the natural human desire to be united with another person, argues Behr, that we are truly drawn out of ourselves, and by doing so we learn to give out of our own lives for the sake of the life of another. To commit one’s life and one’s body to another in marriage is the epitome of dying to self, even a kind of martyrdom. And, if marriage leads to parenthood, then the opportunity to live a life of self-sacrifice only increases. However hard it might be, those who are married, parenting, or both are driven by love to place the lives of their spouses and children before their own.  

  “Any thoughts?” I ask the room. Every pair of eyes is on me, and I know that there are thoughts – the silence is thick with them. But who will be brave? Patiently I stare them down. Eventually someone cracks, and a hand creeps up into the air.  

“Yes, go ahead…” I encourage.  

“Well… I think you should never be in a relationship where you have to do that!”  

“OK.” We’re off. “Never have to do what, exactly?”  

“Like, be expected to give up your life for someone else. Like, it’s your life. No one else has a right to ask for you to sacrifice yourself.” 

The conversation went on from there, the class getting more and more animated, a polemic against the idea that marriage, or just long-term relationships in general, should involve the sacrifice of one’s ‘self’. A spouse, they insisted, should be someone who affirms and celebrates everything that you are, and who supports you in whatever dreams or ambitions that you want chase. And children? Well, they should only be brought into the equation to fulfil your dreams, not to limit them. Marriage is many things, but it should not be a sacrifice, less still a martyrdom. 

Well, let us not be too hard on the optimism of youth. The optimism that imagines marriage and family life will be something that gives, and gives, and will never take anything away. How can they know – those who have never been awake at 3am with a projectile-vomiting toddler, and those who have never had to calmly negotiate over where all the money goes? It is the optimism of those who have never had to pass up on a job or an opportunity because it doesn’t fit in with the spouses’ promotion or the kids’ schooling. These, and a thousand other moments of self-sacrifice: the gritty realities of a daily choice to stick in a marriage (or any kind of long term relationship) and make it work.  

This is a much slower kind of martyrdom, a decision made not once but daily, in a society where such decisions are frequently undone. 

But is this gritty reality a giving up of life, or an embracing of it? Perhaps, like Ignatius, in this kind of death to self we actually find life. In a committed union, we carefully place our lives in the service of another, not because they expect us to, but because out of love we choose to. This is done, of course, in trust that the other person will do the same in return. There is no suggestion, either here or in Behr’s chapter, that someone should stay in a union where that placing of oneself is being merely used and abused. But where two people find a true mutuality in that laying down of self, well, love has funny way of making limits feel like a kind of freedom after all.   

“Hinder me not from living…” writes Ignatius, as he is marched to his certain death. His eyes were filled with the image of new self, a better self, that would come to him all at once and suddenly through the laying down of his life for what he believed in.  With a faith so strong, this may have been an easy kind of martyrdom – a decision made once, which could not, by him, be undone. But let us also hinder not those who choose to unite their lives to another. This is a much slower kind of martyrdom, a decision made not once but daily, in a society where such decisions are frequently undone. One day some of these young people will feel the call to this kind of death, and that in this death there is life. Hinder them not to die.  

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8 min read

Paris 2024 and Christianity’s opening ceremony

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

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.