Explainer
Creed
Virtues
5 min read

How to encourage a second nature of virtue

Cultivating virtue could make you cheerful. Andrew Davison explore the benefits. The first in a five part series for Lent.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

Cheerful youth on the streets
Kenny Eliason on Unsplash.

Lent is upon us: the season to cultivate virtue. In that old-fashioned word, ‘virtue’ – so unpromising, even dismal in tone – lies so much of what Christianity wants to commend in its vision of a moral life. Even if Christian ethics enjoys a dour impression in the popular imagination, the tradition known as ‘virtue ethics’ places its emphasis on happiness, not being miserable, and on having a good disposition, not primarily on following laws. It’s all about having a good disposition – on being the sort of person to whom goodness comes naturally, even under taxing circumstances – and that as the basis for happiness. For the virtuous person, a virtuous response has become second nature: spontaneous, easy, and cheerful.

The idea of virtue as ‘second nature’ draws on Aristotle’s idea of habit. Over time, he thought, we settle into certain ways of being and reacting: into certain ways of behaving, responding, and relating to others. That can be for good, in which case we call that habit a virtue, but also for ill, in which case we call that a habit a vice.

 

'We are cultural, linguistic, and moral, and we have to learn and practice those things that make us human.'

We are creatures of habit, which makes us a strange sort of creature. We are born very much still a work in progress. All sorts of other organisms can perform their most characteristic actions more or less from birth. Contrast us. We are cultural, linguistic, and moral, and we have to learn and practice those things that make us human. In many important respects, what or who an infant will become remains an open question.

Aristotle put this pithily:

‘The virtues arise in us neither against nature, nor simply by nature. Rather, our very nature is to acquire them, and it is in that way that our nature reaches completion.’

Our nature is to be open, those works in progress. Inevitably, we acquire habits, one way or another, for better or worse. Habits are like a sediment that is laid down over time. Or – perhaps better – habits are like the course that river cuts through sediment or soil. The river cuts the course, but eventually the course directs the river. Acts lay down habits, then habits shape acts.

'We don’t become better or worse primarily by thinking hard about it; we become better or worse according to the way we act.'

That offers a bracing and distinctive view of what it means to be moral. For one thing, it shifts the emphasis away from motives, psychology, and an inner realm of the mind. We don’t become better or worse primarily by thinking hard about it; we become better or worse according to the way we act. Good deeds beget good habits, which beget further good deeds; bad deeds beget bad habits, which beget further bad deeds. That’s a good reason to make Lent a time for doing things (and maybe also not doing things, although virtue ethics will tend to think that action is important, and that we best drive out bad habits with good ones).

Virtue ethics has a lively place for reason, and we will come to that in the next article in this series (on the all-important rational virtue of prudence), but it’s also a remarkably bodily tradition. Virtue is almost as much laid down in one’s bones and sinews as in one’s brain. There is a ‘muscle memory’ to virtue, as also to vice. Imagine rescuing a child from an oncoming bus. It belongs to virtue in that situation for the body to move before the mind can catch up, or at least the conscious, deliberating mind. The child is snatched from danger in a pre-conscious whirl. The first well-formed thought to cross the mind of our virtuous protagonist might well be ‘Goodness, look what just happened?’

Virtue is at both home with dramatic responses in dramatic circumstances, but also disinclined to dramatize itself. The same person who reacted so bravely, and on instinct, faced with the child and the oncoming bus, is also likely to say ‘What else was I going to do? No big deal.’

 

The strength in virtue

The word virtue relates to the Latin with the word for strength. Virtue is strength of character. Virtue fills out what humanity can be. We might be born a work in progress, but that progress can go better or worse, depending on whether that human life is fulfilled in virtue, or hampered by vice. To fall into vices is to live an attenuated life, the glory of our humanity tarnished. To rise to virtue is to live a life of the kind of splendour of which a human being is capable.

Christianity has things to say about the crookedness of our tendency towards doing wrong, but rarely has it denied that we are still capable of making choices that are either better or worse, of performing better or worse actions, and of being formed, as a consequence, into better or worse people. Virtue isn’t the whole Christian story. It might not even be half the story, but it’s an indispensable part.

Offering common ground

Virtue perfects nature, as far as nature goes, but that isn’t the main part of that Christian story. It goes on to say that grace elevates humanity to a state beyond its wildest natural imaginings: to ‘participation in the divine nature’ and being a son or daughter of God. (There will be much more on all of that in other posts on this site). But, while that comment puts virtue in its place, it’s still an elevated place. If you are sympathetic to Christianity, but standing somewhat outside the door of the church, the traditions of thought and practice around virtue might offer common ground: common, both because they are about making the best of a humanity that we share, and common because so much of the thinking about them has been carried out across and beyond confessional lines, the great example being the place of Aristotle – an ancient Greek pagan – in all of this.

The virtues

Aristotle singled out four primary virtues. They are prudence (or practical wisdom), justice, courage, and moderation. To these, the church added three from St Paul: faith, hope, and love. We will think more about each of these in the weeks ahead, as we journey through Lent, and onto Easter.

Who is the honest man?
He that doth still and strongly good pursue;
To God, his neighbour, and himself, most true.
Whom neither force nor fawning can
Unpin, or wrench from giving all their due.

Whose honesty is not
So loose or easy, that a ruffling wind
Can blow away, or glittering look it blind.
Who rides his sure and even trot,
While the world now rides by, now lags behind.

Who, when great trials come,
Nor seeks, nor shuns them, but doth calmly stay,
Till he the thing and the example weigh.
All being brought into a sum,
What place or person calls for, he doth pay.

Who never melts or thaws
At close temptations. When the day is done,
His goodness sets not, but in dark can run.
The sun to others writeth laws,
And is their virtue: virtue is his sun.

George Herbert
'Constancy '(selected stanzas)
Review
Creed
Film & TV
Friendship
4 min read

Testament soulfully re-tells the acts that changed the world

What happened after The Chosen?

Giles Gough is a writer and creative who hosts the God in Film podcast.

A man stands the landing of an external staircase and stares out.
Angel Studios.

Testament reimagines the story of how Jesus’ disciples spread the good news of him to the world by transplanting it to an alternate-modern era. Swapping Jerusalem for London. As the followers risk everything to preach the good news, the Temple races to silence them before the oppressive Imperium retaliates. But public miracles and divided loyalties force both sides to confront the true cost of their choices. In the first episode it asks the question, what would it be like if the Son of God had come down from heaven, come to your very hometown, and you’d missed him? 

Most re-tellings of the early church usually end the story either with Jesus’ resurrection, or his ascension into heaven. Testament starts the action just after Pentecost, fifty days after Jesus’ death and resurrection. In Christianity, Pentecost is the day when the Holy Spirit descended on the Apostles like “a violent wind” and gave them not just the ability to be understood in any language, but also the courage and conviction to go out and tell people about Jesus. We see much of the action through the character of Stephen, a young man who decides to follow Jesus after hearing the Apostles preach. Consequently, Stephen’s mother accuses him of heresy and throws him onto the street, making him fully dependent on this early Jesus movement.  

In the first episode, the storytellers seem to have presented themselves with a bit of a challenge, by starting the action at Pentecost. Not only does it seem like the most interesting events have just happened off camera, but we’re also meeting these characters in a moment of spiritual awakening and holy joy, which is notoriously hard to depict on screen. Especially with characters we’ve just met. Nonetheless, as they navigate the logistics of having so many converts all at once (the kind of happy problem any church minister would like to have) we see that the Apostles have a familiar, lived-in quality to their inter-personal dynamics. You can easily believe that these very different men have spent every day living and working with each other for the last three years until they’ve sanded off the rough edges of their relationships.  

Whilst the show doesn’t always hold together at first, it builds momentum by tackling some of the more difficult parts of the book of Acts with sensitivity and nuance. It’s helped by the performances being incredibly watchable. The colour-blind casting is a delight, and perhaps reflective of Christianity being the most ethnically diverse religion on the planet. Tom Simper, who plays Peter, has an incredibly expressive face and a compassionate manner. Kenneth Omole who plays John can be vulnerable as he returns to the garden of Gethsemane to mourn the absence of his friend and saviour. Yet the next scene, where he is confronted by a Temple priest, he emanates a quiet authority. You can’t take your eyes off him.

If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation.

Making Stephen the point of view character is a bold narrative choice. Anyone with a passing knowledge of the New Testament might feel anxious for the character, and having him be played by such a young actor as Charles Beaven underscores the upcoming tragedy. Mogali Masuku plays Mary as a woman with her head thoroughly screwed on. Her storyline shows Mary ministering to addicts and victims of human trafficking, looking gangsters dead in the eye and telling them these lost souls belong to Jesus now. On the other side of the divide is Saul. Eben Figueiredo plays him with the type of zeal that allows people to do both wonderous and terrible things. If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation. It’s Saul, not the Temple establishment, who is the main antagonist of this season.  

If there is one clear misstep, perhaps it’s the depiction of what the show calls ‘The Sentinels’, the foot soldiers of the ‘Imperium’, a stand-in for the Roman Empire. Rather than being dressed in modern military fatigues, they are clad head to toe in a red, faceless body armour. The type that would be more at home in the Star Wars universe. They’re possibly dressed like this to represent the empire’s overwhelming and sinister military power, but as we see repeatedly through world events, human cruelty looks painfully normal. 

The timing of this show seems noteworthy as well. This show drops roughly a year after Angel Studios, the producers of Testament, were forced to split from the creators of The Chosen. Following the lives of the Apostles as they begin to follow Jesus, The Chosen became a monster hit and the flagship show of Angel Studios’ catalogue. So a show following the lives of the Apostles after Jesus leaves them (albeit transplanted to a different time), might be an attempt by Angel Studios to recapture some of the popularity they have lost.  

Testament definitely has a faltering start, but it has all the ingredients to be compelling TV. If you can stick with this show as it finds its feet, you will be treated to a soulful depiction of an oft-overlooked part of the Jesus story. 

Watch the trailer

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