Explainer
Creed
Virtues
6 min read

Justice: a premium virtue

In the third of his series on virtue, Andrew Davison weighs what justice says today, particularly on impartiality.

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

A statue of Justice holds a sword aloft in one hand, and set of scales in the other.
The statue of Justice on London's Old Bailey court.
Sang Hyun Cho, CC BY-SA 4.0, via Wikimedia Commons.

Next after prudence comes justice. Our guide in this series on the virtues is Thomas Aquinas and, for him, virtue is about justice. Indeed, it is in justice (quoting Cicero) that

 ‘the lustre of virtue appears above all.’

Placing such a premium on justice might seem a little deflationary. Yes, we might think, by all means be just, but is that enough? Later in this series, we will see that Aquinas does, indeed, think that all human virtues – including justice – need to be set aflame with faith, hope, and love. But that doesn’t stop him from also thinking about the virtues from a human point of view, at least as a first pass. And within that frame – one in which he might also talk to a non-believer, for instance – he insists that to be virtuous is to be just. Indeed, we could make that comment even more deflationary, and say that the gold standard of justice is simply to be fair. Justice, again drawing on Cicero, is simply to give to each person what is due.

‘However true it might be that our communal life cannot attain its fullest realization through just exchange alone',

wrote the German writer Josef Pieper,

‘it is no less true that it is in the exemplary form of just this sort of justice that the irreducible core of social relations finds expression’.

We can wish for something that outstrips justice. Nonetheless, there is a steely realism in Thomas’s insistence that the foundation for virtue is acting justly, even simply being fair. Fortunate is the country at the moment where day-by-day newspaper coverage need not draw attention to people in positions of public trust failing to live even by that standard.

I once attended a lecture course as an visitor in Rome on ‘Justice and Allied Virtues in Thomas Aquinas’ that lasted for an entire semester, so there’s a lot that can be said on this front. I will limit myself to three angles: impartiality, dues, and the role of a useful minimum.

On impartiality

On the first, Aquinas offers an extended discussion of justice in terms of being no ‘respecter of persons’: which is to say, in terms of showing impartiality. His example strikes home for anyone, such as myself, who works in a university:

if you promote someone to a professorship on account of his having sufficient knowledge, you consider the due cause, not the person; but if, in conferring something on someone, you consider in him not the fact that what you give him is proportionate or due to him, but the fact that he is this particular person (e.g. Peter or Martin), then there is ‘respect of the person’, since you give him something not for some cause that renders him worthy of it, but simply because he is this person… for instance if a man promote someone… because he is rich or because he is a relative of his.

As I write this, the newspapers are full of a story about an ex-Prime Minister promoting someone to a position of public honour and trust in a torturous story that involves both wealth and a relative.

On dues

Justice is the lodestone of virtue, according to Aquinas. Above all things, ‘do justice’. Justice is not quite the foundation, however. Justice looks beyond itself to ‘right’, or ‘what is due’. Justice is secondary, because it recognises and responds to ‘right’ or ‘due’ (today, we might say to ‘rights’ or ‘dues’); it does not create them. Those comments would mean a great deal to a group of Spaniards in the sixteenth century, all followers of Aquinas, who rose above the rapacious expansion of the West, and fought for the rights of indigenous people. They left the foundations of international law as part of that  legacy. Among them were Bartolomé de las Casas (1484–1566) and Francisco de Vitoria (c. 1483–1546), both Dominican friars. They offer, to my mind, perhaps the most glorious moment in the whole history of the river of writing and thinking that has sprung from the life and works of Aquinas.

Opposing, at various time, pretty much the entire establishment of the Spanish Empire, they argued that the indigenous people of the ‘New World’ had inviolable rights, such that justice required Europeans to recognise their right to their lands, and to self-government. This rested on the idea that justice deals with what is due, or right. We do not make this up; we are confronted by it. It is attached to, it springs from, human nature simply as such. And, ultimately, it springs from the fact that to be faced by a human being is to be faced with a creature, which is to say, by the handiwork of God.

When he was still in his twenties, and earning his spurs as a teacher, Aquinas had tackled this subject: 

something is said to be just not only because it is willed by God, but because it is due to a certain created thing according to the order of creature to creature. For nothing can be due to anything except by reason of its own nature or condition. However, the cause of a thing’s nature and properties is the divine will; and therefore the whole order of justice can be traced back to the divine will as to its origin.

Justice is secondary to right, is responsive to right, and justice is the backstop of the virtues precisely for that reason. If it set its own terms, if it ruled its own roost, it might determine, for instance, that dispossession is just. Who would be to say otherwise? But justice does not set its own terms; it bows before what is right or due. That is why, in the estimation of those Spanish Thomists, it inclines its head in reverence before the dignity and rights of native South Americans, rather than to the Spanish Crown: or at least, it should.

The useful minimum

Approached another way, we might say that justice is a sort of minimum, but also that minima are important because they mark out the limits of human relationships. The twentieth century Dominican Herbert McCabe wrote compellingly about this. The Ten Commandments are all about justice, and while they don’t lay out the beating heart of a good and cohesive social life, they do mark its limits. McCabe (again following Aquinas) thought that the best emphasis in thinking about ethics ought to be on friendship, since that is characteristic of human life at its fullest. It’s clearly not enough, for friendship, simply not to steal, bear false witness, or commit adultery. Nonetheless, those precepts are of enduring worth, because we can be sure that to transgress those bounds is to bring friendship to an end. It’s because of that emphasis on friendship, and guarding against whatever endangers it, that ‘bearing false witness’ was such a major concern for Aquinas. In his long treatment of justice, the subject of theft or murder each receives only a single section. On the other hand, misrepresentation of others – sins of the tongue (and, today, of the keyboard) – receive four (on ‘reviling’, ‘backbiting’, ‘tale-bearing’, and ‘derision’). As the Book of Proverbs has it, which Aquinas quotes at this point, ‘A good name is to be chosen rather than great riches’. The weakness of so much writing on ethics in the past century has been a tendency to make it about difficult problems that are so rare that it’s usually other people who face them. The niggling, awkward glory of the virtue tradition is that it lands squarely in the middle of life, for instance in being just – simply fair – in what we next type on Twitter.

 

Review
Culture
Film & TV
7 min read

Perpetually present in Palm Springs

A movie's time loop explores the meaning in the mundane.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

A young couple lounge on floating rings in a swimming pool.
Cristin Milioti and Andy Samberg ponder time.
Hulu.

I first watched Palm Springs on the evening of my wedding day. It was the very beginning of what would be a peaceful and relaxing honeymoon, sandwiched in-between planning a pandemic wedding and finishing graduate degrees, and planning a move across the Atlantic to Canada, where my husband had just got a job – which was quickly followed by getting pregnant for the first time. Those two weeks were the only restful time we got in the whole of 2021 -- and arguably to date! It felt like time stood still for a while. We walked on Cornish beaches, talked about our future, ate ice-cream. It’s the closest I’ve ever felt to a deep sense of peace.  

It’s quite fitting that, at such a quiet moment in our lives, we watched a film about getting stuck in a time loop at a wedding. Palm Springs’ time loop premise is familiar from cult classics like Groundhog Day. Tala and Abe are getting married on 9th November. An earthquake opens up a strange cave that traps any unwary visitors into a time loop. Nyles, one of the wedding guests and the boyfriend of Tala’s friend Misty (yes, these are their actual names), enters the time loop by accident. Every day, Nyles wakes up in Palm Springs, and every day is 9th November, again, and they’re celebrating Tala and Abe’s wedding, again. He can leave Palm Springs and travel anywhere he likes. But if he falls asleep or dies, the time is reset to the morning of the wedding.  

An undetermined amount of time passes, until two more guests get stuck in time: Abe’s cousin Roy, a middle-aged, disillusioned family man, and later Sarah, Tala’s sister. Roy takes revenge on Nyles by torturing and killing him every few ‘days’; he was lured into the cave by a Nyles high on drugs and is furious that he’ll never get to see his kids grow up. In one iteration of the wedding day, Roy finds Nyles and shoots him with a crossbow. As Nyles re-enters the cave to make the day reset and escape another gruesome death at Roy’s hands, Sarah follows him in, not heeding his warning to stay away. She gets stuck in time, too. 

And here is where the story actually begins. All of this we find out as a shocked Sarah, having woken up on her sister’s wedding day for the second time, goes to Nyles for answers. For the rest of the film, the sci-fi premise is fairly incidental. Palm Springs is really about Nyles and Sarah coming to terms with their brokenness and their longing for permanence as they get stuck in time – and stuck in love. At first, Nyles acts very cynically. He’s been in the time loop for quite a while and fails to see the purpose of his existence. ‘Today, tomorrow, yesterday, it’s all the same’, he says. His advice to newly stuck-in-time Sarah is to simply ‘embrace the fact that nothing matters’. Sarah accepts the invitation, beginning to act erratically. She and Nyles drive around Palm Springs aimlessly, spend their time choreographing an 80s dance, and she even throws him a ‘millionth’ birthday party. In a darker moment, she intentionally gets run over by a truck, hoping – to no avail – to finally escape. They see their lives just like the lost souls in Dante’s Inferno, condemned by sin to relive the same punishment over and over and over again, for all time.  

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity. 

But something happens in the process. Because they know they can’t leave, Nyles and Sarah lower their defences. Their relationship essentially works as a marriage: they are stuck in it for the long term, and so they become honest. They get to know each other more deeply than they have ever known anyone, and they come to love each other deeply, too. Suddenly, they are no longer waking up dreading more of the same, but excited to see each other again, and spend another day together.  

Nyles’ disenchantment slowly disappears. When he first met Roy, drinking at the wedding bar, he cynically quoted from T. S. Eliot’s Four Quartets, ‘What might have been and what has been/ Point to one end, which is always present’. But Eliot’s poem is not actually about the dull, hellish, infinite repetition of time. Rather, it’s about our desire to reach out to God’s eternity in heaven. It reminds us that, when we receive God’s grace, we stop experiencing our lives in a linear way, always looking ahead to new experiences and greater achievements, and instead start finding joy in the mundane. Nyles is finally learning this. He now enjoys Eliot’s perpetual ‘present’, because loving Sarah has allowed him to regain a childlike wonder at the world. As G. K. Chesterton argues in his wonderful book Orthodoxy, ‘Because children have abounding vitality’ they do not tire of repetition, but rather ‘want things repeated and unchanged’: 

They always say, “Do it again”; and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony.  

Roy has learnt this, too. He stops trying to torture Nyles, and rather starts appreciating being able to spend every day – albeit the same day – with his wife and children. When Nyles visits him at his family home, it’s clear that Roy no longer sees repetition as a punishment, and that he’s found a sense of peace.  

Finally, Nyles and Sarah realise that the time loop has instead given them the chance to mend their wounds, and come to terms with their mistakes. In a moment of despair, Sarah runs Roy over, causing him several injuries. ‘Nothing matters’, she tells Nyles as an excuse. But Nyles no longer agrees. ‘No. Pain matters!’, he tells her. ‘What we do to other people matters…It doesn’t matter that everything resets and people don’t remember. We remember. We have to deal with the things that we do.’  

That’s exactly what Sarah spends the rest of the film doing. She deals with the consequences of her actions and attempts to repair her relationship with her sister Tala, whom – without giving away exactly what happens – she had deeply hurt and betrayed.  

I won’t spoil for you whether Nyles and Sarah ever manage to escape the time loop and return to ‘real’ life, but that’s almost besides the point. But I will tell you that they stay together through it all (this is a rom-com as well as a sci-fi film after all…).  

Love reenchants the aimless and the mundane for them. They’re no longer stuck in hellish infinity, but are rather looking ahead to the kind of eternal peace we hope to find in heaven, just like I did on my honeymoon.  

I recently rewatched Palm Springs, a newborn baby girl in my arms, and it reminded me of when my other child, my son, was first born back in 2022. I remember walking down the street in downtown Toronto, where I was then living, and telling my mother that I felt like I was experiencing a taste of eternity. She was understandably confused by my sleep-deprivation-induced philosophical musings, but there was a reason I said that. Just as time had expanded on my honeymoon, each day feeling like everything stood still, and yet each day so full of variety, so the newborn days of my first experience of motherhood were both very busy and very quiet. But while my honeymoon had decidedly felt like a foretaste of heavenly peace, motherhood has been more complex than that. Sometimes it’s so repetitive that it can seem aimless – ‘how is his nappy full again?’ I often ask myself – and in this it can appear as static as Dante’s hell. As adults, it is very difficult to recapture the kind of joy and delight in repetition that Chesterton writes about. It can really feel like you’re stuck in a loop, every day bringing more of the same, more nappies, more bath time, and more baby food thrown at the wall. But motherhood is also full of the endlessly new little joys. When my son says a new word for the first time, or when my newborn daughter looks at me and smiles, I think that I’d be happy to relive this day forever, just like Roy.  

Although I’m not actually stuck in a time loop like Sarah and Nyles in Palm Springs, it can sometimes feel that way. But perhaps it’s good thing. Perhaps that’s what reminds me that being a good parent means getting tired of your kids by the end of the day, then waking up the next morning, and loving them all over again. That’s what being a parent means, and that’s what marriage means, too. As Nyles says to Sarah right before they enter the cave for the last time, unsure if they’ll see each other, and whether their relationship can survive the mundane reality of domestic life, ‘We’re already sick of each other. It’s the best.’