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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.

 

Interview
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9 min read

The Devil's perspective

Seeing through a rebel angel’s eyes opens up some surprising new angles on faith. Jonathan Evens interviews author Nicholas Papadopulos.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A statue of an angel crouching and gesturing with one hand.

With The Infernal Word: Notes from a Rebel Angel, Nicholas Papadopulos, Dean of Salisbury Cathedral, is challenging the accepted narrative of faith “through the eyes of a rebel, an angelic non-believer with plenty of attitude.” His book enables readers to see the Biblical story in an unusual light - from the perspective of a devil who took up arms against heaven under the leadership of Satan. 

Papadopulos, who worked for seven years as barrister specialising in criminal law prior to ordination, says: “I have always been more interested in questions than answers, both as a criminal lawyer and as a priest. Posing difficult questions identifies the real issues. Writing in the rebel angel’s voice has allowed me to have fun whilst at the same time compelling me to work out what faith in God really means to me. They say the devil has all the best tunes – well, what better way to challenge the accepted narrative of faith than through the eyes of a rebel, an angelic non-believer with plenty of attitude.” 

“To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography” 
 

C.S. Lewis. 

His central character is a rebel angel who sided with Satan in his insurgency and was cast out of Heaven. He is, as a result, an unhappy devil, perplexed by the triumph of good over evil and the stories of salvation. With eternity to ponder why God emerged triumphant from the struggle, this rebel angel has turned to the Bible, the record of God’s dealings with ‘the humans’ to find out why his side was defeated. Through his conversational and sardonic style, this rebel angel discusses a dozen of God’s significant encounters with humanity - each of which takes place on a mountain top, from Mount Ararat where Noah’s ark pitched up, to the Mount of Ascension where Jesus returns to heaven. Each of these infernal reflections reveals an aspect of God’s inexplicable and unfathomable love for humans and engages deeply with the reality of a loving God who is made visible and vulnerable in Christ. 

The Devil and his rebel angels have a significant cultural history. From his earliest known appearance in the Book of Job - probably the oldest book in the Bible - the figure of the devil has haunted Western culture being understood “as the embodiment of evil, a figure of temptation, and a potential foil to God”. In The Devil: A Very Short Introduction, Darren Oldridge describes Christian art as representing the Devil “using naked, dark forms with bestial features, committing revolting acts in a Hellish landscape”. He continues, in relation to literature: “In Goethe's Faust, Mephistopheles' character is conveyed in words of nullity and darkness. Milton's Paradise Lost describes a fiend whose defiance towards God makes him a kind of perverse hero. The Devil is often described as an appealing character who tricks people into committing sins.” However, there is an opposite view, as set out by Erik Butler in The Devil and His Advocates, in which Satan has, since his first appearance, “pursued a single objective: to test human beings, whose moral worth and piety leave plenty of room for doubt.” Butler suggests that, while Satan can be manipulative, “at worst he facilitates what mortals are inclined to do, anyway”. 

Responses to John Milton’s Paradise Lost exemplify the debates that rage around the depiction of the Devil in literature. Two rival “interpretive traditions” exist in relation to Milton’s depiction of Satan.  

The romantic tradition, understood to have been begun by William Blake and Percy Bysshe Shelley, “contends that Milton unconsciously favoured Satan and that Satan was the true hero of Paradise Lost”. Blake famously wrote that Milton “was a true Poet and of the Devil’s party without knowing it”. He views desire and energy as characteristics of the Devil and sees these as being opposed to reason, which is equated with God and the power appropriated by institutional Christianity. Similarly, Shelley in his Defence of Poetry writes: “Milton’s Devil as a moral being is as far superior to his God as one who perseveres in some purpose which he has conceived to be excellent in spite of adversity and torture is to one who in the cold security of undoubted triumph inflicts the most horrible revenge upon his enemy.”  

Unlike Shelley, however, Blake also believed that Jesus, through artistic imagination, harmonises the binary opposites that Blake viewed as being characterised by the Devil and God and, as a result, advocates a revolutionary form of Christianity. Philip Pullman’s His Dark Materials is a more recent imaginative engagement with this side of the Paradise Lost debate, which sits somewhat uneasily between Shelley and Blake.  

Set against the romantic view of Milton’s Satan as the true hero of Paradise Lost is a view, exemplified by C.S. Lewis in A Preface to Paradise Lost, which sees Milton’s account of the Fall as being similar to that of Augustine’s City of God, with Satan portrayed, not only as “morally evil but also supremely egotistical … even showing himself in some ways to be foolish and tedious”. Lewis wrote that “To admire Satan … is to give one’s vote not only for a world of misery, but also for a world of lies and propaganda, of wishful thinking, of incessant autobiography”. While Lewis was writing A Preface to Paradise Lost, he was also working on The Screwtape Letters in which, by means of a fictional intercepted correspondence of diabolical counsel from a senior devil to an apprentice devil, seeks to show what the temptation of our souls looks like through the eyes of demons. Bruce L. Edwards suggests that “Screwtape’s timeless brilliance lies in depicting the everyday and showing how from a demonic point of view, the devotion and care Christians show to their fellow men and women, mirrors of the love God has shown to them, is unfathomable to the desperately lost and unreflectively wicked”. 

“Why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

With these ongoing debates in mind, I asked Papadopulos where he thought The Infernal Word sits in relation to this diabolical heritage and how the book interacts with it. He responded by saying that: “This rebel angel is concerned with the Biblical narrative and what it discloses of God and of God’s relationship with humanity. He is not principally a tempter (as was Screwtape); nor is he a tragic hero plotting his revenge (as was Milton’s Satan); he is instead something of an investigative journalist – an armchair general, commentator, and amateur theologian, keen to ascertain why on earth God seems so keen on the creation that so regularly lets him down. He is also a realist: he harbours no illusions about the place of his kind in God’s economy. The cross was Christ’s decisive victory – the rebels have been beaten.” 

This represents a key difference between Papadopulos’ protagonist and Lewis’ Screwtape. As Edwards notes: “Screwtape never understands why the Enemy [God] loves the patient [human beings], even to the point of giving up His life for another. This is not even ponderable for Hell-bent or Hell-bound dwellers, who are the ultimate egotists and self-aggrandizers.” This difference of approach also raises a question as to why Papadopulos’ protagonist is undertaking his investigation. As he recognises Christ’s decisive victory on the cross, what purpose is served by his investigation? That question takes us to the heart of the book’s purpose which is also linked to the challenges it provides to some accepted narratives of the faith. 

We do know, however, why Papadopulos began the book. His ministry, prior to Salisbury, included time as Vicar of St Peter’s Eaton Square, London, and at Canterbury Cathedral as Canon Treasurer and Director of Initial Ministerial Education for the Diocese. The Infernal Word began as addresses preached on Good Friday in those earlier settings. Good Friday, of course, is the moment in the Christian story when the Devil appears to have won. So, I asked Papadopulos what was it about Good Friday that inspired him initially and which called his rebel angel into being: “The devil did not win on Good Friday, and he knows he did not win! Christ’s faithfulness sees to that. But - stuck for a sermon when serving as a parish priest I tried preaching from the vantage point of faith’s opponent - as a devil. Arriving in Canterbury, and needing a theme/motif for a Good Friday Three Hours Devotion, I remembered the experiment, and wrote the series from that vantage point. It obviously needed to culminate with the crucifixion, and that event’s location on a hilltop prompted the addresses which preceded it.”  

Writing in the rebel angel’s voice allowed him to have fun while, at the same time, compelled him to work out what faith in God really means to him. He says he has always been more interested in questions than answers and that posing difficult questions identifies the real issues. As a result, I asked what it is about testing or exploring faith in this way that enables the essence or the essential to be identified: “The barrister’s skill is identifying the right questions, and that part of my formation lives on in me, jostling with the faith that has been real since I was very young. Theology is faith seeking understanding – the book is an account of faith in which sharp questions are posed, to which (ultimately) a fairly simple ‘answer’ is offered. But that’s in the Epilogue and I wouldn’t want to give it away! Asking questions is not something for people of faith to be afraid of – but we do have to have trustworthy places to ask them and to receive answers. My dearest hope is that a reader might identify with some of the questions posed in The Infernal Word, and find answers that are at least coherent and perhaps compelling.”  

Martin Luther once said that “The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn” while Thomas More wrote, “The devil…that proud spirit…cannot endure to be mocked.” Papadopulos’ talk of having fun while writing in the rebel angel’s voice reminded me that creatives from Lewis to Bono have utilised this approach, so I asked whether it one he also endorses: “The rebel angel targets humanity and specifically ‘the Christians’. They are the object of his unremitting scorn and the source of his perpetual puzzlement – why does God bother about such a crowd of undesirables? The angel’s writing is the lens through which I uncover the absurdity of God’s relationship with them.” 

Mountain-tops, as significant places of encounter with God, become important in providing a structure for his book: “The choice of mountain tops was actually triggered by the need to end on one (if Golgotha counts as a mountain top). As that was the destination, I looked for precursors and, of course, there are plenty – from Ararat onwards. I could have picked a different theme: Biblical encounters in cities, or beside water. But mountains serve the purpose, as they do throughout Scripture, as places of encounter between the human and the divine.” 

I ended our conversation by asking in what ways the book challenges the accepted narrative of faith by providing a fresh perspective on familiar Biblical stories and why that is needed: “I hope the book is profoundly orthodox, but it poses some of the questions about faith that have fascinated me and that I believe fascinate others. Because it’s narrated by a rebel angel it can dare to be irreverent and occasionally downright rude. Don’t we always need fresh perspectives on the tradition? That’s what keeps it alive. It was the quest for a fresh perspective that first pushed me in the rebel angel’s direction when I was stuck for a sermon.” 

 

The Infernal Word: Notes from a Rebel Angel is published by Canterbury Press.