Explainer
Culture
Freedom
Liberalism
6 min read

On liberty’s limits: why Mill was wrong about freedom

This month, it’s 150 years since philosopher JS Mill died. His definition of freedom remains hugely influential. But is it still the right one for healthy relationships and contentment amid the isolation of modern life?

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A copy of the Statue of Liberty, holding a stick of bread, stands outside a shop window displaying an 'Open 24 Hours' signs.
Photo by KC Welch on Unsplash.

You can tell what a society values by what it goes to war over. In the 17th century we fought our wars over religion. In the 19th it was empire. In the 20th and 21st, we fought our wars over freedom, either defending our own or trying to export our version of it to other parts of the world. We tend, of course, to assume we know what freedom is: the liberty to do what we like, as long as don’t harm other people. But we rarely know how time-conditioned and recent such a view of freedom is.  

John Stuart Mill, child prodigy, colonial administrator, Member of Parliament and philosopher, who died 150 years ago this year, is one of the primary architects of our contemporary ideas of freedom. In his own words, his book On Liberty, published in 1859, was an exploration of the ‘nature and limits of the power that can legitimately be exercised by society over the individual’. Mill famously argues that the only valid reason for interfering with another person’s liberty of action is to protect them from physical harm. It is never justifiable to interfere with another person’s freedom to ensure their happiness, wisdom or well-being, because that is to determine what that person’s well-being is. Freedom is defined as liberty of conscience, thought, feeling and opinion, as ‘liberty of tastes and pursuits … doing as we like … without impediment from our fellow creatures, so long as what we do does not harm them’. 

For Mill... individual liberty is vital, not just for the sake of the individual, but for the sake of human progress.

Mill is one of the great champions of nonconformity in thought and action. Even if just one person held a particular opinion while everyone else in the world held the opposite, there would be no justification in silencing that one voice. For Mill, one of the main ingredients of social progress is freedom from the traditions and customs imposed by others, both the past constraints of tradition, and the present ones of custom, which restrict the cultivation of individuality, which in turn ‘is one of the leading essentials of well-being’. Individual liberty is vital, not just for the sake of the individual, but for the sake of human progress. Without it there will be no originality or genius, no new discoveries or innovation. Civilisation cannot advance without individual freedom which encourages spontaneous expression, the development of new thoughts and ideas unconstrained by the patterns of the past.  

It is a powerful argument. On Liberty is full of the fear of Victorian conformity – the individualist’s reaction to a stifling society with a high degree of social control. It is very much a book of its time, assuming the cultural superiority of the modern age. It also breathes an elitism that looks down on the mediocrity of what it calls ‘average men’.  

But more than that, there is, I think, a deeper flaw in this way of thinking about freedom. If freedom is essentially my liberty to say or do what I like, as long as I don’t tread on the toes of my neighbour, then what does that do to my relationship with my neighbour? He or she becomes at best a limitation, or at worst a threat to my freedom. There may be all kinds of things I want to do – play music loud on a summer’s night, or drive my car at 100 mph on a quiet suburban road – but I can’t because I might disturb my neighbour’s peace or risk crashing into an oncoming bus. Or even worse, my neighbour might want to play her music too loud for me, or drive her car too fast in my direction, thus invading my personal space. This approach keeps the peace between us, but at the cost of making us see each other either as irritating limitations to our desires which of course define our self-chosen goals in life, or threats to our own precious autonomy. 

The German sociologist Hartmut Rosa argues that  

“the ethical imperative that guides modern subjects is not a particular or substantive definition of the good life, but the aspiration to acquire the resources necessary or helpful for leading one.”  

In other words, in the individualised world imagined by Mill, we are all left to dream our own dreams, choose our own ambitions, and are all caught up in the fight to get hold of the money, rights, friends, looks, health, and knowledge that will enable us to get to our self-chosen destination. It therefore makes us competitors with each other, not only seeing each other as rivals in this race for resources, but also as potential threats who might stand in the way of our freedom to pursue our dreams.  

There is however another, older view of freedom, rooted more in character and virtue than in individualised personal goals. This version, found in classical literature, sees liberty not as freedom from the limitations and social expectations that stop us following our self-chosen desires, but freedom from the passions. The Greeks viewed the soul as like a ship which should sail serenely towards the harbour of such virtues as prudence, courage and temperance. It was guided on this journey by paideia, or education in virtue, yet was at the same time buffeted by the winds of irrational and destructive impulses such as envy, anger or lust that threaten to blow it off course. For them, our passionate inner desires are not the sacrosanct moral guide to our true selves but are a distraction from the true path of virtue.  

True liberty is freedom from anything that would stop us becoming the person we were created to be.

This version was developed further by Christian thinkers such as St Paul, St Augustine and Thomas Aquinas. For them, true liberty is freedom from anything that would stop us becoming the person we were created to be: someone capable of love for what is not ourselves – for God and our neighbour. True liberty is freedom from internal urges such as the greed, laziness or pride that turn us in upon ourselves rather than outwards towards God and each other. It is also freedom from external forces such as the grinding poverty that dangles the temptation to steal in order to survive, or an economy that constantly tells us that if you don’t acquire as much stuff as your neighbour you are a failure. It is not so much freedom for ourselves, but freedom from ourselves: freedom from self-centred desires, or the crippling self-absorption that makes us think only of our own interests. It is freedom to create the kind of society where we are more concerned with our neighbours’ wellbeing than our own.  

In this view of freedom, my neighbour becomes not a limitation or a threat, but a gift – someone without whom I cannot become someone capable of the primary virtue of love. Putting it bluntly, if I am to become someone capable of other-centred love, I need someone to practice on.  

This Christian understanding of freedom offers a vision of society where you might begin to trust other people to look after your own needs, because they are looking out for yours. It is also a vision of freedom that delivers personal happiness better than the libertarian view. Becoming the kind of person who has learnt, as St Paul once put it, to ‘look not to your own interests, but to the interests of others’ is in fact a recipe for healthy relationships and contentment rather than the increasing isolation of much modern life.  

Mill may have had a point in the stifling conservatism of Victorian Britain, but in an age of increasing loneliness, isolation and anxiety, his view of freedom doesn’t help build good neighbourhoods, families or communities. We need a better version - one that brings us together, rather than drives us apart.

Essay
Character
Culture
Film & TV
Leading
8 min read

In pursuit of greatness: a prayer for Timothée Chalamet

Fame is the new heaven, and the star is just being honest about getting there.
Timothee Chalamet, wearing  light yellow suit reposes in a seat a the Oscars, clasping his hands, his eyes closed.
Chalamet contemplates that Oscar.
ABC.

So, Timothée Chalamet didn’t win the Oscar. I feel sad for him. No one has campaigned for an Oscar more persistently. For the last few months he has been everywhere- popping up on podcasts, cruising with Kendrick Lamar, riding a bike to the red carpet, appearing as Timothée Chalamet in a Timothée Chalamet look-alike competition. All to win the hearts and minds of the academy. Even if his acting didn’t get him an Oscar, his Oscar campaign deserves one.   

And Oscar campaigns are big business. Ever since Harvey Weinstein upped the game, every studio has invested vast amounts in getting their film on the podium. The 97th Academy Awards (2025) paused briefly for an emotional reflection on the Palisades fires, a cause for which the Hollywood studios donated somewhere between five to fifteen million dollars. But I doubt they are as keen to a pause on the estimated half a billion dollars they each spent for their film to be at the awards in the first place.  

On the night itself, Chalamet lost out on being the youngest ever winner of the best actor award, to the previous (and therefore current) youngest ever winner, Adrien Brodie. Up to that point he seemed to be a shoo-in.  The Golden Globe was his. The SAG award was his. And his campaign was charming. Most people, including me, really like him. He was great as Paul Atreides in Dune. And as Wonka in, er… Wonka. And as [insert male character here] in Little Women – or was it Little House on the Prairie? (I always get those two mixed up). And, while I haven’t seen A Complete Unknown yet, the reports suggest he so embodied Bob Dylan on screen that he now needs an exorcism more than an Oscar. He deserves the awards.  

But his acceptance speech at the SAG award was informative. He does the usual – thanks his mum, the cast and crew – and then takes an abrupt left turn to address his pursuit of greatness. He acknowledges it is an unusual thing to say but makes it clear that he aims to be like his heroes – Daniel Day-Lewis, Marlon Brando, Viola Davis, both Michaels (Jordan and Phelps), indeed Dylan himself. But it is not entirely clear what he means by greatness. Does he mean virtuosity in the craft of acting? Or fame? Or both? If he doesn’t win the Oscar, will he still be great?   

Way back when in the mid-1980s, before podcasts and Oscar campaigns, literary scholar Leo Braudy published an ambitious book telling the story of Western civilisation through the lens of fame. The Frenzy of Renown argues that fame as we know it began with Alexander the Great, whose artefacts and exploits were designed to spread his name across the known world. He in turn became the model of godlike fame for Julius Caesar and the Romans.  

With the birth of Christianity, things became a little more confused. Fame and renown became ambivalent pursuits in a cosmos where true lasting greatness was conceived as greatness in the eyes of God. This was what allowed men and women to vanish anonymously into deserts and monasteries believing their names would be erased from the world but written in heaven. So many monastics went to their deaths issuing instructions for their writings to be burned, only to be disobeyed by zealous acolytes who disseminated their teaching in every conceivable direction. They must be delighted, gazing down from their heavenly repose, to see the pages they consigned to the flames available with 1-Click on Amazon. 

Approaching the modern era though, fame in its old guise returned with a vengeance. The Renaissance rediscovery of ancient Greece and Rome, and the invention of the printing press, allowed images and words to find a mass audience. Even Christians became less enamoured with retreating into monasteries, and more concerned with reaching the public. Thanks to this new technology, Luther in his most productive period produced more literature than all his opponents put together. He was the original early adopter. The church had never seen anything like it- a heretic who would not shut up.  

But he wasn’t the only heretic. Many who followed craved his fame but lacked his faith. Over time widespread belief in heaven eroded but the desire for life beyond death lingered. With no assurance of a God capable of remembering us, the only remaining option was to be remembered by others- ideally as many others as possible. By the nineteenth century Nietzsche was re-writing the words of Jesus. ‘He who humbles himself will be exalted’, said the gospels. But Nietzsche added a new cynical twist: ‘he who humbles himself wants to be exalted’. The age of the humblebrag had arrived. Even those who claim indifference to fame were not to be believed, they were simply pursuing notoriety by other means. Only two choices remained: the glories of fame or resentful anonymity. For the ancients immortality lay in fame. For the medievals it lay in heaven. But we live in a hybrid era – fame is the new heaven. 

So, when Chalamet speaks of greatness maybe he is just being honest. Maybe he is just saying out loud what most of us keep to ourselves. We fear being forgotten and to be great is to be remembered.  

And given that the self is not an object, not really a thing at all, any attempt to sum ourselves up with a tag line or a meme diminishes us even when intended to promote us. 

But there is a rarely acknowledged paradox to greatness. A paradox reflected in the way many English bible translations use the word ambition. At face value we could be forgiven for thinking the biblical writers were just plain confused about it. In one letter the apostle Paul warns us against ambition and in another he claims he’s relentlessly ambitious. Ambition is the worst of sins and somehow also the most commendable of attitudes. Make up your mind Paul! Which is it: ambition or no ambition? 

When peering under the hood of the English translation, we discover that ‘ambition’ is used to render two Greek terms that couldn’t be more different. One of them (the root word eritheia) is usually translated selfish ambition. Paul says it is unanimously bad. So bad in fact, he tells the Philippians not to do anything out of selfish ambition. It connotes strife and electioneering- the kind of self-interest that creates factions for its own advantage. Not one for the character wish-list.  

The other term for ambition strikes a markedly more wholesome tone. Paul uses it for his ambitions to preach and his desire to please God. At root, it’s the word philotimeomai, literally meaning the pursuit of that which is honourable. It forms the basis for arguably one of the most beautiful instructions in the entire canon: ‘Make it your ambition to lead a quiet life: You should mind your own business and work with your hands’. It speaks of the love, honour and inner stillness associated with the privilege of rising to a task. A contentment with life few of us ever achieve. 

Two qualitatively different experiences of ambition. One is the attentiveness that any serious person brings to whatever it is that occupies them. It’s how parents parent, how governors govern, how coders code, how actors act. It is the desire to do whatever we do well. The other is the desire for other people to know about it. When Chalamet speaks of greatness of course he means mastering the craft of the actor, but he also means gaining the recognition for having done so. He, like many of us, collapses two motives into one. The idea of being great without being seen-as-great becomes unimaginable. But being something, and being seen as something, are not the same something. 

Just contrast the experience of self we have in these two different pursuits. When we pursue excellence or skill – whether in painting or parenting, surfing or science – we generally achieve a state of self-forgetfulness. We do not think of ourselves but of that which we wish to master. We become absorbed in the challenge of learning the subtle nuances of our craft. If we get good at it, we know we are good at it, not because we’ve formed a high opinion of ourselves, but because we have repeated experience of doing it well. This can lead to something that looks like arrogance. Add a crowd and our performance is likely to improve. Challenge us to show our skill and we’re ready to prove it. We’d be idiotic to deny what we know in our bones.  

But in promoting ourselves, we relate to our self in a different way. Instead of forgetting the self in pursuit of something beyond the self, we construct a self to promote. The self becomes an object, a commodity, a list of saleable assets for the market. And given that the self is not an object, not really a thing at all, any attempt to sum ourselves up with a tag line or a meme diminishes us even when intended to promote us.  

Even worse, if we get stuck in the mode of self-promotion it can be so vivid and enticing, we lose touch with the moment-by-moment, concrete reality of our embodied existence.  

Who we imagine ourselves to be becomes hyper-real, more real to us than who we actually are. Life becomes an unwelcome interruption to our dreams. We gain the world but we lose our souls. It was the fear of this condition that provoked Thomas Merton to profanity in warning against it: 

If I had a message to my contemporaries, it is surely this: Be anything you like, be madmen, drunks, and bastards of every shape and form, but at all costs avoid one thing: success . . . If you are too obsessed with success, you will forget to live. 

If I had a prayer for Timothée Chalamet, it would be for greatness without self-consciousness. May he rise to the full magnificence of all he is meant to be without needing to know it. It is my prayer for all of us.  

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