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Virtues
5 min read

The means of courage: sober and swashbuckling

The ‘bracing and realistic virtue’ of courage is explored by Andrew Davison in the fourth of his series on virtue.

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

An etching show a woman operating a cannon, while dead comrades lie at her feet.
Goya's etching entitled 'What courage' depicts Augustina of Aragon heroically defending Saragossa, during the Peninusla War.
Francisco de Goya, Public domain, via Wikimedia Commons.

The ancient Greek tradition brought four aspects of a virtuous life to the fore. These are the four cardinal virtues: prudence, justice, courage, and temperance. We can understand them in terms of the image of a journey. Justice is our destination. Prudence attends to both the destination and the local terrain, and charts the course. Courage helps us to overcome obstacles. Temperance keeps us on the path, when we might be tempted to wander from it, and from the goal.

A middle way

The place of courage among the cardinal virtues is both bracing and realistic. It reminds us that all is not well with the world. We will often need courage because doing the right thing can be costly. Thomas Aquinas has been our guide in this series on the virtues, and he devotes thousands of words to courage, up to and including the willingness to shed one’s blood for the sake of justice. Indeed, for him, such willingness is the paradigm of what courage means. That said, there’s nothing masochistic about his vision of courage either, as if we ought to court danger, or seek loss, for its own sake. The losses that a virtuous person might suffer are only for the sake of the yet greater gain of attaining to goodness. That comes out in his treatment of martyrdom, and being willing to die. No one should seek to throw her life away. Indeed, putting oneself forward for martyrdom is not a good sign of virtue, not least because it lacks humility, and may well rest on a puffed-up estimation of one’s own powers of endurance. Nor is courage the same as foolhardiness. With that remark, we have a good example of the idea – derived from Aristotle, and taken up by Aquinas – that virtue has the character of a ‘mean’, or middle way.

Take the example of hope. We can fall away from hope not only in the direction of despair, but also in the direction of presumption. Despair lacks hope because it dares not hope, or has given up on hope. Just as much, however, presumption lacks hope, because it cannot see a place for it, based either on a misjudgement of the seriousness of the situation, or of our own powers. Courage is like that, lying between two poles, rising not only above cowardice but also above foolhardiness. Or, to put it another way, we could return to the first of the virtues, to prudence, and say that, to be a virtue, courage needs to be prudent: it needs to weigh possibilities, and there is nothing virtuous about doing something reckless, with little or no chance of success.

Just as courage has the character of a ‘mean’, so also, for Aquinas, the suffering it involves has the character of a ‘means’, and never an end in itself. The willingness of a courageous person to forgo ease, safety, the comforts of home, and even to risk life and limb, does not spring from hatred of any of those things, but simply because it places an even higher premium on being the sort of person who does right. In its way, in fact, the virtue of courage pays ample respect to the goodness of what it is willing to give up. It recognises all of those things as good – ease, safety, the comforts of home, bodily well-being, and life itself – and it is only because they are good that we need courage in order to rise above them if the situation demands.

Aquinas was able to stress the supreme importance of courage, and the real rise of loss in doing right, without making an idol of either loss or courage – or, indeed, of difficulty. Although courage recognises the presence of difficulty in the moral life, and steels us to face it, nonetheless, courage is a virtue, and what makes something a virtue is goodness, not difficulty. Virtue is about doing the right thing in a way that it is not, at least not intrinsically, about doing a difficult thing.

‘The essence of the good rather than the difficult’,

As Aquinas wrote.

It’s central to Aquinas’s vision that the degree of difficulty is only incidentally related to the degree of goodness. Here, in fact, Aquinas places himself a little distance from Aristotle. Aristotle had written that

‘virtue is about that which is difficult and good’

and that, Aquinas comments, would seem to imply that

‘whatever is more difficult seems to be more virtuous and meritorious’.

That though, he concludes, is to get things in the wrong order.

‘The good is more about that which is honourable and virtuous than it has to do with difficulty.’

One of the endlessly fascinating things about Aquinas on the virtues is the way he clusters an array of smaller virtues under the sheltering arms of the big seven. We have seen that he praises courage but won’t let it get above itself: no moral theatrics. In contrast, in his treatment of the virtue of patience, which he sees as part of courage, he takes what might seem to be a paltry strength of character, not much respected today, and sees greatness it in, precisely because it is part of courage. (Other excellent theological treatments of patience come from two poets, both forms of the Petrarchan sonnet. There is John Milton, a Protestant of Puritan sympathies, in his On his Blindness, and the Roman Catholic Gerard Manley Hopkins, a Jesuit priest, in his In honour of St. Alphonsus Rodriguez.)

In our day, Josef Pieper wrote, patience has come to be seen as a

‘self-immolating, crabbed, joyless, and spineless submission to whatever evil is met with or, worse, deliberately sought out.’

Turning to Aquinas, he wrote instead that patience is about endurance, and not being conquered by the suffering that it might bring: patience

‘endures certain evils for the sake of good’.

Patience, Pieper goes on,

‘does not imply the exclusion of energetic, forceful activity, but simply, explicitly, and solely the exclusion of sadness and confusion of heart.’

The brave person, in his patience, not only knows how to bear with suffering,

‘he will also not hesitate to “pounce upon” evil and bar its way, if this can reasonably be done.’

There is a heroism to courage, which is by no means entirely in vogue in moral thinking today. Aquinas was unashamed of courage, not least because it has a sobriety to it, to place alongside anything swashbuckling. Virtue requires courage, not so much in the extraordinary circumstances that we typically think of as heroic, but in every situation where doing right requires us not to take the easy road.

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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.