Explainer
Creed
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.

Essay
Christmas culture
Creed
6 min read

The poem became flesh and dwelt among us

Ponder the poetic depths of Frank Skinner’s thoughts on the Incarnation.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Against a night blue sky an angel cradles a baby and is followed by an angel train of cherubims
E.R Hughes, 1912.
Birmingham Museums Trust on Unsplash.

This summer I got to interview Frank Skinner; comedy-legend-come-football-anthem-maestro. The whole interview was a lot of fun, but the final six minutes were my favourite. They’re the reason this article exists.  

Frank, who is the host of Frank Skinner’s Poetry Podcast and carries a pocket-sized book of poetry with him wherever he goes, spoke about the "super-poetry" of Jesus.  

If you haven’t listened to it yet, do. Frank is incredibly worth an hour of your time.  

But, for now, allow me to summarise his thoughts:  

"Christianity is like living the poem… it’s like the Old Testament was a collection of poetry, I’m not saying that there’s no factual stuff within it, but clearly it’s written in a poetic style, with great truths and insights into human nature. And then, with that whole phrase, “The Word became flesh”, it’s like now the poetry gets real, there’s going to be a poem that lives, and it’s all going to make sense…  this is super-poetry, this is poetry that’s actually physical, it actually exists." 

Frank goes on to suggest that we’ve lost sight of this, that humanity have forgotten, or perhaps never fully grasped, that we exist because of this super-poetry, that we exist within it, that ‘there’s a line waiting just for us’.  And then he turned to me and Justin (my co-host) and said,  

"Here’s your mission, should you choose to accept it, go and sort that out." 

So, here I am. Sorting that out… Kind of. That’s a lot of pressure, Frank.  

The Word became flesh 

The ‘phrase’ to which Frank is referring, the one which turns poetry into super-poetry, can be found in the Prologue of John’s Gospel. And it is a theological juggernaut of a chapter – mind-bendingly complex and eye-wateringly dense – it is arguably one of the most influential chunks of the entire bible. So, a nice and easy place to start.  

The Word became flesh and made his dwelling among us.  

That’s the incarnation summed up in ten words. It’s ironic that it would take ten-million words to fully unpack the depth of them, isn’t it? Gosh. John’s such a genius.  

The Word - that’s Jesus – who, as the Prologue goes on to state, is the Son of God, the very source of life itself, and the light of the world. He was present since the beginning, preceding and partaking in the creation of the universe. He, the Word – Jesus - became flesh, and moved into the neighbourhood. And in so doing, he bound together centuries worth of prophecies, predictions, expectations and hopes. The maker squeezed himself into the confines of the made; it is, without a doubt, one of the most outrageous claims that Christianity makes.  

The Word has an accent.  

The Word gets tired.   

The Word burns the roof of his mouth on his food. 

And yet, still God. Always God. The Word of God, with a name and a birthday and a bedtime. Wherever you fall on the whole ‘believing it’ scale, you have to admit, it’s pretty astonishing.  It is a cosmic-sized plot-twist.  

But what if one were to assume that this really happened? If one were to believe that a God who transcends time, space and matter actually made a physical appearance in human history, as Frank Skinner does, then it changes everything. Such a belief leaves nothing untouched, it is utterly un-containable.  

The poem became flesh 

And that’s why I think that Frank’s poetry analogy is so genius. Let’s follow his train of thought for a moment, shall we?   

Poetry has a tendency to dodge and disobey definitions at any given opportunity. It is, in its very essence, defiant. In fact, poetry’s unwillingness to sit contentedly in any given definition might be the only way in which it can be defined. And yet, despite very few of us feeling confident in our own abilities to define or explain the inner workings of poetry (perhaps we can leave such a task to Frank and his podcast), we all know it when we see it.  

It would, I suppose, be rather poetic of me to suggest that there’s something innate going on there. To wonder whether there’s a capacity woven into us, a capacity to feel poetry to a degree that we could never understand it. I think this to be true even if our only exposure to it is through the snippets that have leaked through the cracks, the phrases that have escaped their literary confines and snuck their way into popular culture. And perhaps therein lies its power; we are able to spot poetry and somehow know that it is wanting access to parts of us that move through, but ultimately beyond, the cognitive. And then I suppose we decide whether we shall let it.  

Poetry, at least the good kind, describes the indescribable, explains the unexplainable and identifies the unidentifiable. We can feel that it is making profound sense of us, even if we haven’t made sense of it. I haven’t worked out how it does that; if I had, I’d be putting such knowledge to good (and profitable) use. But there are incredibly deep insights beneath each word chosen in poetry, there are ‘ah-ha’ moments waiting to be stumbled upon, there are echoes of our own feelings – our fears, our longings, our hopes and our struggles – encapsulated in each stanza. Our choice is whether we’ll give it the time to shows us such. And if/when it does, will we trust it? Will we pay attention to our strangely warmed heart? (to borrow a phrase – many thanks John Wesley)  

The truth that poetry is seeking to tell cannot be wholly proved by whether or not we can expound it with words or measure it with reason. The whole point is that it cannot be contained in such a manner. The truth of it can be more aptly identified in the odd resonance that we can no more deny than we can explain, it is in the familiarity that we find in brand new sentiments, it is in the ache that binds us to the words. It is in those places that the truth of poetry is most keenly felt.  

And that is the case with the Christian faith, the epic story of the made and their Maker, the ultimate poem of the cosmos. And so, the story of Christmas, the enchantment of the Incarnation, and the beauty of Jesus is that the poet became the poem.  

The Poem with an accent.  

The Poem who gets tired.   

The Poem who burns the roof of his mouth on his food. 

Jesus is the super-poetry that I live and breathe, he is the poem to which I can belong. I can’t make sense of the incarnation, but I know that it makes sense of me. The intricacies of that poem can be debated, they can be observed, they can be weighed up – I’m not opposed to putting the Incarnation under the microscope – I’m just opposed to that being the only means by which we assess its truth. Rather, I would suggest that its truth can be more keenly felt in the places that poetry is designed to be felt – the deepest ones. Just as we have an oddly innate capacity for poetry, I believe us to have an innate capacity for Jesus.  

The Poem became flesh, and he dwells among us. You know what, that is pretty insightful. Bravo, Frank.