Explainer
Creed
Virtues
4 min read

Where the good, the true, the human, and the real meet

In the second of his series on virtue, Andrew Davison explores the underrated virtue of prudence as the ability to live aligned with the grain of the universe.

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

A carving tool is pressed into a groove in wood.
Photo: Dominik Scythe on Unsplash.

A full human life is a virtuous one, and vice versa. In the second of these eight discussions of virtue, starting in Lent and moving into Easter, we come to the first of the virtues, namely prudence. It’s not a common word today, but you simply can’t have virtue without it, at least according to such luminaries as Aristotle and Thomas Aquinas. Prudence, Aquinas recalls, is:

‘the mother, custodian, and moderator of the virtues.’

That’s because, for him, prudence is nothing less than the meeting point between the good, the true, the human, and the real.

'That to act well – to be virtuous – is to act rationally.'

Thomas Aquinas

Virtue, as we saw last time, is all about being fully and characterfully human. Human beings are ‘rational animals’, as Aristotle put it, so to be fully and characterfully oneself, someone has to act rationally, to the fullest extent that she is able. (This is also a tradition that has fiercely upheld the humanity and worth of people with disabilities, including mental disabilities.) There is something deeply counter-cultural about placing that sort of emphasis on reason. Isn’t fulfilment about following our desires, with rational interrogation just getting in the way? Moreover, we’ve lived through decades in universities where reason has been treated with suspicion (that’s the technical term), as ultimately an expression of power or some vested interest, such that ‘truth’ more about the speaker than what is spoken about. In contrast to that, Aquinas insists that to act well – to be virtuous – is to act rationally.

‘Reason is an openness to the reality of things’

Thomas Aquinas

That, however, is no cult of abstract or rarefied reason, nor the preserve of some intellectual elite. For one thing, while reason is important, it’s also secondary. Reason matters because of reality. To be virtuous is to live with the grain of how things are: with the grain of being human, of being in a human community, and with the grain of the universe more generally.  The place of reason in virtue, according to Aquinas is not so much for its own sake, but because reason is an openness to the reality of things. Second, the rationality of prudence is a matter of keen-sightedness, especially in keeping two things in view, and coordinating between them: moral principles, and the contingencies of the situation to hand. Such clarity of vision is by no means limited to the highly educated, nor is primarily to be learned from books. It is picked up from good examples, and a well-honed common culture. Third, prudence is a virtue – a ‘second nature’, as we saw in the previous article – and that is as much about the honing of instinct, as anything else. It ends up as much a matter of the body as of the soul. It is about being a rational animal, so it shapes us as animals, and not only as minds.

To be virtuous is to be prudent – to be practically wise and rational – because of the need to attend to reality, and work with its grain, not against it. A good life is lived in a way that’s in-keeping with human nature, and with nature more widely, so as to flourish within it. That’s not simply a matter of living sensibly, although that’s also not a bad start, since living sensibly is also harder than we might think. We don’t naturally always make healthy use of the good things of life – food, sleep, sexual intimacy, responsibility, or authority – as good sense would suggest.

On fraught territory

The association of prudence with the reality of things, especially with the shape of human nature, is fraught territory. Human beings are prone to read all sorts of morally charged things into nature, some of them deeply flawed. Even the great Aristotle thought that some human races were ‘obviously’ and ‘naturally’ slaves. He also bequeathed the idea that human nature at its most authentic is male, such that women turn up when a foetus doesn’t develop along those, better, lines. All of that once seemed natural, which is a problem, but it doesn’t invalidate the place of prudence among the virtues, and the place of reason in a well-lived life. It makes careful use of prudence and reason all the more important.

On the good life

Reflecting on what a healthy, flourishing human nature is like, and a healthy, flourishing society, is a tricky business. That’s why it calls for life-long growth in the virtue of prudence: getting better at knowing what that looks like, knowing it more and more instinctually, and in being able to weigh up what it demands in any particular situation, rapidly in some cases. We won’t all agree on what a flourishing life looks like, individually or community, but there may be room for agreement in on the idea that a good life – a virtuous life – involves following that path, which is to say, the path of prudence.

Review
Creed
Film & TV
Friendship
4 min read

Testament soulfully re-tells the acts that changed the world

What happened after The Chosen?

Giles Gough is a writer and creative who hosts the God in Film podcast.

A man stands the landing of an external staircase and stares out.
Angel Studios.

Testament reimagines the story of how Jesus’ disciples spread the good news of him to the world by transplanting it to an alternate-modern era. Swapping Jerusalem for London. As the followers risk everything to preach the good news, the Temple races to silence them before the oppressive Imperium retaliates. But public miracles and divided loyalties force both sides to confront the true cost of their choices. In the first episode it asks the question, what would it be like if the Son of God had come down from heaven, come to your very hometown, and you’d missed him? 

Most re-tellings of the early church usually end the story either with Jesus’ resurrection, or his ascension into heaven. Testament starts the action just after Pentecost, fifty days after Jesus’ death and resurrection. In Christianity, Pentecost is the day when the Holy Spirit descended on the Apostles like “a violent wind” and gave them not just the ability to be understood in any language, but also the courage and conviction to go out and tell people about Jesus. We see much of the action through the character of Stephen, a young man who decides to follow Jesus after hearing the Apostles preach. Consequently, Stephen’s mother accuses him of heresy and throws him onto the street, making him fully dependent on this early Jesus movement.  

In the first episode, the storytellers seem to have presented themselves with a bit of a challenge, by starting the action at Pentecost. Not only does it seem like the most interesting events have just happened off camera, but we’re also meeting these characters in a moment of spiritual awakening and holy joy, which is notoriously hard to depict on screen. Especially with characters we’ve just met. Nonetheless, as they navigate the logistics of having so many converts all at once (the kind of happy problem any church minister would like to have) we see that the Apostles have a familiar, lived-in quality to their inter-personal dynamics. You can easily believe that these very different men have spent every day living and working with each other for the last three years until they’ve sanded off the rough edges of their relationships.  

Whilst the show doesn’t always hold together at first, it builds momentum by tackling some of the more difficult parts of the book of Acts with sensitivity and nuance. It’s helped by the performances being incredibly watchable. The colour-blind casting is a delight, and perhaps reflective of Christianity being the most ethnically diverse religion on the planet. Tom Simper, who plays Peter, has an incredibly expressive face and a compassionate manner. Kenneth Omole who plays John can be vulnerable as he returns to the garden of Gethsemane to mourn the absence of his friend and saviour. Yet the next scene, where he is confronted by a Temple priest, he emanates a quiet authority. You can’t take your eyes off him.

If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation.

Making Stephen the point of view character is a bold narrative choice. Anyone with a passing knowledge of the New Testament might feel anxious for the character, and having him be played by such a young actor as Charles Beaven underscores the upcoming tragedy. Mogali Masuku plays Mary as a woman with her head thoroughly screwed on. Her storyline shows Mary ministering to addicts and victims of human trafficking, looking gangsters dead in the eye and telling them these lost souls belong to Jesus now. On the other side of the divide is Saul. Eben Figueiredo plays him with the type of zeal that allows people to do both wonderous and terrible things. If nothing else, this show gives Saul a compelling backstory and a terrifying characterisation. It’s Saul, not the Temple establishment, who is the main antagonist of this season.  

If there is one clear misstep, perhaps it’s the depiction of what the show calls ‘The Sentinels’, the foot soldiers of the ‘Imperium’, a stand-in for the Roman Empire. Rather than being dressed in modern military fatigues, they are clad head to toe in a red, faceless body armour. The type that would be more at home in the Star Wars universe. They’re possibly dressed like this to represent the empire’s overwhelming and sinister military power, but as we see repeatedly through world events, human cruelty looks painfully normal. 

The timing of this show seems noteworthy as well. This show drops roughly a year after Angel Studios, the producers of Testament, were forced to split from the creators of The Chosen. Following the lives of the Apostles as they begin to follow Jesus, The Chosen became a monster hit and the flagship show of Angel Studios’ catalogue. So a show following the lives of the Apostles after Jesus leaves them (albeit transplanted to a different time), might be an attempt by Angel Studios to recapture some of the popularity they have lost.  

Testament definitely has a faltering start, but it has all the ingredients to be compelling TV. If you can stick with this show as it finds its feet, you will be treated to a soulful depiction of an oft-overlooked part of the Jesus story. 

Watch the trailer

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