Monday, 6 May 2019

"jesus of nazareth: a-plus for ethics, b-minus for epistemology," suggests bryan magee


What came through to me most strongly was the radically ‘different’ character of Jesus’s moral teaching. So different is it, indeed, that it borders on the incomprehensible. Other moralists put forward rules of behaviour; other revolutionists in morals try to overthrow whatever are the existing rules and establish different ones in their stead; but Jesus is saying that rules, any rules, are not what morality is about. God, he says, is not in the business of awarding prizes to people live in accordance with moral rules. You will not win any special favours from him by being virtuous, but are only too likely to find – to your great chagrin, no doubt, as well as your incomprehension – that he loves sinners just as much as he loves you. If this infringes your sense of justice you have not understood the situation. It is no use being good in the hope of getting a reward from God: this is pure self-seeking, and therefore a self-contradictory conception of morally admirable behaviour. Only if you are good when it is not rewarded is your behaviour morally admirable. But then there is indeed no reward: so the goodness has to be its own justification, regardless of consequences. God’s loving you has nothing to do with your deserving it. He loves everybody, including the most undeserving, indeed he loves them as much as he loves you. Just as he loves the undeserving, so you also should love those who are undeserving of your love, including those who deserve it least, namely your enemies. Love is what matters, not deserving, and least of all rules. In fact, love matters about everything else. It is the ultimate reality, the true nature of existence, God. Perfect love is unconditional, and to unconditional love, deserving has ceased to matter or even have any significance. It is not that Jesus is against our living in accordance with rules. On the contrary, he recognises that rules are necessary wherever human beings live together, and he believes that they should be obeyed; but he sees them as arbitrary, superficial things that should be made subservient to human needs, not human needs made subservient to them. If we had enough love and concern for one another there would be no need for rules. We need them only because we are selfish. They are not, in themselves, good. 

These are only a few of the teachings of Jesus, but they are central to his message; and the fact that there was anyone at all going around preaching things like this two thousand years ago in a desert area of the Middle East is, to say the least of it, surprising. The extent to which they are original to Jesus is a matter that scholars dispute, and not one about which I know enough to have an independent opinion; but that the teachings themselves are unobvious, and full of deep moral insight, is clear to me. Jesus was also, although for some reason this is scarcely ever said, a profound psychologist. When, in addition to all this, one considers the audacity with which his views are expressed, and the poetically striking quality of many of his illustrations, he appears perhaps the most remarkable moralist there has ever been – a genius of a moralist, like Socrates: or perhaps even something in the way of a creative artist, like Plato. Like the historical Socrates, but unlike Plato, he confined his teaching to questions of morality. The nature of this world, and of our knowledge of it, do not appear to be concerns of his. In consequence he has nothing to offer that corresponds to the epistemological insights of Hinduism and Buddhism – and in that sense what he says might appear secondary, limited. But within the limitations of morality he goes as deep as anyone was to penetrate for the better part of two thousand years. When it comes to tellingness of moral insight, a question like ‘What will a man gain by winning the whole world at the cost of his true self?’ is unsurpassed.
from Bryan Magee's Confessions of a Philosopher. (See also 'not not a theist' and main post).

it's political correctness gone mad!

What did you do on National Selectively Misquote Sir Roger Scruton Day (which was late this year, 8th April - it moves around it bit because of the lunar calendar)?

I caused the editor of the Mail on Sunday some ten to fifteen seconds' annoyance and disquiet...



Wednesday, 6 February 2019

hell

"I may have mentioned Hell once or twice, but I think I got away with it." - Donald Tusk.



This Norton Anthology visualisation of Dante's Inferno shows us Hell and some of its special places.The Virtuous Pagans (great name for a prog rock band) get the penthouse; the Sowers of Discord are pretty far down.

Ever had the feeling you were lost in a dark wood?

Tuesday, 1 January 2019

get me iris murdoch: twenty-seven word reviews of films i've seen this autumn





Happy New Year!
 

Of all the films scheduled for release during the next twelve months, the one I’m most looking forward to seeing is ‘The Long 1970s’. 

Co-directed by Julien Temple and Richard Curtis – though an unusual and unexpected partnership, the professional chemistry on show at last autumn’s press conference announcing the project was palpable – the film, a mash-up between the events of the 1970s and now, stars Jim Broadbent as James Callaghan, Patricia Routledge as Andrea Leadsom, Lady Gaga as Elkie Brooks and Ricky Tomlinson as an older comrade who first persuades a reluctant Jeremy Corbyn to stand for Parliament; Richard Burgon makes a brief cameo as himself… or maybe I just dreamt all that, I don’t know.


Anyway, here are some of the real films I’ve seen during the past few months: 


Brighton Rock (1948, dir. John Boulting, starring Richard Attenborough, Hermione Baddeley, William Hartnell, Carol Marsh). Opening titles frame seediness, criminality as wholly past. Why? Because it’s 1948: war must’ve been socially redemptive. Wonderful ensemble casting, tour de force sequences (ghost train); essential.

Nostalgia (1983, dir. Andrei Tarkovsky, starring Oleg Yankovsky, Erland Josephson, Domiziana Giordano, Delia Boccardo). Boredom= “part of the designs art may have on its audience” – TLS? Don’t recall.  Fascinating, beautiful test of one’s patience; contains running water, moodiness, Beckettian micro-jokes, dogs. 

A Severed Head (1970, dir. Dick Clement, starring Claire Bloom, Lee Remick, Richard Attenborough, Ian Holm). Well, here’s a curiosity: Iris Murdoch’s stellar qualities as a novelist are undermined and her parodiable qualities enhanced by this film’s of-its-time Hennimore-style incidental music and detailing.  
See also: (1) Colin Burrow on Iris Murdoch’s parodiability (2) ‘Get Me Hennimore’, Mitchell and Webb.

Thought experiment: if Iris had returned Dick's compliment by guest-writing an episode of Whatever Happened to the Likely Lads? ...?

The Raging Moon (1971, dir. Bryan Forbes, starring Nanette Newman, Malcolm McDowell).   Two different films, spliced: first thirty minutes, hilarious kitchen sink comedy; next ninety, bold (for its time) disability ‘issues-drama’. Teddy-bear’s eye moment: brilliant trompe l’oeil observational film-making. 


The Infidel (2010, dir. Josh Appignanesi, written by David Baddiel, starring Omid Djalili). The McGuffin-like denouement and closing peroration are pure liberal wish-fulfillment. Nevertheless, this is a likeable, funny film (which borrows from ‘Annie Hall’ and swipes at Hanif Kurieshi).

Perks of Being a Wallflower (2012, dir. Stephen Chbosky, starring Logan Lerman, Emma Watson, Ezra Miller – original novel by Stephen Chbosky).  “We accept the love that we think we deserve”; love, friendship, joy, literature, grief, trauma, mixtapes, Rocky Horror, shop class: one of the best coming-of-age films.



Johnny English Strikes Again (2018, dir. David Kerr, starring Rowan Atkinson, Olga Kurylenko, Emma Thompson, Ben Miller). Tired, tiring; one almost hears creaking and juddering as jokes are lifted into place. Emma Thompson (embattled, functionally alcoholic Prime Minister) is somewhat interesting, deserves own movie. 



The Guernsey Literary and Potato Peel Pie Society (2018, dir. Mike Newell, starring Lily James, Michiel Huisman, Tom Courtenay, Penelope Wilton – original novel by Mary Ann Shaffer & Annie Barrows). Involving and relatable romantic drama, set against Germany’s Occupation of Channel Islands during WWII: happy endings (mostly), balanced with (at least) hints of moral difficulty and hardship.

 

Bohemian Rhapsody (2018, dir. Bryan Singer, Dexter Fletcher, starring Rami Malek, Lucy Boynton).       One quibble: first half lacks conflict, success feels pre-determined (because they’re Queen!!). BUT visually and aurally wonderful film, pitch-perfect central performance, do see while still at cinemas.



Mamma Mia: Here We Go Again  (2018, dir. Ol Parker, starring Lily James, Julie Walters, Pierce Brosnan, Colin Firth, Meryl Street etc).  As with Pavement (sincerely), I was into ABBA before you were (faux-ironically, i.e. also sincerely), so I’m glad they went again – perfect undemanding Christmas night entertainment. 

 
Meanwhile, in a bleak Lynchian netherworld the film Eat Pray Love plays constantly to some bacteria in a petri dish. The hero, a straight-talking FBI man, wonders how it’ll affect their evolution and how this links to the owls and Tibet – then he wakes to some damn fine coffee, a well-kept hotel room, a small logging town near the Canadian border.