Explainer
Creed
Psychology
5 min read

Should you be ashamed of yourself?

Shame powers cancel culture, yet its historic role is guarding community boundaries. Henna Cundill takes an in depth look at shame - and empathy.
The word 'SHAME' spray painted onto a grey hoarding in lime green paint.
Anthony Easton/flickr: PinkMoose, CC BY 2.0, via Wikimedia Commons.

“Put on this dunce’s cap and go and stand in the corner!” cries the teacher, and immediately we are transported to a scene that takes place in a schoolroom of centuries past. Likewise, if nowadays we were to see a woman being led down the street wearing a scold’s bridle, we might assume that there was a very odd sort of party going on; we might even intervene or phone the police. Why? Because these are not the scenes of 21st century Britain. We don’t do public shaming anymore – at least, we like to think we don’t.  

But the truth is we very much do; in fact, shame is essential, at least to a certain degree. For a group to survive with any sense of collective identity and purpose, something has to prevent each person within that group from becoming too greedy, or too lazy, or too dishonest. That something is often the fear of being shamed, not even punished – just shamed. It doesn’t feel nice to be judged and found wanting, or to fear that you might be. 

Think back to the last windy day when your recycling bin blew over – did you experience a passing moment of concern about the public pavement acrobatics of your wine-bottles, cake boxes and ready-meal trays? No need to blush – your neighbours probably rushed out ahead of you to hide their own multifarious sins. Studies have long shown that installing self-checkouts at supermarkets dramatically increases the purchase rates of “stigma items” such as alcohol and unhealthy foods. Oh, the things we do when we think no one is watching… 

So, shame is, on one level, a functional tool which does the essential job of guarding the life and boundaries of a community. Perhaps one or two of us still eats a little too much and drinks a little too much, but shame is one of the things that keeps most of us from going too far, too often – or at least the threat of shame tends to discourage. As Graham Tomlin has recently explored – we still live in a society that equates over-indulgence with a lack of virtue.  

It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. 

However, when an individual does step out of line, then the shaming process has two modes of presentation: exposure or exclusion, sometimes both. This is most clearly seen in a court of law, where an offender is first ceremonially declared to be guilty (exposure) and then is subsequently sentenced (exclusion) – often “removed” from society, at least for a while, via a custodial sentence or a curfew. In this very clear way, shaming plays a functional role for the well-being of society as a whole.  

But these two prongs of the shaming process can also happen in rather dysfunctional ways, some of which are dangerously subtle. We fear the recycling bin disgorging its contents because there is a certain social shame in being seen to consume too much junk. Fine. But what about the teenager who is compelled into a cycle of disordered eating because a schoolfellow has pointed the finger and said the dreaded word, “fat”? Likewise, many people love a chit-chat, and the fear of being excluded from a social group usefully prevents most of us from being too fixed on one topic, or from appearing inattentive or impolite. But in my research with autistic people, some have shared that they feel shamed out of social groups entirely simply because “chit-chat” is not right for them. Some have a language processing delay, others find “small talk” a bit confusing and inane and would rather talk about something specific. It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. Some of this shaming doesn’t sound very functional, not if the wellbeing of society is supposedly the goal.  

The inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. 

Perhaps the saltiest example of this problem is the now infamous “cancel culture”. I know – even I can’t believe I would risk bringing that up as a writer, that’s how charged this debate has become. But de-platforming, boycotting, or publicly castigating someone for the views that they express – these are shaming activities, an attempt to render an individual exposed and excluded. It can be a very tricky argument as to whether this counts as functional shame, guarding the wellbeing of society, or dysfunctional shame, guarding little more than social norms.  

We ought to try and take it on a case-by-case basis, but even then, sometimes what one person takes as a moral absolute another person sees as a social choice. At the same time, those who hold dearly to certain moral absolutes sometimes lose sight of the societal impact of what they say. The result can be a strange kind of war, one where there is virtually no engagement between two opposing factions, and the only weapons are a string of press releases and a whole lot of contempt. Eventually, often regardless of there being no engagement and no progress, both sides vigorously declare themselves to be the winner.   

Jesus once said a strange thing when he was talking to a crowd. He said: “Settle matters quickly with your adversary who is taking you to court. Do it while you are still together on the way.” In other words, “Just have a chat first,” says Jesus, “and see if you can’t come to terms.” It was part of a much longer discourse where he also told the crowd to “love your enemies” – and this with the kind of love called agape, a love which favourably discriminates and chooses someone – very much the opposite of shaming them.  

For my own research I have looked in depth at the shaming experience, and one of the conclusions that I come to is that the inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. Where shame exposes an individual, empathy draws them into discussion. To empathise with someone is not to agree with them, but it is to recognise they are human just the same, and that through openness and dialogue it is possible for people, even those who have very different experiences of the world, to explore each other’s perspectives. The end point of that exploration may not be agreement – it might still be everyone back to their corners. But in the process no one has been shamed, no one exposed or excluded, no-one othered or dehumanised.  

Of course, it is far easier to point the finger, to expose someone to the court of public opinion, and then to turn one’s face away, nose in the air, mouth clamped shut in an apparently dignified silence. On the surface this seems like the elegant response – live and let live – but in fact it is not: to designate someone as not worthy of attention is to very publicly inflict shame. We might as well clamp them into a scold’s bridle and lead them down the street. And, as we do so, let’s hope it’s not a windy day – or if it is, let’s be sure that we have firmly tied down the lids of our recycling bins.   

Article
Culture
Film & TV
5 min read

A tale of two Romes

The Gladiator sequel’s dream of equality is baloney but telling.

Matt is a songwriter and musician, currently completing an MA in theology at Trinity College, Bristol.

Chariots thunder into a Roman amphitheatre.
Scott Free Productions.

I left the theatre quite disappointed by what I had witnessed. The original Gladiator, the Ridley Scott masterpiece, remains one of the most captivating historical epics in cinema. Every time I watch it, I feel I am stepping into another time. The sequel, by contrast, baffled me by how out of time it was, jarring me out of the action by its historical inaccuracies. 

Whether it was the sharks in the Coliseum or newspapers a thousand years or so before their invention, these moments reminded me I was not witnessing an entirely truthful representation of Roman society. Perhaps I am asking too much - a movie is after all, a representation, and may tell us more about ourselves than the era it portrays.  

But Gladiator II’s biggest anachronism isn’t newspapers or sharks, but the presence of Christian values in a pre-Christianised Rome.  

The backdrop for the film is that the evil and insane twin Emperors Geta and Caracalla, have spread chaos across the world, relentlessly conquering foreign lands, imposing their will on others - in other words, doing what Romans usually do. 

Against the emperors are a group of Romans who are tired with all this conquering and violence and want to build a new Rome. Throughout the film, they remind the audience constantly of Marcus Aurelius, the historic Roman emperor from the first film, who had a dream - ‘the dream that was Rome’. Rome would be a republic. But not just any republic.  

Lucius, the hero of the sequel, in his final speech to the Roman army, sets forth what this dream could look like: ‘A city for the many, and refuge to those in need.’  The entire legion lay down their arms and cheer triumphantly for the dawn of this new Rome. 

All of this is starting to sound rather close to home. Perhaps Lucius should march to the US border next.  

We can imagine offscreen, Lucius walks into the Roman equivalent of the World Humanist Congress, to write a charter to declare the worth and dignity of every individual, and their right to freedom. 

Anyone watching who didn’t know their history might be forgiven for assuming that this would mean an end to all the conquering, and the beginning of a just and equal society for all, regardless of gender, social status and nationality.  

Unfortunately, this was not the dream of the Roman republic, even before ‘tyrannical’ emperors started ruling. Many of Rome’s biggest conquests happened during the era of the Republic. Likewise, democracy in Rome did not extend to all people. Slavery was rife. The dream that was Rome, was to have a group of men subjugate the world, rather than just one or two.  

To be fair to Ridley Scott, his Rome has a little bit more nuance than I give him credit. Denzel Washington’s character Macrinus, the gladiator master, stands as a reminder of the hypocrisy of Marcus Aurelius’ ‘dream’. Macrinus was made a slave under Aurelius’ rule, bearing the brand of Aurelius’ visage on his chest, a reminder that he was Roman property. 

The only real equality Rome has – Macrinus points out – is that a slave can violently overthrow an emperor. If equality is going to happen in Rome, it won’t be through reasonable persuasion, but violent revolution. And even then, equality won’t have the final say, but rather the oppressed simply becomes the next oppressor. This is the true spirit of Rome: the survival of the strongest.  

Gladiator II reminds us that the values we find self-evident today, that Ridley puts into the mouth of Lucius and the other protagonists, were not self-evident to Rome. The dream that was Rome is a dream that we have. But how did we come to have this dream? 

We have been shaped by this history in more ways than we know. 

There was another revolution, that Gladiator II does not portray (at least not explicitly). This revolution explains why we look back on history wanting to see ideals of equality and justice. The German philosopher Frederick Nietzsche, atheist and nihilist, writes about it in his work The Genealogy of Morality.  

Nietzsche describes a war that happened between Judea and Rome. Rome was undoubtedly defeated, Nietzsche claims. Now, before we might accuse Nietzsche of further anachronism (the siege of Jerusalem and the destruction of the Jewish Temple in AD70 come to mind), Nietzsche is in fact speaking of a revolution in values.  

He saw that the Roman ideal of ‘the prerogative of the few’: a small group of strong men imposing their will and subjugating others as the master race, was overthrown by the ‘prerogative of the many’ in the ‘slave revolution’. This revolution was brought about by a Jewish man, Jesus of Nazareth, followed by his group of unlikely revolutionaries. 

At the centre of this movement was one central image: a man dying on a Roman cross, a punishment meant for slaves and criminals. 

God in human flesh dying as a victim of oppression, was an image that gave power to the powerless. 

Nobility was no longer be found in inflicting suffering, but in enduring it for the sake of others. 

 Historian Tom Holland writes in his book Dominion: The Making of the Western Mind

‘The spectacle of Christ being tortured to death had been bait for the powerful. It had persuaded them … that it was their natural inferiors, the hungry and the humble, who deserved to inherit the earth’.  

Holland traces this revolution and the ways in which this counter-narrative slowly seeped into Western culture, implanting a concern for the powerless. The welfare state, universal human rights, movements like #MeToo all find their source in this world-rupturing event. 

Holland writes elsewhere: ‘The wellspring of humanist values lay not in reason, not in evidence-based thinking, but in history.’   

We have been shaped by this history in more ways than we know. 

Our generation suffers from cultural amnesia. We forget the reason for how we reason today. Our desire to see Rome (and our own nation, for that matter) become a home for the many and refuge to those in need, is a desire that has been shaped by Christian values. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief