Explainer
Creed
Virtues
3 min read

Temperance: for the lovers of life

Restraint forms the river banks that allow a human life to flow deep and true. Andrew Davison concludes 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.

A bird's eye view of a river, with a lock and weir to the left and an island with two bridges to the right.
Day's Lock on the River Thames, Near Wittenham.
Lawrence Hookham on Unsplash.

At the end of this series on the cardinal virtues, presented during Lent, we come to what may seem the most Lenten of them all: to temperance, or restraint. In a certain sense temperance is Lenten. I’ve been drawing on Thomas Aquinas as we journey through the virtues, and Lent features in his discussion of temperance in a way that it doesn’t in his treatment of the others. He brings in Lenten fasting, for instance. In another sense, however, Lent cannot be said primarily to be the season of temperance, simply because Lent is supremely the season for virtue, and temperance, while a virtue, is a lesser virtue than either prudence (the capacity to make wise moral decisions) or justice (or fairness). Those are the virtues of the first rank. We need temperance, and courage, as the virtues in the second rank, only as aids in the prudent attainment of justice.

On love of life

Aquinas is a cheerful theologian, and an upbeat writer. We see that in his insistence that temperance is ultimately about love of life, not hatred of it. Indeed, temperance is about self-preservation. Indeed, that applies twice over: first, because the domain of temperance concerns things that make for life (for instance, food, drink, sleep, and sexual relations), but also, and all the more so, because temperance is about moderation in those areas precisely for the sake of self-preservation. Human nature being as it is, the very things that most make for life, and which we therefore desire strongly, can – because we desire them so much – be taken up immoderately, and then impede life. Eating again serves as an example, or the loss of the very great good of a life-long relationship because of a promiscuous moment. It is the greatest goods than need the most diligent preservation. Just as courage recognised the good of what it was prepared to lose for the sake of the doing the right thing (for, if they were not good, why would we need to show courage in losing them?), so does temperance.

Aquinas praises fasting, for instance, but exactly not because it stands against human life or the body. Rather, he praises fasting as a way to bodily and spiritual health. Indeed, he thought that the connection, especially with respect to spiritual wellbeing, was so strong and obvious that it would oblige everyone to fast sometimes, as a matter of universal common sense, even outside the strictures of any particular religious tradition.

The middle way again

His discussion of temperance is really all about moderation. We saw in the last article that virtues have the character of a ‘mean’ or middle way, such that hope lies between despair and presumption, and courage between cowardice and foolhardiness. In this way, temperance lies between harmful excess and harmful restraint. There is a vice of too much foregoing as well as one of too little.

I began by remarking that temperance, for Aquinas, is a secondary virtue, vital but needed only because of human weakness. Josef Pieper, among his most insightful twentieth century followers, offered an admirable summary. Temperance, or moderation, does not, in itself ‘realise the good’, but it remains an important part of that realisation. Pieper offers the image of a river and its banks. Without temperance

‘the stream of the innermost human will-to-be would overflow destructively beyond all bounds, it would lose its direction and never reach the sea of perfection. But it is the shore, the banks, from whose solidity the stream receives the gift of straight unhindered course, of force, descent, and velocity.’

The magnetic pole of virtue is the good. It is not defined by difficulty or hardship. Temperance, or the virtue of restraint, is not the goal of the river that is human life, but it does form the river banks that allow a human life to flow deep and true.

Review
Belief
Creed
Music
Wildness
5 min read

Did Nick Cave’s tour just take thousands to church?

He’s picking holes in the idea that religion is where freedom goes to die.
A rock star prowls the stage while behind hundred of faces tined red star.
Cave and the congregation.
Instagram/nickcaveofficial.

I recently went to Nick Cave and the Bad Seeds’ Wild God Tour.  

I was told that it would be a terrific show, and it was. I was told that Cave would be more charismatic and commanding than he’s been in decades, and he was. I was told that it would be some kind of spiritual experience, and it was… 

Kind of.  

Those who are likening it to a ‘spiritual’ (including ‘This Country’ actor, Charlie Cooper) experience are certainly onto something, the whole production is designed to be transcendent, it’s just that the adjective they’re opting for is a little too vague. Instead, I would suggest that the show is a religious experience.  

Now, hear me out - I know that we tend to feel nice and comfortable with the ambiguity of the former adjective, and much more cautious when it comes to rigidity of the word I’ve subbed it out for. If you just winced at the sight of the big, bad, R-Word, I get it. It comes with all kinds of wince-worthy connotations. A lot of it, deserved. Some of it, not. 

But, like it or not, I truly don’t think that Nick Cave is giving us the comfortable luxury of vague-ness.  

When I wrote about the Wild God album upon its release, I mentioned that the ‘Wild God’ to whom the record is an obvious ode is not abstract. Rather, the ‘wild god’ is the Christian god. The album attaches itself to a specific story, it finds its home within a specific paradigm. And the same is true of the tour. I would propose, if I may be so bold, that Cave and his Bad Seeds have spent the past few months telling the Jesus-story in every city they’ve found themselves, and subsequently, taking tens of thousands of people to church.  

I would hate for you to think that my objective here is to stick a flag on the hill of this album/tour/artist. It’s not my intention to claim Nick Cave for ‘team Christianity’; it’s not necessary, he speaks continuously and profoundly about his own faith. Rather, as someone who has lived her life according to the very same Jesus-story, I’m simply offering you a lens through which you can gaze upon this touring work of art.  

So, I’ll suggest it again – the Wild God tour is a religious experience.  

And I know that sounds too constrictive of an analysis, but I think that’s on us for ever kidding ourselves into thinking that ‘religious’, ‘Christianity’ and ‘church’ were small words.  

That’s certainly not the way Nick views them. In a recent issue of his Red Hand Files, he writes, 

‘ I experience a certain vague ‘spiritualness’ within the world’s chaos, an approximate understanding that God is implicit in some latent, metaphysical way, yet it is only really in church – that profoundly fallible human institution – that I become truly spiritually liberated. I am swept up in a poetic story that is both true and imaginative and fully participatory, where my spiritual imagination can be both contained and free. The church may appear to some as small, even stifling, its congregation herdlike, yet within its architecture, music, litanies, and stories, I find a place of immense spiritual recognition and liberation.’ 

Fascinating, isn’t it? The concept feels kind of upside down. How could confinement cultivate liberation? How could boundaries ever encourage freedom, or particularity somehow hold entirety?  

Can the ‘spiritual imagination’ truly be ‘both contained and free’? I think it can. In fact, I think that would be my own story, too. And, what’s more, I think the Wild God tour is some kind of proof of concept.  

Can art be bursting with rage and religion? I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. 

The whole show is framed by Cave’s joyous bewilderment at his own conversion – song by song, it tells the story of how he has been wading through the thickets of grief, his eyes steadily fixed on the God who rescued him ‘just in time’. 

 It’s specific. It’s religious.  

And here’s the funny thing: the show having such a specific story to tell doesn’t seem to have a narrowing effect. Instead, songs about storms in the tiny town of Tupelo and girls who live on Jubilee Street seem to be swept up into a story that’s big enough to hold them, big enough even, to imbue them with yet more meaning. Doubt also sits comfortably here. As does anger and profanity.  

Can something be sweary and sacred? Can art be bursting with rage and religion? 

I think Nick has just proved that it can. I think he is probing, once again, at the myth that faith and hope can’t sit alongside carnage. He’s finding holes in the idea that religion is a place where freedom goes to die, picking a fight with the claim that ambiguous spirituality, or even outright irreligion, is more freeing.  

It’s a big old fight he’s picked, one that’s been fought – in one way or another – since the beginning of time. I guess, as a Christian, it’s a fight that I have picked, too. I have placed my life (and, if we’re going to get weird with it, my afterlife) within the confines of a particular story. Am I certain that I’m right? Of course not – otherwise my faith would be faith-less, no? Nevertheless, I too have chosen to place my understanding of the eternal in the confines of the particular. I, too, am trusting that within the boundaries of the Christian story, there’s space for me to run free.  

The word ‘religion’ is roomier than we are often urged to believe. Need convincing? Nick Cave is your man.