Tag: free will

Few Elect?

Few Elect? posted in Eleison Comments on January 22, 2011

Why is it so seemingly difficult to save one’s soul? Why – as we are told – are relatively few souls saved in comparison with the number of souls damned? Since God wishes for all souls to be saved (I Tim.II, 4), why did he not make it somewhat easier, as he surely could have done?

The swift and simple answer is that it is not that difficult to save one’s soul. Part of the agony of souls in Hell is their clear knowledge of how easily they could have avoided damnation. Damned non-Catholics might say, “I knew there was something to Catholicism, but I chose never to go into the question because I could see ahead that I would have to change my way of life.” (Winston Churchill once said that every man runs into the truth at some time in his life, but most men turn the other way.) Damned Catholics might say, “God gave me the Faith, and I knew that all I needed was to make a good confession, but I reckoned it was more convenient to put it off, and so I died in my sins . . .” Every soul in Hell knows that it is there by its own fault, by its own choice. God is not to be blamed. In fact looking back on their lives on earth, they see clearly how much he did to try to stop them from throwing themselves into Hell, but they freely chose their own fate, and God respected that choice . . . However, let us delve a little deeper.

Being infinitely good, infinitely generous and infinitely happy, God chose – he was in no way obliged – to create beings that would be capable of sharing in his happiness. Since he is pure spirit (Jn. IV, 24), such beings would have to be spiritual and not just material, such as animal, vegetable or mineral. Hence the creation of angels with no matter in them at all, and men, with a spiritual soul in a material body. But that very spirit by which angels and men are capable of sharing in divine happiness necessarily includes reason and free-will, indeed it is by the free-will freely choosing God that it deserves to share in his happiness. But how could that choice of God be truly free if there was no alternative to choose that would turn away from God? What merit does a boy have in choosing to buy a volume of Shakespeare if there is only Shakespeare for sale in the bookstore? And if the bad alternative exists, and if the free-will is real and not just a pretence, how are there not going to be angels or men who will choose what is not good?

The question may still be asked, how can God have foreseen to allow the majority of souls (Mt.VII, 13–14; XX, 16) to incur the terrible punishment of refusing his love? Answer, the more terrible Hell is, the more certain it is that to every man alive God offers grace and light and strength enough to avoid it, but, as St Thomas Aquinas explains, the majority of men prefer the present and known joys of the senses to the future and unknown joys of Paradise. Then why did God attach such strong pleasures to the senses? Partly no doubt to ensure that parents would have children to populate his Heaven, but also surely to make all the more meritorious any human being’s putting the pursuit of pleasure in this life beneath the true delights of the next life, which are ours for the wanting! We need only want them violently enough (Mt.XI, 12)!

God is no mediocre God, and to souls loving him he wishes to offer no mediocre Paradise.

Kyrie eleison.

Truth Liberates

Truth Liberates posted in Eleison Comments on December 11, 2010

The argument of the last three numbers of “Eleison Comments” (175–177), has been merely provoked by the French painter Paul Gauguin (1848–1903), because he is by no means the worst of modern artists. That argument has not been that God exists, so modern art is “bosh” (see Evelyn Waugh’s “Brideshead Revisited,” I, 6). Rather it has been, modern art is bosh, so God exists. There is an important difference here between descending from the cause to the effect and climbing from the effect to the cause.

If I start from the existence of God as a given, and reason downwards to the wrongness of, for instance, modern art, modern music, modern opera productions, etc., firstly God and his existence are not thereby proved, and secondly his religion can seem to come down on us like a wheel-clamp upon our liberty. Now I am me, and whatever it is that is me wants to be free to choose what art I like. But here comes a Traffic Warden supposedly from Heaven to clamp that freedom? No thank you!

If on the other hand I start out from my own experience of modern art, I am firstly starting out from what I directly know. And if my experience of it is, honestly, dissatisfactory – that is not necessarily the case, but if it is – then I can begin to wonder why I feel such unease in front of highly praised modern artists. I listen again to the praises. I am still not convinced. Why not? Because modern art is ugly. What is wrong with ugliness? It lacks beauty. And if I continue to climb through the beauty of, for instance, landscapes or women as portrayed in art, to their beauty in Nature, to a harmony of parts running through all creation, my thoughts have climbed from my personal experience a considerable way towards the Creator.

In this latter case he no longer resembles a traffic warden with wheel-clamps. On the contrary, far from clamping down on our freedom, he seems to be leaving us human beings with free-will and with freedom to proclaim ugliness through the land and to create a world of chaos. Maybe he is hoping that the ugliness will become horrible enough to turn our thoughts towards the True and the Good. At this point his religion resembles no longer any clamp from outside on our liberty within, but rather a help and liberator of all that is best in me from all that is worst, because unless I am proud, I am bound to admit that not everything inside myself is ordered and harmonious.

At which point supernatural grace is no longer conceived of as a kind of policeman landing on the back of my nature to control by force whatever it does. Rather it is a very good friend that will, if I wish, enable the best in me to liberate itself from the worst, or at least strive to do so.

Was not, and is not still, one driving force behind Vatican II and the Conciliar religion, the widely shared sense of Catholic Tradition being a sort of unbearable policeman, as though all natural impulses are bad? Yes, the impulses of my fallen nature are bad, but there is good in our nature underneath that bad, and this good must be allowed to breathe, because from inside us it synchronizes perfectly with the true religion of God coming from outside. Otherwise I fabricate a false religion out of my bad impulses – like Vatican II.

Kyrie eleison.

Modern Art – I

Modern Art – I posted in Eleison Comments on April 17, 2010

Why is modern art so ugly? Does it have to be so ugly? Cannot artists of today do something nice for a change? And why, when they do something nice, is it normally second- or third-rate as art, sentimental, somehow not authentic? Such recurring questions are raised by a painter like Van Gogh, considered last week, who was on his way to modern art. The questions are easy to answer if God and the human soul are for real. They have no reasonable answer if the spiritual God and the spiritual soul are fictions of self-deceiving man.

If God is the invisible but real “Father Almighty, Creator of all things visible and invisible,” then he created the invisible human soul, most intimately united at conception to a visible body to constitute every human being that ever was or will be. His purpose in creating creatures with a spiritual reason and therefore free-will is his own extrinsic (not intrinsic) glory, which increases with every human being who uses that free-will so to love and serve God in this life as to deserve at death to be unimaginably happy, by giving to God glory without end in the next life.

And how does a man love and serve God in this life? By obeying his commandments (Jn. XV, 10) which constitute a moral framework of good and evil for all human acts, a framework which men can defy but not evade. If they do defy it, they will put themselves in more or less disharmony with God, self and neighbor, because God created that framework not arbitrarily, but in perfect harmony with his own nature and the human nature bound by him to act within it.

Now art might be defined in its broadest sense as any confection of materials (e.g. paints, words, musical notes, etc.) over which man takes special trouble to communicate to other men what he has in his mind and heart. So if mind and heart belong to a soul which at any given moment must be in a state of greater or lesser harmony with that moral framework set by God for all its acts, then any artistic product proceeding from that soul is bound to reflect the objective harmony or disharmony within it. And now we are in a position to answer our original questions.

Modern arts are so ugly because all modern souls belong to a global society falling daily deeper into apostasy, such that a huge and influential number of these souls are at war with God, consciously or unconsciously. The artistic products of souls immersed in such an environment can only reflect their internal disharmony with God, self and neighbor, which is why they are ugly. Only from any genuine harmony still remaining in their souls can anything genuinely beautiful proceed. Wilfully “nice” art proceeds from a disharmonious wish to feign harmony, which is why the effect will always be in some way false or sentimental, not authentic, and second- or third-rate as art.

On the other hand if God, and the immortal soul coming from him and due to go to him, are mere fictions, then there is no reason why beauty should not be ugly and ugliness beautiful. That is the mind-set of modern artists, but from the moment that I recognize any ugly artifact of theirs to be ugly, I am implying that there is a framework, not theirs, which they are defying.

Kyrie eleison.