A few weeks ago, another tweet claiming that it was impossible for conservatives to make art made the rounds of Twitter. Like too many in the mainstream culture, its sender erroneously assumed that because art inherently involves edgy innovation, and since conservatives categorically hate and/or fear both extremes and change, art must be the obvious property of the left. The thread received enough attention that I don’t need to invite more here. The Mallard hosted a Space on the topic—not necessarily on whether its message had merit (quote threads were rife with examples contradicting it, from Dostoevsky to Dali to Stevie Ray Vaughan), but rather to discuss the question of how conservatives could most effectively make art.
Of course, among other topics we discussed the relationship between art and politics. A point made by many was the fact that, when discussing art and conservatism one should at least attempt to be clear about their terms. Furthermore, as mentioned in the conversation by Jake Scott, one must differentiate between political conservatism and metaphysical conservatism; the confusion of the two has, as the above stereotype shows, led to much confusion on the subject of conservatism and art that, so far as I can, I will attempt to nuance here.
A refrain one hears, usually from activists on the left, is that all art is political. Such assertions are often met with frustration, generally from convervatives but also from people not explicitly on the right but who just want to be left alone when it comes to politics (and who, for such a response, are subsequently branded as right-wing by those who interpret all of life through an unconditional, against-if-not-actively-for ideology). However, the former are not wrong; all art can be interpreted as political—because all art is metaphysical.
As I’ve mentioned in previous articles, art is, among other things, a concretization of abstract values. When one looks at a painting, listens to a song, takes in a sculpture, walks through a building, or reads through a novel, one is engaging with the values that the artist has given a local habitation and a name (as always, Shakespeare said it best—MND V.1); this necessarily involves, though it need not be fully bound to, the artist’s metaphysical worldview.
Consider the two literary schools that dominated the nineteenth century and that can generally be placed within Western culture’s pendulum-like sway between the Platonic and Aristotelian: Romanticism and Naturalism. A Romantic whose work assumes that there are things higher than the material world that give this life an infinite meaning will create very different art from a Naturalist who believes the material world is all that exists and that any attempt to say differently is an artifice that will unintentionally or cynically mislead people into accepting suffering as a value. Nothing in these examples is overtly political, but one can see (indeed, we’ve had over a century of seeing) the different politics that would come from each view. This is because politics, as an expansion upon the more fundamental realm of ethics, begins with metaphysical premises from which the rest flow. Different directional degrees will lead maritime navigators to very different locations; how much more will different primary assumptions about the nature of reality and humans’ place in it?
Let’s look at an example from an author who was cited in that thread as a conservative: Dostoevsky. Rather than counter the rising atheist-socialist egotism of mid-nineteenth-century Russia with a political textbook (which, granted, would have been banned under the Tsar’s censors, who eschewed all explicitly political works—hence why the Russian novel had to take on so many roles), Dostoevsky depicts and undermines the burgeoning philosophy in the character of Crime and Punishment’s Rodion Raskalnikov.
However, though the ideas in debate had (and are still having) political effects, Dostoevsky is not merely speaking politics in Crime and Punishment. He understood that politics was a function of one’s primary assumptions about reality—about one’s metaphysics—and their effects on one’s individual psychology. He also recognized, as Raskalnikov’s unconventional bildung shows, that one’s stated politics may actually conflict with the metaphysics underlying their beliefs. Hence, for all Rodion’s stated atheistic egotism, he finds himself preventing a woman from committing suicide, giving all his spare cash to those with less than he, and being fascinated with the downtrodden but resilient (because Christlike) Sonia.
In Crime and Punishment and his other masterpieces, Dostoevsky juxtaposes the new generation’s radical ideas not against other ideas (i.e. on the radicals’ terms) but against the background of the broader Orthodox-Christian Russian psyche. Raskalnikov’s working out of the contradiction between his would-be Napoleon complex and his subconscious worldview (if not the fabric of reality at large—Dostoevsky rarely simplifies the distinction between the two) mimics the author’s own similar progression not only from a socialistic politic to one more consistent with his deeper Orthodox convictions but, in his view, one from madness to sanity.
While to read Dostoevsky solely through a political lens is to not read him at all, his writing does point to the inherent relationship between an artist and the politics of his or her historical context. The norms, laws, and cultural debates of a given generation are interconnected with the art then produced, which can reinforce, undermine, or, in the case of most pre-2010s consumer art, quite simply inhabit them (which, true to form, the aforementioned leftist activist would accuse of being a complacent and complicit reinforcement).
However, as this political layer is often based in the times, it usually passes away with them. In the coming Christmas season, few people will read A Christmas Carol with Social Darwinism in mind, though Dickens was, in part, critiquing that contemporaneous viewpoint in Ebeneezer Scrooge. Perhaps works like Dickens’s Carol were necessary to ensure Social Darwinism did not succeed—that is, perhaps their politics served the purpose intended by their authors. Nonetheless, today A Christmas Carol is virtually useless, politically (at least, for Dickens’s immediate polemical purposes), which is the beginning of a work’s infinite usefulness as art. What is left is the more general story that, for all intents and purposes, made modern Christmas. Contrary to what politivangelicals and literature majors who read through a new historicist lens (*raises hand*) might try to maintain, this is not a lessening but an enriching; it is the separation of the transient from the enduring—of the metaphysical from the physical.
One implication of this view of art as concretized metaphysics, and one which was mentioned in our Space conversation, is that not all art that labels itself “art” qualifies as art. If the explanation of a piece contains more discernible meaning (i.e. is bigger) than the piece itself—that is, if no values have been concretized so as to be at least generally recognizable—then, sorry, it’s not art (or if it is, it’s not concretizing the values its creator thinks it is). Often the makers of such “art” believe the paramount aspect of a piece must be its radical message—the more disruptive and cryptic, the better; this conveniently offers the maker a pretext to skip out on, if not directly subvert, style and aesthetic skill, to say nothing of selectivity. It goes without saying that this is a major part of the oft-lamented degradation of aesthetics in Western culture, from “high art,” to architecture, to animation. Why devote rigor to style and skill when the point is to signal that one aligns with the correct message?
By the way, this merits a general exhortation: if you don’t like a piece of art (a building, a sculpture, a Netflix series, etc), it might not be because you, rube that you are, have no taste or understanding; it might be because it’s simply a pile of shit—which, it bears mentioning, has been tried to be passed off as art. You are under no obligation to concede the inferiority complex such pieces try to sell you in their gnostic snake oil. Because the point of art is to communicate abstract human values, one does not need a degree in art, nor in philosophy, to understand and enjoy good art. Indeed, contrary to the elitism assumed in modern art taste, it may be the mark of good art that the average person can understand and enjoy it without too much explanation; such a work will have fulfilled art’s purpose of bodying forth the forms of things unknown but which are nonetheless universal.
The unintentional defaulting or the intentional subverting of the role of aesthetics in art by the modern and postmodern culture unwittingly reveals a possible door for conservatives who wish to make art. Rather than playing into the stereotype by simply making reactionary art with explicitly opposite meanings, “conservative art” (or, more preferably, conservatives who simply want to make good art) must begin with a return to aesthetic rigor. Just as the early church’s response to heresies was not to accept the premises of the heresies’ mind-body split but, rather, to restore the body-mind-spirit unity depicted in the Gospel and the Trinity, so the current response to artistic heresies—which involve a similar, if not the very same, split—is to reunite the physical and metaphysical.
We must not ignore the messages of our art, but we should allow them to follow the literally more immediate role of the aesthetic experience. Indeed, we should seek to develop enough skill in conveying abstract themes and ideas through our medium such that little explanation is necessary. As conservatives, especially, we do not need to maneuver things so our audience takes away a certain message. Either the values we are trying to capture will speak for themselves, or we will learn that we need more practice. Above all, unless knowingly engaging in polemics, we should not (or at least try not to) approach art as a sermon. Doing so runs the risk of proving too much, besides turning off audiences who have probably had enough messaging and rhetoric. Instead, use your ethos, pathos, and logos to present their corresponding virtues of Goodness, Beauty, and Truth, and let the aesthetic experience stand as the message. As Jake Scott recently tweeted, underscoring his January article cited above, when making art, forget politics—seek to create heritage.
As always, it’s the conservative’s task to take his or her advice first. While I do currently have a polemical novel in pre-publication process with a clear message against the canceling in academia of Shakespeare and the tradition he represents, in A California Kid in King Henry’s Court, my serial novel for The Mallard’s print magazine, I have tried to focus solely on the aesthetic experience of the story.
The title is, of course, a throwback to A Connecticut Yankee in King Arthur’s Court, Mark Twain’s comedy of an American who, having been knocked on his head in a factory, awakens in Arthurian England and subsequently seeks to industrialize the chivalric country, all the while becoming, himself, as much an object of Twain’s satire as medieval chivarly. My semi-autobiographical serial novel takes an opposite tack: a kid from California, having derived from Tolkien and Shakespeare a love for England’s literary past, attends modern Oxford and finds it far different from what he expects. The joke of each episode is usually on the fictional narrator, Tuck. However, though I’m a far less subtle satirist than Twain (really, my work is parody, not satire, since I am starting from a loving desire to enjoy the book’s subject, rather than a satirical desire to debase it), I’ve attempted to do something similar to Twain: unlock the dramatic and comic potential of Americans’ English past while still poking fun at elite pretensions, whether those of the narrator whose knowledge of literary references is irrelevant outside of academia, or of a modern England that keeps shattering the narrator’s romanticized ideas of Anglo tradition.
While, beneath the parody, one of A California Kid’s thematic goals is to explore the deeper relevance of the English literary tradition, my main objective has simply been to make readers laugh—which, taking a cue from Monty Python’s discussions of comedy, starts with making myself laugh. If readers walk away from the episodes appreciating Shakespeare or Tolkien, so much the better, but it is only a secondary end to the primary one of telling a hopefully worth-reading story.
Over the past half-century the postmodern anti-tradition has become the predominant tradition. The task of breaking open a way forward from the metaphysical assumptions of that structure—of liberating people from them—is now the job of conservatives, which, yes, does include everyone who does not want to wholly jettison, deconstruct, or “decolonize” the past, however politically or philosophically they self-identify. However, our goal should not be to merely preserve the past against the current attack and atrophy. The left’s view of art as a vehicle for political messaging can be traced back over 150 years to, among other sources, Nikolay Chernyshevsky, literary rival of Dostoevsky and writer of the utopian polemical novel What is to Be Done? As I tell my US History students, if you want to know why a generation pursues certain politics, look at what they were reading twenty or thirty years before; according to Dostoevsky biographer Joseph Frank, Chernyshevsky’s novel was the favorite book of a young Vladimir Lenin.
Conservatives must take a similarly long view of art. We must strive, as much as we are able, to make works that will last not just for a given generation, but for several. Yes, we must look to the works and artists whose work has aesthetically endured and whose metaphysics have transcended their own times—and then we must create our own. The messages, insofar as they are necessary, will follow, the greatest of which being that the aesthetic experience is the point of the art. This has always been the point, not because of any inherent politics or lack thereof in art, but because it is the nature of art to simultaneously look backward and forward in its concretization and preservation of values. The same can be said of conservatism, which I take as a sign that we, rather than the left, are best equipped to produce the future of art. Like our philosophy, ours is not simply an art of return, but of resurrection and legacy.
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Consorts (Part 3)
Eleanor of Castile
- Life: 1241-28th November 1290
- Reigned: 20th November 1272-28th November 1290
- Spouse: Edward I (m. 1254)
- Children: Sixteen, including Edward II
- Parents: Ferdinand III of Castile and Joan, Countess of Ponthieu
- Origin: Spain
Early Life: Eleanor of Castile was born sometime in 1241 in Burgos, Castile (later Spain). Her parents were Ferdinand III of Castile and Joan, Countess of Ponthieu. Ferdinand was one of Castile’s most successful rulers, as he greatly expanded its territory and joined it with León. Joan was Ferdinand’s second wife- Elisabeth of Swabia had died in 1235. Their eldest son, Alfonso, would succeed to the throne after his father’s death.
Eleanor was her mother’s successor as Countess of Ponthieu. She had five brothers, seven half-brothers and three half-sisters, though most did not live past early childhood. Eleanor was extremely well-educated, even for the time, and enjoyed the arts and literature. This extended to Alfonso and the Castile court itself.
Marriage and Children: The only living daughter of Ferdinand III and half-sister of Alfonso X, Eleanor was a desirable candidate in the marriage market. After several betrothals were played with, Eleanor was ultimately engaged to Prince Edward, heir to the throne of England. They wed on the 1st November 1254. Eleanor was about thirteen and Edward only a couple of years older.
Edward and Eleanor had a famously loving marriage. They were close from the moment they married, no doubt helped by the fact that they were practically the same age. Edward never strayed from his wife or had any illegitimate children, an extreme rarity for the time. He loved the fact that she joined him on the Crusades. Eleanor’s death would devastate him and it was only by need that he chose to remarry. They were rarely apart.
The pair had sixteen children- eleven daughters and five sons. Only seven of their children lived past infancy- indeed, the future Edward II was their youngest son and child. Eleanor adhered to the parenting styles of the time by sending her children away to be educated and barely seeing them. She did care for their education and arranged her daughters’ marriages.
Pre-Reign and Queenship: Eleanor and Edward initially lived on the continent, but moved back to England in 1255. During the Second Barons’ War, Eleanor joined her husband as he fought in Wales. She once again was at his side when he traveled to fight during the Crusades. At this point, Eleanor had given birth to six of her children. Three more would be born during the Crusades, though only one would live to adulthood.
In 1272, they received word that Edward’s father had died. They nevertheless stayed on the continent until 1274, whereupon they returned to England. The pair were crowned together on the 19th August of that year.
Eleanor was uninvolved in politics due to her husband’s views on the matter, but was seemingly alright to it. She instead focused on culture. Her influence included arts, literature, education, decoration and clothing. Eleanor’s superior education helped her in that respect. In that way, she fulfilled the traditional role of Queen- she was not political and focused on the feminine aspects of a reign.
Whilst she enjoyed a close relationship with her husband, Eleanor was generally very unpopular with the public. Her business dealings, which made her incredibly wealthy in both land and money, were seen as unbecoming for a queen. The large foreign retinue of cousins that came with Eleanor were also disliked, though Eleanor was smart enough not to let the men marry English noblewomen. She also supported her husband’s crusade against the Jewish people.
By the mid to late 1280s, Eleanor was frequently ill. In 1290, it was clear that she was dying. Eleanor used her remaining time to arrange the marriages of her children. In November of that year she was no longer able to travel and was thus given quarters in Nottinghamshire.
On the 28th November 1290, Eleanor Castile died at the age of 48-49. Her husband was by her side. Eleanor is buried in three places- her viscera (internal organs) in Lincoln Cathedral, her heart at Blackfriars Monastery and the rest of her body in Westminster Abbey. Edward would later be buried beside her.
Personality: Eleanor was an intellectual with a passion for the arts and culture, something that is part of her legacy. She was also extremely brave and strong, as evidenced by her joining her husband on the Crusades. Several of her children were born abroad as opposed to the safety of England. Unfortunately, Eleanor had her flaws. Her ruthlessness towards the Jews may not have been the same as her husband’s, but she still seized lands from them. Her general business dealings made her unpopular.
Legacy: Eleanor’s most famous legacy is that of the Eleanor crosses. Her broken-hearted husband built twelve large, intricate crosses to mark the stops taken as her body was taken back to London. Only two remain. Eleanor’s cultural influence was also strong. She is also often remembered for the loving relationship she shared with her husband, a sharp contrast with that of other medieval marriages.
Margaret of France
- Life: c.1279-14th February 1318
- Reigned: 8th September 1299-7th July 1307
- Spouse: Edward I (m.1299)
- Children: Three
- Parents: Philip III of France and Maria of Brabant
- Origin: France
Early Life: Margaret of France was born around 1279 in Paris. Her parents were Philip III of France and Maria of Brabant. She was the youngest child of both parents, with Philip having been married to Isabella of Aragon until her 1271 death. Margaret has a brother, a sister, and five half-brothers, though most did not live past childhood.
Very little is known about her early life, but she was likely well-educated as a princess of France.
Marriage and Children: Margaret’s older sister Blance was initially engaged to Edward’s son, the future Edward II. Upon hearing of Blanche’s apparent beauty, Edward broke off the relationship in hopes of marrying his son’s betrothed. It turned out that Blanche had already been married off. Her half-brother Philip IV had been king since Margaret was six and offered her as Edward’s bride. An angry Edward refused and declared war on France. Eventually, an agreement was made. Margaret’s half-niece Isabella would later marry Edward II as part of the agreement.
Despite Edward’s devoted love to his late wife Eleanor, the fact he only had one living son made it essential that he remarry. In the end, Edward and Margaret would enjoy a very happy marriage. Their age gap was at least forty years, but they lived harmoniously. Margaret’s decision to join her husband on the front was reminiscent of Eleanor and thus pleased him greatly. Their relationship was so great that Margaret would refuse to remarry upon his death.
Margaret had two sons within two years of marriage, fulfilling Edward’s hopes of further sons. She would later have a daughter that she named Eleanor after her predecessor.
Queenship: Like Eleanor, Margaret was not involved in politics but was surely a close confidant of her husband. She also bravely joined her husband at the front, something that endeared her greatly to him.
Margaret fulfilled her role as Queen in more ways than just providing sons. A medieval Queen was expected to be a mediator and a calm, feminine influence on her husband. The kind Margaret would intercede on behalf of those who had displeased the king. This most notably extended to her stepson Edward, who often quarreled with his father. Edward was only two years Margaret’s junior and the pair got on extremely well.
After nearly eight years of marriage, Edward I died on the 7th July 1307 aged 68.
Post-Queenship: Margaret remained in England following Edward’s death. Despite her youth (she was 26 when she was widowed), Margaret refused to remarry, saying that ‘when Edward died, all men died for me.’
She remained on good terms with her half-niece Isabella upon the girl’s marriage to Edward II in 1308. Unfortunately, Edward’s association with Piers Gaveston soured their previously excellent relationship. Margaret’s rightful lands were confiscated but she later got them back.
Personality: Margaret was a singularly kind, warm woman who was an excellent queen. She fulfilled her duties through her interceding on behalf of others and mediating between her husband and stepson. Margaret’s kindness went beyond what was expected of the time and thus won her affection. She showed bravery by joining her husband on the front. Despite their large age gap, Margaret was a devoted spouse and remained loyal after her husband’s death. She was kind to her successor Isabella.
Legacy: Margaret is not as remembered as her predecessor Eleanor, probably helped by the fact that she was not the mother of a king. Her granddaughter Joan, however, would marry Edward II’s son and become mother of Richard II, the boy king. Her loyalty to Edward is something some will remember.
Isabella of France
- Life: c.1295-22nd August 1358
- Reigned: 25th February 1308-25th January 1327
- Spouse: Edward II (m.1308)
- Children: Four, including Edward III
- Parents: Philip IV of France and Joan I of Navarre
- Origin: France
Early Life: Isabella of France was born around 1295 in Paris. Her parents were Philip IV of France and Joan I of Navarre. Philip’s half-sister Margaret was Isabella’s predecessor as Queen, and they were both engaged to their respective husbands through the same agreement. Philip himself was a handsome man known to be a very strong and hard king. Joan was a beloved Queen who enjoyed a close relationship with her husband. She died when Isabella was about ten.
As befitting a princess of France, Isabella received a thorough education, probably similar to the one her aunt Margaret received.
Marriage and Children: The agreement that had Edward I and Margaret of France married saw Isabella engaged to Edward’s son. The king attempted to stop the marriage several times, but the issue became moot when he died.
Edward II married Isabella on the 25th January 1308 in a very elaborate ceremony. Unfortunately, it was not a good marriage. The roughly twelve year-old Isabella was immediately sidelined at her own wedding reception when Edward sat with his favourite Piers Gaveston. He went so far as to gift all of Isabella’s jewellery and presents to Gaveston, angering her and the nobles. Their poor relationship will be explored further in the Queenship section, as the repercussions were great.
As Isabella was only around twelve at the wedding, it was a while before the wedding was probably consumated. The pair’s first child, the future Edward III, was born nearly five years after the wedding. Isabella and Edward would have two sons and two daughters.
She was the typical medieval mother in her parenting style. Her machinations alienated her son Edward to the point of him imprisoning her upon reaching his majority. Isabella was close to her daughter Joan in later life.
Queenship: Isabella was immediately ignored by her new husband. This was not helped by her youth and the fact that she was too young to consummate the marriage, but Edward II was not a good husband. Her jewels and gifts had been given to Piers Gaveston. She was denied money and maintenance, forcing her to complain to her father.
Eventually, Isabella found herself allying with Gaveston. Despite her relative youth, Isabella was an intelligent young woman who was attempting to forge her own political path. Unfortunately for her, Gaveston had earned the ire of the powerful nobles and would be executed in 1308. Isabella was pregnant at the time.
Things would only get worse, despite Isabella successfully giving birth to a son. Edward became close to the Despensers, a father and son duo who would soon become his closest allies. Hugh Despenser the Younger was a great favourite of Edward and it’s believed that they had a sexual relationship. Isabella found herself still cast out of Edward’s inner circle. Despite her problems with a lot of the nobility, Isabella supported their efforts to get rid of the Despensers.
With Despenser at his side, Edward became a despot over the next few years. Isabella set up her own household far away but would be punished by having her children taken away and her lands confiscated.
Luckily, Isabella was able to get herself sent to France as a peace envoy. Whilst there, she rallied anti-Edward forces with the help of Roger Mortimer, a leading nobleman. The forces arrived in England and quickly took over. Edward was captured two months later and forced to abdicate. Both Despensers were brutally executed.
Isabella had her son Edward installed and crowned in early 1327. Meanwhile, the former Edward II was shuttled around before being placed in Berkeley Castle. He died on the 21st September of that year. The circumstances of his death are murky. Historians remain divided as to whether he was murdered or died of natural causes, though murder is more likely.
Post-Queenship: With Edward III barely a teenager, he required a regent. Isabella, along with Mortimer, fulfilled that role. She ensured her son listened to her and the boy had limited power. Mortimer was a careless man and was stupid enough to treat Edward badly. Eventually, Edward had enough, especially after his father’s death. The trigger was Mortimer ordering the execution of Edward’s uncle, the Earl of Kent.
Edward took his mother and Mortimer by surprise when he captured them in late 1330. Whilst he placed Isabella in a luxurious house arrest, he had Mortimer executed without trial.
Isabella spent years living very comfortably and was often visited by family and friends. Despite her cold reputation, she was a loving mother to her daughter Joan and doting grandmother.
The ‘She-Wolf’ of France died on the 22nd August 1358 around the age of 62. She is buried at Grey Friars’ Church.
Personality: Isabella was a complicated woman. She showed great intelligence and political acumen, but was also very ruthless and sharp. Whilst many queens were forced to live through their husband’s affairs, none would be quite humiliated as Isabella was. She was called a ‘She-Wolf,’ but we must remember she was a humiliated child bride. Such actions in men would not be treated so poorly. Whilst Isabella was controlling of her son, she did prove to be a loving grandmother.
Legacy: Isabella is remembered as a cold, calculating woman as opposed to the pure and virtuous ladies of her era. She succeeded in giving birth to heirs but did not follow the tradition of ‘feminine’ queenship. The truth is more complicated- Isabella was ruthless and cold, but no more than other historical figures.
Philippa of Hainault
- Life: 24th June 1310/1315-15th August 1369
- Reigned: 24th January 1328-15th August 1369
- Spouse: Edward III (m.1328)
- Children: Thirteen, including Edward the Black Prince
- Parents: William I, Count of Hainaut and Joan of Valois
- Origin: France
Early Life: Philippa of Hainault was born on the 24th June 1310 or 1315 in Valenciennes, modern day France. Her parents were William I, Count of Hainaut and Joan of Valois. She was the third of their eight children. Whilst Philippa did not have the title of princess, Joan of Valois was the granddaughter of a French king and sister of the other.
She was likely well-educated.
Marriage and Children: A betrothal between the future Edward III and Philippa was tentatively discussed as early as 1322. Four years later, Edward’s mother Isabella had them officially engaged in return for William’s help in invading England.
The marriage was a success even before the wedding, as it is said that Philippa cried when Edward left to return home. Their proxy wedding occurred in October 1327 before their official marriage three months later.
Edward and Philippa had a strong, loving relationship that lasted throughout their marriage. This did not stop Edward from straying in his wife’s later years, as he had a young mistress named Alice Perrers, with whom he had three children. It is argued that this only occurred when Philippa’s health was poor and that it was kept from her. This was oddly progressive for the time, as kings didn’t usually hide mistresses. Whilst he did have the affair with one other woman, Edward’s true love was clearly Philippa.
The pair managed to have thirteen children- eight sons and five daughters, eight of whom would live to adulthood. Interestingly, most of their children would marry rich English nobles as opposed to foreign royals. This was most unusual for their eldest son and heir Edward, who married his widowed cousin Joan. Perhaps the happiness between Edward and Philippa allowed them to have their own children be married for love.
Queenship: Philippa may have been Queen in name, but her mother-in-law Isabella was Queen in every other way. Isabella did not like relinquishing her title and thus prevented Philippa’s coronation. It was not until Philippa was pregnant that she was crowned. Luckily for Philippa, she bore a healthy son and unrelated events saw Mortimer executed and Isabella imprisoned.
Throughout her time as Queen, Philippa proved to be enormously popular and beloved. She was not necessarily political in the way Isabella was, but she used her influence when necessary. Edward trusted her to act as regent when he was away and she proved herself more than capable.
It was Philippa’s kindness and charity that made her loved. The most famous of these cases was that of the Burghers of Calais. Angered by the holdout of the city, Edward swore he’d spare the citizens if six of the leaders (burghers) made themselves known and surrendered to him. Before he could presumably have them executed, a barefoot and pregnant Philippa fell to her knees before him. She begged him to spare them, saying that their unborn child would be punished if they did not. Edward was supposedly so moved by this that he agreed to let them live.
Her charity extended to those at home. Philippa also bravely encouraged troops fighting the Scottish invaders, something sorely needed as Edward was out of the country.
In her later years, Philippa fell ill. Those years saw Edward turn to Alice Perrers and father three children with her. Philippa finally passed on the 15th August 1369, somewhere in her mid-fifties. Edward was with her at her deathbed. She asked Edward to ensure that all of her debts and obligations were fairly paid.
Edward spent £3K on her tomb. Her death also saw a massive decline in his popularity. He was vilified for cheating on his loving wife with a younger woman- something extraordinary in a time where it was expected that kings would stray. Alice Perrers would become a huge villain in England. Perrers was accused of taking advantage of an old, grieving king by accepting extravagant gifts. Her interference in politics was not welcomed.
Upon his death, Edward was buried with his beloved Philippa.
Personality: Philippa is one of the most revered consorts in English history. Her kindness, warmth and generous nature made her beloved throughout her country. She was a very successful Queen- she completed the role of feminine mediator and provided her husband with many children. Even without that, her good heart kept her through. The fact that Edward was castigated for taking a mistress shows how loved she was.
Legacy: Philippa is not often remembered. She did not leave a lasting legacy through arts or culture, despite leaving a mark on the textile industry. Her eldest son did not become king, but her grandson would be. Philippa’s sons Edmund and John of Gaunt would become a direct monarchical ancestor.
Anne of Bohemia
- Life: 11th May 1366-7th June 1394
- Reigned: 20th June 1382-7th June 1394
- Spouse: Richard II (m.1382)
- Children: None
- Parents: Richard IV, Holy Roman Emperor and Elizabeth of Pomerania
- Origin: Czech Republic/Czechia
Early Life: Anne of Bohemian was born on the 11th May 1366 in Prague, modern day Czechia. Her parents were Richard IV, Holy Roman Empire and Elizabeth of Pomerania. Elizabeth was Richard’s fourth and final wife. Anne had three brothers, one sister, three half-brothers and three half-sisters. Richard was the most powerful king of the age and was also extremely popular.
She was likely well-educated.
Marriage and Children: The marriage between Anne and Richard II was an odd one. Despite Anne being the daughter of an extremely powerful monarch, she did not have a large dowry or other assets. The main reason was due to a problem with the Church and two rival popes. Richard and the Holy Roman Emperor both opposed France’s choice.
Richard and Anne were both fifteen when they married on the 20th January 1382. Despite Anne’s unpopularity and lack of wealth (Richard having to pay Anne’s brother for marriage), the two became devoted to one another. Richard never strayed and always defended Anne.
No children were born of the union. Anne was blamed by society, as women were at the time, but Richard never cast doubt towards her.
Queenship: Anne was known as ‘Good Queen Anne,’ which shows that she overcame early unpopularity. She would often intercede on behalf of others, as Philippa of Hainault had. This constant kindness made her beloved by the English people, and eventually the court. It was her sweetness that won the nobles over.
After a happy twelve years of marriage, Anne died aged 28 on the 7th June 1394. Edward was bereft. He ordered the palace that she died in to be torn down. Edward also refused to enter any building besides a church where he’d been with Anne. After his own 1400 death, Edward was buried with a tomb he’d already prepared beside Anne’s.
Personality: Anne was reportedly a sweet and kind woman. She cared greatly for her subjects and was merciful to a fault. It was her good nature that pushed away early criticisms directed towards her.
Legacy: Anne is not often remembered. She, and indeed Richard himself, has no children together, so she did not see any direct descendants claim the throne. Anne did bring new fashions over, such as new shoes.
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Britain’s Brown Scare
A spectre is haunting Britain – the spectre of fascism. At least, that’s what we’re told.
In Technology, Communism, and The Brown Scare, Curtis Yarvin defines The Brown Scare as: “America’s ginormous, never-ending, profoundly insane witch-hunt for fascists under the bed.”
However, it is blatantly apparent that this witch-hunt is not inherently American in character. Indeed, such paranoia greatly afflicts the wider Western world, and certainly the United Kingdom.
This month, Sadiq Khan, Mayor of London said: “Those that have legitimate objections [to ULEZ expansion] are joining hands with a far-right group.”
“Let’s call a spade a spade, some of those outside are part of the far-right, some are Covid-deniers, some are vaccine deniers, some are Tories.”
Currently, ULEZ (Ultra-Low Emission Zone) covers all areas within the North and South Circular Roads, but is set to expand across all London boroughs from 29th August 2023.
Vehicles that are not ULEZ-compliant will receive a daily charge of £12.50. This means that cars, motorcycles, vans, and specialist vehicles up to and including 3.5 tonnes, and minibuses up to and including 5 tonnes, will be charged.
Exemptions will be given to lorries, vans, or specialist heavy vehicles over 3.5 tonnes, and buses, minibuses, and coaches over 5 tonnes, which will continue to pay the Low Emissions Charge (LEZ) charge.
Unsurprisingly, there have been a range of objections to ULEZ expansion.
Many commuters cannot afford the charge and fear it will be detrimental to small businesses. Others are angered that no such proposal was included in Khan’s manifesto, and that the results of the ensuing consultation on ULEZ expansion have been ignored.
Some object to the planned expansion of surveillance that is required to make the policy workable, whilst others argue ULEZ is unworkable altogether and will not help lower carbon emissions.
On the whole, none of these positions are conspiratorial. If anything, they’re all pretty straightforward expressions of democratic and economic concern.
Nevertheless, all these objections are irrelevant because, at least according to Khan, opposition to an arbitrary proposal that will destroy livelihoods, expand mass-surveillance, and do little to help the environment is, allegedly, tainted by vague “FAR RIGHT” (!!!) tendencies.
As many have surmised, this is nothing more than a political tactic. Khan hopes that by condemning objections as “FAR RIGHT” (!!!), the Anti-ULEZ campaign will divert time, energy, and resources away from protesting his insane and popular policy, and towards expunging their association with the unnamed, unsubstantiated, likely fictitious and/or irrelevant “far-right group”.
Whilst this is true, it misses a more straightforward point, albeit one that is harder to bring up: just because something is “FAR RIGHT” (!!!) doesn’t mean it’s wrong.
Why would it matter if ULEZ is opposed by the “FAR-RIGHT” (!!!)? As a policy, ULEZ is either good or bad depending on its intent, feasibility, and results and should be deliberated and implemented accordingly.
Unfortunately, the Sensible People, despite their obsession with Forensics, care very little for detail. Totally PR-brained, the ‘connotations’ of one’s words carry infinitely more weight than what one actually says.
As such, they are not only inclined to pedantic language-policing, they assess politics by every metric other than policy.
Take the Wakefield controversy as another example. A group of four children, and their families, received death threats after word got out that one had smudged a copy of the Quran, the Islamic holy text, as well as a suspension from their school, despite the headmaster’s declaration that there was: “no malicious intent by those involved.”
Consequently, the boy’s mother was dragged into the local mosque – by the police, no less – in what can only be described as Modern Britain’s equivalent of a Struggle Session.
Teary, veiled, and evidently shaken, she profusely apologised for the behaviour of her son, who is autistic, stating: “[he] doesn’t always realise what is appropriate and what is not appropriate.”
As we all know by now, in Modern Britain, the role of the police isn’t to prevent the type of crime that led to its founding. Recent data, published in The Times, shows that serious crimes, including but not limited to: harassment, assault, stalking, and criminal damage are virtually legal, and that charge rates have plummeted to an all-time low since 2015.
Rather, the purpose of the British police is to calm the ungrounded fears of society’s most unhinged members, those who believe that Britain’s traditional identity, and the preservation of it, inherently predisposes people to THE FAR-RIGHT (!!!), and that there is an omnipresent conspiracy to turn Britain into the least ethnically homogenous ethnostate in history.
As such, the permanent policy of the contemporary British state is not protection, but social engineering; it is one of never-ending, domestic, ‘de-Nazification’.
In fact, this establishment-sanctioned whataboutism, perpetually pointing the finger at the FAR-RIGHT (!!!), is so pervasive that not even national travesties can escape its grasp.
Charlie Peters’ recent documentary, aired by GBNews in February, outlined the scandalous racially charged abduction, trafficking, and rape of thousands of young white girls by south Asian men; a practice which took place across the UK over multiple decades.
Despite the eye-watering amount of completely preventable suffering caused by the scandal, it was clear that such evil was continuously swept under-the-rug by British police; specifically, for the sake of “political correctness” and “community cohesion.”
Like the police, whose complicity in suppressing public knowledge of the scandal has not resulted in a single firing, left-leaning and liberal-leaning individuals, led by a pseudo-academic, are calling for the censorship of Peters’ documentary, believing it emboldens the far-right, stokes racial stereotypes, and promotes “hate” and “division”.
Needless to say, but worth saying nonetheless, when 1 in 73 Muslim males in Rotherham are involved with paedophilic rape gangs, there is no community cohesion to fuss over – it simply doesn’t exist.
This is perhaps the defining feature of Britain’s Brown Scare: it prevents people from understanding what is right in front of them, whether it’s the condition of one’s community or one’s own material interests.
The Manchester Arena bombing, the deadliest terrorist attack and the first suicide bombing in the UK since the 7/7 bombings, conducted by a foreign-trained Islamist that came to Britain as a refugee, has been retroactively rewired to make the bombing about the threat of FAR-RIGHT (!!!), as opposed to Islamist, radicalisation.
No doubt about it, if a civilisation-ending meteor were to crash into Earth, Britain’s pseudo-intelligentsia, the Waterstones Intellectuals that they are, would use their last moments to make pseudo-profound remarks about how such a travesty would ‘embolden’ THE FAR-RIGHT (!!!).
All this said, it’s clear that this delusional preoccupation with an impending fascist threat isn’t a recently-concocted political tactic. Rather, it is at the centre of the West’s post-war secular theocracy. As such, we can expect The Brown Scare to afflict wider culture, more so than mainstream politics, and indeed it does.
Whether it’s Coronation Street’s goofy storyline about a white working-class kid joining the “FAR-RIGHT” (!!!) after he’s replaced by a refugee at his old school, or the upcoming 60th anniversary special of Doctor Who, which is set to feature an antagonistic “FAR-RIGHT” (!!!) party, aestheticized as a mishmash of every “FAR-RIGHT” (!!!) development as of recent: GBNews, Patriotic Alternative, MAGA, Brexit Party, Vote Leave, The Conservative Party, you name it.
Drag Queen Story Time, which involves an adult-entertainer talking to infants about sexual exploration, gender identity, and… other things – Y’know, good family-friendly stuff – was hosted at Tate Britain, inciting sizeable protests and counter-protests. How did the media portray this debacle? As a far-right attack on human rights, but ultimately a triumph for liberal society.
Erstwhile, Prevent, the government’s own anti-terror programme, has flagged various films and TV series as FAR-RIGHT (!!!) material, including but certainly not limited to: Zulu, The Dam Busters, Yes Minister, Civilisation, The Thick of It, and (perhaps most ridiculously of all) Great British Railway Journeys.
In addition, the list features authors ranging from Thomas Hobbes and John Locke to Thomas Carlyle and Edmund Burke. Tolkien, Lewis, Conrad, Huxley, even Orwell, make a debut on an official red-flag list used and taken seriously by the British state.
Even the works of our national poet, Shakespeare, were listed as potentially dangerous material. Considering this, it’s no wonder they are being adapted to conform to our post-war neurosis, with a recent showing of The Merchant of Venice being about fighting Oswald Mosley’s Blackshirts.
At this point, one cannot pretend that the scare is just a fringe, confined conspiracy – it’s a widespread, mainstream conspiracy theory that masses of people, “low-status” or “high-status”, have bought into wholesale.
Things have gotten so bad that the BBC, not exactly in good books of “THE FAR RIGHT” (!!!), or the right in general for that matter, had to release a press statement telling people stating that, despite rumours of a “sixth episode” being pulled to avoid “right-wing backlash”, no such episode of Sir David Attenborough’s new series, Wild Isles, exists or has ever existed.
Given this daily bombardment of delusion, there is a tendency to push back; to demonstrate a more measured approach to the topic of fascism, usually echoing, or making direct reference to, Orwell’s words in What is Fascism?:
“The word is almost entirely meaningless. In conversation, of course, it is used even more wildly than in print. I have heard it applied to farmers, shopkeepers, Social Credit, corporal punishment, fox-hunting, bull-fighting, the 1922 Committee, the 1941 Committee, Kipling, Gandhi, Chiang Kai-Shek, homosexuality, Priestley’s broadcasts, Youth Hostels, astrology, women, dogs and I do not know what else.”
This tendency is completely understandable. When Reform UK and left-wing individuals with mildly gender-critical views are listed alongside fringe and powerless Neo-Nazi weirdos as threats to society, one gets the impression that those seeking to affirm the veracity of UK-wide fascist collusion are, to say the least, scraping the barrel.
However, this misses the overarching point: according to those afflicted by Britain’s Brown Scare, nothing is in possession of any inherent quality.
From raiding wallets to raping, bombing, and harassing children, from blacklisting timeless literature to human trafficking, things most people would consider egregious, only become worthy of condemnation depending on their imagined relative proximity to Adolf Hitler, or their hypothesised potential to ‘embolden’ the “FAR RIGHT” (!!!).
Most recently, of course, Gary Lineker has been suspended from the BBC after he compared the government’s recent attempts to crack down on illegal channel crossings to 1930s Germany.
Whether one thinks Lineker deserves to be suspended or not is beside the point: Britain’s Brown Scare is believed by those in positions of considerable influence, not just nutty FBPE parochialists.
With a general election set to take place next year, and a Labour victory all but officialised, we can expect Britain’s Brown Scare to get worse, especially when Modern Britain’s founder, Tony Blair, is effectively shadow-leading the party.
Besides, how are Labour meant to remain in power if they don’t satiate the delusions of those that support them to save the NHS and immigrants from Tory Brexit Fascist UKIP Stalinism?
However, none of this means Labour is popular. The British people would like nothing more than a new party, with one-quarter of Brits saying they would support a party led by Farage, which is prepared to lower immigration, bring economic stability and growth, and tackle crimes that people actually care about.
It goes without saying that such a party, unlike the current Conservative Party, should be willing to protect right-minded citizens from the detached and paranoid fury which afflicts much of the populus, and threatens what remains of our livelihoods and liberties.
Many things can happen in politics, but one thing is certain: as long as the Brown Scare continues to spread, speaking the truth will remain a revolutionary act, and those with an outlook barely distinct from David Icke will be considered Sensible Centrists by everyone in a position of power.
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Dostoevsky’s Answer to the Problem of Evil: A Lenten Reflection
Having tackled the growing hydra of socialist radicalism through his previous major novels, Fyodor Dostoevsky set out in The Brothers Karamazov to address what he saw as the fountainhead of the mid-century Russian ideological shifts: the loss of faith in the the gospel and in the Orthodox Church as the means established by Christ to display that gospel to the nations.
To be sure, Dostoevsky saw this loss of faith primarily in the upper-class intelligentsia and the later populist youth. The former, the Westernizers of the 1940s-60s whom Dostoevsky pilloried in everything from Notes from Underground to The Devils, had intended to enlighten the peasant class—part of which involved relieving them of their superstitious belief in Christ’s divinity and Christian morality. The latter generation of 1870s Populists broke from the amoral nihilism of that generation (in no small part due to Crime and Punishment and The Devils) and instead venerated the peasants’ simple way of life and native morality; however, refusing to acknowledge their source in Christ and the Russian Orthodox Church, the populists still maintaining secular aims.
Dostoevsky’s response to both groups was to advocate a return to the fullness of the faith in Orthodoxy, which could satisfy all needs of the human individual, both physical and transcendent. However, having previously been a radical himself, Dostoevsky was ever willing to pursue this goal through a conciliatory approach, especially if he might thereby rescue some readers from the contradictions and potential disasters of radicalism. He does this in The Brothers Karamazov by taking seriously a primary objection to Christianity: the problem of evil.
Ivan Karamazov: The Problem of Evil
He articulates the problem of evil through Ivan Karamazov. In Book Five, Chapter V, “The Grand Inquisitor,” Ivan follows up his description in the previous chapter of the senseless abuse of children (all gathered by Dostoevsky from real-life newspaper stories) to his little brother Alyosha, a would-be priest, with the one of the most famous stories-within-a-story in world literature. These chapters, according to Dostoevsky’s letters, are among the most important in the novel. They lay out the problem of evil and its refutation—through a parallel story-within-a-story: Book VI, The Russian Monk, which presents the life and sayings of the local monastery elder Fr. Zosima, compiled by Alyosha long after the novel’s events.
Acknowledging himself as no philosopher—to say nothing of his being an Eastern Orthodox Christian, who generally eschew Western theory-forward approaches in favor of ascetical practice and theosis as proof of the faith—Dostoevsky does not merely present logical arguments for or against Ivan’s atheism. (Indeed, one of the greatest aspects of this self-proclaimed atheist is that it is debatable whether Ivan believes his own professed atheism. He often waffles in, and at times regrets, his stance and, like Dostoevsky’s previous protagonists, is horrified upon seeing his stated beliefs actually lived out by Smerdyakov. Furthermore, Ivan often fits less the title of Enlightenment philosophe and more that of Romantic hero in protest against an unjust God whom he nonetheless believes in.) Rather, Dostoevsky addresses Ivan’s problem with evil not with a matching argument and polemical story, but with the life of a saint.
Fr. Zosima: A Holy Life
In Book VI, The Russian Monk, Dostoevsky breaks from the novelistic form and uses, instead, the mystical, timeless mode of hagiography. Because it is ordered by a moral message rather than causal events or their concomitant psychological elements, such a mode has struck many critics as dismissable, being unrealistic or simply jinned up. Dostoevsky acknowledges this in a letter to Konstantin Pobedonostsev, the Russian Orthodox Church’s representative in the Tsar’s cabinet: “Something completely opposite to the world view expressed earlier appears in this part, but again it appears not point by point but so to speak in artistic form. And that is what worries me, that is, will I be understood and will I achieve anything of my aim?”
Nonetheless, by answering the problem of evil with a holy life lived in spite of evil, he tells his assistant editor, Dostoevsky intends to show “that a pure, ideal Christian is not something abstract, but graphically real, possible, standing before our eyes, and that Christianity is the only refuge from all its ills for the Russian land,” and, presumably, for those of the rest. In short, Dostoevsky answers the world’s evil with holiness—with the saints alive in every generation of Orthodoxy that allow the Church to call itself “Holy” in the Nicene Creed and by whose theotic prayers and actions it redeems a fallen world.
The Russian Monk, however, goes beyond merely presenting one exception to evil. Contrary to the atheist-materialist-socialist arguments (then and now) that people and their actions are merely effects of environment, Dostoevsky maintains that part of the image of God in man is an inalienable individual moral agency. Thus, the redemption shown in Fr. Zosima’s story is available to all. Far from presenting merely one anecdote, The Russian Monk transforms all characters in The Brothers Karamazov into potential likenesses of Christ and His redemption of the world.
As Nathan Rosen argues, this opposite pole of “The Grand Inquisitor” defends the faith not through rational argument but through aesthetic fullness—by presenting a man who embodies in his own life the story and truth of Job. According to Rosen and other sympathetic critics, Zosima’s story, “is the literary equivalent of a precious hallowed old church icon,” and as such it renders the rest of the novel, broadly, and Alyosha’s path, specifically, into the realm of iconography—the tradition that, following Christ’s being the first Icon of God the Father, reveals the truth of the gospel through aesthetic incarnation.
Grushenka: Dostoevsky’s Magdalene
And, yet, at the time of the novel’s events, Alyosha is not as sanguine as the later Alyosha who recorded Fr. Zosima’s life. Indeed, between his conversation with Ivan (and the discovery of his own unsuspected resentment of God it revealed) and Fr. Zosima’s non-miraculous death*, his faith is quite shaken. He is, thus, primed for either a full loss of faith or a restoration in the chapters preceding “Cana of Galilee,” which Dostoevsky describes to his assistant editor as “the most significant [chapter] in the whole book.”
Having felt his faith shaken by Ivan’s “poem” and the circumstances of Fr. Zosima’s death, Alyosha reverts to the way of life he knows to be native to himself as a Karamazov: sensual degradation. Agreeing to go with the atheist student Rakitin (who’s just been wishing to trip up Alyosha so he might gloat) to the home of his father and eldest brother’s paramour, Agrafena “Grushenka” Svetlova, Alyosha intends to…do whatever Dostoevsky’s readers might infer from the author’s 19th-century understatement.
Grushenka immediately catches the mood and starts to flirt with the boy. Any other time she would have been more than willing to get her claws in yet another Karamazov male—especially the one who, by his purity, represents the moral opposite of her supposed fallenness. Although she conceals some secret joy altogether different from her vengeful persona of seduction, Grushenka begins to play the harlot she knows Alyosha considers her to be. “She suddenly skipped forward and jumped, laughing, on his knee, like a nestling kitten, with her right arm around his neck. ‘I’ll cheer you up, my pious boy.’”
And, yet, far from falling to her ways, Alyosha discovers that Fr. Zosima’s teaching was not altogether without fruit. “This woman, this ‘dreadful’ woman, had no terror for him now, none of that terror that had stirred in his soul at any passing thought of woman.” Furthermore, he soon learns that the joy hidden beneath her flirtation springs from the recent discovery that the man who had seduced and abandoned her as a teenager is returning, and that she is willing to forgive him.
This turn of events has emptied her impulse to reduce Alyosha to her fallen position. “It’s true, Alyosha, I had sly designs on you before, for I am horrid, violent, but at other times I’ve looked upon you, Alyosha, as my conscience…I sometimes look at you and feel ashamed, utterly ashamed of myself.” No doubt this shame had driven her late desire to cause Alyosha’s fall.
However, just as Ivan’s description of the suffering of children primed the way for the denial of Christ in “The Grand Inquisitor,” Grushenka’s act of forgiveness for being seduced as a young girl is the prelude to her—and Alyosha’s—redemption. For, after overthrowing nearly a decade of resentment in the name of forgiveness and reconciliation, Grushenka finally learns of the death of Fr. Zosima. “She crossed herself devoutly. ‘Goodness, what have I been doing, sitting on his knee like this at such a moment!’ She started up as though in dismay, instantly slipped off his knee and sat down on the sofa.”
Witnessing such an immediate response of reverence begins the restoration of Alyosha’s faith. To Rakitin, who is still proud of having delivered Alyosha to Grushenka, Judas-like, for 25 rubles, Alyosha says, “look at her—do you see how she has pity on me? I came here to find a wicked soul—I felt drawn to evil because I was base and evil myself, and I’ve found a true sister, I have found a treasure—a loving heart. She had pity on me just now…Agrafena Alexandrovna, I am speaking of you. You’ve raised my soul from the depths.”
The paired forgiveness and reverence of Grushenka, the person Alyosha least expected to show such things, provides the miracle he was waiting for: the manifestation of Fr. Zosima after death. For, besides her forgiveness of the officer, in fearing what effect her own seductiveness might have had on Alyosha Grushenka displays Zosima’s core message. Assuming one’s own moral responsibility—not merely for one’s actions, but, according to Fr. Zosima, for all men’s actions—is the whole means of acquiring the likeness of Christ, and Alyosha sees Grushenka, of all people, practice it.
From the Orthodox perspective, in thus fulfilling her innate human image of God with behavior according with His likeness, Grushenka has become a living icon, as Christ, the first Icon, had been. Grushenka’s is the miracle of a Magdalene conversion, manifested before Alyosha’s eyes, and it primes him for his own symbolic incarnation of Fr. Zosima’s—and the unnamed Christ’s—message, spirit, and way of life in the climactic next chapter.
Alyosha: A Living Icon
Ultimately, each reader must decide for him or herself whether Dostoevsky’s answer to the problem of evil, indeed, answers it. Many critics have considered Ivan’s objection to Christianity insurmountable. Leaving aside possible confirmation bias in such academic interpretation, things are, admittedly, not helped by the response’s seeming so obscure—even arguably interrupting—especially to Western audiences that have generally foregone monasticism, iconography, and veneration of saints since the Reformation and subsequent Enlightenment.
However, the true answer to evil, according to The Brothers Karamazov, is not a simple one-and-done response provoking a change of mind (though Alyosha’s realization in “Cana of Galilee” of the Orthodox sacramental view of creation involves just that). Rather, it is a disposition and way of life depicted first through Fr. Zosima, then the redeemed Grushenka, and finally through a not much older but very much wiser Alyosha, who through the rest of the book follows his Elder’s direction in living out the gospel in the real world, amidst but not stifled by its temptations and evils.
And, indeed, when Alyosha meets the fourteen-year-old self-described radical, Kolya, who both parodies Ivan and represents a serious ideological influence on his younger friends, he is unperturbed. Doing what Dostoevsky hoped, himself, to do with The Brothers Karamazov, Alyosha redirects the good-hearted youth’s radicalism into a simple and more impactful Christlike love of the least of these—specifically, the smallest, Ilyusha—and he manifests the humble confidence and tranquility not merely of his former elder, but of Christ and His sacramental life.
*It was considered a proof of a holy man’s life that his body did not decompose post mortem; the lack of such incorruptibility in Fr. Zosima leads Alyosha to doubt whether, as Ivan has lately denied, a God of justice exists. Ironically, by expecting a grandiose miracle to meet his spiritual crisis, Alyosha discovers that he is little better than those described by Ivan in “The Grand Inquisitor” who are too weak for the moral freedom (and responsibility) inherent in Christianity. It also reveals Alyosha’s desire to defer his moral responsibility (an antiChristian impulse in Dostoevsky) to the holy man’s direction.
