Central to the plot of Clint Eastwood’s Invictus is William Ernest Henley’s short poem of the same name. Though the role of the poem suffers some historical revisionism in the film, its role in the life of Nelson Mandela is worth consideration. The film recounts the remarkable story of Mandela’s efforts at national reconciliation through his embrace of the South African rugby team, which at the time remained a symbol of Apartheid’s ethnic segregation. In 1996, when I returned for the first time to South Africa, my childhood home, some old friends shared with me how meaningful it was when Mandela appeared at Ellis Park donning the Springbok green and gold. I’m gratified that this remarkable story of reconciliation has made it to the screen, especially while Morgan Freeman is still with us. He was born to play Mandela. During Mandela’s long internment on Robben Island, Henley’s poem adorned a wall of his cell, a constant reminder that though his freedom had been taken from him, he remained “the captain of his soul“. The words of this poem, and their significance to Mandela, underscore a central point of contention in the debate about human free will. It seems to me that one problem with some arguments for compatibilism, the idea that determinism and human responsibility are compatible, is the conflating of freedom and free will. Mandela’s story is a powerful reminder that there is freedom beyond freedom. That is, it matters whether we are captains or merely observers of our souls.
Central to the plot of Clint Eastwood’s Invictus is William Ernest Henley’s short poem of the same name. Though the role of the poem suffers some historical revisionism in the film, its role in the life of Nelson Mandela is worth consideration. The film recounts the remarkable story of Mandela’s efforts at national reconciliation through his embrace of the South African rugby team, which at the time remained a symbol of Apartheid’s ethnic segregation. In 1996, when I returned for the first time to South Africa, my childhood home, some old friends shared with me how meaningful it was when Mandela appeared at Ellis Park donning the Springbok green and gold. I’m gratified that this remarkable story of reconciliation has made it to the screen, especially while Morgan Freeman is still with us. He was born to play Mandela. During Mandela’s long internment on Robben Island, Henley’s poem adorned a wall of his cell, a constant reminder that though his freedom had been taken from him, he remained “the captain of his soul“. The words of this poem, and their significance to Mandela, underscore a central point of contention in the debate about human free will. It seems to me that one problem with some arguments for compatibilism, the idea that determinism and human responsibility are compatible, is the conflating of freedom and free will. Mandela’s story is a powerful reminder that there is freedom beyond freedom. That is, it matters whether we are captains or merely observers of our souls.
Central to the plot of Clint Eastwood’s Invictus is William Ernest Henley’s short poem of the same name. Though the role of the poem suffers some historical revisionism in the film, its role in the life of Nelson Mandela is worth consideration. The film recounts the remarkable story of Mandela’s efforts at national reconciliation through his embrace of the South African rugby team, which at the time remained a symbol of Apartheid’s ethnic segregation. In 1996, when I returned for the first time to South Africa, my childhood home, some old friends shared with me how meaningful it was when Mandela appeared at Ellis Park donning the Springbok green and gold. I’m gratified that this remarkable story of reconciliation has made it to the screen, especially while Morgan Freeman is still with us. He was born to play Mandela. During Mandela’s long internment on Robben Island, Henley’s poem adorned a wall of his cell, a constant reminder that though his freedom had been taken from him, he remained “the captain of his soul“. The words of this poem, and their significance to Mandela, underscore a central point of contention in the debate about human free will. It seems to me that one problem with some arguments for compatibilism, the idea that determinism and human responsibility are compatible, is the conflating of freedom and free will. Mandela’s story is a powerful reminder that there is freedom beyond freedom. That is, it matters whether we are captains or merely observers of our souls.
Central to the plot of Clint Eastwood’s Invictus is William Ernest Henley’s short poem of the same name. Though the role of the poem suffers some historical revisionism in the film, its role in the life of Nelson Mandela is worth consideration. The film recounts the remarkable story of Mandela’s efforts at national reconciliation through his embrace of the South African rugby team, which at the time remained a symbol of Apartheid’s ethnic segregation. In 1996, when I returned for the first time to South Africa, my childhood home, some old friends shared with me how meaningful it was when Mandela appeared at Ellis Park donning the Springbok green and gold. I’m gratified that this remarkable story of reconciliation has made it to the screen, especially while Morgan Freeman is still with us. He was born to play Mandela. During Mandela’s long internment on Robben Island, Henley’s poem adorned a wall of his cell, a constant reminder that though his freedom had been taken from him, he remained “the captain of his soul“. The words of this poem, and their significance to Mandela, underscore a central point of contention in the debate about human free will. It seems to me that one problem with some arguments for compatibilism, the idea that determinism and human responsibility are compatible, is the conflating of freedom and free will. Mandela’s story is a powerful reminder that there is freedom beyond freedom. That is, it matters whether we are captains or merely observers of our souls.
Central to the plot of Clint Eastwood’s Invictus is William Ernest Henley’s short poem of the same name. Though the role of the poem suffers some historical revisionism in the film, its role in the life of Nelson Mandela is worth consideration. The film recounts the remarkable story of Mandela’s efforts at national reconciliation through his embrace of the South African rugby team, which at the time remained a symbol of Apartheid’s ethnic segregation. In 1996, when I returned for the first time to South Africa, my childhood home, some old friends shared with me how meaningful it was when Mandela appeared at Ellis Park donning the Springbok green and gold. I’m gratified that this remarkable story of reconciliation has made it to the screen, especially while Morgan Freeman is still with us. He was born to play Mandela. During Mandela’s long internment on Robben Island, Henley’s poem adorned a wall of his cell, a constant reminder that though his freedom had been taken from him, he remained “the captain of his soul“. The words of this poem, and their significance to Mandela, underscore a central point of contention in the debate about human free will. It seems to me that one problem with some arguments for compatibilism, the idea that determinism and human responsibility are compatible, is the conflating of freedom and free will. Mandela’s story is a powerful reminder that there is freedom beyond freedom. That is, it matters whether we are captains or merely observers of our souls.
“The backstory here is the on-going historical feud between those who view nature as perfect and those who view nature as evil. In the eighteenth century, for instance, the English natural theologians presented a decidedly optimistic, rosy version of the world, to which Hume responded that “A perpetual war is kindled amongst all living creatures,” and that nature is so arranged so as “to embitter the life of every living being.” So who is right? The answer, of course, is that both are right. Nature is both wonderful and dangerous at the same time. As usual the heresy is not in recognizing these obvious truths, but in emphasizing and dwelling on one side of the spectrum, to the exclusion of the other. Creation and Scripture—general revelation and special revelation—are studies in contrast. Science requires recognizing both sides of the contrast, and keeping them both in view together. Show me a cult, either religious or scientific, and I’ll show you people who are fixated on one end of a spectrum. The result is a lopsided theory that makes no sense.” “We Evolved To Be More Complex” Cornelius Hunter
“IT was the best of times,
IT was the worst of times,
it was the age of wisdom,
it was the age of foolishness,
it was the epoch of belief,
it was the epoch of incredulity,
it was the season of Light,
it was the season of Darkness,
it was the spring of hope,
it was the winter of despair,
we had everything before us,
we had nothing before us,
we were all going direct to Heaven,
we were all going direct the other way
— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”
Excerpt From: Charles Dickens. “A Tale of Two Cities.” iBooks. https://itun.es/us/DJ0Hy.l
"That the Medival Christian Church suppressed the Growth of Science", in Galileo Goes to Jail and Other Myths About Science and Religion, Ronald L. Numbers, ed. (Harvard University Press: December 8, 2010), pp. 21-2.
Put succinctly, the medieval period gave birth to the university, which developed with the active support of the papacy. This unusual institution sprang up rather spontaneously around famous masters in towns like Bologna, Paris, and Oxford before 1200. By 1500, about sixty universities were scattered throughout Europe. What is the significance of this development for our myth? About 30 percent of the medieval university curriculum covered subjects and texts concerned with the natural world. This was not a trivial development. The proliferation of universities between 1200 and 1500 meant that hundreds of thousands of students — a quarter million in the German universities alone from 1350 on — were exposed to science in the Greco-Arabic tradition. As the universities matured, the curriculum came to include more works by Latin masters who developed this tradition along original lines.
The antagonism we thus witness between Religion and Science is the continuation of a struggle that commenced when Christianity began to attain political power. A divine revelation must necessarily be intolerant of contradiction; it must repudiate all improvement in itself, and view with disdain that arising from the progressive intellectual development of man. But our opinions on every subject are continually liable to modification, from the irresistible advance of human knowledge. ¶ Can we exaggerate the importance of a contention in which every thoughtful person must take part whether he will or not? In a matter so solemn as that of religion, all men, whose temporal interests are not involved in existing institutions, earnestly desire to find the truth. They seek information as to the subjects in dispute, and as to the conduct of the disputants. ¶ The history of Science is not a mere record of isolated discoveries; it is a narrative of the conflict of two contending powers, the expansive force of the human intellect on one side, and the compression arising from traditionary faith and human interests on the other.
“Artistic value” or “quality” in a work of art is not merely a matter of personal opinion but to a high degree a matter of common agreement among artistically sensitive and trained observers and to a high degree objectively traceable. ¶ Our value judgment is a composite of “subjective” and “objective” elements. “Subjective” I cal those which are the purely personal response of an individual; “objective,” those which are agreed upon by trained observers
