The Big Lie: A Thesis on Modernity and Contemporary Intellectual History

The Big Lie: A Thesis on Modernity and Contemporary Intellectual History

I have recently been reflecting on the overwhelming role that lies play in the contemporary world and contemporary discourse.

When I say this, I do not primarily mean "lies" in a polemical sense, referring to ideas I do not like--though I will, I confess, engage in a great deal of polemics in this essay, in a manner sure to offend nearly everyone. I mean, rather, things that are acknowledged by all, including their creators, to be lies; and, in fact, to a great degree, are valued because they are lies.

In itself, this is not a new phenomenon, but a very basic intellectual and spiritual problem as old as the human race. Lies originate with the human intellect and will; and are therefore often more natively comfortable and congenial to it than truth. Lies provide the illusion of what we want; especially when what we want is merely control, power, freedom, which is to say, escape from the reality and goodness of things and the power they have over us through desire and fear. In its most benign form, this impulse merely leads to fiction; but much more malign forms have been a feature of human culture almost from the beginning. There is a reason why the Scriptures speak of the devil as the "father of lies," and define sin as "loving and making lies." Properly understood, to prefer a lie because it is a lie is only a cogent and philosophical name for Hell. 

Still, there can be little question that, in the year 2025, our cultural fixation with lies has accelerated to a point rarely, if ever, seen before in human civilization. Assorted smart people have, since the year 2016, been talking about our entrance into an allegedly "post-truth" era. In reality, we have been there for a while now, though there is no doubt that the Internet and smart phone proliferation have accelerated the process.

We are a people whose most basic activity, taking up more and more and ever more of our lives, consists in sitting alone and passively absorbing video and text and audio, nearly all of which is false in one sense or another, and nearly all of which we know is false. The characteristic forms of this modern fixation with lies are, as I have said many times before, advertising and pornography, the two (united) pillars of our culture--both of which are valued precisely because they take us into realms where truth simply has no meaning. The supposed "AI revolution" takes this cultural fixation so far that it may actually have permanently broken it, flooding the Internet with lies that are so obvious, so incoherent, and so unattractive that they threaten to undo the system altogether. 

I have more and more begun to suspect, however, that a certain preference for lies over truth is more or less a characteristic feature of modernity as such, going back to its origins. And I think I have perhaps come to understand some of the actual reasons for this preference: the Big Lie, so to speak, behind the lies.

I have put the above in terms of a preference for lies qua lies; and I think this is the most correct and philosophical way to put it. However, what I have called "lies" are a genus that has in the past five hundred years generally gone by other names; and put in its originating philosophical and religious and historical contexts, have very different connotations. To understand the preference, one must understand the context behind it; or, in other words, the Big Lie behind the lies. 

So here is the Big Lie, divided up into its essential nature, is variable embodiments, and various ways to understand and deal with it.

Death of the Son, EP 7: Apollon's Tale

Death of the Son, Episode Seven: Apollon's Tale

[Episode One; Episode Two; Episode Three; Episode Four; Episode Five; Episode Six]

When they reached Hosius' chambers again, after a long, silent tramp through the streets and corridors (Theodotus having to run to keep up with Hosius' heedless strides), the rooms were empty.

Theodotus glanced at Hosius in surprise, but the old man was still silent; after a few minutes, he crossed the sitting room into his private cell, and the door shut with a click. 

Theodotus shook his head in frustrated resignation. I demanded that we meet with Constantine; and he agreed. But he will need time to adjust to what we just discovered. 

Theodotus, though, needed no such time, at least in his own mind. He began pacing the floors of the chamber, around the chairs and tables piled with scrolls and codices, around and around and around.

So we are all doomed. Very soon now, Helena will leave Rome; and Constantine will learn what we have done. And if we do not reach him first...who knows what he will do? Perhaps he will send his soldiers here, and arrest us. Hosius and Eustathius will be disgraced; and I will be punished as a scapegoat for them all. And all I will have to comfort myself with is that I fulfilled my bishop's commands, that I upheld my penance, that I solved the puzzle. 

But how can I solve the puzzle? Helena instigated Fausta's death; about that there can be no doubt. But who else was involved? Who were these conspirators Constantine made use of, who were so afraid of her being publicly tried, who were so afraid of a secret she might tell?

The slave Flavius told me that a one-eyed man had led Fausta to her death; a martyr? A terrible thought...and then the slave-woman told me that a priest had accosted her, heard her story, and forgiven her sins, swearing her to silence; the same man, or another? And if he was not the same man, how would he have known what had taken place? Or even known to interrogate the slaves? 

Somewhere in this palace, there is another clergyman, or many perhaps, who knows as much as me, or more. But why? Is he responsible for what has happened, covering his tracks, or only curious? Is he an ally, or an enemy?

And still we are no closer to learning why Crispus himself was put to death. Helena blamed Fausta for instigating Crispus' death, to advance her own childrens' claim to the throne. But what evidence did she have? None at all. Hosius and Eustathius are engaged in theological controversy, with Eusebius and many others...they claim Crispus for an ally, but was he? They blame their theological opponents for his death, but what evidence do they have? None at all. 

It is all mirage, a phantom. This is not an investigation; it is a ghost story, a myth, a hall lined with mirrors. And why should it be an investigation at all? What mystery is it that Emperors kill? That men of violence commit violence? We clergy, so recently escaped from the Persecution, should know that better than anyone. And yet we wish to delude ourselves into believing Constantine is different;  just as we delude ourselves into believing that behind petty human wickedness, cruelty, violence, there is some higher purpose at work, for good or evil. The Persecution was not a plan of God, or the Devil; it was merely policy. There is no mystery in Constantine killing his son. Crispus was a war hero, a great general, a gifted administrator; a natural successor; a natural threat. Why shouldn't Constantine kill him?

And what am I doing here, now, in this palace, dressed in deacon's robes, investigating the death of Emperors at the command of a Christian bishop? I was only a poor man. The Tetrarchs made me a soldier, made me kill, for their own purposes. The old man drove me into the clergy for his own purposes. Vitalis made me work in the Episcopal Court for his own purposes. And then Eustathius, forced me to come here. He, too, is playing politics, stirring up controversy and conflict for his own reasons. He is an ideologue, a fanatic; such men are not to be trusted. He told me nothing. And I am less than a pawn.

He stopped walking abruptly, breathing heavily; and as if at a signal, the door opened, and Apollon tumbled into the room.