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They therefore oppose God in his purpose of dignifying the body of man, first who violate, and mangle this body, which is the organ in which God breathes, and they also which pollute and defile this body, in which Christ Jesus is apparelled; and they likewise who prophane this body, which is the Holy Ghost, and the high Priest, inhabits, and consecrates.
Transgressors that put God’s organ out of tune, that discompose and tear the body of man with violence, are those inhuman persecutors who with racks and tortures and prisons and fires and exquisite inquisitions throw down the bodies of the true God’s servants to the idolatrous worship of their imaginary gods, that torture men into Hell and carry them through the inquisition into damnation. St Augustine moves a question, and institutes a disputation, and carries it somewhat problematically, whether torture be to be admitted at all, or no. That presents a fair probability which he says against it. We presume, says he, that an innocent man should accuse himself, by confession, in torture. And if an innocent man be able to do so, why should we not think that a guilty man, who shall save his life by holding his tongue in torture, should be able to do so?
And then, where is the use of torture? It is a slippery trial and uncertain (says Ulpian) to convince by torture. For many says (says St Augustine again) he that is yet but questioned, whether he be guilty or no, before that be known, is, without all question, miserably tortured. And whereas, many time, the passion of the Judge, and the covetousness of the Judge, and the ambition of the Judge, are calamities heavy enough upon a man that is accused. If the Judge knew that he were innocent, he should suffer nothing. If he knew he were guilty, he should not suffer torture. But because the Judge is ignorant and knows nothing, therefore the prisoner must be racked and tortured and mangled.
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”