His is the face of a warrior for the human spirit

To be chosen as the subject of the first People’s Portrait was, as Simon Weston put it, a very humbling experience. But as he showed consistently throughout the beautifully crafted BBC film about the making of the portrait, he is a delightfully humble man.

But not in the way you might imagine I mean. Not passive or unctuous as in the mode of Dickens’ Uriah Heap. No. A strong humble. A servant with such a great commitment to helping people, inspiring people by his remarkable courage and frankness. He is not the classical hero figure rising up and charging towards a huge goal of his own imagining.

Simon Weston portrait

 

In one of the most telling of the conversations Fiona Bruce had with him, she asked him about his ambition… and he answered without the clarity of a determined fighter for a cause that “you’ll have to wait until I’m done” or words to that effect. He was non-specific because, I’d say having known him for nearly 25 years, that he is a man who ambitiously embraces many causes that uplift the human spirit, a warrior for good and justice. He doesn’t know what they are but when he finds them – or they him – he gives his all.

I’ve seen him on stages with young people as his audience but equally at home and compelling with the leaders of industry, commerce, medicine and the military. And he is writing children’s stories too.

All about uplifting as he was uplifted by his mother, his Welsh community and all the medics who worked on his face and body. It’s as if he is passing on the kindness and inspiration that he received to so many others.

His portrait is of a strong man with a chuckle of humour in the eye and one gnarled hand resting gently on the oak chair, the other unassumingly holding his medals. It is a fitting tribute indeed. The nation thanks you for painting him so powerfully, Nicky Phillips.

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One thought on “His is the face of a warrior for the human spirit

  1. On William James and changing perception:

    ‘James argues that emotion is not prior to its expression but identical with it, and that emotion can be limited by the decision to contain its expression. In his view, this would not mean its suppression, an idea that takes an emotion to be a fixed quantity that will either be expended in some proportion to its strength, or will be put out of sight, to fester or to distort the consciousness forced to contain it. Rather, he says, composure diminishes fear, calm dissipates anger. Over time or from a little distance the nature of the emotion will change—”Refuse to express a passion, and it dies.” And, as a corollary, “if we wish to conquer undesirable emotional tendencies in ourselves, we must assiduously, and in the first instance cold-bloodedly, go through the outward motions of those contrary dispositions we prefer to cultivate,” kindliness, cheerfulness and geniality, for example. He knows he is repeating a commonplace. He says, “there is no more valuable precept in moral education than this.” So he has no doubt seen instances of cold-blooded kindliness and probably dealt in it himself.’

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