I think Sartre summed this up succinctly by saying that "evil is irredeemable". I agree entirely that no amount of pie in the sky when you die jollies can negate the very real horrors of this life. However, Steve has a point when he says that firm believers of former ages perhaps did not have the same extent of horror of mortal suffering simply because they believed what they did - that is to say, there was a strong psychological component which mitigated the realities of their worldly conditions. I suspect that Mozart, Bach and Beethoven might not have been able to withstand their less than pleasant worldly circumstances and compose what they did without the spiritual beliefs they held. But I'm open to be persuaded otherwise.
Lovely post - saddled with all sorts of wrong, as I hope to demonstrate, but the sort of intelligent and thoughtful, obviously thought-through response I cherish.
True about Sartre. Mozart as far as we can tell was a believer; Bach certainly a staunch one. Less clear cut in the case of Beethoven - definitely raised Catholic; in adult life ... well, take your pick; more than one commentator has called him a pantheist (Ninth Symphony etc.). I have a suspicion that there's something of an appeal to antiquity quietly hidden in here, though; who is to say that the works of (to pick a few random examples off the top of my hat) Tippett, Shostakovich, Vaughan Williams and so forth - all avowed non-believers - have less of the awe-full and "transcendent" (loaded term, with which I have problems) than those? I can only speak for myself here given that art is so subjective a thing, but I can only say that the end of RVW's
Pilgrim's Progress, or "Deep River" at the end of
A Child of Our Time reduce me to a snotty, blubbering ugly mess in a way that Bach never has.
What this says ... I don't know. I could draw grand conclusions, but they would be subjective and unsupportable so I shall refrain.