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The Bourgeois Virtues: Ethics for an Age of Commerce

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the storied character <strong>of</strong> virtue 273Indeed, coaching itself has no <strong>for</strong>mulas, or else great coaches would be adime a dozen. 8 Ted Williams’s book, <strong>The</strong> Science <strong>of</strong> Hitting, <strong>of</strong>fers precepts<strong>for</strong> life as much as <strong>for</strong> “the single most difficult thing to do in sport”—hitting a major-league fastball. 9 To achieve in hitting you need to witness<strong>an</strong>d then to imitate Williams’s swing, among the wonders <strong>of</strong> mid-twentiethcenturysports. But you need to do it, <strong>an</strong>d keep doing it, supported by aboy’s myth <strong>of</strong> excellence. It was a story Williams told to himself, a story <strong>of</strong>his ethical character, not a decision-making <strong>for</strong>mula. <strong>The</strong> story kept him atbatting practice until his h<strong>an</strong>ds bled.<strong>The</strong> character thus <strong>for</strong>med I say applies to more th<strong>an</strong> baseball. In 1995 ata conference org<strong>an</strong>ized by the rhetorici<strong>an</strong> Herbert Simons I heard a paperby Linda Brodkey about teaching writing called “Writing on the Bias.” Brodkeytold how she learned to write by watching her mother sew. Her motherwas a gifted seamstress <strong>an</strong>d could cut cloth “on the bias” to give a dress agraceful drape. <strong>The</strong> daughter learned to write—<strong>an</strong>d she writes well—bytr<strong>an</strong>slating the virtues <strong>of</strong> dressmaking into the virtues <strong>of</strong> writing. 10Likewise I learned how to do academic tasks—actually <strong>an</strong>y task—bywatching my mother do carpentry or sewing or cooking or learning Greekirregular verbs, witnessing the virtues <strong>of</strong> hope <strong>an</strong>d courage operating inthem. Try learning to sew or write or hit a major-league fastball by followingthe categorical imperative, or the greatest happiness <strong>of</strong> the greatestnumber. Try learning with those ideas to be “good” in <strong>an</strong>y sense. <strong>The</strong>y don’twork.We build our characters story by story. In the rom<strong>an</strong>tic comedy written<strong>an</strong>d directed by Harold Ramis, Groundhog Day (1993), the Bill Murray character,a self-centered jerk <strong>of</strong> a TV weatherm<strong>an</strong>, is condemned to relive hisFebruary 2 <strong>of</strong> 1992 over <strong>an</strong>d over <strong>an</strong>d over again. At first he sins deliciously,indulging in tablefuls <strong>of</strong> food <strong>for</strong> example, three hot fudge sundaes, a bigstack <strong>of</strong> p<strong>an</strong>cakes, a plate full <strong>of</strong> bacon. “Don’t you worry about love h<strong>an</strong>dles?”Not if after the intemper<strong>an</strong>ce the clock is always turned back to a new6:00 a.m. <strong>of</strong> the very same Groundhog Day, to the same bright chatter <strong>of</strong> awake-up show predicting c-o-l-d in Punxsutawney, PA. Phil’s motto is toeat, drink, <strong>an</strong>d be merry, <strong>for</strong> tomorrow will be today all over again.He is the only person on the scene who remembers all his yester-todays.So by reliving the day he c<strong>an</strong> correct each false move in achieving pleasure,as in his attempted seduction <strong>of</strong> his TV colleague, the Andie MacDowellcharacter. He learns, <strong>for</strong> inst<strong>an</strong>ce, that she always orders sweet vermouth on

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