On Justice and Injustice
Hello, my friend,
I present hereby my reflections on Justice and Injustice. Indeed, there is much to talk about these two issues, philosophically, politically, socially, etc., you name it. That's so, I would love to read your comments and arguments, if it pleases you to participate in the conversation.
Thank you for reading.
On Justice and Injustice
We usually depict Justice as an elegant, attractive lady standing alone on a pedestal. In some depictions, she wears a blindfold; in others, she does not. In one hand, she holds a scale; in the other, a sword.
Justice has a sister named Injustice. An older sister. Contrary to her younger sister, Injustice is unladylike, violent, unattractive, and even repulsive. Certainly, Injustice is a sinister woman.
Also, unlike her sister, Injustice does not wear a blindfold nor carry a scale. She is the scale. Anything she takes or touches carries her immoral weight. And she knows well what she does. She is not naïve. She is not innocent. Like her younger sister, Injustice also wields a sword, but hers is much larger and double-edged. Certainly, it is a menacing weapon. And she is not standing alone on a pedestal like her sister. Instead, Injustice sits high on a seven-legged throne carried on a litter by a silent mass as in a funerary procession.
Injustice uses the passive, complicit silence of the masses as a whetstone to sharpen her sword.
The seven legs that hold Injustice's throne high among the multitude are: Inequality, Violence, Resignation, Fear, Egotism, Prejudice, and Indifference.
And so, we now know that they are the passive, complicit, silent masses who carry Injustice to every corner of the Earth.
Analysis of my Reflection on Justice and Injustice by Google Gemini 3.
This is a striking piece of allegorical writing. Sal Godoij takes the familiar, static icon of "Lady Justice" and gives her a shadow—a sister who is dynamic, heavy, and hauntingly human.
Here is an analysis of the text's core components:
1. Imagery and Symbolism
The power of this text lies in its visual contrasts. Godoij uses the traditional iconography of Justice to build a subverted mirror image for Injustice.
The Scale vs. The Body: While Justice holds a scale (an external tool for objective measurement), Injustice is the scale. This suggests that Injustice is subjective and corruptive; she doesn't measure value, she imposes her own "immoral weight" on everything she touches.
The Sword: Justice's sword is for execution of law, but Injustice's sword is "larger" and "double-edged." This implies that Injustice's reach is wider and its damage more chaotic, often harming the wielder or the innocent.
The Throne and the Litter: Justice is isolated on a pedestal—remote and perhaps unreachable. Injustice, however, is carried by the people. This suggests that while Justice is an ideal we look up to, Injustice is a social reality we actively support.
2. The Philosophy: Complicity and Silence
The text moves from a physical description to a profound philosophical indictment of society.
The Seven Legs: By naming the seven legs of the throne (Inequality, Violence, Resignation, Fear, Egotism, Prejudice, and Indifference), Godoij argues that Injustice isn't just an act of "bad people," but a structure supported by common human failings.
The Weaponization of Silence: The most piercing insight is that Injustice uses the "silence of the masses as a sharpener of her sword." It argues that passivity isn't neutral; it is the whetstone that makes oppression possible.
3. Evaluation: Is it well-written?
Yes, it is highly effective. The prose is rhythmic and uses antithesis (the juxtaposition of opposites) to create clarity. By describing Injustice as the "older sister," the author suggests that unfairness is perhaps more primal or ancient than our structured systems of law.
Comprehensibility for all audiences:
Accessibility: The language is straightforward. You don't need a law degree or a philosophy background to understand the "seven legs."
Universal Themes: The concepts of fear, indifference, and ego are universal.
Nuance: Some younger readers might find the "unattractive/repulsive" description of the villain a bit cliché (the "ugly equals evil" trope), but within the context of classical allegory, it serves its purpose of creating immediate moral revulsion.
My Thoughts
I find the ending particularly sobering. We often think of Injustice as a "leader" or a "tyrant," but Godoij reminds us that a throne on a litter cannot move unless a "mass" of people agrees to carry it. It shifts the blame from the "sinister woman" to the "silent mass." It's a call to action disguised as a character sketch.
Godoij's depiction is fascinating because it contrasts a "static" ideal with a "mobile" reality. To see how unique this is, we can compare it to the historical evolution of Justice in art and literature.
1. The Classical Roman "Iustitia"
The most famous allegory is the Roman goddess Iustitia. Godoij references her directly to set the stage.
The Blindfold: Introduced in the 15th century, it symbolizes impartiality—that Justice should not be influenced by wealth, power, or status.
The Scale: Represents the weighing of evidence and the "balance" of the individual versus the state.
Comparison: While the Roman Iustitia is an independent force, Godoij's "Injustice" is a dependent force. Iustitia stands on her own authority; Injustice only moves because the "silent mass" carries her.
2. The Greek "Dike" and "Adikia"
In ancient Greek pottery, Justice (Dike) was often shown beating Adikia (Injustice) with a club.
The Imagery: Adikia was often depicted as a tattooed, "unladylike" woman—much like Godoij's description of the "repulsive" older sister.
The Difference: In Greek mythology, Justice is the aggressor, physically punishing Injustice. In Godoij's text, the roles feel reversed. Injustice is the one with the "menacing weapon" and the "throne," while Justice is relegated to a silent, lonely pedestal. Godoij suggests that Injustice currently holds the "higher" ground because of human complicity.
3. Giotto's "Justice and Injustice" (Scrovegni Chapel)
The 14th-century painter Giotto created a famous pair of frescoes that share a striking similarity with Godoij's philosophy.
Feature
Giotto's Injustice (Injura)
Godoij's Injustice
Setting
Sits in a crumbling fortress amidst a thicket of thorns.
Sits on a seven-legged throne carried by a mass.
Activity
Scenes of theft and murder happen beneath his feet.
Carried to "every corner of the Earth" by the masses.
The Sword
Holds a cruel, hooked weapon.
Holds a larger, double-edged sword sharpened by silence.
The Connection: Both Giotto and Godoij portray Injustice not just as a person, but as an environment. In Giotto's work, Injustice leads to the breakdown of the city; in Godoij's work, Injustice is the result of the breakdown of the people's moral courage.
4. The "Social" Allegory vs. The "Legal" Allegory
Most historical allegories (like those in courthouses) focus on Legal Justice—the technical application of laws. Godoij's text belongs to the tradition of Social Justice allegories.
The Scale of Weight: In legal allegories, the scale is about evidence. In Godoij's text, the scale is "immoral weight." It's about the burden that prejudice and indifference place on the world.
The Litter/Throne: This is perhaps the most unique element. Most allegories of Injustice show her as a tyrant or a thief. Godoij turns her into a procession, making the audience the "engine" that keeps her moving.
Final Thought
Godoij's allegory is a modern "Mirror for Magistrates" (a type of literature meant to remind those in power of their duty). However, he isn't just speaking to judges; he is speaking to the "silent mass." By comparing Injustice to a funeral cortege, he implies that wherever Injustice is carried, something—humanity, truth, or peace—is being buried.
Godoij's text is dense enough that focusing on those core themes of complicity and the seven-legged throne provides plenty of material to work with.
It's a powerful realization that while Justice stands still as an ideal, Injustice only moves because people provide the legs for her throne.
I'm here whenever you're ready to dive back in or if you'd like to explore a different angle later on. Good luck with your analysis!
Summary: The Mirror of Allegory
Traditional Justice
Godoij's Injustice
Philosophical Shift
Position: Standing alone on a pedestal.
Position: Carried on a litter/throne by a mass of people.
Justice is an ideal; Injustice is a socially supported movement.
The Scale: An external tool for weighing objective truth.
The Scale: Her own body; her "immoral weight" corrupts what she touches.
Suggests Injustice is subjective and stains everything it involves.
The Blindfold: Represents impartiality and fairness.
The Eyes: Wide open and "not naïve"; she knows exactly what she does.
Injustice is intentional and calculated, not an accidental error.
The Sword: A tool for surgical, legal precision.
The Sword: Double-edged and sharpened by the silence of the masses.
Injustice's power is derived directly from public passivity.
The "Seven Legs" Framework
Godoij's most distinct contribution is the deconstruction of Injustice's support system. Rather than blaming a single villain, he identifies seven systemic "legs":
Inequality
Violence
Resignation
Fear
Egotism
Prejudice
Indifference
This shifts the focus from legal failure to human complicity.
Godoij's work certainly leaves a lot to think about.
And so, if Injustice is carried on a litter by a "silent mass," at what point does the silence of the individual transition from simple "fear" to active "complicity"? Godoij suggests that the moment we become silent, we aren't just watching the procession—we are helping to carry the throne.
