Let us pass on now to theatrical exhibitions, which we have already shown have a common p. 84 origin with the circus, and bear like idolatrous designations—even as from the first they have borne the name of “Ludi,” and equally minister to idols. They resemble each other also in their pomp, having the same procession to the scene of their display from temples and altars, and that mournful profusion of incense and blood, with music of pipes and trumpets, all under the direction of the soothsayer and the undertaker, those two foul masters of funeral rites and sacrifices. So as we went on from the origin of the “Ludi” to the circus games, we shall now direct our course thence to those of the theatre, beginning with the place of exhibition. At first the theatre was properly a temple of Venus; and, to speak briefly, it was owing to this that stage performances were allowed to escape censure, and got a footing in the world. For ofttimes the censors, in the interests of morality, put down above all the rising theatres, foreseeing, as they did, that there was great danger of their leading to a general profligacy; so that already, from this accordance of their own people with us, there is a witness to the heathen, and in the anticipatory judgment of human knowledge even a confirmation of our views. Accordingly Pompey the Great, less only than his theatre, when he had erected that citadel of all impurities, fearing some time or other censorian condemnation of his memory, superposed on it a temple of Venus; and summoning by public proclamation the people to its consecration, he called it not a theatre, but a temple, “under which,” said he, “we have placed tiers of seats for viewing the shows.” So he threw a veil over a structure on which condemnation had been often passed, and which is ever to be held in reprobation, by pretending that it was a sacred place; and by means of superstition he blinded the eyes of a virtuous discipline. But Venus and Bacchus are close allies. These two evil spirits are in sworn confederacy with each other, as the patrons of drunkenness and lust. So the theatre of Venus is as well the house of Bacchus: for they properly gave the name of Liberalia also to other theatrical amusements—which besides being consecrated to Bacchus (as were the Dionysia of the Greeks), were instituted by him; and, without doubt, the performances of the theatre have the common patronage of these two deities. That immodesty of gesture and attire which so specially and peculiarly characterizes the stage are consecrated to them—the one deity wanton by her sex, the other by his drapery; while its services of voice, and song, and lute, and pipe, belong to Apollos, and Muses, and Minervas, and Mercuries. You will hate, O Christian, the things whose authors must be the objects of your utter detestation. So we would now make a remark about the arts of the theatre, about the things also whose authors in the names we execrate. We know that the names of the dead are nothing, as are their images; but we know well enough, too, who, when images are set up, under these names carry on their wicked work, and exult in the homage rendered to them, and pretend to be divine—none other than spirits accursed, than devils. We see, therefore, that the arts also are consecrated to the service of the beings who dwell in the names of their founders; and that things cannot be held free from the taint of idolatry whose inventors have got a place among the gods for their discoveries. Nay, as regards the arts, we ought to have gone further back, and barred all further argument by the position that the demons, predetermining in their own interests from the first, among other evils of idolatry, the pollutions of the public shows, with the object of drawing man away from his Lord and binding him to their own service, carried out their purpose by bestowing on him the artistic gifts which the shows require. For none but themselves would have made provision and preparation for the objects they had in view; nor would they have given the arts to the world by any but those in whose names, and images, and histories they set up for their own ends the artifice of consecration.
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