CONCERNING PARTICIPATION IN PUBLIC SHOWS
EXCERPTS FROM TERTULLIAN
EXCERPTS FROM EARLY CHURCH FATHERS
Tertullian on practical issues
35. Concerning
caution against idolatry.
36. Concerning participation in public shows.
37. On the image of the Christian preacher.
38. Concerning patience.
39. On the proper behaviour of Christian women.
40. Concerning modesty.
36. CONCERNING PARTICIPATION IN PUBLIC SHOWS
How skilful a pleader seems human wisdom to herself, especially if she has the fear of losing any of her delights -any of the sweet enjoyments of worldly existence! In fact, you will find not a few whom the imperilling of their pleasures rather than their life holds back from us (De spectaculis, 2).
Fortified by this knowledge against heathen views, let us rather turn to the unworthy reasonings of our own people; for the faith of some, either too simple or too scrupulous, demands direct authority from Scripture for giving up the shows, and holds out that the matter is a doubtful one, because such abstinence is not clearly and in words imposed upon God's servants (De spectaculis, 3).
Well, is it not in connection with idolatry, above all, that you have the devil with his pomp and his angels? from which, to speak. Briefly -for I do not wish to dilate- you have every unclean and wicked spirit. If, therefore, it shall be made plain that the entire apparatus of the shows is based upon idolatry, beyond all doubt that will carry with it the conclusion that our renunciatory testimony in the layer of baptism has reference to the shows, which, through their idolatry, have been given over to the devil, and his pomp, and his angels (De spectaculis, 4).
It may be grand or mean, no matter, any circus procession whatever is offensive to God. Though there be few images to grace it, there is idolatry in one; though there be no more than a single sacred car, it is a chariot of Jupiter: anything of idolatry whatever, whether meanly arrayed or modestly rich and gorgeous, taints it in its origin (De spectaculis, 7).
The places in themselves do not contaminate, but what is done in them; from this even the places themselves, we maintain, become defiled. The polluted things pollute us (De spectaculis, 8).
Let us pass on now to theatrical exhibitions, which we have already shown have a common 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 ... 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 (De spectaculis, 10).
What need, then, of dwelling on the place of horrors, which is too much even for the tongue of the perjurer? For the amphitheatre is consecrated to names more numerous and more dire than is the Capitol itself, temple of all demons as it is. There are as many unclean spirits there as it holds men (De spectaculis, 12).
Then, too, where you have rivalry, you have rage, bitterness, wrath and grief, with all bad things which flow from them -the whole entirely out of keeping with the religion of Christ. For even suppose one should enjoy the shows in a moderate way, as befits his rank, age or nature, still he is not undisturbed in mind, without some unuttered movings of the inner man. No one partakes of pleasures such as these without their strong excitements; no one comes under their excitements without their natural lapses (De spectaculis, 15).
See the people coming to it already under strong emotion, already tumultuous, already passion-blind, already agitated about their bets. The praetor is too slow for them: their eyes are ever rolling as though along with the lots in his urn; then they hang all eager on the signal; there is the united shout of a common madness. Observe how "out of themselves" they are by their foolish speeches. "He has thrown it!" they exclaim; and they announce each one to his neighbour what all have seen (De spectaculis, 16).
You have the theatre forbidden, then, in the forbidding of immodesty. If, again, we despise the teaching of secular literature as being foolishness in God's eyes, our duty is plain enough in regard to those spectacles, which from this source derive the tragic or comic play. If tragedies and comedies are the bloody and wanton, the impious and licentious inventors of crimes and lusts, it is not good even that there should be any calling to remembrance the atrocious or the vile (De spectaculis, 17).
You will never give your approval to those foolish racing and throwing feats, and yet more foolish leapings; you will never find pleasure in injurious or useless exhibitions of strength; certainly you will not regard with approval those efforts after an artificial body which aim at surpassing the Creator's work; and you will have the very opposite of complacency in the athletes Greece, in the inactivity of peace, feeds up. And the wrestler's art is a devil's thing (De spectaculis, 18).
At any rate, gladiators not chargeable with crime are offered in sale for the games, that they may become the victims of the public pleasure. Even in the case of those who are judicially condemned to the amphitheatre, what a monstrous thing it is, that, in undergoing their punishment, they, from some less serious delinquency, advance to the criminality of manslayers! (De spectaculis, 19).
Condemning, therefore, as He does hypocrisy in every form, He never will approve any putting on of voice, or sex, or age; He never will approve pretended loves, and wraths, and groans, and tears. Then, too, as in His law it is declared that the man is cursed who attires himself in female garments, what must be His judgment of the pantomime, who is even brought up to play the woman! And will the boxer go unpunished? (De spectaculis, 23).
Seated where there is nothing of God, will one be thinking of his Maker? Will there be peace in his soul when there is eager strife there for a charioteer? Wrought up into a frenzied excitement, will he learn to be modest? ... When a tragic actor is declaiming, will one be giving thought to prophetic appeals? Amid the measures of the effeminate player, will he call up to himself a psalm? (De spectaculis, 25).
Even as things are, if your thought is to spend this period of existence in enjoyments, how are you so ungrateful as to reckon insufficient, as not thankfully to recognize the many and exquisite pleasures God has bestowed upon you? For what more delightful than to have God the Father and our Lord at peace with us, than revelation of the truth than confession of our errors, than pardon of the innumerable sins of our past life? What greater pleasure than distaste of pleasure itself, contempt of all that the world can give, true liberty, a pure conscience, a contented life, and freedom from all fear of death? What nobler than to tread under foot the gods of the nations -to exorcise evil spirits- to perform cures -to seek divine revealings- to live to God? These are the pleasures, these the spectacles that befit Christian men-holy, everlasting, free. Count of these as your circus games (De spectaculis, 29).
But what a spectacle is that fast-approaching advent of our Lord, now owned by all, now highly exalted, now a triumphant One! ... What there excites my admiration? what my derision? Which sight gives me joy? which rouses me to exultation?-as I see so many illustrious monarchs, whose reception into the heavens was publicly announced, groaning now in the lowest darkness with great Jove himself (De spectaculis, 30).
What world's wise men besides, the very philosophers, in fact, who taught their followers that God had no concern in ought that is sublunary, and were wont to assure them that either they had no souls, or that they would never return to the bodies which at death they had left, now covered with shame before the poor deluded ones, as one fire consumes them! Poets also, trembling not before the judgment-seat of Rhadamanthus or Minos, but of the unexpected Christ! I shall have a better opportunity then of hearing the tragedians, louder-voiced in their own calamity; of viewing the play-actors, much more "dissolute" in the dissolving flame; of looking upon the charioteer, all glowing in his chariot of fire; of beholding the wrestlers, not in their gymnasia, but tossing in the fiery billows; unless even then I shall not care to attend to such ministers of sin, in my eager wish rather to fix a gaze insatiable on those whose fury vented itself against the Lord (De spectaculis, 30).
Tertullian is traditionally regarded as a fiery apologist of unknown biography who burst into Latin Christianity, in the reign of Septimius Severus, with a number of remarkable treatises that he composed over a relatively short period of time, after which he fizzled out for the rest of his long-lasting life. Surprisingly, he focused his attacks on a Greek painter, and also fought some other unfamiliar character that could not share his admiration for a strange group of visionaries who lived in Phrygia long time since. Some less demanding section of the clergy unleashed his fury no less than an otherwise unrecorded persecution of Christians. Not only himself but also his epoch is elusive. Ruthless opponents of the bishop Cyprian, who fled Carthage when Decius launched his anti-Christian campaign, followed his guidelines in a religious confrontation closely mirroring the subsequent Donatist controversy that flared up in Africa after Diocletian’s resignation. Following his unrelenting defence of the orthodox stance and his proscription of all heretics, at some point in time he supposedly forsook the Church Catholic to follow the ridiculous directions and put up with the frivolities of a gang of false prophets. Such two hardly compatible stages in his career were not successive but widely overlapping.
A quite different approach is presented in Did Tertullian really exist? Did Cyprian? Did Hippolytus? according to which the efforts of early 4th-century African and Roman rigorists, forcefully denouncing an entrenched ecclesiastical body intent on preserving its former privileged position in the Church in spite of the disappointing behaviour of many of its members in times of harassment, along with the reaction of the hierarchical organization under attack, gave rise to the purported works of their respective literary champions, which conveniently came down from the preceding century to the assistance of Donatists and Caecilianists.