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Tertullian: De Spectaculis, Chapter XIII and XIV

Chapter XIII.

We have, I think, faithfully carried out our plan of showing in how many different ways the sin of idolatry clings to the shows, in respect of their origins, their titles, their equipments, their places of celebration, their arts; and we may hold it as a thing beyond all doubt, that for us who have twice renounced all idols, they are utterly unsuitable. “Not that an idol is anything," as the apostle says, but that the homage they render is to demons, who are the real occupants of these consecrated images, whether of dead men or (as they think) of gods. On this account, therefore, because they have a common source—for their dead and their deities are one—we abstain from both idolatries.  Nor do we dislike the temples less than the monuments: we have nothing to do with either altar, we adore neither image; we do not offer sacrifices to the gods, and we make no funeral oblations to the departed; nay, we do not partake of what is offered either in the one case or the other, for we cannot partake of God’s feast and the feast of devils. If, then, we keep throat and belly free from such defilements, how much more do we withhold our nobler parts, our ears and eyes, from the idolatrous and funereal enjoyments, which are not passed through the body, but are digested in the very spirit and soul, whose purity, much more than that of our bodily organs, God has a right to claim from us.

Chapter XIV.

Having sufficiently established the charge of idolatry, which alone ought to be reason enough for our giving up the shows, let us now ex abundanti look at the subject in another way, for the sake of those especially who keep themselves comfortable in the thought that the abstinence we urge is not in so many words enjoined, as if in the condemnation of the lusts of the world there was not involved a sufficient declaration against all these amusements. For as there is a lust of money, or rank, or eating, or impure enjoyment, or glory, so there is also a lust of pleasure. But the show is just a sort of pleasure. I think, then, that under the general designation of lusts, pleasures are included; in like manner, under the general idea of pleasures, you have as a specific class the “shows.” But we have spoken already of how it is with the places of exhibition, that they are not polluting in themselves, but owing to the things that are done in them from which they imbibe impurity, and then spirt it again on others.

James 4:10

 

James 4:10 (World English Bible)

 

Humble yourselves in the sight of the Lord, and he will exalt you.

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James 4 (KJV)

(I) Come to Jesus

 

Tertullian: De Spectaculis, Chapter XI and XII

Chapter XI.

In fulfilment of our plan, let us now go on to consider the combats.  Their origin is akin to that of the games (ludi). Hence they are kept as either sacred or funereal, as they have been instituted in honour of the idol-gods of the nations or of the dead.  Thus, too, they are called Olympian in honour of Jupiter, known at Rome as the Capitoline; Nemean, in honour of Hercules; Isthmian, in honour of Neptune; the rest mortuarii, as belonging to the dead. What wonder, then, if idolatry pollutes the combat-parade with profane crowns, with sacerdotal chiefs, with attendants belonging to the various colleges, last of all with the blood of its sacrifices? To add a completing word about the “place”—in the common place for the college of the arts sacred to the Muses, and Apollo, and Minerva, and also for that of the arts dedicated to Mars, they with contest and sound of trumpet emulate the circus in the arena, which is a real temple—I mean of the god whose festivals it celebrates. The gymnastic arts also originated with their Castors, and Herculeses, and Mercuries.

Chapter XII.

It remains for us to examine the “spectacle” most noted of all, and in highest favour. It is called a dutiful service (munus), from its being an office, for it bears the name of “officium” as well as “munus.” The ancients thought that in this solemnity they rendered offices to the dead; at a later period, with a cruelty more refined, they somewhat modified its character.  For formerly, in the belief that the souls of the departed were appeased by human blood, they were in the habit of buying captives or slaves of wicked disposition, and immolating them in their funeral obsequies. Afterwards they thought good to throw the veil of pleasure over their iniquity. Those, therefore, whom they had provided for the combat, and then trained in arms as best they could, only that they might learn to die, they, on the funeral day, killed at the places of sepulture. They alleviated death by murders. Such is the origin of the “Munus.” But by degrees their refinement came up to their cruelty; for these human wild beasts could not find pleasure exquisite enough, save in the spectacle of men torn to pieces by wild beasts. Offerings to propitiate the dead then were regarded as belonging to the class of funeral sacrifices; and these are idolatry: for idolatry, in fact, is a sort of homage to the departed; the one as well as the other is a service to dead men. Moreover, demons have abode in the images of the dead. To refer also to the matter of names, though this sort of exhibition has passed from honours of the dead to honours of the living, I mean, to quæstorships and magistracies—to priestly offices of different kinds; yet, since idolatry still cleaves to the dignity’s name, whatever is done in its name partakes of its impurity. The same remark will apply to the procession of the “Munus,” as we look at that in the pomp which is connected with these honours themselves; for the purple robes, the fasces, the fillets, the crowns, the proclamations too, and edicts, the sacred feasts of the day before, are not without the pomp of the devil, without invitation of demons. 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. To conclude with a single remark about the arts which have a place in it, we know that its two sorts of amusement have for their patrons Mars and Diana.

Philippians 4:8

Philippians 4:8 (World English Bible)

 

Finally, brothers, whatever things are true, whatever things are honorable, whatever things are just, whatever things are pure, whatever things are lovely, whatever things are of good report: if there is any virtue and if there is any praise, think about these things.

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Philippians 4 (KJV)

Praise To The Lord (2)

 

Tertullian: De Spectaculis, Chapter IX and X

Chapter IX.

Now as to the kind of performances peculiar to the circus exhibitions. In former days equestrianism was practised in a simple way on horseback, and certainly its ordinary use had nothing sinful in it; but when it was dragged into the games, it passed from the service of God into the employment of demons.  Accordingly this kind of circus performances is regarded as sacred to Castor and Pollux, to whom, Stesichorus tells us, horses were given by Mercury. And Neptune, too, is an equestrian deity, by the Greeks called Hippius.  In regard to the team, they have consecrated the chariot and four to the sun; the chariot and pair to the moon.  But, as the poet has it, “Erichthonius first dared to yoke four horses to the chariot, and to ride upon its wheels with victorious swiftness.” Erichthonius, the son of Vulcan and Minerva, fruit of unworthy passion upon earth, is a demon-monster, nay, the devil himself, and no mere snake. But if Trochilus the Argive is maker of the first chariot, he dedicated that work of his to Juno. If Romulus first exhibited the four-horse chariot at Rome, he too, I think, has a place given him among idols, at least if he and Quirinus are the same. But as chariots had such inventors, the charioteers were naturally dressed, too, in the colours of idolatry; for at first these were only two, namely white and red,—the former sacred to the winter with its glistening snows, the latter sacred to the summer with its ruddy sun: but afterwards, in the progress of luxury as well as of superstition, red was dedicated by some to Mars, and white by others to the Zephyrs, while green was given to Mother Earth, or spring, and azure to the sky and sea, or autumn. But as idolatry of every kind is condemned by God, that form of it surely shares the condemnation which is offered to the elements of nature.

Chapter X.

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.  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.

Matthew 7:7-8

Matthew 7:7-8 (World English Bible)

 

“Ask, and it will be given you. Seek, and you will find. Knock, and it will be opened for you. For everyone who asks receives. He who seeks finds. To him who knocks it will be opened.

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Matthew 7 (WEB)

Seek Ye First

 

Tertullian: De Spectaculis, Chapter VII & VIII

Chapter VII.

The two kinds of public games, then, have one origin; and they have common names, as owning the same parentage. So, too, as they are equally tainted with the sin of idolatry, their foundress, they must needs be like each other in their pomp. But the more ambitious preliminary display of the circus games to which the name procession specially belongs, is in itself the proof to whom the whole thing appertains, in the many images the long line of statues, the chariots of all sorts, the thrones, the crowns, the dresses. What high religious rites besides, what sacrifices precede, come between, and follow. How many guilds, how many priesthoods, how many offices are set astir, is known to the inhabitants of the great city in which the demon convention has its headquarters. If these things are done in humbler style in the provinces, in accordance with their inferior means, still all circus games must be counted as belonging to that from which they are derived; the fountain from which they spring defiles them. The tiny streamlet from its very spring-head, the little twig from its very budding, contains in it the essential nature of its origin. 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.

Chapter VIII.

To follow out my plan in regard to places: the circus is chiefly consecrated to the Sun, whose temple stands in the middle of it, and whose image shines forth from its temple summit; for they have not thought it proper to pay sacred honours underneath a roof to an object they have itself in open space. Those who assert that the first spectacle was exhibited by Circe, and in honour of the Sun her father, as they will have it, maintain also the name of circus was derived from her. Plainly, then, the enchantress did this in the name of the parties whose priestess she was—I mean the demons and spirits of evil. What an aggregation of idolatries you see, accordingly, in the decoration of the place! Every ornament of the circus is a temple by itself. The eggs are regarded as sacred to the Castors, by men who are not ashamed to profess faith in their production from the egg of a swan, which was no other than Jupiter himself. The Dolphins vomit forth in honour of Neptune. Images of Sessia, so called as the goddess of sowing; of Messia, so called as the goddess of reaping; of Tutulina, so called as the fruit-protecting deity—load the pillars. In front of these you have three altars to these three gods—Great, Mighty, Victorious.  They reckon these of Samo-Thrace.  The huge Obelisk, as Hermeteles affirms, is set up in public to the Sun; its inscription, like its origin, belongs to Egyptian superstition. Cheerless were the demon-gathering without their Mater Magna; and so she presides there over the Euripus. Consus, as we have mentioned, lies hidden under ground at the Murcian Goals. These two sprang from an idol. For they will have it that Murcia is the goddess of love; and to her, at that spot, they have consecrated a temple. See, Christian, how many impure names have taken possession of the circus! You have nothing to do with a sacred place which is tenanted by such multitudes of diabolic spirits. And speaking of places, this is the suitable occasion for some remarks in anticipation of a point that some will raise. What, then, you say; shall I be in danger of pollution if I go to the circus when the games are not being celebrated? There is no law forbidding the mere places to us.  For not only the places for show-gatherings, but even the temples, may be entered without any peril of his religion by the servant of God, if he has only some honest reason for it, unconnected with their proper business and official duties. Why, even the streets and the market-place, and the baths, and the taverns, and our very dwelling-places, are not altogether free from idols. Satan and his angels have filled the whole world. It is not by merely being in the world, however, that we lapse from God, but by touching and tainting ourselves with the world’s sins. I shall break with my Maker, that is, by going to the Capitol or the temple of Serapis to sacrifice or adore, as I shall also do by going as a spectator to the circus and the theatre. 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.  It is on this account that we set before you to whom places of the kind are dedicated, that we may prove the things which are done in them to belong to the idol-patrons to whom the very places are sacred.

Galatians 6:7-8

Galatians 6:7-8 (World English Bible)

 

Don’t be deceived. God is not mocked, for whatever a man sows, that he will also reap. For he who sows to his own flesh will from the flesh reap corruption. But he who sows to the Spirit will from the Spirit reap eternal life.

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Galatians 6 (KJV)

Praise the Lord Who Reigns Above

 

Tertullian: De Spectaculis, Chapter VI

Chapter VI.

To the testimony of antiquity is added that of later games instituted in their turn, and betraying their origin from the titles which they bear even at the present day, in which it is imprinted as on their very face, for what idol and for what religious object games, whether of the one kind or the other, were designed. You have festivals bearing the name of the great Mother and Apollo of Ceres too, and Neptune, and Jupiter Latiaris, and Flora, all celebrated for a common end; the others have their religious origin in the birthdays and solemnities of kings, in public successes in municipal holidays.  There are also testamentary exhibitions, in which funeral honours are rendered to the memories of private persons; and this according to an institution of ancient times. For from the first the “Ludi” were regarded as of two sons, sacred and funereal, that is in honour of the heathen deities and of the dead. But in the matter of idolatry, it makes no difference with us under what name or title it is practised, while it has to do with the wicked spirits whom we abjure.  If it is lawful to offer homage to the dead, it will be just as lawful to offer it to their gods: you have the same origin in both cases; there is the same idolatry; there is on our part the same solemn renunciation of all idolatry.

Matthew 7:12

Matthew 7:12 (World English Bible)

 

Therefore, whatever you desire for men to do to you, you shall also do to them; for this is the law and the prophets.

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Matthew 7 (WEB)

The Doxology