The City of God, Volume I. Bishop of Hippo Saint Augustine
cause to be worshipped as gods, and in whose stead they, by a thousand malign and deceitful artifices, substitute themselves, and so receive worship; or whether, though they were really the crimes of men, these wicked spirits gladly allowed them to be attributed to higher beings, that there might seem to be conveyed from heaven itself a sufficient sanction for the perpetration of shameful wickedness. The Greeks, therefore, seeing the character of the gods they served, thought that the poets should certainly not refrain from showing up human vices on the stage, either because they desired to be like their gods in this, or because they were afraid that, if they required for themselves a more unblemished reputation than they asserted for the gods, they might provoke them to anger.
11. That the Greeks admitted players to offices of state, on the ground that men who pleased the gods should not be contemptuously treated by their fellows.
It was a part of this same reasonableness of the Greeks which induced them to bestow upon the actors of these same plays no inconsiderable civic honours. In the above-mentioned book of the De Republica, it is mentioned that Æschines, a very eloquent Athenian, who had been a tragic actor in his youth, became a statesman, and that the Athenians again and again sent another tragedian, Aristodemus, as their plenipotentiary to Philip. For they judged it unbecoming to condemn and treat as infamous persons those who were the chief actors in the scenic entertainments which they saw to be so pleasing to the gods. No doubt this was immoral of the Greeks, but there can be as little doubt they acted in conformity with the character of their gods; for how could they have presumed to protect the conduct of the citizens from being cut to pieces by the tongues of poets and players, who were allowed, and even enjoined by the gods, to tear their divine reputation to tatters? And how could they hold in contempt the men who acted in the theatres those dramas which, as they had ascertained, gave pleasure to the gods whom they worshipped? Nay, how could they but grant to them the highest civic honours? On what plea could they honour the priests who offered for them acceptable sacrifices to the gods, if they branded with infamy the actors who in behalf of the people gave to the gods that pleasure or honour which they demanded, and which, according to the account of the priests, they were angry at not receiving? Labeo,97 whose learning makes him an authority on such points, is of opinion that the distinction between good and evil deities should find expression in a difference of worship; that the evil should be propitiated by bloody sacrifices and doleful rites, but the good with a joyful and pleasant observance, as, e. g. (as he says himself), with plays, festivals, and banquets.98 All this we shall, with God's help, hereafter discuss. At present, and speaking to the subject on hand, whether all kinds of offerings are made indiscriminately to all the gods, as if all were good (and it is an unseemly thing to conceive that there are evil gods; but these gods of the pagans are all evil, because they are not gods, but evil spirits), or whether, as Labeo thinks, a distinction is made between the offerings presented to the different gods, the Greeks are equally justified in honouring alike the priests by whom the sacrifices are offered, and the players by whom the dramas are acted, that they may not be open to the charge of doing an injury to all their gods, if the plays are pleasing to all of them, or (which were still worse) to their good gods, if the plays are relished only by them.
12. That the Romans, by refusing to the poets the same licence in respect of men which they allowed them in the case of the gods, showed a more delicate sensitiveness regarding themselves than regarding the gods.
The Romans, however, as Scipio boasts in that same discussion, declined having their conduct and good name subjected to the assaults and slanders of the poets, and went so far as to make it a capital crime if any one should dare to compose such verses. This was a very honourable course to pursue, so far as they themselves were concerned, but in respect of the gods it was proud and irreligious: for they knew that the gods not only tolerated, but relished, being lashed by the injurious expressions of the poets, and yet they themselves would not suffer this same handling; and what their ritual prescribed as acceptable to the gods, their law prohibited as injurious to themselves. How then, Scipio, do you praise the Romans for refusing this licence to the poets, so that no citizen could be calumniated, while you know that the gods were not included under this protection? Do you count your senate-house worthy of so much higher a regard than the Capitol? Is the one city of Rome more valuable in your eyes than the whole heaven of gods, that you prohibit your poets from uttering any injurious words against a citizen, though they may with impunity cast what imputations they please upon the gods, without the interference of senator, censor, prince, or pontiff? It was, forsooth, intolerable that Plautus or Nævius should attack Publius and Cneius Scipio, insufferable that Cæcilius should lampoon Cato; but quite proper that your Terence should encourage youthful lust by the wicked example of supreme Jove.
13. That the Romans should have understood that gods who desired to be worshipped in licentious entertainments were unworthy of divine honour.
But Scipio, were he alive, would possibly reply: "How could we attach a penalty to that which the gods themselves have consecrated? For the theatrical entertainments in which such things are said, and acted, and performed, were introduced into Roman society by the gods, who ordered that they should be dedicated and exhibited in their honour." But was not this, then, the plainest proof that they were no true gods, nor in any respect worthy of receiving divine honours from the republic? Suppose they had required that in their honour the citizens of Rome should be held up to ridicule, every Roman would have resented the hateful proposal. How then, I would ask, can they be esteemed worthy of worship, when they propose that their own crimes be used as material for celebrating their praises? Does not this artifice expose them, and prove that they are detestable devils? Thus the Romans, though they were superstitious enough to serve as gods those who made no secret of their desire to be worshipped in licentious plays, yet had sufficient regard to their hereditary dignity and virtue, to prompt them to refuse to players any such rewards as the Greeks accorded them. On this point we have this testimony of Scipio, recorded in Cicero: "They [the Romans] considered comedy and all theatrical performances as disgraceful, and therefore not only debarred players from offices and honours open to ordinary citizens, but also decreed that their names should be branded by the censor, and erased from the roll of their tribe." An excellent decree, and another testimony to the sagacity of Rome; but I could wish their prudence had been more thoroughgoing and consistent. For when I hear that if any Roman citizen chose the stage as his profession, he not only closed to himself every laudable career, but even became an outcast from his own tribe, I cannot but exclaim: This is the true Roman spirit, this is worthy of a state jealous of its reputation. But then some one interrupts my rapture, by inquiring with what consistency players are debarred from all honours, while plays are counted among the honours due to the gods? For a long while the virtue of Rome was uncontaminated by theatrical exhibitions;99 and if they had been adopted for the sake of gratifying the taste of the citizens, they would have been introduced hand in hand with the relaxation of manners. But the fact is, that it was the gods who demanded that they should be exhibited to gratify them. With what justice, then, is the player excommunicated by whom God is worshipped? On what pretext can you at once adore him who exacts, and brand him who acts these plays? This, then, is the controversy in which the Greeks and Romans are engaged. The Greeks think they justly honour players, because they worship the gods who demand plays: the Romans, on the other hand, do not suffer an actor to disgrace by his name his own plebeian tribe, far less the senatorial order. And the whole of this discussion may be summed up in the following syllogism. The Greeks give us the major premiss: If such gods are to be worshipped, then certainly such men may be honoured. The Romans add the minor: But such men must by no means be honoured. The Christians draw the conclusion: Therefore such gods must by no means be worshipped.
We have still to inquire why the poets who write the plays, and who by the law of the twelve tables are prohibited from injuring the good name of the citizens, are reckoned more estimable than the actors, though they so shamefully asperse the character of the gods? Is it right that the actors of these poetical and God-dishonouring effusions be branded, while their authors are honoured? Must we not here award the palm to a Greek, Plato, who,
Labeo, a jurist of the time of Augustus, learned in law and antiquities, and the author of several works much prized by his own and some succeeding ages. The two articles in Smith's Dictionary on Antistius and Cornelius Labeo should be read.
"Lectisternia," feasts in which the images of the gods were laid on pillows in the streets, and all kinds of food set before them.
According to Livy (vii. 2), theatrical exhibitions were introduced in the year 392 a. u. c. Before that time, he says, there had only been the games of the circus. The Romans sent to Etruria for players, who were called "histriones," "hister" being the Tuscan word for a player. Other particulars are added by Livy.