On the Shows 17–30

Latin text: CSEL 20 (Latin text: August Reifferscheid and Georg Wissowa (CSEL 20), digitized by Open Greek and Latin, University of Leipzig (csel-dev), CC BY-SA 4.0).English: Claude (claude-opus-5-5), public domain (CC0). Compare: Ante-Nicene Fathers, vol. 3 (1885).

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Chapter 17

17CSEL 20:18–19

Similiter inpudicitiam omnem amoliri iubemur. hoc igitur modo etiam a theatro separamur, quod est priuatum consistorium inpudicitiae, ubi nihil probatur quam quod alibi non probatur. ita summa gratia eius de spurcitia plurimum concinnata est, quam Atellanus gesticulatur, quam mimus etiam per muliebres res repraesentat, sensum sexus et pudoris exterminans, ut facilius domi quam in scaena erubescant, quam denique pantomimus a pueritia patitur ex corpore, ut artifex esse possit. ipsa etiam prostibula, publicae libidinis hostiae, in scaena proferuntur, plus miserae in praesentia feminarum, quibus solis latebant, perque omnis aetatis, omnis dignitatis ora transducuntur; locus, stipes, elogium, etiam quibus opus non est, praedicatur, etiam (taceo de reliquis) [etiam] quae in tenebris et in speluncis suis delitescere decebat, ne diem contaminarent. erubescat senatus, erubescant ordines omnes; ipsae illae pudoris sui interemptrices de gestibus suis ad lucem et populum expauescentes semel anno erubescant. quodsi nobis omnis impudicitia exsecranda est, cur liceat audire quod loqui non licet, cum etiam scurrilitatem et omne uanum uerbum iudicatum a deo sciamus? cur aeque liceat uidere quae facere flagitium est? cur quae ore prolata communicant hominem, ea per aures et oculos admissa non uideantur hominem communicare, cum spiritui appareant aures et oculi nec possit mundus praestari cuius apparitores inquinantur? habes igitur et theatri interdictionem de interdictione impudicitiae. si et doctrinam saecularis litteraturae ut stultitiae apud deum deputatam aspernamur, satis praescribitur nobis et de illis speciebus spectaculorum, quae saeculari litteratura lusoriam uel agonisticam scaenam dispungunt. quodsi sunt tragoediae et comoediae scelerum et libidinum actrices cruentae et lasciuae, impiae et prodigae, nullius rei aut atrocis aut uilis commemoratio melior est: quod in facto reicitur, etiam in dicto non est recipiendum.

Likewise we are commanded to put away all unchastity. In this way, then, we are also separated from the theatre, which is the private council-house of unchastity, where nothing wins approval but what wins none elsewhere. So its chief charm is mostly contrived from filth: filth which the Atellan actor gestures; which the mime even represents by playing women, banishing the sense of sex and of shame, so that they blush more easily at home than on the stage; filth, finally, which the pantomime suffers in his body from boyhood, so that he may become an artist. Even the prostitutes themselves, the victims of public lust, are brought out on the stage, more wretched in the presence of women, from whom alone they used to be hidden, and are paraded before the faces of every age and rank; their address, their price, and their record are proclaimed, even to those who have no need of it, even (I say nothing of the rest) things that ought to lie hidden in darkness and in their own dens, lest they defile the day. Let the senate blush, let all the orders blush! Let even those women, the murderers of their own modesty, blush once a year, in terror of their own gestures before the light and the people. But if all unchastity is to be abhorred by us, why should it be lawful to hear what it is not lawful to speak, since we know that even buffoonery and every idle word is judged by God? Why, likewise, should it be lawful to see what it is a disgrace to do? Why should the things that defile a man when they come out of the mouth not seem to defile a man when admitted through the ears and eyes, since ears and eyes are the attendants of the spirit, and he cannot be kept clean whose attendants are defiled? You have, then, the prohibition of the theatre from the prohibition of unchastity. If we also despise the teaching of secular literature as reckoned foolishness with God, we are sufficiently instructed about those kinds of shows too which, drawing on secular literature, set out the stage for play or for contest. And if tragedies and comedies are bloody and wanton, impious and prodigal performers of crimes and lusts, the recollection of anything atrocious or vile is no better than the thing itself: what is rejected in deed is not to be received in word either.

Textual problem in this passage: see the notes.

Eph 5:4 (allusion, high confidence) · Matt 12:36 (allusion, high confidence) · Matt 15:11 (allusion, high confidence) · 1 Cor 3:19 (allusion, high confidence)

Notes and citation

Summary: The theatre is a school of unchastity; what is shameful to say or do is also shameful to hear and watch, for what enters through the eyes and ears defiles the spirit.

  • The allusions are Eph 5:4 (buffoonery), Matt 12:36 (every idle word), Matt 15:11, 18 (what comes out of the mouth defiles), and 1 Cor 3:19 (the wisdom of this world is folly with God). The editor deletes the repeated etiam after taceo de reliquis.

Notes on the original text

  • Digital text corrected (stray character in the digital text; word split in the digital text): uer-. bum → uerbum; uidere - quae → uidere quae.

Topics: Ethics, Games, shows, and the theatre, Sexual morality

Cite (SBL): Tertullian, Spect. 17 (CSEL 20:18–19; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/17).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 18

18CSEL 20:19–20

Quodsi et stadium contendas in scripturis nominari, sane obtinebis. sed quae in stadio geruntur, indigna conspectu tuo non negabis, pugnos et calces et colaphos et omnem, petulantiam manus et quamcumque humani oris, id est diuinae imaginis, depugnationem. non probabis usquam uanos cursus et iaculatus et saltus uaniores, nusquam tibi uires aut iniuriosae aut uanae placebunt, sed nec cura facticii corporis, ut plasticam dei supergressa, et propter Graeciae otium altiles, homines oderis. et palaestrica diaboli negotium est: primos homines diabolus elisit. ipse caestus colubrina uis est, tenax ad occupandum, tortuosa ad obligandum, liquida ad elabendum. nullus tibi coronarum usus est; quid de coronis uoluptates aucuparis?

If you argue that the stadium is named in the Scriptures, you will certainly win your point. But you will not deny that what is done in the stadium is unworthy of your sight: punches, kicks, cuffs, every wantonness of the hand, and every disfigurement of the human face, that is, of the image of God. You will nowhere approve the vain running and throwing, and the vainer leaping; nowhere will strength please you, whether it does harm or is merely vain; nor will care for an artificial body, as though it surpassed God's modelling; and you will hate men fattened for the idleness of Greece. Wrestling too is the devil's business: the devil first threw the first human beings. The very grip is the power of a serpent: tenacious in seizing, twisting in binding, slippery in escaping. You have no use for crowns; why do you hunt pleasures from crowns?

1 Cor 9:24 (allusion, medium confidence) · Gen 1:27 (allusion, medium confidence) · Gen 3:1–6 (allusion, low confidence)

Notes and citation

Summary: Though Paul mentions the stadium, the violence and vanity of athletics disfigure God's image, and wrestling mimics the devil who threw the first humans.

  • The stadium in Scripture is 1 Cor 9:24.

Topics: Ethics

Cite (SBL): Tertullian, Spect. 18 (CSEL 20:19–20; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/18).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 19

19CSEL 20:20–21

Exspectabimus nunc ut et amphitheatri repudium de scripturis petamus? si saeuitiam, si impietatem, si feritatem permissam nobis contendere possumus, eamus in amphitheatrum. si tales sumus quales dicimur, delectemur sanguine humano. bonum est cum puniuntur nocentes. quis hoc nisi tamen nocens negabit? et tamen innocentes de supplicio alterius laetari non oportet, cum magis competat innocenti dolere, quod homo, par eius, tam nocens factus est, ut tam crudeliter impendatur. quis autem mihi sponsor est, nocentes semper uel ad bestias uel ad quodcumque supplicium decerni, ut non innocentiae quoque inferatur aut ultione iniudicantis aut infirmitate defensionis aut instantia quaestionis? quam melius ergo est nescire cum mali puniuntur, ne sciam et cum boni pereunt, si tamen bonum sapiunt. certe quidem gladiatores innocentes in ludum ueneunt, ut publicae uoluptatis hostiae fiant. etiam qui damnantur in ludum, quale est ut de leuiore delicto in homicidas emendatione proficiant? sed haec ethnicis respondi. ceterum absit ut de istius spectaculi auersione diutius discat Christianus. quamquam nemo haec omnia plenius exprimere potest nisi qui adhuc spectat. malo non implere quam meminisse.

Shall we now wait to seek from the Scriptures a repudiation of the amphitheatre too? If we can claim that cruelty, impiety, and savagery are permitted us, let us go to the amphitheatre. If we are such as we are said to be, let us delight in human blood. It is good when the guilty are punished. Who but a guilty man will deny this? And yet the innocent ought not to rejoice at another's punishment, since it rather befits the innocent to grieve that a man, his equal, has become so guilty as to be spent so cruelly. But who guarantees to me that it is always the guilty who are sentenced to the beasts or to any other punishment, so that it is not inflicted on innocence too, through the vengefulness of the judge, or the weakness of the defense, or the pressure of torture? How much better, then, not to know when the wicked are punished, lest I also know when the good perish, if indeed they have any taste of good. Certainly innocent gladiators are sold into the training school to become victims of public pleasure. Even as for those condemned to the school, what kind of thing is it that for a lighter offense they should be improved into murderers? But these answers I have given to the heathen. For the rest, God forbid that a Christian should need any further teaching about his aversion to this show. Though no one can describe all these things more fully than one who still watches. I would rather leave it incomplete than remember.

Notes and citation

Summary: The amphitheatre delights in human blood; even when the guilty die, the innocent should grieve, and innocent men too are killed there.

Notes on the original text

  • Digital text corrected (stray character in the digital text): etiam # qui → etiam qui.

Topics: Ethics, Games, shows, and the theatre, Killing and murder

Cite (SBL): Tertullian, Spect. 19 (CSEL 20:20–21; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/19).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 20

20CSEL 20:21

Quam uana igitur, immo desperata argumentatio eorum, qui sine dubio tergiuersatione amittendae uoluptatis optendunt nullam eius abstinentiae mentionem specialiter uel localiter in scripturis determinari, quae directo prohibeat eiusmodi conuentibus inseri seruum dei. nouam proxime defensionem suauiludii cuiusdam audiui. sol, inquit, immo ipse etiam deus de caelo spectat nec contaminatur. sane, sol et in cloacam radios suos defert nec inquinatur. utinam autem deus nulla flagitia hominum spectaret, ut omnes iudicium euaderemus. sed spectat et latrocinia, spectat et falsa et adulteria et fraudes et idololatrias et spectacula ipsa. et idcirco ergo nos non spectabimus, ne uideamur ab illo qui spectat omnia. comparas, homo, reum et iudicem, reum, qui, quia uidetur, reus est, iudicem, qui, quia uidet, iudex est. numquid ergo et extra limites circi furori studemus et extra cardines theatri impudicitiae intendimus et insolentiae extra stadium et immisericordiae extra amphitheatrum, quoniam deus etiam extra cameras et gradus et t apulias oculos habet? erramus: nusquam et numquam excusatur quod deus damnat, nusquam et nunquam licet quod semper et ubique non licet. haec est ueritatis integritas et, quae ei debetur, disciplinae plenitudo et aequalitas timoris et fides obsequii, non inmutare sententiam nec uariare iudicium. non potest aliud esse, quod uere quidem est bonum seu malum.

How vain, then, nay how desperate, is the argument of those who, doubtless from reluctance to lose a pleasure, plead that no mention of this abstinence is set down specifically or by place in the Scriptures, directly forbidding the servant of God to mingle in such gatherings! I recently heard a new defense from a certain lover of shows. “The sun,” he said, “nay God himself, watches from heaven and is not defiled.” Certainly; and the sun sends its rays into the sewer too and is not polluted. Would that God watched none of the crimes of men, so that we might all escape judgment! But he watches robberies too; he watches falsehoods and adulteries and frauds and idolatries and the shows themselves. And for that very reason we will not watch, lest we be seen by him who watches all things. You are comparing, man, the accused and the judge: the accused, who is accused because he is seen, and the judge, who is judge because he sees. Do we then pursue frenzy outside the bounds of the circus, and aim at unchastity outside the doorways of the theatre, and at insolence outside the stadium, and at mercilessness outside the amphitheatre, because God has eyes outside the vaults and tiers and … too? We err: nowhere and never is that excused which God condemns; nowhere and never is that lawful which is not lawful always and everywhere. This is the integrity of truth, and, owed to it, the fullness of discipline, the constancy of fear, and the faithfulness of obedience: not to change one's sentence nor vary one's judgment. What is truly good or evil cannot be otherwise.

Textual problem in this passage: see the notes.

Notes and citation

Summary: Some argue that God watches the shows without being defiled, but God watches as judge; what he condemns is never lawful anywhere.

  • The word apulias (in et t apulias) is corrupt and is marked “…”.

Topics: Ethics

Cite (SBL): Tertullian, Spect. 20 (CSEL 20:21; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/20).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 21

21CSEL 20:21–22

Omnia autem penes ueritatem dei fixa sunt. ethnici, quos penes nulla est ueritatis plenitudo, quia nec doctor ueritatis deus, malum et bonum pro arbitrio et libidine interpretantur: alibi bonum quod alibi malum, et alibi malum quod alibi bonum. sic ergo euenit, ut qui in publico uix necessitate uesicae tunicam leuet, idem in circo aliter non exuet, nisi totum pudorem in faciem omnium intendit, ut et qui filiae uirginis ab omni spurco uerbo aures tuetur, ipse eam in theatrum ad illas uoces gesticulationesque deducat, et qui in plateis litem manu agentem aut compescit aut detestatur, idem in stadio grauioribus pugnis suffragium ferat, et qui ad cadauer hominis communi lege defuncti exhorret, idem in amphitheatro derosa et dissipata et in suo sanguine squalentia corpora patientissimis oculis desuper incumbat, immo qui propter homicidae poenam probandam ad spectaculum ueniat, idem gladiatorem ad homicidium flagellis et uirgis compellat inuitum, et qui insigniori cuique homicidae leonem poscit, idem gladiatori atroci petat rudem et pilleum praemium conferat, illum uero confectum etiam oris spectaculo repetat, libentius recognoscens de proximo quem uoluit occidere de longinquo, tanto durior, si non ualuit.

But all things are fixed with the truth of God. The heathen, who have no fullness of truth, because God is not their teacher of truth, interpret evil and good by their own discretion and whim: good in one place what is evil in another, and evil in one place what is good in another. So it happens that the man who in public will scarcely lift his tunic for the needs of the bladder will in the circus strip it off only in such a way as to thrust all his shame before the faces of everyone; that the man who guards his virgin daughter's ears from every filthy word himself takes her to the theatre to hear those words and see those gestures; that the man who in the streets either restrains or deplores a quarrel carried on with fists will in the stadium applaud heavier blows; that the man who shudders at the corpse of one who died by the common law of nature will in the amphitheatre lean over, with most patient eyes, bodies gnawed, torn apart, and fouled in their own blood; nay, that the one who comes to the show to approve the punishment of a murderer will drive an unwilling gladiator to murder with lashes and rods; and that the one who demands the lion for every more notorious murderer will ask the wooden sword of discharge for a savage gladiator and grant him the cap of freedom as a reward, while he calls back the one who has been dispatched in order to view his face, inspecting more gladly close at hand the man he wanted killed at a distance, and all the more hardened if he did not want it.

Notes and citation

Summary: Pagans judge good and evil inconsistently: modest and gentle in daily life, they applaud nakedness, filth, violence, and killing at the shows.

  • The last clause (tanto durior, si non ualuit) is obscure; the rendering is approximate.

Notes on the original text

  • Digital text corrected (doubled syllable in the digital text; letter lost in the digital text; misread letters in the digital text; stray letter in the digital text; word split in the digital text): non t exuet → non exuet; patientissmis → patientissimis; homicidaecidae → homicidae; gladia torem → gladiatorem; lonquinquo → longinquo.

Topics: Ethics, Games, shows, and the theatre

Cite (SBL): Tertullian, Spect. 21 (CSEL 20:21–22; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/21).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 22

22CSEL 20:22–23

Quid mirum? inaequata ista hominum miscentium et commutantium statum boni et mali per inconstantiam sensus et iudicii uarietatem. etenim ipsi auctores et administratores spectaculorum quadrigarios scaenicos xysticos arenarios illos amantissimos, quibus uiri animas, feminae autem illis etiam corpora sua substernunt, propter quos se in ea committunt quae reprehendunt, ex eadem arte, qua magnifaciunt, deponunt et deminuunt, immo manifeste damnant ignominia et capitis minutione, arcentes curia rostris senatu equite ceterisque honoribus omnibus simul et ornamentis quibusdam. quanta peruersitas! amant quos multant, depretiant quos probant, artem magnificant, artificem notant. quale iudicium est, ut ob ea quis offuscetur, per quae promeretur? immo quanta confessio est malae rei! quarum actores, cum acceptissimi sint, sine nota non sunt.

What wonder? These are the inconsistencies of men who confuse and exchange the standing of good and evil through fickleness of feeling and variety of judgment. For the very sponsors and managers of the shows take those most beloved charioteers, actors, athletes, and gladiators, to whom men surrender their souls and women even their bodies, for whose sake they commit what they censure, and for the very art for which they make much of them they degrade and demean them; indeed they openly condemn them with disgrace and loss of civil rights, keeping them from the senate house, the rostra, the senate, the equestrian order, and all other offices, as well as from certain distinctions. What perversity! They love those whom they penalize; they cheapen those whom they approve; they magnify the art and brand the artist. What kind of judgment is it that a man should be disgraced for the very things by which he wins favor? Nay, what a confession of an evil thing! Its performers, though they are the most welcome of all, are not free of the mark of infamy.

Notes and citation

Summary: Pagans adore charioteers, actors, and gladiators yet strip them of civil rights, which confesses that their trade is shameful.

Notes on the original text

  • Digital text corrected (word split in the digital text): minu tione → minutione.

Topics: Ethics

Cite (SBL): Tertullian, Spect. 22 (CSEL 20:22–23; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/22).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 23

23CSEL 20:23–24

Cum igitur humana recordatio etiam obstrepente gratia uoluptatis damnandos eos censeat ademtis bonis dignitatum in quendam scopulum famositatis, quanto magis diuina iustitia in eiusmodi artifices animaduertit? an deo placebit auriga ille tot animarum inquietator, tot furiarum minister, tot *** status, ut sacerdos coronatus uel coloratus ut leno, quem curru rapiendum diabolus aduersus Elian exornauit? placebit et ille, qui uoltus suos nouacula mutat, infidelis erga faciem suam, quam non contentus Saturno et Isidi et Libero proximam facere insuper contumeliis alaparum sic obicit, tamquam de praecepto domini ludat? docet scilicet et diabolus uerberandam maxillam patienter offerre. sic et tragoedos cothurnis extulit, quia nemo potest adicere cubitum unum ad staturam suam: mendacem facere uult Christum. iam uero ipsum opus personarum quaero an deo placeat, qui omnem similitudinem uetat fieri, quanto magis imaginis suae? non amat falsum auctor ueritatis; adulterium est apud illum omne quod fingitur. proinde uocem sexus aetates mentientem, amores iras gemitus lacrimas asseuerantem non probabit: omnem enim hypocrisin damnat. ceterum cum in lege praescribit maledictum esse qui muliebribus uestietur, quid de pantomimo iudicabit, qui etiam muliebribus curuatur? sane et ille artifex pugnorum impunitus ibit. tales enim cicatrices caestuum et callos pugnorum et aurium fungos a deo cum plasmaretur accepit; ideo illi oculos deus commodauit, ut uapulando deficiant. taceo de illo, qui hominem leoni prae se opponit, ne parum sit homicida quam qui eundem postmodum iugulat.

Since, then, human reflection, even with the charm of pleasure clamoring against it, judges that they should be condemned, stripped of the benefits of rank, and cast onto a kind of rock of infamy, how much more does divine justice punish such performers? Will that charioteer please God, the disturber of so many souls, the minister of so many frenzies, of so many …, crowned like a priest or dressed in colors like a pimp, whom the devil has decked out to be carried off in a chariot in rivalry with Elijah? Will that one please him who changes his features with a razor, unfaithful to his own face, which, not content to make it resemble Saturn and Isis and Liber, he moreover exposes to the insults of slaps, as if making sport of the Lord's command? The devil too, of course, teaches us to offer the cheek patiently to be struck! So too he has raised the tragic actors on buskins, because “no one can add one cubit to his stature”: he wants to make Christ a liar. And now I ask whether the very business of masks pleases God, who forbids any likeness to be made, how much more a likeness of his own image? The author of truth does not love what is false; with him everything counterfeited is adultery. So he will not approve a voice that belies sex and age, that feigns loves, angers, groans, and tears; for he condemns all hypocrisy. Moreover, since in the law he pronounces cursed whoever is dressed in women's clothing, what will he judge of the pantomime, who is even bent into women's postures? The artist of the fists, no doubt, will go unpunished! For he received such scars from the cestus, such calluses of the fists, such swollen ears from God when he was fashioned; God lent him eyes for this, that they might be put out by blows! I say nothing of the man who pushes another before him to face the lion, lest he be less a murderer than the one who afterwards cuts the same man's throat.

Textual problem in this passage: see the notes.

2 Kgs 2:11 (allusion, high confidence) · Matt 5:39 (allusion, high confidence) · Matt 6:27 (quotation, high confidence) · Exod 20:4 (allusion, high confidence) · Deut 22:5 (allusion, high confidence)

Notes and citation

Summary: God cannot be pleased by charioteers, masked actors, cross-dressing pantomimes, boxers, or beast-fighters, who deface his image and counterfeit what he made.

  • The allusions are 2 Kgs 2:11 (Elijah's chariot), Matt 5:39 (turning the cheek), Matt 6:27 (quoted: adding a cubit to one's stature), Exod 20:4 (no likeness), and Deut 22:5 (a man in women's clothing). Several words are lost after tot (marked ***).

Notes on the original text

  • Digital text corrected (stray period in the digital text): ne parum. sit → ne parum sit.

Topics: Ethics, Games, shows, and the theatre

Cite (SBL): Tertullian, Spect. 23 (CSEL 20:23–24; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/23).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 24

24CSEL 20:24–25

Quot adhuc modis probauimus, nihil ex his quae spectaculis deputantur placitum deo esse! at congruens seruo dei quod deo placitum non sit? si omnia propter diabolum instituta et ex diaboli rebus instructa monstrauimus (nihil enim non diaboli est quicquid dei non est uel deo displicet), hoc erit pompa diaboli, aduersus quem in signaculo fidei eieramus. quod autem eieramus, neque facto neque dicto neque uisu neque conspectu participare debemus. ceterum sic nos eieramus et rescindimus signaculum rescindendo testationem eius. numquid ergo superest, ut ab ipsis ethnicis responsum flagitemus? illi nobis iam renuntient, an liceat Christianis spectaculo uti. atquin hinc uel maxime intelligunt factum Christianum, de repudio spectaculorum. itaque negat manifeste qu per quod agnoscitur tollit. quid autem spei superest in eiusmodi homine? nemo in castra hostium transit nisi proiectis armis suis, nisi destitutis signis et sacramentis principis sui, nisi pactus simul perire.

In how many ways, then, have we now proved that nothing of what belongs to the shows is pleasing to God! Or is what is not pleasing to God fitting for the servant of God? If we have shown that all of them were instituted for the devil's sake and furnished from the devil's things (for whatever is not God's, or displeases God, is the devil's), this will be the pomp of the devil, which we renounced in the seal of faith. But what we have renounced, we ought not to share in by deed or word, by sight or glance. Otherwise we renounce in such a way that we break the seal by breaking its testimony. Does it remain, then, for us to demand an answer from the heathen themselves? Let them tell us now whether it is lawful for Christians to attend the shows. Indeed, it is chiefly from this that they know a man has become a Christian: from his rejection of the shows. So he plainly denies the faith who takes away the thing by which he is recognized. What hope is left in such a man? No one passes over into the camp of the enemy without throwing away his arms, deserting the standards and the oath of his commander, and agreeing to perish with the enemy.

Notes and citation

Summary: The shows belong to the devil's pomp renounced at baptism, and even pagans recognize a Christian by his refusal to attend them; to go back is to desert to the enemy.

  • “The seal of faith” is baptism. Sacramenta here is the soldier's oath of allegiance, in keeping with the military image of the last sentence.

Notes on the original text

  • Digital text corrected (word split in the digital text): institu ta → instituta.

Topics: Baptism, Ethics

Cite (SBL): Tertullian, Spect. 24 (CSEL 20:24–25; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/24).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 25

25CSEL 20:25

An ille recogitabit eo tempore de deo positus illic ubi nihil est de deo? pacem, opinor, habebit in animo contendens pro auriga, pudicitiam ediscet attonitus in mimos. immo in omni spectaculo nullum magis scandalum occurret quam ille ipse mulierum et uirorum accuratior cultus. ipsa consensio, ipsa in fauoribus aut conspiratio aut dissensio inter se de commercio scintillas libidinum conflabellant. nemo denique in spectaculo ineundo prius cogitat nisi uideri et uidere. sed tragoedo uociferante exclamationes ille alicuius prophetae retractabit et inter effeminati tibicines modos psalmum secum comminiscetur, et cum athletae agent, ille dicturus est repercutiendum non esse. poterit ergo et de misericordia moneri defixus in morsus ursorum et spongias retiariorum. auertat deus a suis tantam uoluptatis exitiosae cupiditatem! quale est enim de ecclesia dei in diaboli ecclesiam tendere, de caelo, quod aiunt, in caenum? illas manus quas ad deum extuleris postmodum laudando histrionem fatigare? ex ore, quo Amen in Sanctum protuleris, gladiatori testimonium reddere, εἰς αἰῶνας ἀπ αἰῶνος alii omnino dicere nisi deo et Christo?

Will a man think about God at such a time, when he is placed where there is nothing of God? He will have peace in his mind, I suppose, while he is shouting for a charioteer; he will learn chastity while he gapes at the mimes! Indeed, at every show nothing will cause him to stumble more than that very over-careful dress of women and men. The very sharing of feeling, the very agreement or disagreement among them in their cheering, fans the sparks of lust through their dealings with one another. In short, no one going to a show thinks of anything first but to see and be seen. But while the tragic actor bawls, he will be recalling the exclamations of some prophet; and amid the measures of an effeminate flute-player he will be composing a psalm for himself; and when the athletes are at work, he will say that one must not strike back! He will also be able to be moved to mercy, with his eyes fixed on the bites of bears and the sponges of the net-fighters! May God turn away from his own people so great a craving for deadly pleasure! For what sort of thing is it to go from the church of God to the church of the devil, from heaven, as they say, into the mud? To weary those hands, which you have lifted up to God, afterwards in applauding an actor? From the mouth with which you have spoken the Amen over what is holy, to bear witness to a gladiator? To say “for ever and ever” to anyone else at all but God and Christ?

Matt 5:39 (allusion, medium confidence)

Notes and citation

Summary: No one can think of God at the shows, which stir lust and passion; the hands and mouth used in worship should not applaud actors and gladiators.

  • The Greek words are “for ever and ever,” a liturgical acclamation. “The Amen over what is holy” (Amen in Sanctum) probably refers to the response in the eucharistic liturgy. The sponges of the net-fighters are those used to wipe their blood.

Topics: Ethics, Prayer, Games, shows, and the theatre

Cite (SBL): Tertullian, Spect. 25 (CSEL 20:25; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/25).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 26

26CSEL 20:25–26

Cur ergo non eiusmodi etiam daemoniis penetrabiles fiant? nam et exemplum accidit domino teste eius mulieris, quae theatrum adiit et inde cum daemonio rediit. itaque in exorcismo cum oneraretur immundus spiritus, quod ausus esset fidelem aggredi, constanter: et iustissime quidem, inquit, feci: in meo eam inueni. constat et alii linteum in somnis ostensum eius diei nocte, qua tragoedum audierat, cum exprobratione nominato tragoedo nec ultra quintum diem eam mulierem in saeculo fuisse. quo utique et alia documenta cesserunt de his qui cum diabolo apud spectacula communicando a domino exciderunt. nemo enim potest duobus dominis seruire. quid luci, cum tenebris? quid uitae et morti?

Why, then, should such people not also become open to demons? For there has been an example, the Lord being witness, of the woman who went to the theatre and came back from there with a demon. So in the exorcism, when the unclean spirit was rebuked for having dared to attack a believer, it answered firmly: “And I did it quite rightly, for I found her on my own ground.” It is well known too that to another woman a linen shroud was shown in her sleep on the night of the day on which she had heard a tragic actor, and the actor was named in rebuke; and that woman was not in this world beyond the fifth day. Surely other proofs too have come about concerning those who, by keeping company with the devil at the shows, have fallen away from the Lord. For no one can serve two masters. What has light to do with darkness? What has life to do with death?

Matt 6:24 (quotation, high confidence) · 2 Cor 6:14 (allusion, high confidence)

Notes and citation

Summary: Tertullian tells of a woman possessed by a demon at the theatre and another who died after dreaming of a shroud, as warnings that no one can serve two masters.

  • The quotations are Matt 6:24 and 2 Cor 6:14.

Notes on the original text

  • Digital text corrected (letter lost in the digital text; misread letters in the digital text): Cur ego non → Cur ergo non; illde cum → inde cum.

Topics: Ethics, The devil and demons

Cite (SBL): Tertullian, Spect. 26 (CSEL 20:25–26; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/26).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 27

27CSEL 20:26–27

Odisse debemus istos conuentus et coetus ethnicorum, uel quod illic nomen dei blasphematur, illic in nos quotidiani leones expostulantur, inde persecutiones decernuntur, inde temptationes emittuntur. quid facies in illo suffragiorum impiorum aestuario reprehensus? non quasi aliquid illic pati possis ab hominibus (nemo te cognoscit Christianum), sed recogita, quid de te fiat in caelo. dubitas illo enim momento, quo diabolus in ecclesiam furit, omnes angelos prospicere de caelo et singulos denotare, quis blasphemiam dixerit, quis audierit, quis linguam, quis aures diabolo aduersus deum ministrauerit? non ergo fugies sedilia hostium Christi, illam cathedram pestilentiarum ipsumque aerem qui desuper incubat scelestis uocibus conspurcatum? sint dulcia licebit et grata et simplicia, etiam honesta quaedam. nemo uenenum temperat felle et elleboro, sed conditis pulmentis et bene saporatis, et plurimum dulcibus id mali inicit. ita et diabolus letale quod conficit rebus dei gratissimis et acceptissimis imbuit. omnia illic seu fortia seu honesta seu sonora seu canora seu subtilia perinde habe ac stillicidia mellis de lucunculo uenenato nec tanti gulam facias uoluptatis quanti periculum per suauitatem.

We ought to hate those gatherings and assemblies of the heathen, if only because there the name of God is blasphemed, there the lions are demanded against us every day, from there persecutions are decreed and temptations sent out. What will you do if you are caught in that surging tide of impious voting? Not that you can suffer anything there from men (no one recognizes you as a Christian); but consider what becomes of you in heaven. Do you doubt that at the very moment when the devil is raging against the church, all the angels look out from heaven and mark down each one: who spoke blasphemy, who listened to it, who lent his tongue and who his ears to the devil against God? Will you not, then, flee the seats of the enemies of Christ, that chair of pestilences, and the very air that broods above it, befouled with wicked cries? Granted that some things there are sweet, pleasant, simple, even decent. No one mixes poison with gall and hellebore; he puts that evil into seasoned dishes, well flavored and mostly sweet. So too the devil steeps the deadly draught he prepares in the things of God that are most pleasing and acceptable. Everything there, whether brave or honorable, sonorous or melodious or subtle, regard as drops of honey from a poisoned cake; and do not value your appetite for the pleasure more than the danger that comes through its sweetness.

Ps 1:1 (allusion, high confidence)

Notes and citation

Summary: Christians should shun the shows, where God is blasphemed and persecution is demanded, and should see their pleasant parts as honey on poison.

  • “That chair of pestilences” recalls Ps 1:1 (see chapter 3).

Topics: Persecution, Ethics, Games, shows, and the theatre

Cite (SBL): Tertullian, Spect. 27 (CSEL 20:26–27; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/27).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 28

28CSEL 20:27

Saginentur eiusmodi dulcibus conuiuae sui: et loca et tempora et inuitator ipsorum est. nostrae coenae, nostrae nuptiae nondum sunt. non possumus cum illis discumbere, quia nec illi nobiscum: uicibus disposita res est. nunc illi laetantur, nos conflictamur. saeculum, inquit, gaudebit, uos tristes eritis. lugeamus ergo, dum ethnici gaudent, ut, quum lugere coeperint, gaudeamus, ne pariter nunc gaudentes tunc quoque pariter lugeamus. delicatus es, Christiane, si et in saeculo uoluptatem concupiscis, immo nimium stultus, si hoc existimas uoluptatem. philosophi quidam hoc nomen quieti et tranquillitati dederunt, in ea gaudent, in ea auocantur, in ea etiam gloriantur. tu mihi metas et scaenam et puluerem et harenam suspiras. dicas uelim: non possumus uiuere sine uoluptate, qui mori cum uoluptate debemus. nam quod est aliud uotum nostrum quam quod et apostoli, exire de saeculo et recipi apud dominum? hic uoluptas, ubi et uotum.

Let such sweets fatten their own guests: they have their places and their times and their host. Our banquets, our wedding feasts, are not yet. We cannot recline at table with them, because they cannot recline with us either; the matter is arranged by turns. Now they rejoice, and we are afflicted. “The world,” he says, “will rejoice; you will be sorrowful.” Let us mourn, then, while the heathen rejoice, so that when they begin to mourn, we may rejoice; lest, if we rejoice with them now, we should then mourn with them too. You are too fastidious, Christian, if you want pleasure in this world as well; nay, you are too foolish, if you think this is pleasure. Some philosophers gave this name to rest and tranquillity; in it they rejoice, in it they find their diversion, in it they even glory. You sigh for the turning-posts, and the stage, and the dust, and the sand! I would have you say: “We cannot live without pleasure”; we who ought to die with pleasure! For what other wish have we than the apostle's, to depart from the world and be received by the Lord? Here is our pleasure, where our wish is.

John 16:20 (quotation, high confidence) · Phil 1:23 (allusion, high confidence) · Rev 19:9 (allusion, medium confidence)

Notes and citation

Summary: The Christian's feast is still to come; for now believers mourn while the world rejoices, and their true pleasure is to depart and be with the Lord.

  • The quotation is John 16:20; the apostle's wish is Phil 1:23. “Our wedding feasts” recalls the marriage supper of the Lamb (Rev 19:9).

Notes on the original text

  • Digital text corrected (stray letter and punctuation in the digital text): tnam quod, est → nam quod est.

Topics: Eschatology, Ethics

Cite (SBL): Tertullian, Spect. 28 (CSEL 20:27; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/28).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 29

29CSEL 20:27–28

Iam nunc putas delectamentis exigere spatium hoc? cur tam ingratus es, ut tot et tales uoluptates a deo contributas tibi satis non habeas neque recognoscas? quid enim iucundius quam dei patris et domini reconciliatio, quam ueritatis reuelatio, quam errorum recognitio, quam tantorum retro criminum uenia? quae maior uoluptas quam fastidium ipsius uoluptatis, quam saeculi totius contemptus, quam uera libertas, quam conscientia integra, quam uita sufficiens, quam mortis timor nullus? quod calcas deos nationum, quod daemonia expellis, quod medicinas facis, quod reuelationes petis, quod deo uiuis? haec uoluptates, haec spectacula Christianorum sancta perpetua gratuita; in his tibi circenses ludos interpretare, cursus saeculi intuere, tempora labentia, spatia peracta dinumera, metas consummationis exspecta, societates ecclesiarum defende, ad signum dei suscitare, ad tubam angeli erigere, ad martyrum palmas gloriare. si scaenicae doctrinae delectant, satis nobis litterarum est, satis uersuum est, satis sententiarum, satis etiam canticorum, satis uocum, nec fabulae, sed ueritates, nec strophae, sed simplicitates. uis et pugilatus et luctatus? praesto sunt, non parua et multa. aspice impudicitiam deiectam a castitate, perfidiam Caesam a fide, saeuitiam a misericordia contusam, petulantiam a modestia adumbratam, et tales sunt apud nos agones, in quibus ipsi coronamur. uis autem et sanguinis aliquid? habes Christi.

Do you think, then, that this span of life is to be spent in delights? Why are you so ungrateful as not to find enough, nor to recognize, the many great pleasures God has given you? For what is more delightful than reconciliation with God, our Father and Lord, than the revelation of truth, than the recognition of errors, than pardon for so many past crimes? What greater pleasure is there than disdain for pleasure itself, than contempt for the whole world, than true freedom, than a clean conscience, than a life content with enough, than freedom from all fear of death? Than that you trample on the gods of the nations, drive out demons, perform cures, seek revelations, and live to God? These are the pleasures, these are the shows of Christians: holy, everlasting, free of charge. In these interpret for yourself the games of the circus: watch the course of the world, count the seasons gliding by and the laps completed, await the goal of the consummation, defend the fellowships of the churches, rouse yourself at God's signal, rise up at the angel's trumpet, glory in the palms of the martyrs. If the teachings of the stage delight you, we have literature enough, verses enough, maxims enough, songs enough, and voices enough; not fables, but truths; not tricks, but simplicity. Do you want boxing and wrestling? They are at hand, not small matches but many. See unchastity thrown down by chastity, faithlessness slain by faith, cruelty crushed by mercy, wantonness overshadowed by modesty: such are the contests among us, in which we ourselves are crowned. Do you want some blood too? You have Christ's.

1 Thess 4:16 (allusion, medium confidence) · 1 Cor 9:25 (allusion, low confidence)

Notes and citation

Summary: Christians have their own better shows: forgiveness, freedom, victory over demons, the race toward the end, and the contests of virtue, in which they are crowned.

  • The angel's trumpet recalls 1 Thess 4:16 and 1 Cor 15:52; the crown of the contest, 1 Cor 9:25.

Notes on the original text

  • Digital text corrected (misread letter in the digital text; misread letters in the digital text; stray letter and split word in the digital text): L exige re → exigere; incundius → iucundius; tubain → tubam.

Topics: Ethics, Eschatology, Games, shows, and the theatre

Cite (SBL): Tertullian, Spect. 29 (CSEL 20:27–28; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/29).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.

Chapter 30

30CSEL 20:28–30

Quale autem spectaculum in proximo est aduentus domini iam indubitati, iam superbi, iam triumphantis! quae illa exultatio angelorum, quae gloria resurgentium sanctorum! quale regnum exinde iustorum! qualis ciuitas noua Hierusalem! at enim supersunt alia spectacula, ille ultimus et perpetuus iudicii dies, ille nationibus insperatus, ille derisus, cum tanta saeculi uetustas et tot eius natiuitates uno igni haurientur. quae tunc spectaculi latitudo! quid admirer? quid rideam? ubi gaudeam, ubi exultem, tot spectans reges, qui in caelum recepti nuntiabantur, cum Ioue ipso et ipsis suis testibus in imis tenebris congemescentes? item praesides persecutores dominici nominis saeuioribus quam ipsi flammis saeuierunt insultantes contra Christianos liquescentes? quos praeterea? sapientes illos philosophos coram discipulis suis una conflagrantibus erubescentes, quibus nihil ad deum pertinere suadebant, quibus animas aut nullas aut non in pristina corpora redituras adfirmabant? etiam poetas non ad Rhadamanthi nec ad Minonis, sed ad inopinati Christi tribunal palpitantes? tunc magis tragoedi audiendi, magis scilicet uocales in sua propria calamitate; tunc histriones cognoscendi, solutiores multo per ignem;tunc spectandus auriga in flammea rota totus ruber; tunc xystici contemplandi, non in gymnasiis, sed in igne *** iaculati, nisi quod ne tunc quidem illos uelim uisos, ut qui malim ad eos potius conspectum insatiabilem conferre, qui in dominum desaeuierunt. hic est ille, dicam, fabri aut quaestuariae filius, sabbati destructor, Samarites et daemonium habens; hic est quem a Iuda redemistis, hic est ille harundine et colaphis diuerberatus, sputamentis dedecoratus, felle et aceto potatus; hic est, quem clam discentes subripuerunt, ut surrexisse dicatur, hortulanus detraxit, ne lactucae suae frequentia commeantium adlaederentur. ut talia spectes, ut talibus exultes, quis tibi praetor aut consul aut quaestor aut sacerdos de sua liberalitate praestabit? et tamen haec iam quodammodo habemus per fidem spiritu imaginante repraesentata. ceterum qualia illa sunt, quae nec oculus uidit nec auris audiuit nec in cor hominis ascenderunt? credo, circo et utraque cauea et omni stadio gratiora.

But what a show is near at hand: the coming of the Lord, now no longer doubted, now exalted, now triumphant! What exultation of the angels, what glory of the rising saints! What a kingdom of the righteous thereafter! What a city, the new Jerusalem! Yet there remain other shows: that last and everlasting day of judgment, unexpected by the nations and mocked by them, when so great an age of the world and all its generations will be consumed in one fire. What a spectacle that will be, how vast! What shall I admire? What shall I laugh at? Where shall I rejoice, where exult, as I see so many kings, who were proclaimed as received into heaven, groaning together in the lowest darkness with Jupiter himself and with the very witnesses of their ascent? Likewise the governors, persecutors of the Lord's name, melting in flames fiercer than those with which they raged in their insolence against the Christians? Whom besides? Those wise philosophers, blushing before their disciples as they burn together with them, whom they persuaded that nothing concerned God, to whom they affirmed that souls either do not exist or will not return to their former bodies? The poets too, trembling before the tribunal not of Rhadamanthus or Minos, but of the unexpected Christ? Then the tragic actors will be more worth hearing, being more vocal, no doubt, in their own calamity; then the actors will be worth knowing, much looser-limbed through the fire; then the charioteer will be worth watching, red all over on his fiery wheel; then the athletes will be worth contemplating, thrown … not in the gymnasiums but in the fire; except that not even then would I wish to see them, as I would rather turn an insatiable gaze on those who raged against the Lord. “This,” I shall say, “is he, the son of the carpenter or of the harlot, the sabbath-breaker, the Samaritan who has a demon; this is he whom you bought from Judas; this is he who was beaten with the reed and with fists, dishonored with spittle, given gall and vinegar to drink; this is he whom his disciples stole away secretly, so that it might be said he had risen, or whom the gardener removed, so that his lettuces might not be trampled by the crowds of visitors.” That you may see such things, that you may exult in such things, what praetor or consul or quaestor or priest will provide them for you from his own bounty? And yet we already have these things in a way through faith, set before us by the imagining spirit. But what are those things which eye has not seen, nor ear heard, nor have they entered into the heart of man? More pleasing, I believe, than the circus and both theatres and every stadium.

Textual problem in this passage: see the notes.

Rev 21:2 (allusion, high confidence) · 2 Pet 3:10 (allusion, medium confidence) · Matt 13:55 (allusion, high confidence) · John 8:48 (allusion, high confidence) · Matt 26:15 (allusion, high confidence) · Matt 27:30 (allusion, high confidence) · Matt 27:34 (allusion, high confidence) · Matt 28:13 (allusion, high confidence) · John 20:15 (allusion, medium confidence) · 1 Cor 2:9 (quotation, high confidence)

Notes and citation

Summary: The greatest show is still to come: Christ's return, the new Jerusalem, and the judgment, when persecutors, philosophers, and performers will burn and those who mocked Christ will see him.

  • Tertullian imagines confronting, at the judgment, those who raged against Jesus, and repeats the insults used against him: the carpenter's son (Matt 13:55), the sabbath-breaker, the Samaritan with a demon (John 8:48), the body stolen by the disciples (Matt 28:13) or moved by the gardener (cf. John 20:15). The charge that Jesus was the son of a prostitute (quaestuaria) is a hostile slander also reported by Celsus (Origen, Against Celsus 1.28, 32). Tertullian quotes these charges as his opponents' words in order to reject them, and his picture of persecutors and performers punished is his own rhetoric; both are translated as written. The passion details are Matt 26:15; 27:30, 34. The closing quotation is 1 Cor 2:9 (cf. Isa 64:4). A word is lost before iaculati (marked ***).

Notes on the original text

  • Digital text corrected (stray character in the digital text; stray period in the digital text): magis > tragoedi → magis tragoedi; filius,. sabbati → filius, sabbati.

Topics: Eschatology, Persecution, The last judgment, Second coming of Christ

Cite (SBL): Tertullian, Spect. 30 (CSEL 20:28–30; trans. Sophia Scriptura, https://sophiascriptura.com/p/tertullian-spectaculis/30).

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Translation: Translated by Claude from the Latin text of CSEL 20; made independently of existing English translations.