I scarcely know of any but this profession, and that of magicians, to which this honor could now be paid; but as sorcerers have ceased for the eighty years that sound philosophy has been known to men, there are no longer any victims but Alexander, C?sar, Athalie, Polyeucte, Andromache, Brutus, Za?re, and Harlequin.
The principal reason given is, that these gentlemen and ladies represent the passions; but if depicting5 the human heart merits so horrible a disgrace, a greater rigor6 should be used with painters and sculptors7. There are many licentious8 pictures which are publicly sold, while we do not represent a single dramatic poem which maintains not the strictest decorum. The Venus of Titian and that of Correggio are quite naked, and are at all times dangerous for our modest youth; but comedians9 only recite the admirable lines of “Cinna” for about two hours, and with the approbation10 of the magistracy under the royal authority. Why, therefore, are these living personages on the stage more condemned11 than these mute comedians on canvas? “Ut pictura poesis erit.” What would Sophocles and Euripides have said, if they could have foreseen that a people, who only ceased to be barbarous by imitating them, would one day inflict12 this disgrace upon the stage, which in their time received such high glory?
Esopus and Roscius were not Roman senators, it is true; but the Flamen did not declare them infamous13; and the art of Terence was not doubted. The great pope and prince, Leo X., to whom we owe the renewal14 of good tragedy and comedy in Europe, and who caused dramatic pieces to be represented in his palace with so much magnificence, foresaw not that one day, in a part of Gaul, the descendants of the Celts and the Goths would believe they had a right to disgrace that which he honored. If Cardinal15 Richelieu had lived — he who caused the Palais Royal to be built, and to whom France owes the stage — he would no longer have suffered them to have dared to cover with ignominy those whom he employed to recite his own works.
It must be confessed that they were heretics who began to outrage16 the finest of all the arts. Leo X., having revived the tragic17 scene, the pretended reformers required nothing more to convince them that it was the work of Satan. Thus the town of Geneva, and several illustrious places of Switzerland, have been a hundred and fifty years without suffering a violin amongst them. The Jansenists, who now dance on the tomb of St. Paris, to the great edification of the neighborhood, in the last century forbade a princess of Conti, whom they governed, to allow her son to learn dancing, saying that dancing was too profane18. However, as it was necessary he should be graceful19, he was taught the minuet, but they would not allow a violin, and the director was a long time before he would suffer the prince of Conti to be taught with castanets. A few Catholic Visigoths on this side the Alps, therefore, fearing the reproaches of the reformers, cried as loudly as they did. Thus, by degrees, the fashion of defaming C?sar and Pompey, and of refusing certain ceremonies to certain persons paid by the king, and laboring20 under the eyes of the magistracy, was established in France. We do not declaim against this abuse; for who would embroil21 himself with powerful men of the present time, for hedra and heroes of past ages?
We are content with finding this rigor absurd, and with always paying our full tribute of admiration22 to the masterpieces of our stage.
Rome, from whom we have learned our catechism, does not use it as we do; she has always known how to temper her laws according to times and occasions; she has known how to distinguish impudent23 mountebanks, who were formerly rightly censured24, from the dramatic pieces of Trissin, and of several bishops26 and cardinals27 who have assisted to revive tragedy. Even at present, comedies are publicly represented at Rome in religious houses. Ladies go to them without scandal; they think not that dialogues, recited on boards, are a diabolical28 infamy29. We have even seen the piece of “George Dandin” executed at Rome by nuns30, in the presence of a crowd of ecclesiastics31 and ladies. The wise Romans are above all careful how they excommunicate the gentlemen who sing the trebles in the Italian operas; for, in truth, it is enough to be castrated in this world, without being damned in the other.
In the good time of Louis XIV., there was always a bench at the spectacles, which was called the bench of bishops. I have been a witness, that in the minority of Louis XV., Cardinal Fleury, then bishop25 of Fréjus, was very anxious to revive this custom. With other times and other manners, we are apparently32 much wiser than in the times in which the whole of Europe came to admire our shows, when Richelieu revived the stage in France, when Leo X. renewed the age of Augustus in Italy: but a time will come in which our children, seeing the impertinent work of Father Le Brun against the art of Sophocles, and the works of our great men printed at the same time, will exclaim: Is it possible that the French could thus contradict themselves, and that the most absurd barbarity has so proudly raised its head against some of the finest productions of the human mind?
St. Thomas of Aquinas, whose morals were equal to those of Calvin and Father Quesnel — St. Thomas, who had never seen good comedy, and who knew only miserable33 players, thinks however that the theatre might be useful. He had sufficient good sense and justice to feel the merit of this art, unfinished as it was, and permitted and approved of it. St. Charles Borromeo personally examined the pieces which were played at Milan, and gave them his approbation and signature. Who after that will be Visigoths enough to treat Roderigo and Chimene as soul-corrupters? Would to God that these barbarians34, the enemies of the finest of arts, had the piety35 of Polyeucte, the clemency36 of Augustus, the virtue37 of Burrhus, and would die like the husband of Alzira!
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1 formerly | |
adv.从前,以前 | |
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2 monarchs | |
君主,帝王( monarch的名词复数 ) | |
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3 procure | |
vt.获得,取得,促成;vi.拉皮条 | |
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4 livelihood | |
n.生计,谋生之道 | |
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5 depicting | |
描绘,描画( depict的现在分词 ); 描述 | |
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6 rigor | |
n.严酷,严格,严厉 | |
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7 sculptors | |
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座 | |
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8 licentious | |
adj.放纵的,淫乱的 | |
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9 comedians | |
n.喜剧演员,丑角( comedian的名词复数 ) | |
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10 approbation | |
n.称赞;认可 | |
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11 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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12 inflict | |
vt.(on)把…强加给,使遭受,使承担 | |
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13 infamous | |
adj.声名狼藉的,臭名昭著的,邪恶的 | |
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14 renewal | |
adj.(契约)延期,续订,更新,复活,重来 | |
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15 cardinal | |
n.(天主教的)红衣主教;adj.首要的,基本的 | |
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16 outrage | |
n.暴行,侮辱,愤怒;vt.凌辱,激怒 | |
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17 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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18 profane | |
adj.亵神的,亵渎的;vt.亵渎,玷污 | |
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19 graceful | |
adj.优美的,优雅的;得体的 | |
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20 laboring | |
n.劳动,操劳v.努力争取(for)( labor的现在分词 );苦干;详细分析;(指引擎)缓慢而困难地运转 | |
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21 embroil | |
vt.拖累;牵连;使复杂 | |
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22 admiration | |
n.钦佩,赞美,羡慕 | |
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23 impudent | |
adj.鲁莽的,卑鄙的,厚颜无耻的 | |
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24 censured | |
v.指责,非难,谴责( censure的过去式 ) | |
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25 bishop | |
n.主教,(国际象棋)象 | |
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26 bishops | |
(基督教某些教派管辖大教区的)主教( bishop的名词复数 ); (国际象棋的)象 | |
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27 cardinals | |
红衣主教( cardinal的名词复数 ); 红衣凤头鸟(见于北美,雄鸟为鲜红色); 基数 | |
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28 diabolical | |
adj.恶魔似的,凶暴的 | |
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29 infamy | |
n.声名狼藉,出丑,恶行 | |
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30 nuns | |
n.(通常指基督教的)修女, (佛教的)尼姑( nun的名词复数 ) | |
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31 ecclesiastics | |
n.神职者,教会,牧师( ecclesiastic的名词复数 ) | |
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32 apparently | |
adv.显然地;表面上,似乎 | |
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33 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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34 barbarians | |
n.野蛮人( barbarian的名词复数 );外国人;粗野的人;无教养的人 | |
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35 piety | |
n.虔诚,虔敬 | |
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36 clemency | |
n.温和,仁慈,宽厚 | |
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37 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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