A TESTIMONY AND WARNING AGAINST SOME PREVAILING SINS, Glasgow 1805
The following is a solemn warning from the Scottish church to its unruly members back in 1805. Today it would apply to roughly 99.99999% of all professing Christians in the one particular articulated, that of Theatre attendance, or as known today, the television. You wonder how we got to the point of perfect perversion in our current culture? It’s from the false prophets of television and “Public” Schooling. Imagine if any church today made such a warning to it’s members. And why don’t they? Because we’re not the church. There were other sections to this warning, but below is that regarding the stage:
A TESTIMONY AND WARNING AGAINST SOME PREVAILING SINS AND IMMORALITIES: ADDRESSED TO CHRISTIANS IN GENERAL, BY THE REFORMED PRESBYTERY.
Cry aloud, spare not; lift up thy voice like a trumpet, and shew my people their transgression, and the house of Jacob their sins. ISAIAH lviii. 1.
I have set thee a watchman unto the house of Israel: therefore thou shalt hear the word at my mouth, and warn them from me. EZEKIEL xxxiii. 7.
GLASGOW:
PRINTED BY STEPHEN YOUNG, PRINCE’S STREET.
1805.
Below is the section on theatre and the appendix corresponding to it.
THE STAGE.
IT will be allowed by every one, who knows any thing of the history of theatrical performances, that they have been learned of the heathen, who know not God. In the early ages of Christianity, it was judged inconsistent with the Christian character, for persons either to act as stage players, or to witness their performances. In times not very ancient, play-houses were accounted by the inhabitants of our own land, to be hostile to the interests of religion: and all those, who wished to maintain a religious character, were careful to avoid such places of resort. But the times are now wonderfully changed: for play-houses are erected in every great town in the nation; and it is esteemed an innocent and fashionable amusement to frequent them. In treating this subject, therefore, we are aware, that in the observations, which {117} are to be offered, we have to combat the prejudices of many, who may perhaps think it strange, that, in this age of boasted knowledge and refinement, any should be found to condemn a thing so generally followed and admired. In discharging our duty, however, to God, to the generation, and to our own souls, we are obliged to condemn this fashionable amusement, for the following reasons.
It has an evident tendency to palliate vice, and render the practice of it less odious. This indeed will not be allowed by those, who are advocates for the stage; since they alledge, that it has a tendency to promote the interests of virtue, and to render vice more ridiculous and detestable. But the very opposite of this will be found, upon inquiry, to be the case; for if we seriously consider the very nature of things, and attend to the experience of mankind, it will appear, that theatrical representations have a tendency, to palliate many vices, and consequently to encourage the practice of them. For the proof and illustration of this assertion, we beg the following remarks may be considered.
In the acting of plays, profane oaths are very often introduced, and consequently the practice of profane swearing is thereby encouraged. Of this the legislature appear to have been sensible, and therefore statutes have been framed, prohibiting the use of profane oaths, in any theatrical show, interlude, or play.6 But we are commanded by an authority infinitely superior to that of any mere man, “Thou shalt not take the name of the Lord thy God in vain:” [Exod. 20.7,] and therefore we must condemn the wanton and profane use of the name of God, on any occasion whatever. Now it is well known, that in theatrical exhibitions, the Holy name of God is often introduced, in the way of profane swearing; what can {118} be thought to be the natural consequence of such a practice? Surely, when Christians hear the name of God irreverently used in those amusements, that are accounted both interesting and instructing, they will be led to do the same thing, without any remorse, in their common discourse. For if the profanation of God’s name be innocent in theatrical performances, it never can be criminal in the ordinary course of life.
Another vice, which the stage has a tendency to palliate and encourage, is that of uncleanness. This is a sin so expressly prohibited by God, that the strictest chastity is required of Christians, not only in their actions, but also in their words and conversation. Thus we are told by the apostle, Eph. 5.3,4, “But fornication, and all uncleanness, or covetousness, let it not be once named among you, as becometh saints; neither filthiness, nor foolish talking, nor jesting, which are not convenient; but rather giving of thanks.” Now it must be allowed, that in comic performances, particularly, love and intrigue generally run through the whole; and in the course of the drama, obscene jests are often thrown out either in a more open, or in a more covert and indirect manner: and has not this a manifest tendency to instill into the minds of the audience extenuating and indifferent thoughts of the sin of uncleanness, and encourage them in the practice of it? For if people can be entertained with the exhibition of these things on the stage, there is no reason to think, that they themselves will be afraid to reduce them into practice, or be offended when they are practiced by others. How very different is this, from the representation given of the sin of uncleanness by the wise man? when speaking, in Prov. 9.18, of the arts used by the whorish woman for seducing the unwary youth, he represents her as saying, “Stolen waters are sweet, and bread eaten in secret is pleasant:” [verse 17,] but then he adds in very terrifying language, “He knoweth not that the dead are there, and that her gates are in the depths of hell.”
The stage has a native tendency to palliate and encourage pride and revenge. We are taught in scripture to {119} study all manner of humility and meekness. Instead of aspiring at things above our sphere, we are required, 1 Pet. 5.5, “to be clothed with humility, for God resisteth the proud, but giveth grace to the humble.” And instead of seeking to wreak our vengeance upon those, who may injure us, we are commanded to imitate the example of the meek and lowly Jesus. Of him it is said, 1 Pet. 2.23, “Who, when he was reviled, reviled not again; when he suffered he threatened not; but committed himself to him that judgeth righteously.” It is evident, however, that the very opposite lessons are taught by the stage. In tragical performances particularly, the hero of the play is represented as receiving some affront or disaster, which he cannot survive; and therefore he resolves upon taking away his own life: or perhaps he meets either with some injury from a fellow creature, or with some disappointment in the pursuit of a favourite object; by which means, his passion and resentment are roused to such a pitch, that he cannot rest, till he destroys the very life of his antagonist. Now, when all this is exhibited, under the notion of a certain greatness of mind, surely those, who are entertained with such representations, will be disposed to act accordingly in common life. And thus we see, that instead of the meekness, the humility, and the self-denial, which are the ornaments of the Christian character, the passions of ambition, of pride, and of revenge are fostered by the stage
These are some of the vices which theatrical performances are naturally calculated to cherish among mankind; and surely, an amusement, so pernicious in its tendency to the morals of society, ought never to receive the support and encouragement of those who make a profession of the Christian name.
The stage is evidently adapted to increase that natural levity and vanity, with which the human mind is filled. The innate corruption of the heart makes its appearance, not only in meditating and contriving things, that are in themselves immoral, but also in inventing a thousand vain imaginations about things, that never had, {120} and never will have an existence. This corrupt disposition it is the endeavour of Christians, under the influence of the Holy Ghost, daily to mortify. Such an exercise is essentially requisite, to enable them to attend with any deliberation to the invisible and important realities about which faith is conversant. For the extravagant workings of the imagination are directly opposite to that spiritual mindedness, which Christians are called to study; and consequently, the more that the mind is filled with them, the less it is disposed for any serious exercise about eternal things. Now in theatrical performances, occurrences and events are exhibited to the audience, not as they have actually happened, but as the poet has conceived of them in his own imagination: or if any real occurence is represented, it is clothed with an incredible variety of extravagant circumstances, which the fancy of the poet has invented, in order that it may make a deeper impression upon the mind. It is easy to see, that the natural workings of a vain imagination must be increased and strengthened by theatrical exhibitions, in which the elaborate workings of the imagination of the author are displayed. We may therefore conclude, that since the performances, acted upon the stage, are calculated to increase that natural levity of mind, which Christians ought to mortify, it is altogether inconsistent with the Christian character to seek after entertainment or amusement in them.
Theatrical representations have a native tendency to indispose the mind for the duties and exercises of religion. These duties it is the study of Christians ever to attend unto: and nothing whatsoever ought to be indulged, that renders them unfit for such exercises. Hence they are said in scripture to walk with God, Gen. 5.22, and 6.9, because in the duties of religion they enjoy spiritual intercourse and fellowship with him. That they may be fitted for such solemn and sublime enjoyments, the Lord fills them with his Spirit, by whose influences they are brought into spiritual frames, and secretly inclined to serious exercise about spiritual things. Now, no amusement whatever is to be indulged by {121} Christians, that will agitate their minds so furiously, as to unfit them for the duties of religion; for this is entirely inconsistent with their character, and prejudicial to their interest. It is evident, however, that theatrical representations must have such a noxious tendency; for by them the minds and passions of men are exceedingly agitated. The things represented on the stage are not ordinary occurrences, that usually take place in human life; but they are occurrences extraordinary in their nature, and set off with the most extraordinary colourings, which the fancy of the Poet can contrive. By such representations the minds of the spectators are uncommonly moved: and sometimes whole audiences are so overwhelmed with grief, by a thing of nought, as to have their faces bedewed with tears. It must be evident therefore, that representations, producing such effects, will indispose Christians for the duties of religion: for it is impossible to conceive, how the mind, after such excessive agitation, can be composed for any serious exercise about spiritual and eternal things. Christians will find abundance of embarrassment in the performance of religious duty, arising from the workings of corruption within them, and from the cares and crosses of the world without; and therefore should never indulge themselves in any amusement, that has a tendency to increase the evil.
The general character of stage-players seems to form no contemptible argument against attending their performances. It is indeed maintained by those, who contend for the stage, that it is calculated to commend virtue, and expose vice. If this were true, it would be natural to think, that the players themselves would be remarkable examples of virtue; for if theatrical performances are adapted to promote the interests of virtue, none could be expected to be more virtuous and exemplary than the performers themselves. But can any pretend, that they are so? Is not the very opposite of this the case? Are not stage players remarkable, not for their regular and exemplary conduct, but for their extravagance, their dissipation, and prodigality? and are lessons of virtue to be {122} learned from persons of such a character? We may here use with propriety our Saviour’s reasoning in another case, when he says, Matt. 7.16, “Do men gather grapes of thorns, or figs of thistles?” So we may say, “Are men to learn piety from the profane, mortification from the sensual, or modesty from harlots?”7 Surely Christians never can without sin give countenance to such persons, and encourage them in their employment.
Experience seems also to confirm the remark, that the interests of virtue and morality are not promoted, but rather injured, by such persons and such performances. For proof of this, we shall quote a passage from the Statistical account of the metropolis of Scotland. In order to show the degeneracy that took place and prevailed between the years 1763 and 1783, the writer makes the following contrast between these two periods.
In 1763, the question respecting the morality of stage-plays was much agitated—By those, who attended the theatre even without scruple, Saturday night was reckoned the most improper in the week, for going to the play. Any Clergyman, who had been known to have gone to the Play-house, would have incurred church censure.
In 1783, The morality of stage plays, or their effects on society were not thought of. The most crowded houses were always on the Saturday night. The boxes for the Saturday night’s play were generally taken for the season; so that often strangers that night could not get a place. The custom of taking a box for Saturday night through the season was much practiced by boarding Mistresses, so that there could be no choice in the play; but the young ladies could only take what was set before them by the managers. Impudent buffoons took liberties with authors, and with the audience in their acting, that would not have been suffered formerly.
The Galleries never failed to applaud what they {123} formerly would have hissed, as improper in sentiment or decorum.”8
Thus it appears from experience, that the stage is by no means calculated to promote the interests of virtue and morality, but the very contrary; for the greater the influence that stage-players have, and the greater the countenance, that is given to their performances, the more extensively will the morals of the people be corrupted.
The general character of those, who frequent the theatre, seems also to militate against the lawfulness of attending it. It cannot be denied, that every one takes delight only in that, which is suited to his inclination and desire; for every thing that is contrary to our inclination, is the object of disgust and aversion. Now, if the theatre were a place, where lessons of morality and religion are to be learned, we might naturally think, that those, who frequented it, would be eminent for their sobriety and religion; and if sobriety and religion formed the general character of those, who are accustomed to wait upon the stage, we would be inclined to think, that it might be an innocent and useful amusement. But is not the very opposite of this allowed to be the case? Are not those, who habitually attend theatrical performances, and find entertainment in them, rather the carnal, the sensual, and the profane? And if such performances are calculated to afford entertainment to persons of this character, they never can be amusements suited to the spiritual disposition of the saints of God; and therefore should never be encouraged nor countenanced by them.
It may also be added here, that the play-house is generally allowed to be a place, very much adapted for carrying on lustful intrigues. Before the doors are opened, they are often crowded by those abandoned females, who prostitute their bodies for hire. If then the theatre be frequented by persons of such a description, is not this as much as to say, that they consider it as a place, where they may expect to meet with others as abandoned as themselves, with whom as proper companions {124} they may carry on their unhallowed intercourse. And if such persons frequent the theatre, and find entertainment in it suited to their inclination; it never should be attended by any, who wish to live in the fear of God. We may here use, with all manner of propriety, the solemn address that was once uttered by an eminent patriarch, Gen. 49.6, “O my soul, come not thou into their secret; unto their assembly, mine honour, be not thou united!”
Having offered these few observations, Christian friends and brethren, concerning the stage, that woeful seminary of wickedness, we would now solemnly warn you against all attendance upon it, whether in a more clandestine, or openly avowed manner. While others are squandering away their time in such vain and dangerous amusements, let it be your study to mourn over their sin, and to use all manner of spiritual diligence about your own souls. Keeping eternity continually in view, let it be your endeavour always to spend your time in exercises, that will turn out to a good account in the end. Let the heads of families be exhorted to use their influence and their authority, to restrain those who are under them, from attending those places and amusements that are so dangerous and ensnaring to youth. Instead of giving countenance to such exercises as promote the interests of vice and irreligion, let them imitate the example of faithful Abraham, of whom the Lord says, Gen. 18.19, “For I know him, that he will command his children and his household after him, and they shall keep the way of the Lord.”
Appendix
Additional Authorities Against the Stage.
AS the Stage is become a fashionable entertainment, and has many advocates, even among the professors of religion, it may not be improper to shew that the sentiments of our church respecting it are not singular, but have been maintained by the ancient fathers, and primitive councils, when religion was held in true esteem among Christians. We have not room to insert the canons themselves, nor to give full extracts from the writings of the fathers. The following will serve as a specimen.
Clemens Alex. says, “That not only the use, the sight, the hearing, but the very memory of Stage-plays should be abolished.”—”That pedagogues must not lead youths to plays or theatres, that may not unfitly be called the chaos of pestilence, because these conventicles, where men and women meet together promiscuously, to behold one another, are the occasion of lewdness, and there they give or plot wicked counsel.”— Cyprian says, “It is not lawful for faithful Christians, yea it is altogether unlawful, to be present at {135} these plays.”— Tertulian calls the play-house, the chapel of venery, the house of letchery, the consistory of uncleanness.— Origen says, “That Christians must not lift up their eyes to Stage-plays, the pleasurable delights of polluted eyes, lest their lusts be inflamed by them.”— Ambrose calls Stage-plays, spectacles of vanity, by which the Devil conveys incentives of pleasure to men’s hearts:—therefore “let us” says he “turn away our eyes from these vanities.”— Chrysostom says, “That nothing brings the oracles and ordinances of God into so great contempt, as admiring and beholding Stage-plays:—And that neither sacraments, nor any other of God’s ordinances, will do a man good, so long as he goes to Stage-plays.”— Salvian says, “That in Stage plays there is a certain apostacy from the faith:—For what is the first confession of Christians in their baptism, but that they do protest, that they renounce the Devil, his pomps, spectacles, and works: know thou Christian, when thou dost knowingly return to Stage-plays, thou hast violated thy vow altogether.”—The ancient fathers appear harmonious in condemning Stage-plays, as being ordinarily stuffed with the names, histories, fables, rites, villainies, incests, rapes, oaths, imprecations, and invocations of the idol gods.— Epiphanius says, “That the catholic and apostolic church doth reprobate, and forbid all theatres, Stage-plays, and such like heathenish spectacles.” So much for the fathers.
Stage-plays in their several kinds were prohibited, reprobated, and condemned, and the actors of them appointed to be excommunicated by the canons of general and particular councils. E.g. the councils of Arles, Eliberine, Carthage, Hippo, the African, and that at Constantinople. The famous reformed Protestant church of France, that the other reformed churches have followed since, has these words, can. 28., “Moreover it shall not be lawful for the faithful (or Christians) to go to comedies, tragedies, interludes, farces, or other Stage-plays, acted in public or private, because in all ages these have been forbidden among Christians, as bringing in a corruption of good manners.”
The reasons why Stage-plays have been condemned by the fathers and ancient councils are the following. 1. As being a breach of the seventh commandment, tending to expose persons to lewd company, and lewd practices.— 2. As conforming to, and partaking with, heathens, in their idolatrous and superstitious practices, forbidden to the people of God in scripture.— 3. As contrary to, and a practical renunciation of, the baptismal vow of Christians, wherein they engage to renounce the Devil, and all his pomps, and works, which they {136} reckon acting and beholding Stage-plays to be.— 4. As taking away the necessary distinction betwixt Christians and heathens.— 5. As being unsuitable unto and inconsistent with the gospel of Christ, which forbiddeth Christians to make provision for the flesh, to fulfil the lusts thereof, or to be conformed to the world; and requires them to walk circumspectly, not as fools, but as wise, redeeming the time; and to abstain from all appearance of evil.— 6. As being a corruption of manners, incentives to levity and lust, and seminaries and nurseries of uncleanness.— 7. As holding their original, and institution, from the Devil, the inventor of them, being long devoted and appropriated to the worship and service of the heathen Devil-gods.
It may be alledged, that these observations apply to the Stage, only in its corrupt state; but do not apply to it now, when greatly refined. A few sentences from one,9 who wrote against it since its supposed refinement, will answer this objection.
The Stage is not condemned as some other diversions, because they are dangerous, and likely to be occasions of sin; but it is condemned, as drunkenness and lewdness, as lying and profaneness are condemned, not as things, that may only be the occasion of sin; but such as are in their own nature sinful.—It is a contradiction to all Christian holiness and all the methods of arriving at it. Can any one think that he has a Christian spirit; that his heart is changed and that he is born again of God; while he is diverting himself with the lewdness and profaneness of the Stage? Can he think, that he is endeavouring to be holy as Christ is holy, to live by his wisdom, and to be full of his Spirit, so long as he allows himself in such an entertainment——If you are asked, why it is unlawful to attend the Stage, you can answer, because it is an entertainment that is contrary to all the parts of the Christian religion, and contradicts every holy temper, which the spirit of Christianity requires. So that, if you live in the use of this diversion, you have no grounds to hope, that you have the spirit and heart of a Christian.——If you desire to be truly religious in heart and mind, it is as necessary to renounce the Stage, as to seek God and pray for the guidance of the Holy Spirit.
