Through limit and hindrance man works: no limit hath God, and no need;But his wind is musical only when prisoned in the cane of the reed.
Aubrey de Vere.
Nothing better pictures an epoch than the art and literature which it produces. The great characters, religious and political, immortalized by history, have always been surrounded by a cluster of noble geniuses, artistic and literary. The generosity and magnanimity of heroes is reproduced in the sublime purity of the works of art of their epoch. Nobility of art bears testimony to the excellence of morals. Our century is no exception to this. Confusion of principles in politics and religion is accompanied by an analogous overturning of morals, of art, and of literature. We are living in a time of general depravity; at least, it is so as regards those who pretend to march at the head of modern civilization. But their depraved literature, their shameless arts, exercise their disastrous influence over those who would wish to resist the current of the bad passions of the day. It is to them that M. Stein gives warning of the danger, in depicting the bad conditions into which dramatic music has degenerated. It is a study of contemporaneous manners, not so much from an artistic as from a religious and political point of view.
Gentlemen: A few days ago, it was shown you here how considerable is the influence of the fine arts upon the moral life of mankind; it was demonstrated how they can guide the human sentiment towards different ends, good or bad.
You will permit me now to callyour attention to a branch of the fine arts which, more now than ever, and more than all others, exercises its influence on the moral life of the people, and which merits thus the highest degree of interest from this assembly. It is dramatic poetry allied to musical art, that is, the Opera.
You all know the great extent of this branch, which has captivated the favor of the public to a degree perfectly exceptional, and which has banished to the second place all other branches of dramatic art.
The reasons of this extraordinary success are not so well known. The excessive predilection of public theatregoers for the opera is of quite recent date. Only forty years ago, the masterpieces of dramatic poetry enjoyed the same favor as those of dramatic music. By the side of Mozart and Carl Maria von Weber, Shakespeare and Schiller were found on a footing of equality; to-day they must retire before Meyerbeer and Offenbach, and be contented to remain eclipsed by these favorites of the public. If you question on the subject enthusiastic lovers of the opera, they will answer that, in our day, opera has made progress so considerable, and attained to such perfection, that the understanding of music is so general among the people, that this predilection of an enlightened public for dramatic music is the most natural thing in the world. You know there never can be question of any other than an enlightened public; for it cannot be doubted that every man who frequents the theatre is a man of progress. Thegallery represents the preparatory school; the boxes, the pupils in philosophy.
However, it is difficult to believe that artistic taste and love of music are the sole motives which cause the public to fill the halls of the opera-house. Forty years ago, the works of Mozart, of Weber, and other masters were well appreciated by connoisseurs, but they did not meet with as much success from the public as modern operas enjoy to-day. Or is it rather that Donizetti and Verdi, Meyerbeer and Offenbach, understand the art better than Mozart and Weber, Spohr and Spontini? We cannot admit it. The reason must be elsewhere, and surely, gentlemen, you wish to know it.
In a pamphlet published ten years ago, Richard Wagner says: “The essential foundation of art, as practised generally in our day, is industry: its moral end is gain, its æsthetic intention to killennui.”
This richly endowed artist has in view his colleagues in dramatic music, the composers of opera. He knew these men well, and understood himself how they set to work. But in the words quoted he has perfectly explained the end and tendency of modern opera.
The end is no other than gain; and, as means conducive to this end, effect is necessary, which must be attained at any price. Industrialism, that tyrant of our age, has also submitted the opera to its power, and under its domination the art exhausts itself forcibly, because tied to the fly-wheel of the artistic fabric. To produce effect, to surprise and bring out something which has not yet been seen—these are the objects of actual dramatic music. To this end is sacrificed not only art, but also all that exists—religion, politics, morality, and truth. This unfortunatecourse has been inaugurated by the Italians. In their dramatic works, Donizetti and Verdi have sought but for effect, theatrical success, and to this end have completely sacrificed dramatic truth. For love of effect, they have trodden upon law, morals, and even reason. The domination of sense over mind is the characteristic feature of their music.
But it is among the French that this style has attained its greatest perfection, and even among the German composers, who, for love of effect, have Frenchified themselves. The most skilful author of scores of operas, Scribe, has offered his pen to these greedy musicians for money, and shows his readiness to sacrifice all to it. Scribe understood the Parisian public for which he worked. He knew its weakness, and he has succeeded in imposing the vitiated taste of that public on the whole civilized world.
In the texts furnished by Scribe, all is intended for scenic effect—all means are employed to reach this end. The requirements of dramatic truth and of morality, even of good sense, are sacrificed to the one end, effect. Frivolous and immodest allusions, which offer gross food to the impure fancy, and necessarily soil the imagination of innocence; doubtful scenes, as, for example, inFra Diavolo, where a young girl unrobes and goes to bed before the audience; scenes of the bath, as in theHuguenots; scenes of seduction, as inRobert le Diable; political allusions, exaltation of and homage to the revolutionary passions, as in theMuette de Portici; base flattery to the irreligious opinions and prejudices of the day; even, in fine, scenes peculiarly religious, that are put into the piece to produce striking contrasts, and bring out voluptuous scenes better—these are the artisticmeans of which these poets and composers have made use to produce effect, and to make money with this effect. Thanks to these industrials of the opera, it happens that in France a new opera has no longer chance of success, if it be not abundantly provided with these means for exciting bad passions.
Now, how is it in Germany? The German good-nature imitates everything of which the French set the example. It allows itself to be deceived, even to the point of findingnaïvetéwhere there is nothing but immodesty. It thinks even that it recognizes a religious character in works which do but abuse and vilify religion. The German good-nature imagines that these creators of French art have carried dramatic music to its highest perfection, whilst in reality they are merely skilful workmen, and often something much worse.
If it be denied that our so-called artistic and intelligent public is intoxicated with drinking from the poisoned cup of the French opera, it must be conceded that in Germany there are still many men who know and love art, and who therefore, at the start, do not sacrifice to this musical Baal, but render testimony to the truth with regard to the modern opera. They do not trouble themselves about the shouts and railleries of the crowd, who are unreflecting, and seek in art only sensual enjoyment and pastime.
Permit me here to recall the memory of a generous man, a grand master of the musical art, whom the city of Düsseldorf formerly counted among its citizens—to wit, Mendelssohn-Bartholdy. From the letters he has left, we know that, during his artistic career, he desired earnestly to try his creative power on the opera, but could not succeed because, notwithstanding his multiplied efforts, hecould not find a text to please him. During his sojourn in Paris, his father wrote him to employ Scribe to furnish him a text, to make the composition at Paris, and to have the joint work performed there. This letter of the father betrays a man well versed in business. In his answer, Mendelssohn first speaks of the difficulties which are raised against strangers who wish to represent their works in Paris; then says: “It must be added that, among the French, the principal condition is one to which we must always be opposed, even when the epoch requires us to be ready to make concessions to the taste of the day. This essential condition is immorality. I have no music for that. It is ignoble. If the present age exacts such requirements of the opera, I renounce it for ever. I prefer to compose religious music.”
Honor to the honest man! Honor to the artist who in acting thus honored himself—who refused to gain money and to make himself famous by selling for so base a use the divine gift which God had given him!
As Mendelssohn indicates here, it is particularly Meyerbeer who has devoted himself to this bad style. In his youth, this talented artist had composed several operas which had not been favorably received. He had tried without success in the German school as well as in the Italian. He gave himself up to the mercantile style, and his career was brilliant. Meanwhile, Meyerbeer employed Scribe to write his texts, and these two minds understood each other wonderfully. The one furnished piquant scenes, without regard to the exigencies of reason and morals, and threw in a profusion of seductions for all the passions. He set to work all the wonders of decoration. The other illuminated the whole with seductive music, whichsought but for effect, and had no regard to dramatic truth. In this manner, Meyerbeer has become not only the most famous, but also—and this is the principal thing—the richest musician of the entire world. He knows his business, as no one before has known it.
Meyerbeer is distinguished particularly for his predilection for religious scenes. With consummate skill, he uses them to produce striking contrasts. None of his last operas fail in this spicy seasoning. As a Jew, he is impartial among the different Christian sects. He maligns and mocks them all. InRobert le Diable, it is Catholicism which is put under contribution to furnish material for his religious scenes; in theHuguenots, he abuses Protestantism in the same manner and to the same end.
Marcel, a personage insignificant and dull, a fanatical Huguenot, interrupts everywhere the action of the piece with a Protestant canticle, always inopportunely and without reason, but producing always a grand effect by contrast. It is the air of the canticle of Luther: “Our God is a tower of strength.” The success of theHuguenots, this opera being so much a favorite, rests almost entirely on the contrasts produced by this canticle.
In the first act, a merry company of cavaliers is found at table drinking and singing a riotous song. Marcel, the incomprehensible solitary, proceeds to thunder out, with a loud voice accompanied with brazen instruments: “Hear me, strong God! My voice is raised to thee.” This canticle, in the midst of jovial drinkers, intermingled with the song they are singing—how can it fail of effect? In the second act, there is a very violent scene. At the instigation of Queen Margaret, the CountSt.Bris has proposed his daughter to theChevalier Raoul, who refuses her. Valentina, the daughter, despised and scorned, complains; Queen Margaret preaches peace; all shout and fence, and Marcel adds his chorus in a thundering voice, “God, our guard and protection, listen to our cries!” Is not this a shameful prostitution of sacred things? But it produces effect; and our opera-going public, which boasts of its delicate taste, is enchanted with it, and imagines that the violent impression produced by these contrasts is a religious and edifying sentiment.
InL’Africaine, the last production of Meyerbeer, he introduces us immediately, in the first act, to a sitting of the secret council of the King of Portugal. It is understood that the grand inquisitor and a certain number of cardinals play the principalrôle. Finally, Vasco de Gama is condemned, loaded with chains, and thrown into the deepest dungeon. Why? Because he has affirmed the existence of distant and unknown lands of which the Scripture does not speak. You know well that ecclesiastical dignitaries have always had the habit of refuting with chains and a prison novel ideas and scientific discoveries. At least, by this scene the public is convinced of it, with the aid of stunning music. This same opera, so much approved, contains also a very piquant amorous intrigue. There are several choruses of prayer, then a large vessel on the stage, and finally a manchineel tree, which spreads death. We must agree that it is the possible and the impossible.
However, it is not the Jew Meyerbeer who has pushed to the extreme his musical industry. The Jew Offenbach has gone much further. The former speculated principally on the curiosity of the unreflecting masses; but while his art is under subjectionto frivolity, he still seeks to preserve a certain decorum. But Offenbach has got rid of the last remains of modesty and propriety. Yet the Christian public besiege the workshop, and applaud with frenzy the musical indecencies of this industrious Jew.
Orphées aux Enfers,La Belle Hélène,La Vie Parisienne, such, for several years, have been the favorite works with a public in advance of its age. These operas have been played every day for weeks and months on every stage; and often there are disputes over the tickets for these representations. Of course, it is all owing to the beautiful music.
With these impure works, dramatic music has attained the extreme of degradation. After having been lowered by Meyerbeer and the modern composers of France and Italy to the rank of anequestrienne, who rides round the circus in elegant costume, the muse of music has been thrown to the demi-monde by Offenbach. She could not fall lower.
Gentlemen, permit me to repeat the question which was laid before you in the beginning. What is the reason that modern opera has gained the favor of the public to so eminent a degree that not only the classical works of this kind, but also the masterpieces of declaimed drama, are banished from the theatre? Now, we can answer this question. The reason of this surprising phenomenon is that, by the modern opera, art has entered into the service of sensuality, art has lost all generous and elevated motives. It has tasked itself to amuse a public depraved by pleasures of every kind—to satisfy curiosity, to flatter the bad passions, the errors and prejudices of the age, and to make a bad use of the questions of the day.
Those who still doubt what I sayhave but to notice the intimate union of the ballet with the opera which the prevailing taste dictates as an inexorable law. In most cases, the ballet has no logical or artistic connection with the opera. It is a foreign element which imposes itself upon musical and dramatic action, and which is given with the avowed intention of exciting voluptuousness. Reason is forced to despise the ballet; moral sentiment condemns it; musical art is obliged to lament over it as a sad aberration; nevertheless, modern opera has concluded an alliance for life with this frivolous creation of the present time. You know the proverb, “Tell me what company you keep: I will tell you what you are.”
Our friends of the opera do not like to be told these things. Judgments like these are for them the expressions of a mind opposed to modern civilization, and lost in obsolete ideas. If one of these partisans of modern opera hears what I have just said, he will certainly say that the darkness of my ultramontane soul is blacker than the color of my robe. He will maintain that it is only æsthetic education, artistic sense, enthusiasm for music, which draws him and his equals to similar works; and, nevertheless, the old operas which are veritable works of art, but which do not contain any piquant subject and little food for sensuality, leave them cold and indifferent in the depth of their hearts. The symphonies of Beethoven and Mozart cause these lovers of art to yawn, and the name alone of an oratorio makes their flesh creep.
What position have we Christians to take, in order to oppose these alarming phenomena of the present day? A critic of the seventeenth century, named Wehrenfels, has laid down this principle for dramatic artin general: “Finally, all our dramatic representations should be such that Plato could tolerate them in his republic, that Cato could listen to them with pleasure, that vestals could witness them without wounding their chastity, and, what is more important, that Christians could listen to them.”
You will say this is too antiquated a principle. Among the greater part of our amateurs at the theatre it will only provoke expressions of doubt; they will say that this poor Wehrenfels is far behind modern civilization. Notwithstanding, no one undertakes to refute this principle, to demonstrate that these requirements are groundless. But as long as they are not refuted, we must consider them justified, and we ask if they should not be applied to the opera. Is not the drama when sung to be submitted to the same true moral and æsthetic laws as the drama recited?
To the phenomena of life as produced before our eyes, we apply the scale of conscience and of reason. Why should it not be our right and our duty to apply them also to the opera, and to regulate our conduct from the result of such an examination? No one will deny that this question is well founded. Nevertheless, it would meet with much resistance. Our enthusiasts of the opera have tacitly agreed that, where it is a question of opera, good sense and conscience should be silent. But ourselves, gentlemen, ought never to abandon these principles. We should no longer be Christians, if we did not apply to the opera the principles we practise in our lives.
Let us, then, apply these principles to the music of our day. What must we do if it be condemned for frivolity, for immodesty and abuse of religious things? If we find that the scenes are arranged solely with a view to effect, and in disregard ofgood sense and logic? If reason and conscience, by common accord, condemn this degradation of art, and the deception with which this degradation is presented as veritable art? What must we do, in presence of these great accusations against modern opera?
Would you condemn to silence your reason and your conscience because you are promised amusement? Would you wish, as a return for your money, to have sung on the stage words you despise, words you would repulse if they were spoken? Would you put a temptation before your children, in leading them to the opera—these same children whom you tried to bring up in honesty, in religion, in piety, and the observance of all Christian duties? Do you believe that at the opera, where religion is made a plaything, where it is exposed to contempt, attacked and calumniated, they will learn to esteem and to obey it? Will they learn good morals, decency, and propriety from the dancers of the ballet? It is sufficient to place before you these questions; you will answer them yourselves. But why this severe criticism? What will result from it?
Will my words succeed in turning dramatic music from its bad course, and making it enter on a better? Will the thousands and thousands of individuals who find their greatest pleasure in modern opera take notice of them at all? I do not count upon that. But I hope with confidence, gentlemen, that my words will engage you to examine more closely the subject of which I have been treating. You will not form your judgment from charlatans of criticism and enthusiastic partisans of sensuality; but you will judge for yourselves, by vigorously applying your Christian principles. If you are thus affected, my words will have borne fruit.
[98]Lecture of M. Stein, Curate of Cologne.Delivered before the Catholic Congress at Düsseldorf.
It has been said that a distinguished English lady, remarkable for her intelligence in the treatment of many questions affecting the condition of the proletarian classes, and by whose persevering efforts the erection and management of reformatories for juvenile offenders, and industrial schools for that vagrant portion of the community known in our civilized era as “street Arabs,” and who herself personally superintended most admirably a reformatory for young girls in Bristol, was accustomed to say to her visitors, in reply to their astonishment at her wonderful perseverance and success: “Whenever I see anything that I can call radically wrong, I never feel satisfied till I can render to myself an intelligent reason why it has gone wrong; and then, when I know what the causes are, I set myself to the task of preventing, as far as possible, the occurrence of anything of the same kind in the future.”
This practical view of the duties of life, which proved of such benefit to the beneficiaries of that philanthropic lady, seems to have been adopted by the author of the work before us, and to have been applied on a more comprehensive scale. Becoming convinced, after long investigation, that one of the evils which at present afflict society arises out of spiritual ignorance of the history of the church and of the pre-Christian era, instead of supinely contenting himself with bemoaning the calamity, he set towork and produced a book which, under its present modest title, contains a concise history not only of the Catholic Church, but of the ways of God’s providence to man from the creation, as far as they have been revealed to us through the pages of Holy Writ and in the writings of ancient authorities. The reverend author by this admirable work hoped, if he could not contribute to dispel the mists of doubt and dissent now so widespread in both hemispheres, to at least put into the hands of the rising generation a preventive and an argument against those who would either deny the existence of a revealed law, or, admitting, would pervert its commands to their own weak or vicious purposes. His success so far has been proportionate to his ability and purity of motive.
We are all aware that the best part of the Christian people has been plunged into profound grief and stupefaction by the recent murder, or, as the Holy Father more emphatically expressed it, the parricide of the late Archbishop of Paris, and so many of his faithful clergy. Now, who were the perpetrators of that most foul deed? In one sense, certainly, not a wild, tumultuous mob, acting without system or guidance, nor yet private assassins in the employment of the secret societies, or moved thereto by personal malice or revenge. On the contrary, the deed was done in the open day, by the arbitrary orders of what was claimed to have been a regularly established government, and executed by its armed soldiery, two of whom, even when about toobey the mandates of their supposed superiors, knelt at the feet of the holy prelate and begged his forgiveness for the crime they were about to commit. It is not claimed by the apologists of the Communists that their illustrious victims were guilty of any offence against the state, or that even the form of a trial was accorded them; and yet there are to be found many persons, considering themselves honorable and intelligent, who openly or secretly applaud that glaring and cruel act of injustice, and who thoroughly sympathize with the European revolutionists—those enemies of all law, who, if they had the power, would repeat in every city in Christendom the late disgraceful scenes of Paris. It is a melancholy fact that outside the Catholic Church the horrible murder of the venerable Archbishop Darboy and so many of his clergy has been the cause of ill-disguised congratulation, not only among those who are in direct affiliation with the revolutionists, but amid the sects who profess to regard the Decalogue as part of their fundamental doctrine. Have we yet heard from the thousands of pulpits and hundreds of newspapers, occupied and controlled by the various Protestant sects, one open and manly protest against the atrocious criminals who have so recently sullied the fair fame of France by deeds that would have disgraced the most degraded forms of savage life? Not one.
A fact like this, so patent and portentous, while it shows how large a portion of civilized society has fallen away from the plainest teachings of Christian charity and justice, must necessarily lead to the inquiry as to the best means of arresting, and, if possible, correcting so monstrous an evil. Recognizing it as such, it is our duty fearlessly and persistently to endeavor to correct it, for “Felix quipotuis rerum cognoscere causæ” will always be a true maxim, even when we are engaged in the study of the worst of human miseries and disasters with a view to their alleviation.
In contemplating the many evils which now afflict Christian society, the creation and formerly the obedient creature of the Catholic Church, we must recollect that God has not given to his church the gift of being the infallible preserver of the faith in every nation and at all times, no more than she can guarantee to all people civil order and wise government. There is no doubt that the church is the tree set up in this world, the leaves of which are the health of mankind, “et quis tibi imputavit si perierint nationes quas tu fecisti” (Wisd.xii.12); but who shall accuse her of countenancing the disorders which have arisen through the rejection of her authority, and to which she has ever been strenuously opposed? Our Lord himself contemplates the rebellion of nations and people against his doctrine. To the angel of the Church of Ephesus the Spirit said, “Be mindful from whence thou hast fallen: and do penance, and resume thy first works. Or if not, behold I come to thee and will move thy candlestick out of its place, except thou dost penance” (Apoc.ii.5). Even the presence of the priesthood among us in adequate numbers is no assurance against schism and infidelity. Though we may have every confidence in their sanctity and the soundness of their teachings, we cannot always be certain that the duties of their holy calling will be performed with uniform discretion, intelligence, and zeal, or that the hearts of their congregations will respond on all occasions and amid all circumstances to the teachings of their pastors. It is true that at all times and in all places the soldiers of the Cross have proved themselves the faithful guardians ofpiety and morality, but it must be admitted that occasionally, particularly in Europe, they have not attached sufficient importance to the necessity of the intellectual training of the masses and to the wonderful advances of the human mind in abstract and practical sciences. What the Abbé Fleury wrote of a past generation is partially, at least, true in this. In the preface to hisHistorical Catechism, he says:
“We see a great number of devout persons who have read great numbers of spiritual books, and are familiar with a large variety of devotional practices, but who are totally wanting in an understanding of the very groundwork of religion.”
Fleury’s testimony receives a remarkable corroboration in the circumstance that, in the last century, whoever derided the traditional belief in God and in the Christian revelation acquired credit with the multitude as an “esprit fort.” In short, the idea of there being so much as the possibility of an “esprit fort” who believed in God and whoex animoprofessed the faith of the church, appeared to be unknown, and the universal notion in France was that the choice consisted in being feeble and pious or strong-minded and atheistical. Under the influence of this notion, the principal part of the male population of France fell away from the faith, and it has required the persistent efforts of at least two generations of priests, and with but partial success, to lead them back to the church. Religion in Great Britain during the past century is known to have largely taken its complexion from France, and it is remarkable that the bulk of the English Protestants affected to form precisely the same estimate of it, and that it was a power inimical to the cultivation of the understanding and a decidedenemy of knowledge and progress. The same phenomenon appears in Italy. The Italian people are still deeply attached to the traditions of the Catholic faith, but the popular idea of the Catholic religion, misled by the slanders and misrepresentations of the revolutionists, is that it is the religion of the timid, the feeble, and the pious, that its wants are limited to functions and processions, beads and prayer-books, or what would be rather scoffingly called “roba di pietà,” and that it is in no way conscious of any wants proper to a manly understanding, and consequently never expected to take any pains to satisfy them. In Germany, there are perfectly analogous symptoms. Catholics in some parts of that great empire bear the contemptuous name ofDunkelmänner, men of darkness; and they are looked upon, not merely by the positive enemies of all religion, but by the busy throng, as certainly no friends to the legitimate progress and cultivation of the gifts of the understanding.
The consequences of these disastrous tendencies to fall off from the practice of the virtues and observances of the church are apparent to all thinking men, and, if not checked, will have an equally marked effect on the morals and faith of future generations. To some extent, we humbly submit, they are due to a want of thorough education, not only spiritually but humanly, among a large number of Catholics, who, not deficient in piety and the desire to live according to the precepts of Christianity, are too often led away by the sophistries and superior knowledge—real or affected—of the opponents of their faith. Learning is said to be the handmaiden of religion—and is never so brilliant as when employed in her service, while religion, profiting by her assistance, moves on from one triumph toanother. It does not appear to be a part of the providence of God that man should simply grow into a knowledge of the doctrines of the church, in the same manner as he advances to bodily maturity, but by intelligent and persevering teaching and diligent practice. In our world, every year brings new-comers on the stage, and the message to the Church of Ephesus was, “Age pœnitentiam et prima opera fac.” The Catholic clergy inherit a tradition, long anterior to that of the past century, of being the patrons and the cultivators of the human mind, and they still should remember these true and ancient glories of their sacred calling. The language of the sacred liturgy on the day of Pentecost is beautifully expressive on this subject:
“Da tuis fidelibusIn te confitentibusSacrum septenarium.”
Sacrum Septenarium—the sacred seven gifts of the Holy Ghost, amongst which we find the “spirit of understanding and of knowledge.” All the gifts of the Holy Ghost doubtless require to receive their due share of honor and cultivation. But in a generation which has gone so widely and so terribly wrong by the way of a perverted and deceived intellect, the cause of faith in the world demands that the battle be fought with a special determination on the ground of the intelligence. If Satan relies on the perversion of the mind for leading them away from belief in the truth and divinity of the revelation brought by Moses, and perfected by the coming and ministry of one greater than Moses,St.Michael must contend with Satan for the possession of the body of Moses. The more the spirit of deception that has gone abroad seeks to discredit the Mosaic revelation, which is the forerunner in the world of therevelation of Jesus Christ, the more we must diligently persevere and insist that all who are willing to listen should stir up within themselves the gifts of the spirit of understanding and knowledge, and qualify themselves to resist and confront the spirit of error wherever they meet with it and on all fitting occasions. Every Catholic family ought to be a centre or focus of Christian information. In every household there ought to be books containing the narrative of the works of God through the line of his great saints, beginning from the sacred narrative of Moses downwards to the present time. Sacred history is the true tower of strength to the cause of faith.
This study should not, as it has heretofore generally been, confined to ancient history; for, though we may find in the Old Testament the wonderful working of God in his intercourse with his creatures, and see developed and completed his works and promises to his chosen people, we have, under the new dispensation and in the history of the Catholic Church, as indubitable proofs of the promises and fulfilment of them in the fulness of time by our divine Maker. The history of the Popes, for example, fromSt.Peter to PiusIX., is replete with providential incidents, astonishing the worldly and baffling the so-called wisdom of the sceptical. The perpetual rejuvenation of the church herself when apparently crushed and disintegrated beneath the load of kingly oppression and the lawlessness of the mob, is in itself not only a perpetual miracle, but the evident fulfilment of the promises of the Founder to be with her all days even to the consummation of the world. The lives of the grand throng of saints, martyrs, confessors, and missionaries—the glory and pride of the church—their sufferings, triumphs, and miracles;their love of art and literature, and all that makes life holy and beautiful, are fraught with lessons before which even the story of Abraham’s sacrifice and Joseph’s forgiveness sink into comparative insignificance. Sacred history should be read as a whole, from the beginning of time to the present day, giving to the more ancient part its proper share of attention, not only for its own sake but as prefiguring the more perfect system of Christianity. But the history of the Church deserves and should receive our chiefest and most marked attention.
The book of theRev.Henry Formby, which, under its simple title, contains a concise and chronological narrative of sacred history from the creation down to our own times, in this respect is one of the most useful publications that has recently appeared from the English press, and, though but an abridgment of a much more voluminous work on the same subject, it preserves all the essential features of the original with singular simplicity and lucidity of style. The title gives but a faint idea of its merits, for in truth it is not a mere collection of stories in the general acceptation of that term, but short, succinct, and correct historical sketches of events related in the Old Testament, and a condensed and necessarily short history of the church from its foundation. The arrangement of the subject is admirable, and, in view of the vast field of Biblical lore to be traversed, and the numerous historical facts of the first importance to be touched on, at least in the confined limits of one volume, there are displayed a clearness of narration, and a nice appreciation of the salient points in the spiritual progress of the human race, that make the book easy to be read and understood by even the most ordinarily instructed person. In fact, ifthe author had substituted “pictures” for “stories” in his title-page, he would have been more correct.
A general knowledge of the history of the creation, and of God’s once chosen people, the Jews, as well as an acquaintance with that of the church herself, the perfection of what was imperfectly prefigured under the old dispensation, ought to be an essential ingredient in the education of every Catholic child and of every adult, no matter what may be his condition in life; but heretofore the undertaking has been so laborious on account of the want of elementary books on those all-important subjects, that but little was generally known of the workings of Providence in ancient times, and the typical significance of many of the events related in the Old Testament, except by the learned few. Even the early history of the church has been practically a sealed book to the English-speaking masses, whose ideas of her long years of suffering, persecution, and final triumph have been of the most indefinite and oftentimes erroneous character. We have to thank Father Formby for supplying this defect in our Catholic literature, and in future there can be no excuse for ignorance of at least the origin, labors, and progress of the religion we profess. In about one hundred and sixty pages, the half of his book, devoted to the Christian era, he presents to us very complete and exact, if not very elaborate, views of the leading events in the history of the church for over eighteen centuries. In addition to this, he has appended to many of the sections in the part occupied with the pre-Christian period short moral reflections, and institutes comparisons between the old and new order of things, which are not only edifying, but highly instructive, particularly to young readers. For example, with reference to the days ofthe creation of the world, he remarks:
“Jesus Christ rested in the tomb from the work of redemption on the Sabbath or seventh day, and arose again from the dead on the first day of the week. For this reason, the Christians no longer keep holy the original Sabbath, but the Lord’s day, or first day of the week, in memory of the resurrection of Jesus Christ.”
And again, after relating the dispersion of the builders of the Tower of Babel, he draws this beautiful comparison:
“The nations of the world suffered a great punishment upon their pride in the confusion of their speech, and in their separation one from another. Jesus Christ has in part removed this punishment; for he has again made all the nations of the earth one religious family in his church, under the supreme government of the successor ofSt.Peter, and as partakers of one and the same sacrifice at the altar.”
In allusion to the well-known story of the sale of Joseph to the Egyptians by his brethren, he says:
“Joseph, hated by his brethren on account of his love of virtue and innocence, and sold by them for a slave into the land of Egypt, is a striking figure of Jesus Christ hated by his own people on account of his love of justice and sanctity, and delivered up by them bound into the hands of the Roman governor, Pontius Pilate.”
Father Formby’s diction and treatment of his subject are varied and suited to the epoch which he describes. In the early pages of his book, he adopts the figurative orientalisms of the Hebrew writers, but further on he sobers down to the less florid and more matter-of-fact style of modern times. His descriptions of the crusades and the origin and growth of the religious orders are exceedinglygraphic and correct, though of course merely outlines of what would fill books enough to make up an ordinary library if written in detail, and his summing up of the so-called reformation is deserving of particular notice.
“There is something worthy of being carefully observed as regards the Protestantism which began in the sixteenth century to cause whole nations and peoples to renounce the faith and discipline of the Catholic Church. But as other great heresies, such as that of Arius, have had a similar ruinous effect in causing a great falling off from faith without the end of the world following in their wake, Protestantism cannot simply for this reason by itself be understood to be the sign to whichSt.Paul refers. What is remarkable, however, in Protestantism is, that though Dr. Martin Luther and the others who were leaders at the time formed sects, their the disciples of which called themselves by the names of masters—as Lutherans from Luther, Calvinists from Calvin—Protestantism has long ago ceased to be the name of any particular doctrine. Lutherans, Calvinists, Anabaptists, Socinians, and all the different sects which arose at this time, as regards what is meant by Protestantism, are just as good Protestants the one as the other. They may, and do, dispute with each other about what is to be held to be true as Christian doctrine, but as regards Protestantism they are all quite agreed. How come, then, those who are completely at war with each other about Christian doctrine to agree completely about ‘Protestantism’? The reason is, that Protestantism proper has but one solitary doctrine and one solitary precept, viz., ‘Depart from the Roman Church.’ All who satisfy this one precept entitle themselves to the name of ‘Protestant.’ It is true that, up to the present time, those who have protested against the Roman Church have generally had the credit of deserving to be, in some way or other, known as Christians; but this is rapidly ceasing to be the case. ‘Protestantism’ has now come to be the name of the confederacy of almost all without exception whose cry is, ‘Depart from the Roman Church,’ so that there would seem to be no rashness in recognizing it as the departure (discessio) whichSt.Paul pointsto as the sign indicating the world to be drawing to a close.”
In addition to the merits and attractions of this valuable contribution to contemporaneous Catholic literature, we observe that most of the leading incidents recorded in sacred history are illustrated by wood-cuts very handsomely designed and executed, so that the eye as well as the understanding is made familiar with the historical places, incidents, and characters sought to be portrayed, and the frontispiece is a large and excellently clear engraving of Jerusalem. The growth of Catholic literature in England, where even in the recollection of many of us Catholicity, confined to the humble minority, was banned and ostracized by author and reader alike, is one of the most healthful signs of the times, and it will be a great dereliction of duty on our part here in America if we do not profit by the labors of our co-religionists abroad, hoping some day to reciprocate the favor.
[99]The Pictorial Bible and Church History Stories, Abridged.By theRev.Henry Formby. New York: The Catholic Publication Society. 1871.8vo, pp.320.
Essays Critical and Historical.By John Henry Newman, formerly Fellow of Oriel College, Oxford. Vols.I.andII.,8vo. London: Basil Montagu Pickering, 196 Piccadilly. 1871. New York: For sale by The Catholic Publication Society, 9 Warren Street.
“These essays, with the exception of the last, were written while their author was Fellow of Oriel, and a member of the Established Church. They are now, after many years, republished, mainly for the following reason: He cannot destroy what he has once put into print: ‘Litera scripta manet.’ He might suppress it for a time; but, sooner or later, his power over it will cease. And then, if it is, either in its matter or its drift, adapted to benefit the cause which it was intended to support when it was given to the world, it will be republished in spite of his later disavowal of it. In order to anticipate the chance of its being thus used after his death, the only way open to him is, while living, to show why it has ceased to approve itself to his own judgment.... This, accordingly, has been his attempt in the present edition of these essays, as far as they demandit of him; and he is sanguine that he has been able to reduce what is uncatholic in them, whether in argument or in statement, to the position of those ‘difficultates’ which figure in dogmatic treatises of theology, and which are elaborately drawn out, and set forth to best advantage, in order that they may be the more carefully and satisfactorily answered.”—Author’s Preface.
Anything from Dr. Newman’s pen has a strong personal claim upon the interest of Catholics. The volumes before us contain fifteen essays, written at different times between the years 1828 and 1846. The subjects are mainly connected with the intellectual progress at that time developing in the mind of the author. The volumes are necessary to a collection of his works, and also to a perfect acquaintance with classic English literature.
The Fourfold Sovereignty of God.By Henry Edward, Archbishop of Westminster. London: Burns, Oates & Co. For sale by The Catholic Publication Society, New York.
The rapidity with which volume follows volume from the prolificpen of the Archbishop of Westminster has often astonished our mind. From hints given in the preface to this last publication, we get, in part, an explanation. It appears that his Grace employs a skilful stenographer to take down and then copy for the press his extemporaneous lectures. In this way, one who has a mind stored with the acquisitions of a lifetime, and is gifted so unusually with thecopia fundi, can accomplish what could otherwise be done only by a man of more leisure than is enjoyed by the active prelate of the London diocese.
These four lectures make a pendant to the last four published, and complete the general view of the subject. They are like all the works of Archbishop Manning, of which our opinion has been so lately expressed. We need, therefore, only to announce the publication of these new lectures, and our readers will understand for themselves the value and interest they possess.
The Tradition of the Syriac Church of Antioch, concerning the Primacy and the Prerogatives ofSt.Peter, and of his successors, the Roman Pontiffs. By the MostRev.Cyril Behnam Benni, Syriac Archbishop of Mossul (Nineveh). London: Burns, Oates & Co. 1871. For sale by The Catholic Publication Society, 9 Warren Street.
This unique production symbolizes the contrariety and unity of the East and West in a singular manner. It begins at both ends, and finishes in the middle, where the appendices usually put at the end are snugly sandwiched between the Syriac original and the English translation. This translation has been made by theRev.Joseph Gagliardi, and is, of course, at that end of the volume which, to our Occidental habits of thought, appears to be the natural beginning. The Syriac begins at the opposite end, and thus both languages have their own way, and the book will answer equally well for the reader in Nineveh and the one in London. The traditionof the Church of Antioch, whereSt.Peter established his first see, is scarcely inferior in interest and importance to that of the Roman Church. The learned prelate has gathered together the best and most authentic testimonies to the supremacy of the Roman See from documents both ancient and modern, liturgies, official acts, and writings of prelates and learned men, both Catholic and schismatical. The references are most carefully given, and the whole work is critical and scholarly. It is published in a very handsome and ornamental style, and cannot fail to interest the curious, the learned, and all who are engaged in theological pursuits. The testimonies to the authority of the Holy See which it contains are very valuable, and as they are given in a clear English translation, methodically arranged, and accompanied by full explanations, they are intelligible to any person of ordinary education. We cannot flatter ourselves that we have very many among our subscribers who will be able to appreciate the beauties of the Syriac original.
The Life of Jesus the Christ.By Henry Ward Beecher. Illustrated. New York: J. B. Ford & Co. 1871.Vol. I.
The publishers of this work have given it a very handsome exterior, and adorned it with a number of excellent illustrations of scenes and places in Palestine. The attempts at reproducing some of the most celebrated representations of our Lord are, however, not successful. As for the work itself, it is an effort to imitate the fascinating and popular style of Renan in such a way as to satisfy those Protestants who call themselves Evangelical. That the author has the art of pleasing the multitude cannot be questioned. That he is an artist in the highest and truest sense we cannot admit. And, so far as more solid qualities are concerned, he is not to be compared for a moment, in respect tothat erudition which brings rabbinical and classical treasures to enrich and illustrate the Evangelical narrative, with Dr. Sepp, whoseLeben Jesustill remains both the most valuable and the most interesting of all works of this class thus far produced, in spite of much that is fanciful and visionary.
If the doctrine of this book were sound, we should hail its publication with joy, even although we could not consider it to be a literary masterpiece. Even if it contained only the errors common to Protestants; still, if it were sound on the great central truth of the Incarnation; one might think it likely to be useful in preserving among Protestants the true doctrine of the divinity and humanity of Christ contained in their formularies. As it is, we must condemn it as more mischievous and absurd than theVie de Jésusof Renan. Of course, no Catholic who has any regard for his own principles will ever think of looking for religious instruction or edification in any book proceeding from Mr. Beecher’s pen. The evil which this shallow and utterly heretical production, coming forth in such a taking guise, will cause will be among Protestants. One class of them—those who swallow its honey with pleasure—will take in a deadly poison of heresy. Another class, who will look at its doctrine coolly and critically, will be strengthened in their tendency to rationalism and unbelief by its crude absurdity.
Mr. Beecher teaches a more gross and monstrous doctrine than that of Arius, Nestorius, or Appolinaris. It is, namely, that God contracted and diminished his divine nature within the mental and physical limits of manhood. God became the human soul of a human body. This is the anthropomorphism of Swedenborg. It destroys all true conceptions both of the human and the divine nature of our Lord. Pantheism is better than this. The reasoning and exegesis on whichthis revolting doctrine is based are not worthy of a moment’s notice. All is mere superficial, rhetorical, sentimental talk, without a shred of philosophy or theology. We shall look with some curiosity to see what judgment the Episcopalian and Presbyterian divines of the stricter sort will pronounce on this latest product of the pseudo-Evangelical school. What those of them who have some theological knowledge will think, we know very well; but we are desirous of seeing whether they will express their thoughts in clear and emphatic language, and caution the Protestant public against a doctrine which subverts the Nicene Creed and the Presbyterian Confession of Faith, to say nothing of other formularies which are essentially the same with these.
Behold a new proof of the utter insufficiency of the text of Scripture alone by itself even to preserve the orthodox doctrine after it has been fully presented to the mind! How much more, then, to give it at first hand! What the orthodox Protestants still retain of the faith is the faith of creeds, councils, and tradition, and the exercise of private judgment on the text of Scripture is destroying it fast.
Cineas; or, Rome under Nero.From the French of J. M. Villefranche. 1 vol.12mo. Philadelphia: Peter F. Cunningham. 1871.
If we exceptFabiola,Callista, andDion, we feel no hesitation in saying thatCineasis equal to any production of its kind yet offered to the English reader. In this tale, history and tradition are interwoven with fiction, and the result is a graphic sketch of Christianity in the apostolic ages. The portico, the Pantheon, the temple, and the catacomb are brought upon the stage, and made to represent their parts. The scene changes from the Circus Maximus to the Mamertine, from Rome to Jerusalem, from Jerusalem to Athens; and at eachchange of scene the infant church appears clothed in new beauty, in new holiness, in new strength. It is much to be desired that Catholics of the present day should become acquainted with the religious life of their brethren of the early church. No other study is so well calculated to enliven our faith, animate our hope, inflame our charity, and incite us to that heroic virtue so necessary to perseverance in the present age.Cineastends to promote this study, and as such we welcome it, commend it to the perusal of every Catholic, and thank the translator and publisher for the care with which they have performed their respective tasks.
The Letters of Madame de Sevigne to Her Daughter and Friends.Edited by Mrs. Hale. Boston: Roberts Brothers. 1871.
The Letters of Lady Mary Wortley Montagu.Edited by Mrs. Hale. Boston: Roberts Brothers. 1871.
These two books, simultaneously issued from the same press and edited by the same author, bear strong marks of similarity and contrast. Each, in its way, has long been looked upon as a model of epistolary correspondence in its appropriate language, and each is defaced by that superficial, not to say anti-Christian, philosophy which prevailed among the “higher classes” in France and England during the last and the preceding century. The French authoress, however, has somewhat the advantage of her English sister, not only in the possession of a language especially adapted, by its grace and flexibility, to this species of composition, but from the fact that she lived surrounded by a strong Catholic public opinion, which, with all her cynicism and fashionable scepticism, she could not wholly disregard. We find, therefore, in many of her letters, particularly those to her daughter, flashes of true, genuine moral sentiment, which are themore striking from contrast with the worldly tone which generally characterized her life and correspondence. Lady Montagu, on the contrary, was brought up in that hard, unsympathetic school which was inaugurated in England after the frenzy of the Reformation had subsided, and with all her wit and womanly elegance we cannot look upon her otherwise than as an intellectual pagan. We may search from cover to cover of Mrs. Hale’s edition of her correspondence in vain to find one religious sentiment that would not have been as appropriate in the days of Horace or Zeno as in the eighteenth century of the Christian era. This is the more singular when we recollect that these gifted women, married to husbands far their inferiors mentally, and, as it appears, merely for the sake of conventionalism, by a not unnatural effort transferred the love women usually bear to the partners of their joys and sorrows to their offspring, and centred all their affections and hopes in their children. With our children we are apt “to assume a virtue if we have it not,” yet still we find these two intellectual mothers writing to their daughters in strains which, if not positively immoral in the broad sense of that term, certainly could not actively conduce to strengthen them against the temptations by which they were constantly surrounded, or to elevate their minds above the glitter and hollowness of the society in which they were obliged to move. Both these distinguished writers were well-bred, thoroughly educated according to the idea of their times, and were the associates of generals, statesmen, poets, and artists, and their frequent and familiar reference to the then leading men of their respective countries are not only interesting, but instructive, as giving us a view of the interior life of many eminent personages hitherto known to us only by their public acts; but when we consider how many unexceptionablygood books this age of cheap printing has put within our reach, and the shortness of this busy life itself, we cannot recommend to our readers, particularly the younger portion, the perusal of either volume; nor do we see the necessity of a new edition of works which are merely ornamental, without having the merit of being innocuous.
A Collection of Leading Cases on the Law of Elections in the United States.With Notes and References to the latest authorities. By Frederick C. Brightly, author of “The Federal Digest,” “The United States Digest,” etc. Philadelphia: Kay & Brother, 17 and 19 South Sixth Street, Law Booksellers, Publishers, and Importers. 1871.
Mr. Brightly, who has done so much in his previous works to facilitate the law-student and the lawyer in their studies and preparation of cases, by means of his admirable and learned digests and treatises, has now acquired a new claim upon the gratitude of the student and professional man by hisCollection of Leading Cases on Elections. The author has been most happy in the selection of his subject, for there are few branches of the law so important, in a free and representative government like ours, as the law of public elections.
In the early days of our Republic, when there was more conservatism than at present, only the most important civil officers of the Federal and State governments were elective by the people, and the elective franchise was not so universally participated in by the masses as at the present time. Then the executive, elected by the people, was clothed with the appointing power, which he exercised with greater deliberation, calmness, and discrimination than is possible to the people amidst the excitements and intrigues of a popular election. He was held responsible to the people for an honest, faithful, and judicious exercise of this high prerogative.But gradually the executive, elected by, and justly accountable to, his constituents, has been stripped of this power, and the same has become vested in or been resumed by the people, who, while possessing, according to the theory of the lawgivers of Ancient Greece, a greater amount of purity of intention, are swayed more by impulses and the passions of the hour. The legislative bodies then, as now, have always been elected by the qualified voters. Then elections were comparatively few, and the contests in the courts over executive, judicial, and ministerial offices, and in the legislatures over the contested seats of members, were comparatively few.
The law in such cases was sought for entirely from the analogies of the English common law cases and the parliamentary precedents and decisions. Now, while the Federal offices remain mostly as they were under our first Presidents and Congresses, in the States almost every office, from governor and judges of the highest courts down to magistrates and constables, has become elective by the people, and the States, with whom, under the Constitution, rests the power of regulating the qualifications for the exercise of the elective franchise, have generally removed all qualifications thereon, and conferred universal suffrage, as it is called, upon the people.
There is scarcely a function of government, from the most vital and momentous to the most trifling, that is not discharged in our regard by elected officers; our lives, our liberties, our property, our castles, and our reputations are confided to the protection or neglect, if not abuse, of officers elected for short terms; so that every interest of life and of society is thus governed, controlled, and administered indirectly by the voting masses.
We will give a single illustration of this: If we take thirty-three and a third years as the average span of human life, it may be said that inevery thirty-three and a third years [the time has been estimated as much shorter in regard to what we are going to state], the entire property of the country, its countless millions, are administered or acted upon by a single officer, the Judge of the Probate Court, or other officer of the law, elected by the people, and thus incidentally by the masses themselves. Thus the various elections, which we so heedlessly disregard or pass by, are, in fact, the casts of the die that determine the fate of the nation, its prosperity, happiness, and honor. The importance, therefore, of the law regulating these elections in their varied relations may be estimated from this fact.
That numerous questions and contests should have arisen in a country where so many offices are to be filled, and where elections are so frequent, is not strange, and that the decisions of our own courts upon these litigated cases should have become numerous and controlling is a natural result. The law of elections has been greatly developed and expounded in this country in recent years. The leading cases bearing upon these subjects have been skilfully and carefully collated by Mr. Brightly, illustrated by his own notes and references, and presented to the legal profession and the public in the volume before us. He could not have selected a theme of greater interest or importance to our country, especially at this time, than the law of elections. He has handled it with the same accuracy, learning, and industry which have always characterized his works, and elevated his reputation as a jurist and author. The present work carries with it an interest far more general than professional worksusually possess, and may be read with improvement and pleasure by all who are fond of a good and readable book, who seek for useful knowledge on a matter of vast public import, or who take an interest in the purity of elections, and in the general morals and welfare of the commonwealth. We commend it to their perusal.
The title of Father Doane’s new book is to beTo and from the Passion Play in the Summer of 1871. It will soon be published by Mr. Donahoe, Boston.
Mr. P. O’Sheaannounces as in press, and to be published by subscription,The Lives of Deceased Bishops of the Catholic Church in the United States, by Mr. Richard H. Clark, A. M. The work will be published in two large octavo volumes, and will be ready about the first of December. These volumes will contain the biographies of all the deceased members of the American Catholic Hierarchy, from the earliest dawn of Christianity on this continent to the present day, and will trace the history of the church through the important episcopate of Archbishop Carroll, and chronicle with graphic effect the labors, sacrifices, and achievements of over fifty bishops who have been called to their reward.
The Catholic Publication Society will soon publish a new edition of Father Young’sOffice of Vespers, greatly enlarged and improved.
The volume ofSermons of the Paulist Fathers for 1870will be ready for delivery on the 25th of November.
THE