The Priestly Vocation / A Series of Fourteen Conferences Addressed to the Secular Clergy

by Bernard Ward

We can now turn to consider the second synodical law—that against frequenting the theatre—which is not only more precise, but has a heavy penalty attached to its infringement, that the delinquent is ipso facto suspended from his priestly functions and commits a sin reserved to his Bishop. Such a stringent law indicates that the matter is viewed seriously.

The fact is that the Church has always spoken in strong terms against the theatre. Bishop Milner uses his customary violent language in that sense. "Everyone knows," he says, [3] "that actors and actresses by the laws of the Church and the particular constitutions of our mission [4] are considered as habitual sinners and in a state of damnation, to whom therefore the sacraments are to be denied. Setting aside, then, all other consideration, can any Christian think it lawful by his or her presence or money to assist in keeping these wretches in such a state?" And again, "What are the opinions, the taste, the conduct, and in a word, the lessons which are inculcated by the theatre? I say that the very best modern tragedies exhibit and recommend that pride, ambition, vainglory, impatience, anger and revenge which are the very reverse of our Divine Master's morality inculcated in the eight beatitudes. And with respect to all the comedies and almost all the tragedies, they are made up of the sentiments, the intrigues and the gratification of the concupiscence of the flesh under the specious and all-meaning name of Love."

Probably few would be found to speak in that drastic manner to-day. It is, to say the least, remarkable that the actor's profession seems to contain a greater proportion of Catholics than almost any other, and although we cannot regard it as free from dangers, the activities of the Catholic Stage Guild, and the fact that it is under high ecclesiastical patronage show that the profession is not regarded as in itself illicit. Moreover, those who have come across actors in private life can testify to the fact that a large amount of real goodness exists among them, and that as a class, they are very charitable, and aim at high ideals.

Nevertheless, the considerations put forward by Dr. Milner cannot be too lightly set aside, even under modern conditions. One of the dangers of the stage is that it unconsciously undermines Christian morality, substituting that of the world: extolling pride as a virtue, looking down on the humble as poor-spirited and the like. A Catholic spectator may honestly believe himself to be unharmed, whereas as a fact his hold on Christian principles may have been lowered, and worldly ideals substituted in their place.

It is true indeed that a new stamp of theatrical representation has arisen since the date of Dr. Milner, typified by the Gilbert and Sullivan comic operas, or the burlesques which were so fashionable a generation or two ago. These produce much mirth and recreation, and are free from the danger alluded to. But it is worth noting that it is just these pieces which are most infected with improprieties of dress from which Christian eyes should be kept.

A somewhat similar remark applies to the Italian Opera, which was once the very height of fashion, and still retains a part at least of its former distinction. The plot or libretto takes a comparatively secondary place and does not attract much attention, it being only the setting of the music, which is the chief attraction. But as a set-off, we are frequently brought face to face with a ballet of a most improper nature. Certainly the inference drawn by the ordinary frequenter of the theatre is that such performances are not wrong, and it is prudish to object to them.

And if it be argued that one meets with similar worldly ideals in novels, or even in everyday life, or that the state of the London streets brings similar indecorum before one, the answer is simple: what one meets with by accident in everyday life is one thing; what is put for before us for our admiration and dressed in its most attractive form is a totally different one; and many a man drinks in an idea unthinkingly at the theatre which he would not assimilate in the same way by mixing in everyday life or even by reading a novel. In the case of a regular frequenter of the theatre, we find his whole outlook on life distorted by its morality.

In similar way, though the views of Cardinal Manning against all kinds of theatrical entertainments are commonly admitted to have been extreme, what he says cannot be dismissed too easily, for it contains much truth.

"Every theatre," he writes, "is the centre of a neighbourhood abounding in all manner of evil, which lives and thrives on the theatrical world. There are upon the stage many good men and many good women; but also of both many bad. The spirit and surroundings and tide of the stage are dangerous and downward. The classes and trades that thrive by it are too well known to need words from me. Why should anyone aid, abet, comfort or share in such a traffic, even by the price of a box or a single ticket? I had rather have no liability however limited in such a trade."

Probably most persons to-day would look upon these words as a somewhat overdrawn picture, and it is to be hoped that we shall not be considered wanting in respect in taking a somewhat less rigid view. Perhaps we may apply the same principles as St. Francis of Sales applies to persons living in the world assisting at parties, balls, and social dissipations generally [5]—that such things should be taken with caution and not too frequently, in which case the recreation and other good which they provide may be obtained, and the harm avoided. Thus, if it be argued that the need of recreation in the modern world is great, that the stage contains much that is entertaining, or at times even elevating, and that its evils may be counteracted in the case of one who is solidly instructed in his religion, a strong case might be made in favour of frequenting the theatre provided it is not done too often, and that one knows that there are dangers lurking which require watchfulness and care. It may be urged that Cardinal Manning, from his very nature, never realised the necessity or use of real recreation, for he seemed able to work continuously without any; and, moreover, the particular recreation of the theatre was to a great extent a closed book to him, for it is well known that early in life he made a resolution not to put his foot inside one, and he kept it throughout his life. This would seem to be a justification for at least taking a somewhat less rigid view than his on the matter.