Vondel's Lucifer

by Joost van den Vondel

Though here it is especially noteworthy to state how we, in order to inflame the hate of the proud and envious Spirits the more strongly, did cause the mystery of the future incarnation of the Word to be partially revealed to the Angels by the Archangel Gabriel, Ambassador from God, and Herald of His Mysteries; herein to improve the matter, following not the opinion of the majority of the theologians, but only of a few, because this furnished our tragic picture richer material and more lustre. However, neither in this point nor in other circumstances of cause, time, place, and manner (which we employed to render this tragedy more powerful, more glorious, more natural, and more instructive) has it been our purpose to obscure the orthodox truth, or to establish anything after our own finding or notion.

St. Paul, the revealer of God's mysteries to the Hebrews, extols most enviably—even to the prejudice of the kingdom of the lying and tempting Spirits—the glory, might, and Godhead of the Incarnate Word, preëminent among all Angels in name, in sonship, and in heirship; in the adoration of the Angels; in His unction; in His exaltation at God's right hand; and in the eternity of His rulership as a king over the coming world, as the cause and the end of all things, and as the crowned Head of men and Angels: while the Angels, His worshippers, God's messengers, as ministering Spirits, are sent to serve man, the heir of salvation, whose nature God's Son, passing the Angels by, hath taken upon Himself in the blood of Abraham.

By occasion of this justification, I do not deem it unsuitable here, in passing, to say a few words in vindication of those dramas and dramatists that employ Biblical subjects, inasmuch as they have, occasionally, come into reproach; since, forsooth, human tastes are so various; for a difference in temperament causes the same subject to be agreeable to one which is repulsive to another.

All honorable arts and customs have their supporters and opponents, also their proper use and abuse. The holy writers of tragedy have, among the ancient Hebrews, for their example, the poet Ezekiel, who has left us, in Greek, the exodus of the twelve tribes from Egypt. Among the reverend Church Fathers, they have that bright star out of the East, Gregory of Nazianzus, who, in Greek dramatic verse, hath pictured the Crucified Saviour Himself; as also, not long since, we became indebted to the Royal Ambassador, Hugo Grotius, that great light of the learning and piety of our age, who, following in the track of St. Gregory, hath given us the Crucified One in Latin, for which immortal and edifying labor we owe him both honor and thankfulness.

Among the English Protestants, the learned pen of Richard Baker hath discoursed very freely in prose concerning Lucifer and all the acts of the rebellious Spirits.

It is true that the Fathers of the Ancient Church banished the Christian actors from the community of the Church, and that from that time forth they were strongly opposed to the drama. But let us take into consideration the time and the fact that their reasons for this were far different. At that period the world, in many places, was yet deeply sunken in heathenish idolatry. The foundations of Christianity were not yet well established, and the dramas were played in honor of Cybele, a great goddess and mother of their imagined gods, and were esteemed a serviceable expedient with which to avert the land plagues from the bodies of the people.

St. Augustine testifies how a heathen archpriest, a minister of Numa's ritual and idol service, on account of a deadly pest, first instituted the drama at Rome, sanctioning it by his authority.

Scaliger himself acknowledges that it was established for the health of the people by order of the Sibyls, so that these plays became a truly powerful incentive to the blind idolatry of the heathen, extolling their gods—a cankering abomination, whose destruction cost the first heroes of the Cross and the long-struggling Church so much sweat and blood; but being now long extirpated, hath left in Europe not a vestige behind.

That the holy old Church Fathers, therefore, for these reasons, and also because of their corrupting the public morals, and various open and shameless customs, as the employment of naked boys, women, and maidens, and other obscenities, should rebuke these plays, was needful and commendable, as, in that case, would also be so now. This being considered, let us not hold the good and the usefulness of edifying and entertaining plays too lightly.

Holy and honorable examples serve as a mirror, reflecting for our edification all virtue and piety, and teaching us, at the same time, to shun wickedness and its consequent misery.