Queens of the French StageWilliams, H. Noel (Hugh Noel)
History
Queens of the French Stage
Williams, H. Noel (Hugh Noel)
Actresses -- France -- Biography
Much has been written on the refusal of the curé of Saint-Eustache to
accord Molière Christian burial, and on the conditions imposed by the
Archbishop of Paris after the official intervention of the king; and the
bigotry and inhumanity of both priest and prelate have been denounced in
scathing terms. But the majority of those who have treated of the
incident were better acquainted with the theatre than the Sorbonne, for,
though the souvenirs of _Tartuffe_ and _Don Juan_ no doubt counted for
much in the matter, Harlay de Chanvalon and his subordinate were, after
all, only putting into force a rule of the Church which had existed for
centuries, though in recent times it had, happily, been more honoured in
the breach than the observance. As, however, the question is of great
interest, and one, also, to which we shall have occasion to return more
than once in the course of the present volume, it may be as well for us
to give here a brief sketch of the doctrine of the Church in regard to
the actor.
The hostility of the Christian Church to the theatre may be traced back
to very early times. The Fathers of the Church--Tertullian,
Saint-Cyprian, Saint-Chrysostome, and others--had been unsparing in
their condemnation of the actor,[33] whilst Saint-Salvien, a priest of
the fourth century, went so far as to declare that "comedy was worse
than blasphemy, theft, homicide, and all other crimes, and that the
spectator was the accomplice of the performer." Nor was this hostility
by any means confined to treatises and sermons. The Council of Elvira,
in 305, enacted that no actor was to be received into the Church unless
he had solemnly engaged to renounce his profession; if he failed to keep
his promise, he was to be immediately excommunicated. At the Council of
Arles, held five years later, all circus-performers and actors were
excluded from the Sacraments, so long as they exercised their
profession; and the third Council of Carthage (A.D. 397) denied them
baptism or absolution. Henceforth, the Church regarded actors as beyond
her pale, and, imitating the severity of the Roman Law, placed them on
the same footing as prostitutes. She refused them baptism; she refused
them absolution; she refused to marry them; she refused to accept them
as sponsors at the baptism of the children of their relatives and
friends; she refused them the Holy Communion, in public or in private,
in life or on their death-beds; finally, she refused them even Christian
burial.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account