It remaineth that both they that have wives be as though they had none: and they that weep as though they wept not: and they that rejoice as though they rejoiced not: and they that buy as though they possessed not: and they that use this world as not abusing it. For the fashion of this world passeth away. If we keep in mind the supposed allusion in the text (the fashion of this world passeth away) we shall discern a peculiar beauty and force in his language and sentiment. For the actors in a play, whether it be comedy or tragedy, do not act their own proper and personal concerns, but only personate and mimic the characters and conditions of other men. And so when they weep, in acting some tragical part, it is as though they wept not; and there is more show and appearance, than truth and reality, of grief and sorrow in the case. On the other hand, if they rejoice in acting some brighter scene, it is as though they rejoiced not; it is but a feigned semblance of joy, and forced air of mirth and gaiety, which they exhibit to the spectators, no real inward gladness of heart. If they seem to contract marriages, or act the merchant, or personate a gentleman of fortune, still it is nothing but fiction. And so when the play is over, they have no wives, no possessions or goods, no enjoyments of the world, in consequence of such representations. In like manner, by this apt comparison, the apostle would teach us to moderate our desires and affections towards every thing in this world; and rather, as it were, to personate such things, as matters of a foreign nature, than to incorporate ourselves with them, as our own proper and personal concern." "The theatre is also furnished with dresses suitable to every age, and adapted to every circumstance and change of fortune. The persons of the drama, in one and the same representation, frequently support a variety of characters: the prince and the beggar, the young and the old, change their dress according to the characters in which they respectively appear, by turns laying aside one habit and assuming another, agreeably to every condition and age. The apostle Paul seems to allude to this custom, and his expressions, regarded in this light, have a peculiar beauty and energy, when he exhorts Christians to PUT OFF the OLD MAN with his deeds, and to PUT ON THE new MAN. (Coloss. iii. 9, 10. and in Eph. iv. 22, 23, 24.) That ye PUT OFF, concerning the former conversation, the OLD MAN, which is corrupt according to the deceitful lusts: and be renewed in the spirit of your minds, and that ye PUT ON THE NEW MAN, which after God is created in righteousness and true holiness. "It is, moreover, well known, that in the Roman theatres and am 1 Καταχρώμενοι is very unhappily rendered abuse. It is here used in a good sense, as the whole passage requires. From the transiency of human life the apostle observes, that those who are now using this world's happiness will soon be as those who had never enjoyed it. The Greek writers use Παραχράομαι οι αποχραομαι το abuse. 2 Brekell's Discourses, p. 318. 3 Ειναι γαρ όμοιον τῳ αγαθῷ ὑποκριτη του σοφόν ις αν τε Θερσίτου αν τε Αγαμέμνονος προσωπον αναλαβη, εκατερον ὑποκρίνεται προσηκόντως. Diogenes Laertius, lib. vii. p. 463. edit. Meibomii. 1692. 4 Mihi quidem dubium non est quin hæc loquendi ratio ducta sit ab actoribus, phitheatres, malefactors and criminals were condemned to fight with lions, bears, elephants, and tigers, for which all parts of the Roman dominions were industriously ransacked, to afford this very polite and elegant amusement to this most refined and civilised people. The wretched miscreant was brought upon the stage, regarded with the last ignominy and contempt by the assembled multitudes, made a gazing-stock to the world, as the apostle expresses it; and a wild beast, instigated to madness by the shouts and light missive darts of the spectators, was let loose upon him, to tear and worry him in a miserable manner. To this sanguinary and brutal custom the following expressions of the author of the Epistle to the Hebrews allude. (x. 32, 33.) Ye endured a great fight of afflictions, partly whilst ye were made a gazing-stock both by reproaches and afflictions. The original is very emphatical; being openly exposed as on a public theatre to ignominious insults and to the last cruelties. In another passage also, St. Paul, speaking of the determined fierceness and bigotry with which the citizens of Ephesus opposed him, uses a strong metaphorical expression taken from the theatre:-If after the manner of men I have fought with beasts at Ephesus. Not that the apostle appears to have been actually condemned by his enemies to combat with wild beasts in the theatre: he seems only to have employed this strong phraseology, to denote the violence and ferocity of his adversaries, which resembled the rage and fury of brutes, and to compare his contention with these fierce pagan zealots and fanatics to the common theatrical conflict of men with wild beasts.3 qui, habitu mutato, vestibusque depositis, alias partes agunt, aliosque se esse produnt, quam qui in scend esse videbantur. Krebsii Observationes in Nov. Test. p. 342. Lipsia, 1755. 1 Quodcunque tremendum est Dentibus, aut insigne jubis, aut nobile cornu, Aut rigidum setis capitur, decus omne timorque Sylvarum, non caule latent, non mole resistunt.--Claudian. 2 Ονειδισμοις τε και θλίψεσι θεατριζόμενοι, exposed on a public stage. Dispensatorem ad bestias dedit. Hoc est, seipsum traducere. Id est, says one of the commentators, ludibrio exponere. Petronius Arbiter. p. 220, edit. Burman. 1709. Efedcarpioav EAUTOUS. They openly exposed themselves. Polybius. p. 364. Hanov. 1619. Eusebius relates that Attalus, a Christian, was led round the amphitheatre, and exposed to the insults and violence of the multitude. Περιχθεις κυκλῳ του αμφιθεατρου. Eusebius Hist. Eccles. lib. v. p. 206. Cantab. Solebant olim gladiatores ct bestiarii, antequam certamen obirent, per ora populi circumduci. Valesii not. in loc. There is a striking passage in Philo, where, in the same strong metaphorical imagery the apostle here employs, Flaccus is represented deploring the public ignominy to which he was now reduced. See Philonis Opera, tom. ii. p. 542. edit. Mangey. 3 The same metaphors are of frequent occurrence in the New Testament. Herod is called a fox, Go and tell that fox. (Luke xiii. 32.) Hypocrites are called wolves in sheep's clothing. (Matt. vii. 15.) Rapacious and mercenary preachers are styled wolves, that will enter and ravage the fold: There will enter among you grievous wolves, not sparing the flock. (Acts xx. 29.) The apostle uses a harsher metaphor to denote the malice and rage of his adversaries: Beware of dogs. (Philip. iii. 2.) Had St. Paul been thus engaged, says Dr. Ward, it is difficult to apprehend how he could have escaped without a miracle. For those who conquered the beasts, were afterwards obliged to fight with men till they were killed themselves. It seems most reasonable therefore to understand the expression [conpiopaxnoa] as metaphorical, and that he alludes to the tumult raised by Demetrius. He uses the like metaphor, and with respect to the same thing (1 Cor manner. "Let it be farther observed, for the elucidating a very striking passage in 1 Cor. iv. 9. that in the Roman amphitheatre the bestiarii, who in the morning combated with wild beasts, had armour with which to defend themselves, and to annoy and slay their antagonist. But the last who were brought upon the stage, which was about noon,1 were a miserable number, quite naked, without any weapons to assail their adversary-with immediate and inevitable death before them in all its horrors, and destined to be mangled and butchered in the direst In allusion to this custom, with what sublimity and energy are the apostles represented to be brought out last upon the stage, as being devoted to certain death, and being made a public spectacle to the world, to angels and men! "For I think that God hath set forth us the apostles last, as it were appointed to death: for we are made a spectacle to the world, to angels and men." Dr. Whitby's illustration of this distinguished passage is accurate and judicious. the apostle seems to allude to the Roman spectacles, της των θηριομα χων και μονομαχίας ανδροφόνου, that of the bestiarii and the gladiators, where in the morning men were brought upon the theatre to fight with wild beasts, and to them was allowed armour to defend themselves, and smite the beasts that did assail them: but in the meridian spectacle were brought forth the gladiators naked, and without any thing to defend them from the sword of the assailant, and he that then escaped was only reserved for slaughter to another day; so that these men might well be called savar, men appointed for death; and this being the last appearance on the theatre for that day, they are said here to be set forth soyar, the last." "Here iv. 9.), and again (13.), alluding to another custom. As to the expression, Kar' avorov in 1 Cor. xv. 32. the sense seems to be humanitus loquendo. Dr. Ward's Dissertations on Scripture, dissert. xlix. pp. 200, 201, The very same word which the apostle here employs to denote the violence and fury of his adversaries is used by Ignatius in the like metaphorical sense, Από Συρίας μέχρι Ρώμης ΘΗΡΙΟΜΑΧΩ δια γης και θαλασσης, νυκτος και ημέρας. All the way from Syria to Rome, by sea and by land, by night and by day, do I FIGHT WITH WILD BEASTS. Ignatii Epist. ad Rom. p. 94. edit. Οxon. 1708. Προφυλασσω δε ύμας από των θηρίων ανθρωπομορφών. I advise you to beware of beasts in the shape of men, p. 22. So also the Psalmist, My soul is among lions, even the sons of men, whose teeth are spears and arrows. (Psal. lvii. 4.) Break their teeth, O God, in their mouths. Break out the great teeth of the young lions, O Lord. (Psal. Iviii. 6.) See also Lakemacher's Observationes Sacræ, part ii. pp. 194-196. 1 Matutinarum non ultima præda ferarum. Martial. xiii. 95. Casu in meridianum spectaculum incidi-quiquid ante pugnatum est, misericordia fuit, nunc omissis nugis mera homicidia sunt: nihil habent quo tegantur. ad ictum totis corporibus expositi-non galeâ, non scuto repellitur ferrum. Seneca, tom. ii. epist. vii. pp. 17, 18. edit. Gronov. 1672. Απολλυντο μεν θηρια ελαχιστα, ανθρωποι δε πολλοι, δι μεν αλλήλοις μαχομενοι, οι δε και ὑπ' εκείνων αναλομενοι. Dion. Cassius. lib. ix. p. 951. Reimar. See also pp. 971, 972. ejusdem editionis. See also Beausobre's note on 1 Cor. iv. 9. and Lipsii Saturnalia, tom. vi. p. 951. 2 Dr. Whitby on 1 Cor. ch. iv. 9. Les versions ont exprimé trop généralement ce que St. Paul represente aux Corinthiens touchant son état, (1 Cor. iv. 9.) en disant simplement, Car je pense que Dieu nous a mis en montre, nous qui sommes les derniers Apôtres, comme des gens condamnez à la mort. Car comme Scaliger, Ileinsius, Seldenus, Quistorp, et Grotius l'ont rémarqué, le mot Grec coxarovs que l'Apôtre employe, ne se rapporte pas aux Apôtres, et il ne signifie pas simplement les dernier, mais ceux qui étoient produits les dernier dans amphithéâtre pour combattre tous nud contre les bêtes, afin qu'ils n'en peussent rechaper. Projet d'une Nouvelle Version Françoise de la Bible, par le Cene. p. 606. Rotterd. 1696. II. But the most splendid and renowned solemnities, which antient history has transmitted to us, were the Olympic Games. Historians, orators, and poets, abound with references to them, and their sublimest imagery is borrowed from these celebrated exercises. "These games were solemnised every fifth year by an infinite concourse of people from almost all parts of the world. They were celebrated with the greatest pomp and magnificence: hecatombs of victims were slain in honour of the immortal gods: and Elis was a scene of universal festivity and joy. There were other public games instituted, as the Pythian, Nemean, Isthmian; which could also boast of the valour and dexterity of their combatants, and show a splendid list of illustrious names, who had, from time to time, honoured them with their presence. But the lustre of these, though maintained for a series of years, was obscured, and almost totally eclipsed, by the Olympic. We find that the most formidable and opulent sovereigns of those times were competitors for the Olympic crown. We see the kings of Macedon, the tyrants of Sicily,3 the princes of Asia Minor, and at last the lords of imperial Rome, and emperors of the world, incited by a love of glory, the last infirmity of noble minds, enter their names among the candidates, and contend for the envied palm;—judging their felicity completed, and the career of all human glory and greatness happily terminated, if they could but interweave the Olympic garland with the laurels they had purchased in fields of blood." The various games, which the Romans celebrated in their capital and in the principal cities and towns of Italy, with such splendour, ostentation, and expense, seem to have been instituted in imitation of the Grecian; though these were greatly inferior in point of real merit and intrinsic glory; for though the Romans had the gymnastic exercises of the stadium and the chariot race, yet the mutual slaughter of such numbers of gladiators, the combats with lions, bears, and tigers, though congenial to the sanguinary ferocity and brutality of these people, for no public entertainment could be made agreeable without these scenes, must present spectacles to the last degree shocking to humanity; for every crown here won, was dipt in blood. 2 1 Josephus De Bello Jud. lib. i. cap. 21. § 12. ed. Havercamp. Arriani Epictetus, lib. iii. p. 456. edit. Upton. 1741. 2 Philip. Eadem quoque die nuntium pater ejus [Philippus] duarum victoriarum accepit alterius, belli Illyrici, alterius, certaminis Olympici, in quod quadrigarum currus miserat. Justin. lib. xii. cap. xvi. p. 359. edit. Gronov. 1719. Cui Alexandro tanta omnium virtutum naturâ ornamenta exstitere, ut etiam Olympio certamine vario ludicrorum genere contenderit. Justin. lib. vii. cap. ii. p. 217. 3 Hiero king of Syracuse. See Pindar's first Olympic ode: his first Pythian ode. Theron king of Agrigentum. See the second and third Olympic odes. 4 Nero. See Dion Cassius, tom. ii. pp. 1032, 1033. 1066. edit. Reimar. Aurigavit [Nero] plurifariam, Olympiis etiam decemjugem. Suetonius in Vita Nerenis. p. 605. edit. Var. Lug. Bat. 1662. 5 Sunt quos curriculo pulverem Olympicum Collegisse, juvat: metaque fervidis Evitata rotis, palmaque nobilis Terrarum dominos evehit ad Deos.-Horat. lib. i. ode i. 1. "The Olympic exercises principally consisted in running, wrestling, and the chariot-race; for leaping, throwing the dart, and discus, were parts of what they called the Pentathlon. The candidates were to be freemen, and persons of unexceptionable morals. A defect in legitimacy or in personal character totally disqualified them. It was indispensably necessary for them previously to submit to a severe regimen. At their own homes they prescribed themselves a particular course of diet; and the laws required them, when they had given in their names to be enrolled in the list of competitors, to resort to Elis, and reside there thirty3 days before the games commenced; where their regimen and preparatory exercises were regulated and directed by a number of illustrious persons, who were appointed every day to superintend them. This form of diet they authoritatively prescribed, and religiously inspected, that the combatants might acquit themselves in the conflict in a manner worthy the Grecian name, worthy the solemnity of the occasion, and worthy those crowds of illustrious spectators by whom they would be surrounded. There are many passages in the Greek and Roman classics which make mention of that extreme strictness, temperance, and continence which the candidates were obliged to observe. Qui studet optatam cursu contingere metam, Abstinuit venere et vino.-Hor. Art. Poet. ver. 412. A youth, who hopes th' Olympic prize to gain, All arts must try, and every toil sustain; Th' extremes of heat and cold must often prove, And shun the weak'ning joys of wine and love.-FRANCIS. 4 The following is a very distinguished passage in Arrian's discourses of Epictetus, which both represents to the reader the severity of this regimen and the arduous nature of the subsequent contention. "Do you wish to conquer at the Olympic games-But consider what precedes and follows, and then if it be for your advantage, engage in the affair. You must conform to rules; submit to a diet, refrain from dainties, exercise your body whether you choose it or not, in a stated hour, in heat, and in cold; you must drink no cold water, nor sometimes even wine. In a word you must give yourself up to your master, as to a physician. Then, in the combat, you may be thrown into a ditch, dislocate your arm, turn your ankle, swallow abundance of dust, be whipped, and, after all, lose the victory, When you have reckoned up all this, if your inclination still holds, set about the combat."5 1 The candidates were obliged to undergo an examination of another kind, consisting of the following interrogatories: 1. Were they freemen? 2. Were they Grecians? 3. Were their characters clear from all infamous and immoral stains? West's Dissertation on the Olympic Games, p. 152. edit. 12mo. 2 Arriani Epictetus, lib. iii. p. 456. Upton. 3 Philostratus, de Vita Apollonii. lib. v. cap. xliii. p. 227. edit. Olearii. Lipsia, 1709. 4 Epictetus, lib. iii. c. 15. See also Epicteti Enchiridion. cap. xxix. p. 710. edit. Upton. 5 Mrs. Carter's Translation of Arrian, pp. 268, 269. London, 1758. 4to. |