On Christian Doctrine
48. Ambrose also uses the temperate and ornamented style when he is holding up before virgins who have made their profession a model for their imitation, and says: “She was a virgin not in body only, but also in mind; not mingling the purity of her affection with any dross of hypocrisy; serious in speech; prudent in disposition; sparing of words; delighting in study; not placing her confidence in uncertain riches, but in the prayer of the poor; diligent in labor; reverent in word; accustomed to look to God, not man, as the guide of her conscience; injuring no one, wishing well to all; dutiful to her elders, not envious of her equals; avoiding boastfulness, following reason, loving virtue. When did she wound her parents even by a look? When did she quarrel with her neighbors? When did she spurn the humble, laugh at the weak, or shun the indigent? She is accustomed to visit only those haunts of men that pity would not blush for, nor modesty pass by. There is nothing haughty in her eyes, nothing bold in her words, nothing wanton in her gestures: her bearing is not voluptuous, nor her gait too free, nor her voice petulant; so that her outward appearance is an image of her mind, and a picture of purity. For a good house ought to be known for such at the very threshold, and show at the very entrance that there is no dark recess within, as the light of a lamp set inside sheds its radiance on the outside. Why need I detail her sparingness in food, her superabundance in duty,—the one falling beneath the demands of nature, the other rising above its powers? The latter has no intervals of intermission, the former doubles the days by fasting; and when the desire for refreshment does arise, it is satisfied with food such as will support life, but not minister to appetite.” Now I have cited these latter passages as examples of the temperate style, because their purpose is not to induce those who have not yet devoted themselves to take the vows of virginity, but to show of what character those who have taken vows ought to be. To prevail on any one to take a step of such a nature and of so great importance, requires that the mind should be excited and set on fire by the majestic style. Cyprian the martyr, however, did not write about the duty of taking up the profession of virginity, but about the dress and deportment of virgins. Yet that great bishop urges them to their duty even in these respects by the power of a majestic eloquence.
49. But I shall select examples of the majestic style from their treatment of a subject which both of them have touched. Both have denounced the women who color, or rather discolor, their faces with paint. And the first, in dealing with this topic, says: “Suppose a painter should depict in colors that rival nature’s the features and form and complexion of some man, and that, when the portrait had been finished with consummate art, another painter should put his hand over it, as if to improve by his superior skill the painting already completed; surely the first artist would feel deeply insulted, and his indignation would be justly roused. Dost thou, then, think that thou wilt carry off with impunity so audacious an act of wickedness, such an insult to God the great artificer? For, granting that thou art not immodest in thy behavior towards men, and that thou art not polluted in mind by these meretricious deceits, yet, in corrupting and violating what is God’s, thou provest thyself worse than an adulteress. The fact that thou considerest thyself adorned and beautified by such arts is an impeachment of God’s handiwork, and a violation of truth. Listen to the warning voice of the apostle: ‘Purge out the old leaven, that ye may be a new lump, as ye are unleavened. For even Christ our Passover is sacrificed for us: therefore let us keep the feast, not with old leaven, neither with the leaven of malice and wickedness; but with the unleavened bread of sincerity and truth.’ Now can sincerity and truth continue to exist when what is sincere is polluted, and what is true is changed by meretricious coloring and the deceptions of quackery into a lie? Thy Lord says, ‘Thou canst not make one hair white or black;’ and dost thou wish to have greater power so as to bring to nought the words of thy Lord? With rash and sacrilegious hand thou wouldst fain change the color of thy hair: I would that, with a prophetic look to the future, thou shouldst dye it the color of flame.” It would be too long to quote all that follows.
50. Ambrose again, inveighing against such practices, says: “Hence arise these incentives to vice, that women, in their fear that they may not prove attractive to men, paint their faces with carefully-chosen colors, and then from stains on their features go on to stains on their chastity. What folly it is to change the features of nature into those of painting, and from fear of incurring their husband’s disapproval, to proclaim openly that they have incurred their own! For the woman who desires to alter her natural appearance pronounces condemnation on herself; and her eager endeavors to please another prove that she has first been displeasing to herself. And what testimony to thine ugliness can we find, O woman, that is more unquestionable than thine own, when thou art afraid to show thyself? If thou art comely why dost thou hide thy comeliness? If thou art plain, why dost thou lyingly pretend to be beautiful, when thou canst not enjoy the pleasure of the lie either in thine own consciousness or in that of another? For he loves another woman, thou desirest to please another man; and thou art angry if he love another, though he is taught adultery in thee. Thou art the evil promptress of thine own injury. For even the woman who has been the victim of a pander shrinks from acting the pander’s part, and though she be vile, it is herself she sins against and not another. The crime of adultery is almost more tolerable than thine; for adultery tampers with modesty, but thou with nature.” It is sufficiently clear, I think, that this eloquence calls passionately upon women to avoid tampering with their appearance by deceitful arts, and to cultivate modesty and fear. Accordingly, we notice that the style is neither subdued nor temperate, but majestic throughout. Now in these two authors whom I have selected as specimens of the rest, and in other ecclesiastical writers who both speak the truth and speak it well,—speak it, that is, judiciously, pointedly, and with beauty and power of expression,—many examples may be found of the three styles of speech, scattered through their various writings and discourses; and the diligent student may by assiduous reading, intermingled with practice on his own part, become thoroughly imbued with them all.
Chapter 22.—The Necessity of
Variety in Style.
51. But we are not to suppose that it is against rule to mingle these various styles: on the contrary, every variety of style should be introduced so far as is consistent with good taste. For when we keep monotonously to one style, we fail to retain the hearer’s attention; but when we pass from one style to another, the discourse goes off more gracefully, even though it extend to greater length. Each separate style, again, has varieties of its own which prevent the hearer’s attention from cooling or becoming languid. We can bear the subdued style, however, longer without variety than the majestic style. For the mental emotion which it is necessary to stir up in order to carry the hearer’s feelings with us, when once it has been sufficiently excited, the higher the pitch to which it is raised, can be maintained the shorter time. And therefore we must be on our guard, lest, in striving to carry to a higher point the emotion we have excited, we rather lose what we have already gained. But after the interposition of matter that we have to treat in a quieter style, we can return with good effect to that which must be treated forcibly, thus making the tide of eloquence to ebb and flow like the sea. It follows from this, that the majestic style, if it is to be long continued, ought not to be unvaried, but should alternate at intervals with the other styles; the speech or writing as a whole, however, being referred to that style which is the prevailing one.
Chapter 23.—How the Various
Styles Should Be Mingled.
52. Now it is a matter of importance to determine what style should be alternated with what other, and the places where it is necessary that any particular style should be used. In the majestic style, for instance, it is always, or almost always, desirable that the introduction should be temperate. And the speaker has it in his discretion to use the subdued style even where the majestic would be allowable, in order that the majestic when it is used may be the more majestic by comparison, and may as it were shine out with greater brilliance from the dark background. Again, whatever may be the style of the speech or writing, when knotty questions turn up for solution, accuracy of distinction is required, and this naturally demands the subdued style. And accordingly this style must be used in alternation with the other two styles whenever questions of that sort turn up; just as we must use the temperate style, no matter what may be the general tone of the discourse, whenever praise or blame is to be given without any ulterior reference to the condemnation or acquittal of any one, or to obtaining the concurrence of any one in a course of action. In the majestic style, then, and in the quiet likewise, both the other two styles occasionally find place. The temperate style, on the other hand, not indeed always, but occasionally, needs the quiet style; for example, when, as I have said, a knotty question comes up to be settled, or when some points that are susceptible of ornament are left unadorned and expressed in the quiet style, in order to give greater effect to certain exuberances (as they may be called) of ornament. But the temperate style never needs the aid of the majestic; for its object is to gratify, never to excite, the mind.
Chapter 24.—The Effects Produced
by the Majestic Style.