of St. Augustine
Translated by Albert c. Outler
The story of his student days in Carthage, his discovery of Cicero's Hortensius, the enkindling of his philosophical interest, his infatuation with the Manichean heresy, and his mother's dream which foretold his eventual return to the true faith and to God.
1. I came to Carthage, where a caldron of unholy loves was seething and bubbling all around me. I was not in love as yet, but I was in love with love; and, from a hidden hunger, I hated myself for not feeling more intensely a sense of hunger. I was looking for something to love, for I was in love with loving, and I hated security and a smooth way, free from snares. Within me I had a dearth of that inner food which is thyself, my God--although that dearth caused me no hunger. And I remained without any appetite for incorruptible food--not because I was already filled with it, but because the emptier I became the more I loathed it. Because of this my soul was unhealthy; and, full of sores, it exuded itself forth, itching to be scratched by scraping on the things of the senses. Yet, had these things no soul, they would certainly not inspire our love.
To love and to be loved was sweet to me, and all the more when I gained the enjoyment of the body of the person I loved. Thus I polluted the spring of friendship with the filth of concupiscence and I dimmed its luster with the slime of lust. Yet, foul and unclean as I was, I still craved, in excessive vanity, to be thought elegant and urbane. And I did fall precipitately into the love I was longing for. My God, my mercy, with how much bitterness didst thou, out of thy infinite goodness, flavor that sweetness for me! For I was not only beloved but also I secretly reached the climax of enjoyment; and yet I was joyfully bound with troublesome tics, so that I could be scourged with the burning iron rods of jealousy, suspicion, fear, anger, and strife.
2. Stage plays also captivated me, with their sights full of the images of my own miseries: fuel for my own fire. Now, why does a man like to be made sad by viewing doleful and tragic scenes, which he himself could not by any means endure? Yet, as a spectator, he wishes to experience from them a sense of grief, and in this very sense of grief his pleasure consists. What is this but wretched madness? For a man is more affected by these actions the more he is spuriously involved in these affections. Now, if he should suffer them in his own person, it is the custom to call this "misery." But when he suffers with another, then it is called "compassion." But what kind of compassion is it that arises from viewing fictitious and unreal sufferings? The spectator is not expected to aid the sufferer but merely to grieve for him. And the more he grieves the more he applauds the actor of these fictions. If the misfortunes of the characters--whether historical or entirely imaginary--are represented so as not to touch the feelings of the spectator, he goes away disgusted and complaining. But if his feelings are deeply touched, he sits it out attentively, and sheds tears of joy.
3. Tears and sorrow, then, are loved. Surely every man desires to be joyful. And, though no one is willingly miserable, one may, nevertheless, be pleased to be merciful so that we love their sorrows because without them we should have nothing to pity. This also springs from that same vein of friendship. But whither does it go? Whither does it flow? Why does it run into that torrent of pitch which seethes forth those huge tides of loathsome lusts in which it is changed and altered past recognition, being diverted and corrupted from its celestial purity by its own will? Shall, then, compassion be repudiated? By no means! Let us, however, love the sorrows of others. But let us beware of uncleanness, O my soul, under the protection of my God, the God of our fathers, who is to be praised and exalted--let us beware of uncleanness. I have not yet ceased to have compassion. But in those days in the theaters I sympathized with lovers when they sinfully enjoyed one another, although this was done fictitiously in the play. And when they lost one another, I grieved with them, as if pitying them, and yet had delight in both grief and pity. Nowadays I feel much more pity for one who delights in his wickedness than for one who counts himself unfortunate because he fails to obtain some harmful pleasure or suffers the loss of some miserable felicity. This, surely, is the truer compassion, but the sorrow I feel in it has no delight for me. For although he that grieves with the unhappy should be commended for his work of love, yet he who has the power of real compassion would still prefer that there be nothing for him to grieve about. For if good will were to be ill will--which it cannot be--only then could he who is truly and sincerely compassionate wish that there were some unhappy people so that he might commiserate them. Some grief may then be justified, but none of it loved. Thus it is that thou dost act, O Lord God, for thou lovest souls far more purely than we do and art more incorruptibly compassionate, although thou art never wounded by any sorrow. Now "who is sufficient for these things?"
4. But at that time, in my wretchedness, I loved to grieve; and I sought for things to grieve about. In another man's misery, even though it was feigned and impersonated on the stage, that performance of the actor pleased me best and attracted me most powerfully which moved me to tears. What marvel then was it that an unhappy sheep, straying from thy flock and impatient of thy care, I became infected with a foul disease? This is the reason for my love of griefs: that they would not probe into me too deeply (for I did not love to suffer in myself such things as I loved to look at), and they were the sort of grief which came from hearing those fictions, which affected only the surface of my emotion. Still, just as if they had been poisoned fingernails, their scratching was followed by inflammation, swelling, putrefaction, and corruption. Such was my life! But was it life, O my God?
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