In a patristic reading offered (remarkably) both by the Roman Breviary and by the
Liturgy of the Hours, S Ambrose reminds us that the first thing our blessed Lady did after the Annunciation was to hurry into the hill country to visit Elizabeth; and asks, rhetorically, 'For whither, now Full of God [
plena Deo], should she hurry if not to higher places?'
The greatest of the Roman poets was Publius Ovidius Naso, whose rococo imagination and baroque syntax would have made him a most wonderfully Counter Reformation Catholic, had he lived a millennium and a half later. It is purely and simply the Spirit of Ovid that animates the exuberant baroque statuary in the fountains and squares of renaissance Rome. In his youth, the dear old boy appears to have written a tragedy, the
Medea, of which only two fragments remain as citations in later rhetorical treatises ... yes ... a sad fate ...
One of these fragments gives a few words of Medea, the Colchian Witch, a liberated feminist girl who engagingly terminated her children in order to irritate her husband; a wench quite worthy to be adopted as their tutelary deity by the crazed half-naked demonstrators
plenae Diabolo [full of Satan] who riot
for Abortion; the
Choroi whose spondaic-dactylic-spondaic-dactylic incantation orders us "keep your rosaries off our ovaries". Apparently, in her frenzy, Medea cried out in Ovid's play
feror huc illuc, ut plena deo [I am carried this way, that way, as full of (a) God]
.
In Roman literature, it is not unnatural for one in the grip of madness or, indeed, merely alcohol, to be called 'Full of (a) God', because Roman deities were so often personifications of dangerous or even disastrous things. So, after your Christmas celebrations, you might be (but I trust you will not be) said to be
full of Bacchus. Medea was, I'm afraid, merely demented, poor thing.
I wonder whether S Ambrose, as an exercise in what we Classicists call Creative Intertextuality or
imitatio cum variatione [copying something but with a significant change]
but which lesser mortals mistake for Plagiarism, has consciously transposed this witty
topos from the demented, noisy and bloody mythological figure of Medea, to the reality and
hesychia [quietness] of a particular Jewish Girl who, quite literally, carried God Eternal and Incarnate an inch or two south of her fallopian tubes and is now Queen of Heaven. If so, he certainly put his finger on the Culture War, the essential enmity, between the
Theotokos and today's maddened Satanic perversions of her icon.
But her heel
will tread down the Serpent's head; and the Immaculate Heart of our Lady of Fatima
will prevail.