The Virtue of Fortitude

In his Modern Catholic Dictionary, Fr.John Hardon defines fortitude as follows:

"FORTITUDE. Firmness of spirit. As a virtue, it is a steadiness of will in doing good in spite of difficulties faced in the performance of one’s duty.

"There are two levels to the practice of fortitude: one is the suppression of inordinate fear and the other is the curbing of recklessness. The control of fear is the main role of fortitude. Hence the primary effect of fortitude is to keep unreasonable fears under control and not allow them to prevent one from doing what one’s mind says should be done. But fortitude or courage also moderates rashness, which tends to lead the headstrong to excess in the face of difficulties and dangers. It is the special virtue of pioneers in any endeavor.

"As a human virtue, fortitude is essentially different from what has come to be called animal courage. Animals attack either from pain, as when they are wounded, or from fear of pain, as when they go after humans because they are angered, whom they would leave alone if they were unmolested. They are not virtuously brave, for they face danger from pain or rage or some other sense instinct, not from choice, as do those who act with foresight. True courage is from deliberate choice, not mere emotion. (Etym. Latin fortitudo, strength; firmness of soul; courage of soul.)"

An impressive example of fortitude in recent times is found in the story of Rose Hu.

As a young Chinese woman in Shanghai, Rose Hu had been formed by the Legion of Mary. Before long, she found herself being persecuted by the Communists for her Catholicism. She was incarcerated for the faith in prison and labor camps from 1955 to 1981.

Early during this ordeal, she spent several months in solitary confinement. While there, she kept the faith with a daily routine that included "hearing Mass" from memory, making a spiritual Communion, praying the Rosary, and other spiritual practices.

Her inspiring story can be found here:

An audio file where she tells her story
(Click on the third link from the top of the page for a free download)

       A book that can be purchased via this link:
       Joy in Suffering

Source:   Hardon, Fr. John A.; Modern Catholic Dictionary (1999); online version.

Image:
Botticelli's "Fortitude", from Wikimedia Commons. In the public domain.

The Honey of Heraclea

In Introduction to the Devout Life, St. Francis de Sales uses a metaphor about honey to speak of good and evil friendships. In Part III, Chapter XVII, he explains that the nectar for the honey of Heraclea of Pontus is gathered by bees from poisonous aconite, which is plentiful in Heraclea. Then in Part III, Chapter XX ("Of the difference between True and Vain Friendships") he says :

"Observe, Philothea, this important admonition. The honey of Heraclea, which is so poisonous, altogether resembles that which is wholesome, and there is great danger of mistaking one for the other, or of mixing them, for the virtue of one would not counteract the harmfulness of the other. So we must be on our guard not to be deceived in making friendships, especially between persons of the opposite sexes, for not infrequently Satan deludes those who love one another. They may begin with a virtuous affection, but if discretion be lacking, frivolity will creep in, and then sensuality, till their love becomes carnal: even in spiritual love there is a danger if people are not watchful, although it is not so easy to be deluded therein, inasmuch as the very purity and transparency of spiritual affection show Satan’s stains more promptly. Consequently, when he seeks to interpose, he does it stealthily, and strives to insinuate impurity almost imperceptibly. You may distinguish between worldly friendship and that which is good and holy, just as one distinguishes that poisonous honey from what is good—it is sweeter to the taste than ordinary honey, owing to the aconite infused;—and so worldly friendship is profuse in honeyed words, passionate endearments, commendations of beauty and sensual charms, while true friendship speaks a simple honest language, lauding naught save the Grace of God, its one only foundation. That strange honey causes giddiness; and so false friendship upsets the mind, makes its victim to totter in the ways of purity and devotion, inducing affected, mincing looks, sensual caresses, inordinate sighings, petty complaints of not being loved, slight but questionable familiarities, gallantries, embraces, and the like, which are sure precursors of evil; whereas true friendship is modest and straightforward in every glance, loving and pure in caresses, has no sighs save for Heaven, no complaints save that God is not loved sufficiently. That honey confuses the sight, and worldly friendship confuses the judgment, so that men think themselves right while doing evil, and assume their excuses and pretexts to be valid reasoning. They fear the light and love darkness; but true friendship is clear-sighted, and hides nothing—rather seeks to be seen of good men. Lastly, this poisonous honey leaves an exceeding bitter taste behind; and so false friendship turns to evil desires, upbraidings, slander, deceit, sorrow, confusion and jealousies, too often ending in downright sin; but pure friendship is always the same—modest, courteous and loving—knowing no change save an increasingly pure and perfect union, a type of the blessed friendships of Heaven.

"When young people indulge in looks, words or actions which they would not like to be seen by their parents, husbands or confessors, it is a sure sign that they are damaging their conscience and their honor. Our Lady was troubled when the Angel appeared to her in human form, because she was alone, and he spoke to her with flattering although heavenly words. O Savior of the world, if purity itself fears an Angel in human shape, how much more need that our impurity should fear men, although they take the likeness of an Angel, if they speak words of earthliness and sensuality[.]"

Image:
Illustration from Tacuina Sanitatis (14th century), from Wikimedia Commons. In the public domain.

Scale, Proportion, and Balance in Church Flower Arrangements

In their book, Arranging Flowers for the Sanctuary (1961), Knight and St. Claire had this to say on the topic of scale, proportion, and balance in church flower arrangements:

"Selecting and arranging plant material has two aims: order and beauty. The arranger must keep these two goals uppermost and observe known principles for their attainment.

"The most often confused of such principles are scale and proportion. Both are important in successful flower arranging.

"Scale is the relationship between the sizes of the component parts of an arrangement. The relative sizes of the flowers as well as the relationship between the arrangement and the size of the area it decorates are both involved. A well-scaled arrangement for a smaller chapel would be based on Fashion roses rather than an amaryllis. Also, an amaryllis is much too large for a vertical container six inches in height.

"Proportion is the size relationship of one portion of the arrangement to another. Remember that the visual weight of plant material has much to do with the height of an arrangement. Heavy material used in a ratio of one and a half to twice the height of the container is the general rule. Light, airy material may be from two and a half to three time the height of the container and still be in proper proportion. However, if the church is large, distance tends to make arrangements diminish in height. A better appearance is attained if the plant material is at least three times the height of the container.

"Balance is another important principle, especially in church flower arranging, since the finished design must be firmly fixed. There are two types of balance. Symmetrical balance is the most common in churches. It is always quiet, dignified, and impressive, if sometimes static. This type of balance is achieved by placing an equal amount of plant material on both sides of an imaginary center line drawn through the middle of the plant material and container. Both sides are practically the same.

"The second type of balance, and one more difficult to complete, is asymmetrical. This type relies on purely visual effects for its success. The two sides here may differ in form and color but have equal weight. At all times the whole arrangement depends on the eye's measurement and evaluation.

"The three types of symmetrically balanced arrangements most often seen in church are (1) massed oval, (2) massed triangle, and (3) massed vertical. The type of arrangement to be used must depend on the architecture of the church and the kind of reredos. With Gothic architecture, a vertical arrangement looks well. Baroque or Byzantine, on the other hand, calls for an oval or a triangle. In contemporary settings, a bold triangle or vertical arrangement looks best.

"In a small church or a simple chapel a rather loose informal type of arrangement is suitable. A formal chapel demands a more tightly massed arrangement, yet one that should be kept dignified and simple."

Source:
Patteson-Knight, Francis and St. Claire, Margaret McReynolds; Arranging Flowers for the Sanctuary (Harper & Bros., New York, 1961), pp. 76-79. (Emphasis added.)

Image:
Patteson-Knight, Francis; line drawing of the three types of massed arrangements, at p. 78 of the above-cited book.