"Many a dangerous temptation comes to us in gay, fine colours, that are but skin-deep"
About this Quote
Temptation, Matthew Henry warns, rarely shows up looking like ruin. It arrives dressed for a party: "gay, fine colours" that read as joy, taste, even virtue. For a late-17th/early-18th-century clergyman steeped in Puritan moral psychology, that phrasing isn’t decorative; it’s diagnostic. Sin succeeds by borrowing the wardrobe of goodness, by imitating the outward signals of a life well-lived. The danger is not just the act itself, but the way desire recruits aesthetics to launder itself into something socially legible and personally excusable.
"Skin-deep" does the real work. Henry is targeting a culture (then and now) that confuses surfaces for substance: the pleasing face, the respectable reputation, the flattering narrative we tell ourselves. His Protestant context sharpens this: if the heart is the true battleground, appearances are suspect not because beauty is evil, but because beauty is persuasive. The line implies an epistemic problem as much as a moral one. People don’t simply choose badly; they misread what’s in front of them because they’re trained to trust what looks coherent, refined, or fun.
There’s also a social subtext. "Fine colours" evokes status and display, a world of ornament and consumption that the godly were taught to interrogate. Henry’s intent is pastoral triage: help readers recognize the first tactic of temptation, which is not force but packaging. He’s offering a method of resistance that starts with suspicion of the seductive frame, a call to look past the sheen to the cost.
"Skin-deep" does the real work. Henry is targeting a culture (then and now) that confuses surfaces for substance: the pleasing face, the respectable reputation, the flattering narrative we tell ourselves. His Protestant context sharpens this: if the heart is the true battleground, appearances are suspect not because beauty is evil, but because beauty is persuasive. The line implies an epistemic problem as much as a moral one. People don’t simply choose badly; they misread what’s in front of them because they’re trained to trust what looks coherent, refined, or fun.
There’s also a social subtext. "Fine colours" evokes status and display, a world of ornament and consumption that the godly were taught to interrogate. Henry’s intent is pastoral triage: help readers recognize the first tactic of temptation, which is not force but packaging. He’s offering a method of resistance that starts with suspicion of the seductive frame, a call to look past the sheen to the cost.
Quote Details
| Topic | Wisdom |
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