Exploring Silent Reading in Augustine's Time

The question of whether silent reading was unusual during Augustine's time is examined, particularly in light of a comment made by Augustine in his Confessions (6.3.3.). This inquiry considers the implications of Augustine's observations on the reading habits of his mentor, Aurelius Ambrosius, the archbishop of Milan, who was noted for reading silently. William A. Johnson, in "Toward a Sociology of Reading in Classical Antiquity," published in the American Journal of Philology 121 (2000), cites Augustine's reflection on Ambrose's reading practices: "When Ambrose read, his eyes ran over the columns of writing and his heart searched out the meaning, but his voice and his tongue were at rest. Often when I was present—for he did not close his door to anyone and it was customary to come in unannounced—I have seen him reading silently, never in fact otherwise. I would sit for a long time in silence, not daring to disturb someone so deep in thought, and then go on my way. I asked myself why he read in this way. Was it that he did not wish to be interrupted in those rare moments he found to refresh his mind and rest from the tumult of others' affairs? Or perhaps he was worried that he would have to explain obscurities in the text to some eager listener, or discuss other difficult problems? For he would thereby lose time and be prevented from reading as much as he had planned. But the preservation of his voice, which easily became hoarse, may well have been the true cause of his silent reading." Alberto Manguel's "A History of Reading" (1996) also discusses silent reading in detail, suggesting that reading aloud was likely the norm since the advent of written language. The first printing of St. Augustine's Confessions was issued by Johann Mentelin of Strasbourg no later than 1470. In November 2013, a digital facsimile was made available from the Bayerische Staatsbibliothek. Additionally, a German biographical film titled "Des Leben des heiligen Augustinus" (2010), featuring Franco Nero, was noted for its authentic depiction of book rolls and early codices during the transition from roll to codex.