I.

The Scripture documents may be viewed from several

standpoints;--historical, exegetical, theological and literary. One may,

for example, study the book of Job to find out the actual basis of fact

that underlies it, or for the purpose of ascertaining and systematizing

its doctrines, or he may read it as a great dramatic poem, and criticize

it by the rules that would apply to any other dramatic poem. He may go

through the Apocalypse, grammar and lexicon in hand, or he may study its

flashing imagery as he would that of any other magnificent work of genius.

He may read the Psalms as he would the odes of Horace. In these pages the

Scriptures are considered simply as Literature. The question of

inspiration or authority does not enter. Doctrinal inquiries are set

aside. "To understand," says Matthew Arnold, "that the language of the

Bible is fluid, passing, literary, is the first step towards a right

understanding of the Bible."

The literary character of the Bible is admirably set forth in the

following paragraph from a recent critic:

"As a particular book, the Bible is an unequaled source of literary

inspiration. As a book of religious truth, it is supreme; but

religious truth, without any impairment of its value or obscurity of

its meaning, may be studied from the literary standpoint; in fact, in

the light of literary criticism, or tested by the usual canons of the

scholar, it will appear more sacred, more beautiful, more divine.

Never forgetting that it is our manual of religion, it is also the

vehicle of the most wonderful literature in human annals, and precedes

in importance all others. There is no book so composite in character

and yet so harmonious in plan, so multiplex in styles and yet so

educational in rhetoric and logic, so varied in contents and yet so

progressive in its philosophy and religion, as the Bible. Taken as a

whole, it is massive, comprehensive, a revelation of the Infinite.

Studied in its parts, it stimulates single faculties while it

ministers nourishment to the whole frame. Its histories are more

compact than those of Herodotus, Gibbon or Macaulay; its poetry, whose

key is a mystery, quiets Homer, Shakespeare and Tennyson; its

prophecies are unique climaxes of wisdom, both in drapery and

substance; its biographies excel those of Plutarch, Irving, Carlyle

and Boswell; its chronicles of wars are superior to those of Julius

Caesar, Wellington, Napoleon, and Ulysses Grant; its epistles eclipse

those of Pliny, Madame Sevigne and Francis Bacon; its laws, in their

ethical and spiritual import, are quite beyond Justinian, Blackstone

and the English Parliament. Every phasis of literature, every norm of

wisdom, is in the Bible. It ministers to all tastes and arouses the

slumbering intellects of all who can comprehend the difference between

reality and fiction, and who incline to virtue rather than vice.

Ruskin confesses his indebtedness to the Bible, Homer and Sir Walter

Scott, for his mental discipline; Charles Reade pronounces the

characters in Scripture a literary marvel. Matthew Arnold daily read

the New Testament in Greek for its style; Milton could not have

written Paradise Lost without Genesis; Renan's witchery of style is

traceable to the New Testament. Job has taught the poets the art of

construction, and David has sung an undying melody into the ears of

the race. The Book of Ruth is the model idyl, and the Books of Esther

and Daniel abound in incomparable dramatic elements; Isaiah has plumed

the statesman for oratorical flights; Jeremiah has opened the

fountains of pathos and sentiment in pathetic souls; Ezekiel has

furnished a usable style of judicial denunciation for the criminal

lawyer. Of all books, whether rhetoric, logic, vocabulary, poetry,

philosophy, history, or whatever be the end, the Bible should be first

and most carefully studied, its literary spirit and form should be

closely traced and discerned, and its truth should be reverently

incorporated into the daily speech, thought and life."

But in this summary there is no mention made of the literary qualities

which it is here proposed to consider. They are as completely ignored as

if the very suggestion of their presence were profanation.

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