a study of bible-第17节

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ng；　the　glory　of　Lebanon　shall　be　given　unto　it；　the　excellency　of　Carmel　and　Sharon；　they　shall　see　the　glory　of　the　Lord；　and　the　excellency　of　our　God。　Strengthen　ye　the　weak　hands；　and　confirm　the　feeble　knees。　Say　to　them　that　are　of　a　fearful　heart；　Be　strong；　fear　not：　behold；　your　God　will　come　with　vengeance；　even　God　with　a　recompense；　He　will　come　and　save　you。　Then　the　eyes　of　the　blind　shall　be　opened；　and　the　ears　of　the　deaf　shall　be　unstopped。　Then　shall　the　lame　man　leap　as　a　hart；　and　the　tongue　of　the　dumb　sing：　for　in　the　wilderness　shall　waters　break　out；　and　streams　in　the　desert。　And　the　parched　ground　shall　become　a　pool；　and　the　thirsty　land　springs　of　water：　in　the　habitation　of　dragons；　where　each　lay；　shall　be　grass　with　reeds　and　rushes。　And　a　highway　shall　be　there；　and　a　way；　and　it　shall　be　called　The　way　of　holiness；　the　unclean　shall　not　pass　over　it；　but　it　shall　be　for　those：　the　wayfaring　men；　though　fools；　shall　not　err　therein。　No　lion　shall　be　there；　nor　any　ravenous　beast　shall　go　up　thereon；　it　shall　not　be　found　there；　but　the　redeemed　shall　walk　there：　and　the　ransomed　of　the　Lord　shall　return；　and　come　to　Zion　with　songs　and　everlasting　joy　upon　their　heads；　they　shall　obtain　joy　and　gladness；　and　sorrow　and　sighing　shall　flee　away。〃


That　can　be　set　to　music　as　it　stands。　You　catch　the　same　form　in　the　familiar　13th　chapter　of　I　Corinthians；　the　chapter　on　Charity。　It　could　be　almost　sung　throughout。　This　musical　element　is　in　sharp　contrast　with　much　else　in　the　Scripture；　where　necessity　does　not　permit　that　literary　form。　For　example；　in　the　Epistle　to　the　Hebrews；　which　is　argumentative　throughout；　there　is　no　part　except　its　quotations　which　has　ever　been　set　to　music　for　uses　in　Christian　worship。　It　is　rugged　and　protracted　in　its　form；　and　has　no　musical　element　about　it。　The　contrast　within　the　Scripture　of　the　musical　and　the　unmusical　is　a　very　marked　one。

Add　to　the　thought　of　the　earnestness　and　variety　of　the　Scripture　a　word　about　the　simplicity　of　its　literary　expression。　There　is　nothing　meretricious　in　its　style。　There　is　no　effort　to　say　a　thing　finely。　The　translators　have　avoided　all　temptation　to　grow　dramatic　in　reproducing　the　original。　Contrast　the　actual　English　Bible　with　the　narratives　or　other　literary　works　that　have　been　built　up　out　of　it。　Read　all　that　the　Bible　tells　about　the　loss　of　Paradise；　and　then　read　Milton's　〃Paradise　Lost。〃　Nearly　all　of　the　conceptions　of　Milton's　greatest　poem　are　built　up　from　brief　Scripture　references。　But　Milton　becomes　subtle　in　his　analysis　of　motives；　he　enlarges　greatly　on　events。　Scripture　never　does　that。　It　gives　us　very　few　analyses　of　motive　from　first　to　last。　That　is　not　the　method　nor　the　purpose　of　Scripture。　It　tells　the　story　in　terms　that　move　on　the　middle　level　of　speech　and　the　middle　level　of　understanding；　while　Milton　labors　with　it；　complicates　it；　entangling　it　with　countless

details　which　are　to　the　Scripture　unimportant。　It　goes　straight　to　the　simple　and　fundamental　elements　in　the　account。　Take　a　more　modern　illustration。　Probably　the　finest　poem　of　its　length　in　the　English　language　is　Browning's　〃Saul。〃　It　is　built　out　of　one　incident　and　a　single　expression　in　the　Bible　story　of　Saul　and　David。　The　incident　is　David's　being　called　from　his　sheep　to　play　his　harp　and　to　sing　before　Saul　in　the　fits　of　gloom　which　overcome　him；　the　expression　is　the　single　saying　that　David　loved　Saul。　Taking　that　incident　and　that　expression；　Browning　writes　a　beautiful　poem　with　many　decorative　details；　with　keen　analysis　of　motive；　with　long　accounts　of　the　way　David　felt　when　he　rendered　his　service；　and　how　his　heart　leaped　or　sang。　Imagine　finding　Browning's　familiar　phrases　in　Scripture：　〃The　lilies　we　twine　round　the　harp…chords；　lest　they　snap　neath　the　stress　of　the　noontide　those　sunbeams　like　swords〃；　〃Oh；　the　wild　joy　of　living！〃　〃Spring's　arrowy　summons；〃　going　〃straight　to　the　aim。〃　That　is　very　well　for　Browning；　but　it　is　not　the　Scripture　way；　it　is　too　complicated。　All　that　the　Bible　says　can　be　said　anywhere；　Browning's　〃Saul〃　could　not　possibly　be　reproduced　in　other　languages。　It　would　need　a　glossary　or　a　commentary　to　make　it　intelligible。　It　is　beautiful　English；　and　great　because　it　has　taken　a　great　idea　and　clothed　it　in　worthy　expression。　But　the　simplicity　of　the　Bible　narrative　appears　in　sharp　contrast　with　it。　In　my　childhood　my　father　used　to　tell　of　a　man　who　preached　on　the　creation；　and　with　great　detail　and　much　elaboration　and　decoration　told　the　story　of　creation　as　it　is　suggested　in　the　first　chapter　of　Genesis。　When　it　was　over　he　asked　an　old　listener　what　he　thought　of　his　effort；　and　the　only　comment　was；　〃You　can't　beat　Moses！〃　Well；　it　would　be　difficult　to　surpass　these　Bible　writers　in　simplicity；　in　going　straight　to　the　point；　and　making　that　plain　and　leaving　it。　Where　the　Bible　takes　a　hundred　words　to　tell　the　whole　story　Browning　takes　several　hundred　lines　to　tell　it。

The　simplicity　of　the　Bible　is　largely　because　there　is　so　little　abstract　reasoning　in　it。　Having　few　or　no　abstract　ideas；　it　does　not　need　abstract　words。　Rather；　it　groups　its　whole　movement　around　characters。　Three　eminent　literary　men　were　once　asked　to　select　the　best　reviews　of　a　novel　which　had　just　appeared。　One　of　the　three　statements　which　they　rated　highest　said　of　the　book　that　it　〃achieves　the　true　purpose　of　a　novel；　which　is　to　make　comprehensible　the　philosophy　of　life　of　a　whole　community　or　race　of　men　by　showing　us　how　that　philosophy　accords　with　the　impulses　and　yearnings　of　typical　individuals。〃　Few　phrases　could　be　more　foreign　to　Bible　phrases　than　those。　But　there　is　valuable　suggestion　in　it　for　more　than　the　literature　of　the　novel。　That　is　exactly　what　the　Scripture　does。　Its　reasoning　is　kept　concrete　by　the　fact　that　it　is　dealing　with　characters　more　than　movements；　and　so　it　can　speak　in　concrete　words。　That　always　makes　for　simplicity。

There　are　two　elements　common　to　the　history　of　literature　about　which　a　special　word　is　deserved。　I　mean　the　dramatic　and　the　oratorical　elements。　The　difference　between　the　dramatic　and　the　oratorical　is　chiefly　that　in　dramatic　writing　there　is　a　scene　in　which　many　take　part；　and　in　the　oratorical　writing　one　man　presents　the　whole　scene；　however　dramatic　the　surroundings。　There　is　not　a　great　deal　of　either　in　the　Scripture。　There　is　no　formal　drama；　nothing　that　could　be　acted　as　it　stands。　It　is　true；　to　be　sure；　that　Job　can　be　cast　into　dramatic　form　by　a　sufficient　manipulation；　but　it　is　quite　unlikely；　in　spite　of　some　scholars；　that　it　was　ever　meant　to　be　a　formal　drama　for　action。　It　does　move　in　cycles　in　the　appearance　of　its　characters；　and　it　does　close　in　a　way　to　take　one　back　to　the　beginning。　It　has　many　marks　of　the　drama；　and　yet　it　seems　very　unlikely　that　it　was　ever　prepared　with　that　definitely　in　mind。　On　the　other　hand；　a　most　likely　explanation　of　the　Song　of　Solomon　is　that　it　is　a　short　drama　which　appears　in　our　Bible　without　any　character　names；　as　though　you　should　take　〃Hamlet〃　and　print　it　continuously；　indicating　in　no　way　the　change　of　speakers　nor　any　movement。　The　effort　has　been　measurably　successful　to　discover　and　insert　the　names　of　the　probable　speakers。　That　seems　to　be　the　one　exception　to　the　general　statement　that　there　is　no　formal　drama　in　the　Scripture。　But　there　are　some　very　striking　dramatic　episodes；　and　they　are　made　dramatic　for　us　very　largely　by　the　way　they　are　told。　One　of　the　earlier　is　in　I　Kings　xviii：21…39。　It　is　almost　impossible　to　read　it　aloud　without　dramatic　expression：


〃And　Elijah　came　unto　all　the　people；　and　said；　How　long　halt　ye　between　two　opinions？　if　the　Lord　be　God；　follow　him：　but　if　Baal；　then　follow　him。　And　the　people　answered　him　not　a　word。　Then　said　Elijah　unto　the　people；　I；　even　I　only；　remain　a　prophet　of　the　Lord；　but　Baal's　prophets　are　four　hundred　and　fifty　men。　Let　them　therefore　give　us　two　bullocks；　and　let　them　choose　one　bullock　for　themselves；　and　cut　it　in　pieces；　and　lay　it　on　wood；　and　put　no　fire　under；　and　I　will　dress　the　other　bullock；　and　lay　it　on　wood；　and　put　no　fire　under：　and　call　ye　on　the　name　of　your　gods；　and　I　will　call　on　the　name　of　the　Lord：　and　the　God　that　answereth　by　fire；　let　him　be　God。　And　all　the　people　answered　and　said；　It　is　well　spoken。　And　Elijah　said　unto　the　prophets　of　Baal；　Choose　you　one　bullock　for　yourselves；　and　dress　it　first；　for　ye　are　many；　and　call　on　the　name　of　your　gods；　but　put　no　fire　under。　And　they　took　the　bullock　which　was　given　them；　and　they　dressed　it；　and　called　on　the　name　of　Baal　from　morning　until　noon；　saying；　O　Baal；　hear　us。　But　there　was　no　voice；　nor　any　that　answered。　And　they　leaped　upon　the　altar　which　was　made。　And　it　came　to　pass　at　noon；　that　Elijah　mocked　them；　and　said；　Cry　aloud；　for　he　is　a　god；　either　he　is　talking；　or　he　is　pursuing；　or；　he　is　in　a　journey；　or　peradventure　he　sleepeth；　and　must　be　awakened。　And　they　cried　aloud；　and　cut　themselves　after　their　manner　with　knives　and　lancets；　till　the　blood　gushed　out　upon　them。　And　it　came　to　pass；　when　midday　was　past；　and　they　prophesied　until　the　time　of　the　offering　of　the　eve