Chapters of Bible Study Part 2

But I am constrained, for the sake of completing our present aspect of the subject, to say something on the character and extent of that divine element which Jews and Christians recognize when they accept the Sacred Scriptures as the word of G.o.d.

VII.

THE SACRED PEN.

We have seen that the Biblical writings bear the unmistakable impress of a divine purpose. The nature of that purpose is likewise clearly enunciated on every page of Holy Writ. Man in his fallen condition stands in need of law and example, of precept and promise. These G.o.d gives him. We read in Exodus (Chap. iii.) that He first speaks to Moses, giving him His commands regarding the liberation and conduct of His people out of Egypt. Later on, in the desert on Mount Sinai, "Moses spoke, and G.o.d answered him" (Chap. xix. 19); and "Moses went down to the people and told them all" (Ibid. 25). Next we read (Chap.

xxiv. 12) that the Lord said to Moses: "I will give thee tables of stone, and the law, and the commandments which _I have written, that thou mayest teach them_."

Here G.o.d announces Himself as the writer of "the Law and the Commandments," although we receive them in the handwriting of Moses.

Is Moses a mere amanuensis, writing under dictation? No. He is the intelligent, free instrument, writing under the direct inspiration of G.o.d. In this sense G.o.d is the true author or writer of the Sacred Scriptures, making His action plain to the sense and understanding of His children through the medium of a man whom He inspires to execute His work.

How does this inspiration act on the writer who ostensibly executes the divine work? We answer: _G.o.d moves the will of the writer, and illumines his intellect, pointing out to him at the same time the subject-matter which he is to write down, and preserving him from error in the completion of his committed task_.

Looking attentively at this definition of Scriptural inspiration, a number of questions arise at once in our minds. G.o.d moves the will, enlightens the mind, and points out the subject-matter which the inspired writer commits to paper. Is the writer under the influence of the divine impulsion so possessed by the inspired virtue that he acts without any freedom, either as regards the manner of his expression or the use of previously acquired knowledge concerning the subject of which he writes?

I answer: No. G.o.d moves the will of the writer; He does not annihilate it or absorb it, unless in the sense that He brings it, by a certain illumination of the intellect, to a conformity with His own. Hence the manner and method of expression retain the traces of the individuality of the writer, that is to say, of his views and feelings as determined by the ordinary habits of life and the range of his previous knowledge.

The idea of the divine authorship of the Sacred Scriptures by no means requires that the truths which G.o.d willed to be contained therein could not or should not have been otherwise known to the inspired writers: "Their use of study, their investigation of doc.u.ments, their interrogation of witnesses and other evidence, and their excuses for rusticity of style and poverty of language show this only, that they were not inanimate, but living, intelligent, and rational instruments--that they were men, and not machines.... They were employed in a manner which corresponded to, and which became the nature, the mode, and the conditions of their being. Previous knowledge of certain truths by men can be no reason why G.o.d should not conceive and will such truths to be communicated by means of Scripture to His Church.... Hence the idea of inspiration does not exclude human industry, study, the use of doc.u.ments and witnesses, and other aids in order to the conceiving of such truths, so long as it includes a supernatural operation and direction of G.o.d, which effects that the mind of the inspired writer should _conceive_ all those truths, and those only which G.o.d would have him communicate."[1] And herein lies the difference between inspiration and revelation, the latter being the manifestation of something previously unknown to the writer.

The second question, which naturally occurs in connection with the one just answered, is whether we are to consider that the words, just as we read them in the Bible, are inspired in such wise that we may not conceive of the sacred text having any other meaning than that to which its _verbal expression_ limits it.

There are many reasons why we need not feel bound to accept the theory of literal or _verbal inspiration_ of the Bible, although such opinion has been defended by eminent theologians, who wished thereby to defend the integrity of the sacred volume against the wanton interference with the received text on the part of innovators and so-called religious reformers.

In the first place, the theory of verbal inspiration is not essential to the maintenance of the absolute integrity of a written revelation.

That revelation proposes truths and facts, and whilst the terms employed for the expression of these truths and facts must fit adequately to convey the sense, they admit of a certain variety without thereby in the least injuring the accuracy of statements. This is applicable not only to single words, but to phrases and forms of diction, and to figures of ill.u.s.tration.

Secondly, the sacred writers themselves abundantly indicate the freedom which may be exercised or allowed in the verbal declaration of divinely inspired truths. Many of them repeat the same facts and doctrines in different words. This is the case even with regard to events of the gravest character, such as the inst.i.tution of the Blessed Eucharist, in which there can be no room for a difference of interpretation as to the true sense.

St. Matthew (xxvi. 26-28), for example, records the act of consecration by Our Lord on the eve of His pa.s.sion in the following words: "Take ye and eat: This is My Body.... Drink ye all of this, for this is My Blood of the new Testament, which shall be shed for many for the remission of sins."

St. Mark (xiv. 22-24) writes: "Take ye. This is My Body.... This is My Blood of the new Testament, which shall be shed for many."

St. Luke (xxii. 19-20) says: "This is My Body, which is given for you.... This is the chalice, the new Testament in My Blood, which shall be shed for you."

St. Paul (I. Cor. xi. 24-25) has it: "This is My Body, which shall be delivered for you.... This chalice is the new Testament in My Blood."

These four witnesses cite very important words spoken by our Lord on a most solemn occasion. St. Matthew was present at the Last Supper. He wrote in the very language employed by our Lord, and we have every reason to believe that he could remember and wished to remember exactly what our Lord had said on so important a subject, especially when he, with the other Apostles, was told to do the same act in remembrance of their Master when He should be no longer with them in visible human form. St. Mark, St. Luke, and St. Paul nevertheless vary the expression of this tremendous mystery in all but the words: "This is My Body." They drew their knowledge of the form of the inst.i.tution of the Blessed Sacrament from St. Peter; at least we know that St. Peter revised and approved of St. Mark's Gospel,[2] and St. Paul and St. Luke evidently obtained their knowledge of the Christian faith from a common source, which the chief of the Apostles controlled. They had every opportunity to consult St. Mark, and there might have been reason for doing so since they wrote in Greek, whereas St. Matthew retained the Hebrew idiom, but evidently neither they nor St. Peter deemed a literal or verbal rendering of the sacramental form essential, provided the true version of our Lord's action was faithfully given.

Furthermore, the claim of verbal inspiration implies a necessity of having recourse to the original language in which the inspired writers composed their works, since it is quite impossible that translations can in every case adequately render the exact meaning conveyed by an idiom no longer living. But the necessity of referring to the Hebrew, Chaldee, or Greek text in order to verify the true sense of an expression would place the Bible beyond the reach of all but a few scholars, for whose exclusive benefit the generally popular style of the Bible forbids us to think they were primarily intended.

Finally, we have the indication by writers of both the Old and New Testaments that what they wrote was not conveyed to them by way of dictation, but that the divine thought conceived in their own minds was rendered by them with such imperfections of expression as belonged wholly to the human element of the instrument which G.o.d employed, and could in nowise be attributed to the Holy Ghost, who permitted His revelation to be communicated through channels of various kinds and degrees of material form. Thus the writer of the sacred Book of Machabees (II. Mach. ii. 24, etc.) apologizes for his style of writing.

St. Paul (I. Cor. ii. 13; II. Cor. xi. 6) gives us to understand that his words fall short of the requirements of the rhetorician, but that he is satisfied to convey "the doctrine of the Spirit."

[1] Vid. "The Sacred Scriptures; or, The Written Word of G.o.d." By William Humphrey, S. J.--London, Art and Book Co., 1894.

[2] Clement Alex.--Euseb., H.E., II. xv. 1; VI. xiv. 6; XX. clxxii.

552. Also Hieron., De Vir. Ill., VIII. xxiii. 621, etc.

VIII.

THE MELODY AND HARMONY OF THE "VOX COELESTIS."

But, you will say, whilst it is plain that we need not adhere to the text of Holy Writ so strictly as to suppose that each single word is the only exact representation of the thought or truth with which G.o.d inspired the writer, it seems difficult to see where you can draw the line between the teaching of G.o.d and its interpretation by man who is not bound by definite words. In other words, if verbal inspiration is not to be admitted, how far does inspiration actually extend in the formation of the written text?

I should answer that inspiration extends to the _truths_ and _facts_ contained in the Bible, _absolutely_; that it extends to the terms in which these truths and facts are expressed, _relatively_. The former cannot vary; the latter may vary according to the disposition or the circ.u.mstances of the writer. It may be allowable to express this distinction by a comparison of Biblical with musical inspiration.

Taking music, not as a mechanical art, but as an expression of the soul, or, as Milton puts it, of

"Strains that might create a soul,"

we distinguish between the conception of the melody and its accompaniment of harmonious chords. The former const.i.tutes, so to speak, the theme, the truth, or motive of the artistic conception, which the composer seizes under his inspiration. When he goes to communicate the expression of this musical truth or melody through the instrument he at once and instinctively avails himself of the chords which, by way of accompaniment, emphasize the musical truth which his soul utters through the instrument, according to the peculiar nature or form of the latter. These chords of the accompaniment are not the leading motive or truth of his theme, but they are equally true with it. They may vary, even whilst he uses the same instrument, but the melody must ever observe the exact distances between the sounds in its finished form, and cannot be altered without changing the motive of the piece.

The inspiration of the Sacred Text offers an a.n.a.logy to that of the artist musician. The divine melody of truths and facts is definitely communicated to the inspired composer of the Sacred Books. Sometimes he sings loud and with strong emphasis, sometimes he barely breathes his heavenly tones, yet they are no uncertain notes; they allow of no alteration, addition, or omission. But in the accompanying chords he takes now one set, now another, remaining in the same clef, ever true to the melody, yet manifold in the variety of expressing that truth.

Even the seeming discords, which, taken by themselves, look like errors, prove to be part of the great theme; when rightly understood they are but transition chords which prepare us for the complete realization of the succeeding harmony into which they resolve themselves.

IX.

THE VOICE FROM THE ROCK.

Does the Church indorse the definition of Scriptural inspiration which has been given in the two preceding chapters? The Church has said very little on the subject of the inspiration of the Sacred Scriptures, but enough to serve us as a definition and as an expression of its limitations. The Councils of Florence and Trent simply state that "the Sacred Scriptures, having been written under the inspiration of the Holy Ghost, have G.o.d for their author." How much may be deduced from this was made clear by the late Vatican Council (Const.i.t., _de Fide_, cap. ii.), which holds that "the Church regards these books (enumerated in the Tridentine Canon), as sacred and canonical, not because, having been composed through the care and industry of men, they were afterwards approved by the authority of the Church, nor simply because they contain revealed truth without error, but because they were written under the inspiration of the Holy Ghost in such a way as to have G.o.d for their author...."[1]

By this definition two distinct theories of inspiration are censured as contrary to Catholic teaching. The first is that which has been called _subsequent_ inspiration, according to which a book might be written wholly through human industry, but receiving afterwards the testimony of express divine approval, might become the written word of G.o.d. This teaching is not admissible inasmuch as it excludes the divine authorship of the Scriptures.

A second theory condemned by the above clause of the Vatican Council as untenable on Catholic principles is that which is called _negative_ inspiration. Its defenders hold that the extent of the divine action in the composition of the Sacred Scriptures is limited to the exclusion of errors from the sacred volume. This would restrict the value of the truth revealed in the Bible to a mere exposition of human knowledge containing no actual misstatements of fact.

[1] See on this subject P. Brucker's recently published work "_Questions Actuelles d'Ecriture Sainte_," _par le R. P. Jos. Brucker, S. J.: Paris, Victor Retaux_, which treats admirably this part of our subject.

X.

A SOURCE OF GENERAL INFORMATION AND CULTURE.

Among the many interesting letters which St. Jerome has left us there is one to Laeta, a n.o.ble lady of Rome, regarding the education of her little daughter, Paula. An aunt of the child was at the time in Bethlehem, where, amid the very scenes where our Lord was born, she studied the Holy Scriptures in the Hebrew and Greek tongues, as was then the habit of educated Christian ladies. St. Jerome would have the child Paula trained in all the arts and sciences that could refine her mind and lead it to its highest exercise in that singularly gifted nature. To this end he bids Laeta cultivate in the child an early knowledge of the Sacred Scriptures. With a touching simplicity the aged Saint enters into minute details of the daily training,--how the childish hands are to form the ivory letters, which serve her as playthings, into the names of the prophets and saints of the Old Testament; how later she is to commit to memory, each day, choice sayings, flowers of wisdom culled from the sacred writers, and how, finally, he [Transcriber's note: she?] is to come to the Holy Land and learn from her aunt the lofty erudition and understanding of the Bible, a book which contains and unfolds to him who knows how to read it rightly all the wisdom of ages, practical and in principle, surpa.s.sing the cla.s.sic beauty of those renowned Roman writers of whose works St.

Jerome himself had been once so pa.s.sionately fond that they haunted him in his dreams.

It must not be supposed, however, that the judgment of so erudite a man as St. Jerome in placing the study of the Sacred Scriptures above all other branches of a higher education was based upon a purely _spiritual_ view. He realized what escapes the superficial reader of the inspired writings: that they are _not only_ a library of religious thought, but, in every truest sense of the word, a compendium of general knowledge. The sacred volumes are a code and digest of law, of political, social, and domestic economy; a book of history the most comprehensive and best authenticated of all written records back to the remotest ages; a summary of practical lessons and maxims for every sphere of life; a treasury of beautiful thoughts and reflections, which instruct at once and elevate, and thus serve as a most effective means of education. That this is no exaggeration is attested by men like the pagans of old, who, becoming acquainted with the sacred books, valued them, though they saw in them nothing of that special divine revelation which the Jew and Christian recognize. We read in history how, nearly three hundred years before our Lord, Ptolemy Philadelphia, the most cultured of all the Egyptian kings, and founder of the famous Alexandrian University, which for centuries outshone every other inst.i.tution of learning by the renown of its teachers, sent a magnificent emba.s.sy to the High-priest Eleazar at Jerusalem to ask him for a copy of the Sacred Law of the Jews. So greatly did he esteem its possession that he offered for the right of translating the Pentateuch alone six hundred talents of gold ($576,000), and liberty to all the Jewish captives in his dominion, to the number of about 150,000 (some historians give the number at 100,000, others at 200,000).