II.
Each writing having an intrinsic unity should, by such aids, be studied as a whole.
Every intelligent Christian ought to have a clear conception of the general scope of thought in each great Bible-book. Whatever fragmentary use of these books for direct devotional purposes may be made, he who would count himself as one of "the men of the Bible," ought to know as much about them as he knows about his favorite authors.
Who that pretends to be a lover of Shakespeare is content with a scrappy reading of his immortal plays? To enjoy them fully, even in fragmentary readings, he seeks to have a foundation of critical knowledge, such as Shakespearian scholars place within the easy mastery of any one. After such a study of a play he can pick it up in leisure hours and see new beauties every time he reads it. How many Bible Christians know their Bible thus?
What a revelation such a study makes! It is an alchemist's touch, turning many a leaden book into finest gold.
The oldest book, as a whole, in the Bible, is the Song of Songs. Attributed by later ages to Solomon, it was probably written by some unknown author, anywhere from the tenth to the eighth century before Christ.[34] The poem is dramatic in form, though imperfectly constructed according to our canons. Its scenes shift, and its speakers change with true dramatic movement. It is the closest approach to the drama preserved to us in Hebrew literature, whose genius never favored this highly organic form. There is needed but the usual indication of the dramatis personæ to clear the movement of the plot, and to reveal the force and beauty of the poem.
A maiden, her royal admirer, ladies of the court, the girl's brother and her shepherd lover, appear and disappear in animated conversation. The country maiden is wooed away from her shepherd lad by the allurements of a royal admirer, who employs all the resources of fervid flattery and passionate persuasion to win her as a new attraction for his harem. He is foiled, however, by her simple, steadfast loyalty to her absent lover, to whom she at length returns, triumphant in her virtue. In a corrected version, the sensuousness of our English translation disappears in the ordinary richness of Eastern imagery, and the poem becomes a pure picture of loyal love. It reveals thus the healthy moral tone of Jewish society in that early age. This sound domestic virtue of the people, which looked with abhorrence on the licentiousness of the court, becomes all the more striking in contrast with the polygamous customs of the surrounding nations. We see the social foundation on which Israel builded such a noble structure of ethical religion. The people whose literature opens with such a laud of loyal love might well rise into the pure splendors of a Second Isaiah.
Such a poem fitly introduces the canon of Scripture; since, into whatever heights Religion aspires to lift the fabric of civilization, she must lay its corner-stone in the marriage bond, and rear the church and the state upon the family.
Perhaps we may also find in this Hebrew Song of Songs that mystic meaning, not uncommon in Eastern love-songs, at least in later readings of them, which Edwin Arnold has so vividly brought out in the Hindoo Song of Songs; and may understand how the Church came to take it as a parable of the love of the soul for its Heavenly Ideal, seen in the Christ.
Job, thus read, becomes a semi-dramatic poem, in which the problem of the disconnection of goodness and good-fortune, the lack of any just ordering of individual life, is discussed in the persons of an upright and sorely afflicted patriarch and his three friends, who come to condole and counsel with him. Through their interchanging colloquies, that bring up one after another the stock theories of the age of the author, the argument moves along without really getting on. No solution is found for the perplexing puzzle, in which man's moral instincts beat vainly against the hard facts of life. Once, for a moment, the thought of a future life flashes up, as the true solution of the injustice of earth, in that thrilling cry of the tortured soul:
I know that my Redeemer liveth,
And that he shall stand at the latter day upon the earth:
And though, after my skin, worms destroy this body,
Yet out of my flesh shall I see God;
Whom I shall see for myself,
And mine eyes shall behold, and not as a stranger.
But the vision fades upon an atmosphere unready for it, and the poet does not return to follow this clue out into the sunshine.
All the light that he can discern is in Nature's manifestations of power and order and wisdom. From a wide range of knowledge, the poet draws together upon the stage the wonders of creation, which, with daring freedom, he introduces God himself as describing; until at length Job humbles himself in an awe not uncheered by trust:
Therefore have I uttered that I understood not.
Things too wonderful for me which I knew not.
I have heard of Thee by the hearing of the ear;
But now mine eye seeth Thee.
Wherefore I abhor myself,
And repent in dust and ashes.
By dropping out the episode of Elihu, as an insertion of some later hand, the movement of the poem becomes sustained and progressive. The arguments of the Jewish theology are cleverly presented, while the swift, sure sense of justice in the sufferer pierces all sophisms, and riddles all pious conventionalities. The descriptions of Nature are graphic and eloquent. The motif of the drama is one that voices the thought and feeling of our far-off age, in which many men again vainly thresh the old arguments of conventional theology, in trying to solve the "godless look of earth," and take refuge anew in the manifestations of power and law in nature; not without the ancient lesson, let us trust, of an awe which silences and purifies, and leaves them in the light as of a mystery of meaning on the sphynx's face, breaking into the dawning of a day which "uttereth speech." Scientific agnosticism, in so far as it is an humble confession of human ignorance, has its worship scored in this noble poem, ringing the changes on the strain, at once plaint and praise:
Canst thou by searching find out God?
Canst thou find out the Almighty unto perfection?
It is as high as heaven; what canst thou do?
Deeper than hell; what canst thou know?
Curiously enough, as showing the power of conventionalism, the author winds up with a prose epilogue of the genuine story-book fashion, in which all things are set right by Job's restoration to his lost wealth, in multiplied possessions. Pathetic persuasion of the poor human heart that all things must come right in the end!
What the Epistle to the Romans, that affrighting vade mecum of theological disputants, becomes when read thus reasonably as a whole, with critical discernment of its real aim, I will not try to tell you; but will content myself with sending you where you may see it beautifully told, with Paul's own upspringing inspiration of righteousness in Matthew Arnold's "St. Paul and Protestantism."