So, whatever else we do by our acts, we are making our own characters, either steadily depraving or steadily improving them. There will come a slight slow change, almost unnoticed but most certain, as a dim film will creep over the peach, robbing it of all its bloom, or some microscopic growth will steal across a clearly cut inscription, or a breath of mist will dim a polished steel mirror.
(b) All wrong-doing writes indelible records on the memory, that awful and mysterious power of recalling past things out of the oblivion in which they seem to lie. How solemn and miserable it is to defile it with the pictures of things evil! Many a man in his later years has tried to 'turn over a new leaf,' and has never been able to get the filth out of his memory, for it has been printed on the old page in such strong colours that it shines through. I beseech you all, and especially you young people, to keep yourselves 'innocent of much transgression,' and 'simple concerning evil'—to make your memories like an illuminated missal with fair saints and calm angels bordering the holy words, and not an Illustrated Police News. Probably there is no real oblivion. Each act sinks in as if forgotten, gets overlaid with a multitude of others, but it is there, and memory will one day bring it to us.
And all sin pollutes the imagination. It is a miserable thing to have one's mind full of ugly foul forms painted on the inner walls of our chamber of imagery, like the hideous figures in some heathen temple, where gods of lust and murder look out from every inch of space on the walls.
(c) All wrong-doing writes indelible records on the conscience. It does so partly by sophisticating it—the sensibility to right and wrong being weakened by every evil act, as a cold in the head takes away the sense of smell. It brings on colour-blindness to some extent. One does not know how far one may go towards 'Evil! be thou my good'—or how far towards incapacity of distinguishing evil. But at all events the tendency of each sin is in that direction. So conscience may become seared, though perhaps never so completely as that there are no intervals when it speaks. It may long lie dormant, as Vesuvius did, till great trees grow on the floor of the crater, but all the while the communication with the central fires is open, and one day they will burst out.
The writing may be with invisible ink, but it will be legible one day. So, then, all this solemn writing on the heart is done by ourselves. What are you writing? There is a presumption in it of a future retribution, when you will have to read your autobiography, with clearer light and power of judging yourselves. At any rate there is retribution now, which is described by many metaphors, such as sowing and reaping, drinking as we have brewed, and others—but this one of indelible writing is not the least striking.
Sin is graven deep on sinful men's worship.
The metaphor here is striking and not altogether clear. The question rises whether the altars are idolatrous altars, or Jehovah's. If the former, the expression may mean simply that the Jews' idolatry, which was their sin, was conspicuously displayed in these altars, and had, as it were, its most flagrant record in their sacrifices. The altar was the centre point of all heathen and Old Testament worship, and altars built by sinners were the most conspicuous evidences of their sins.
So the meaning would be that men's sin shapes and culminates in their religion; and that is very true, and explains many of the profanations and abominations of heathenism, and much of the formal worship of so-called Christianity.
For instance, a popular religion which is a mere Deism, a kind of vague belief in a providence, and in a future state where everybody is happy, is but the product of men's sin, striking out of Christianity all which their sin makes unwelcome in it. The justice of God, punishment, sinfulness of sin, high moral tone, are all gone. And the very horns of their altars are marked with the signs of the worshippers' sin.
But the 'altars' may be God's altars, and then another idea will come in. The horns of the altar were the places where the blood of the sacrifice was smeared, as token of its offering to God. They were then a part of the ritual of propitiation. They had, no doubt, the same meaning in the heathen ritual. And so regarded, the metaphor means that a sense of the reality of sin shapes sacrificial religion.