The fifth and sixth days,—that of winged fowl and great sea monsters, and that of cattle and beasts of the earth,—I must regard as adequately represented by those Secondary ages, Oolitic and Cretaceous, during which birds were introduced, and reptiles received their greatest development, and those Tertiary ages during which the gigantic mammals possessed the earth and occupied the largest space in creation. To the close of this latter period,—the evening of the sixth day,—man belongs,—at once the last created of terrestrial creatures, and infinitely beyond comparison the most elevated in the scale; and with man's appearance on the scene the days of creation end, and the Divine Sabbath begins,—that Sabbath of rest from creative labor of which the proper work is the moral development and elevation of the species, and which will terminate only with the full completion of that sublime task on the full accomplishment of which God's eternal purposes and the tendencies of man's progressive nature seem alike directed. Now, I am greatly mistaken if we have not in the six geologic periods all the elements, without misplacement or exaggeration, of the Mosaic drama of creation.
I have referred in my brief survey to extended periods. It is probable, however, that the prophetic vision of creation, if such was its character, consisted of only single representative scenes, embracing each but a point of time; it was, let us suppose, a diorama, over whose shifting pictures the curtain rose and fell six times in succession,—once during the Azoic period, once during the earlier or middle Palæozoic period, once during the Carboniferous period, once during the Permian or Triassic period, once during the Oolitic or Cretaceous period, and finally, once during the Tertiary period. Dr. Kurtz holds, taking the Sabbath into the series, that the division into seven scenes or stages may have been regulated with reference to the importance and sacredness of the mythic number seven,—the symbol of completeness or perfection; but the suggestion will perhaps not now carry much weight among the theologians of Britain, whatever it might have done two centuries ago. It is true, that creation might have been exhibited, not by seven, but by seven hundred, or even by seven thousand scenes; and that the accomplished man of science, skilled in every branch of physics, might have found something distinct in them all. But not the less do the seven, or rather the six, exhibited scenes appear to be not symbolic or mystical, at least not exclusively symbolic or mystical, but truly representative of successive periods, strongly distinctive in their character, and capable, with the three geologic days as given points in the problem, of being treated geologically. Another of the questions raised, both by the German doctor and the writer in our own country, must be recognized as eminently suggestive. "We treat the history of creation," says Dr. Kurtz, "with its six days' work, as a connected series of so many prophetic visions. The appearance and evanishing of each such vision seem to the seer as a morning and an evening, apparently because these were presented to him as an increase and decrease of light, like morning and evening twilight." And we find the Scottish writer taking essentially the same view. "Each day contains," he says, "the description of what he [Moses] beheld in a single vision, and when it faded it was twilight. There is nothing forced in supposing that, after the vision had for a time illumined the fancy of the seer, it was withdrawn from his eyes, in the same way that the landscape becomes dim on the approach of evening.... From this point of view, a 'day' can only mean the period during which the Divinely enlightened fancy of the seer was active. When all continued bright and manifest before his entranced but still conscious soul, it was 'day' or 'light.' When the dimness of departing enlightenment fell upon the scene, it was the evening twilight." The days, then, are removed, we find, by the holders of this view, altogether from the province of chronology to the province of prophetic vision; they are represented simply as parts of the exhibited scenery, or rather as forming the measures of the apparent time during which the scenery was exhibited. We must also hold, however, that in the character of symbolic days they were as truly representative of the lapse of foregone periods of creation as the scenery itself was representative of the creative work accomplished in these periods. For if the apparent days occurred in only the vision, and were not symbolic of foregone periods, they could not have been transferred with any logical propriety from the vision itself to that which the vision represented, as we find done in what our Shorter Catechism terms "the reason annexed to the Fourth Commandment."[18] The days must have been prophetic days, introduced, indeed, into the panorama of creation as mayhap mere openings and droppings of the curtain, but not the less symbolic of that series of successive periods, each characterized by its own productions and events, in which creation itself was comprised. Nothing more probable, however, than that even Moses himself may have been unacquainted with the extent of the periods represented in the vision; nay, he may have been equally unconscious of the actual extent of the seeming days by which they were symbolized. "Visions without dark speeches,"—visions, not of symbolic apparitions, but of actual existences and events, past or present,—may, nay must, have differed from what may be termed the dark hieroglyphic visions; but we find in all visions an element of mere representative value introduced when they deal with time, and that they occur as if wholly outside its pale. These creation "days" seem, in relation to what they typify, to have been, if I may so express myself, the mere modules of a graduated scale.
Such a description of the creative vision of Moses as the one given by Milton of that vision of the future, which he represents as conjured up before Adam by the archangel, would be a task rather for the scientific poet than for the mere practical geologist or sober theologian. Let us suppose that it took place far from man, in an untrodden recess of the Midian desert, ere yet the vision of the burning bush had been vouchsafed; and that, as in the vision of St. John in Patmos, voices were mingled with scenes, and the ear as certainly addressed as the eye. A "great darkness" first falls upon the prophet, like that which in an earlier age fell upon Abraham, but without the "horror;" and, as the Divine Spirit moves on the face of the wildly troubled waters, as a visible aurora enveloped by the pitchy cloud, the great doctrine is orally enunciated, that "in the beginning God created the heavens and the earth." Unreckoned ages, condensed in the vision into a few brief moments, pass away; the creative voice is again heard, "Let there be light," and straightway a gray diffused light springs up in the east, and, casting its sickly gleam over a cloud-limited expanse of steaming, vaporous sea, journeys through the heavens towards the west. One heavy, sunless day is made the representative of myriads; the faint light waxes fainter,—it sinks beneath the dim, undefined horizon; the first scene of the drama closes upon the seer; and he sits awhile on his hill-top in darkness, solitary but not sad, in what seems to be a calm and starless night.
The light again brightens,—it is day; and over an expanse of ocean without visible bound the horizon has become wider and sharper of outline than before. There is life in that great sea,—invertebrate, mayhap also ichthyic, life; but, from the comparative distance of the point of view occupied by the prophet, only the slow roll of its waves can be discerned, as they rise and fall in long undulations before a gentle gale; and what most strongly impresses the eye is the change which has taken place in the atmospheric scenery. That lower stratum of the heavens occupied in the previous vision by seething steam, or gray, smoke-like fog, is clear and transparent; and only in an upper region, where the previously invisible vapor of the tepid sea has thickened in the cold, do the clouds appear. But there, in the higher strata of the atmosphere they lie, thick and manifold,—an upper sea of great waves, separated from those beneath by the transparent firmament, and, like them too, impelled in rolling masses by the wind. A mighty advance has taken place in creation; but its most conspicuous optical sign is the existence of a transparent atmosphere,—of a firmament, stretched out over the earth, that separates the waters above from the waters below. But darkness descends for the third time upon the seer, for the evening and the morning have completed the second day.
Yet again the light rises under a canopy of cloud; but the scene has changed, and there is no longer an unbroken expanse of sea. The white surf breaks, at the distant horizon, on an insulated reef, formed mayhap by the Silurian or Old Red coral zoophytes ages before, during the bygone yesterday; and beats in long lines of foam, nearer at hand, against a low, winding shore, the seaward barrier of a widely spread country. For at the Divine command the land has arisen from the deep,—not inconspicuously and in scattered islets, as at an earlier time, but in extensive though flat and marshy continents, little raised over the sea level; and a yet further fiat has covered them with the great carboniferous flora. The scene is one of mighty forests of cone-bearing trees,—of palms, and tree-ferns, and gigantic club mosses, on the opener slopes, and of great reeds clustering by the sides of quiet lakes and dark rolling rivers. There is deep gloom in the recesses of the thicker woods, and low thick mists creep along the dank marsh or sluggish stream. But there is a general lightening of the sky over head; as the day declines, a redder flush than had hitherto lighted up the prospect falls athwart fern covered bank and long withdrawing glade. And while the fourth evening has fallen on the prophet, he becomes sensible, as it wears on, and the fourth dawn approaches, that yet another change has taken place. The Creator has spoken, and the stars look out from openings of deep unclouded blue; and as day rises, and the planet of morning pales in the east, the broken cloudlets are transmuted from bronze into gold, and anon the gold becomes fire, and at length the glorious sun arises out of the sea, and enters on his course rejoicing. It is a brilliant day; the waves, of a deeper and softer blue than before, dance and sparkle in the light; the earth, with little else to attract the gaze, has assumed a garb of brighter green; and as the sun declines amid even richer glories than those which had encircled his rising, the moon appears full orbed in the east,—to the human eye the second great luminary of the heavens,—and climbs slowly to the zenith as night advances, shedding its mild radiance on land and sea.
Again the day breaks; the prospect consists, as before, of land and ocean. There are great pine woods, reed-covered swamps, wide plains, winding rivers, and broad lakes; and a bright sun shines over all. But the landscape derives its interest and novelty from a feature unmarked before. Gigantic birds stalk along the sands, or wade far into the water in quest of their ichthyic food; while birds of lesser size float upon the lakes, or scream discordant in hovering flocks, thick as insects in the calm of a summer evening, over the narrower seas, or brighten with the sunlit gleam of their wings the thick woods. And ocean has its monsters: great "tanninim" tempest the deep, as they heave their huge bulk over the surface, to inhale the life-sustaining air; and out of their nostrils goeth smoke, as out of a "seething pot or cauldron." Monstrous creatures, armed in massive scales, haunt the rivers, or scour the flat rank meadows; earth, air, and water are charged with animal life; and the sun sets on a busy scene, in which unerring instinct pursues unremittingly its few simple ends,—the support and preservation of the individual, the propagation of the species, and the protection and maintenance of the young.
Again the night descends, for the fifth day has closed; and morning breaks on the sixth and last day of creation. Cattle and beasts of the fields graze on the plains; the thick-skinned rhinoceros wallows in the marshes; the squat hippopotamus rustles among the reeds, or plunges sullenly into the river; great herds of elephants seek their food amid the young herbage of the woods; while animals of fiercer nature,—the lion, the leopard, and the bear,—harbor in deep caves till the evening, or lie in wait for their prey amid tangled thickets, or beneath some broken bank. At length, as the day wanes and the shadows lengthen, man, the responsible lord of creation, formed in God's own image, is introduced upon the scene, and the work of creation ceases forever upon the earth. The night falls once more upon the prospect, and there dawns yet another morrow,—the morrow of God's rest,—that Divine Sabbath in which there is no more creative labor, and which, "blessed and sanctified" beyond all the days that had gone before, has as its special object the moral elevation and final redemption of man. And over it no evening is represented in the record as falling, for its special work is not yet complete. Such seems to have been the sublime panorama of creation exhibited in vision of old to
"The shepherd who first taught the chosen seed,
In the beginning how the heavens and earth
Rose out of chaos;"
and, rightly understood, I know not a single scientific truth that militates against even the minutest or least prominent of its details.