The author makes haste, therefore, to disclaim any intention of irreverence. To cheapen or degrade sacred things, to “depreciate the moral currency,” is at the farthest remove from his intention. It is easy enough to take the language of Scripture and use it for coarse and vulgar purposes, and such use deserves the severest censure. It is not to be tolerated. Passages that have been light and guidance to multitudes, that have brought strength to the tempted, certainty to the doubting and consolation to the bereaved; that have been bread of life to those who have hungered for righteousness, inspiration to the purposeless and help to the needy,—have been turned into sources of merriment to freshen exhausted wit, and season the insipid discourse of stupidity. Persons whose brains are barren of pleasant conceits find no difficulty in so perverting a Scriptural expression as to make the “groundlings” laugh. In no such motives has this volume originated. The title has been chosen and the work which it covers has been done in the spirit of one who loves the Great Book, and who would secure for it an additional claim upon human affection. The studies of the writer have led him into fresh fields and pastures green, where he has gathered many things out of the ordinary that have given the Bible a larger place in his own heart.
No; the Bible is not a collection of jests; nor do we characterize it as a jest-book when we say that it contains Wit and Humor. These elements are in the Bible, and with good reason. They are not introduced to amuse. They are not intended to dissipate the weariness of an idle hour. They are not designed to produce convulsions of laughter. They are subsidiary to the main theme. They are incidental to the development of religious history and religious thought. They help reveal in their true light the characters who from time to time appear; they show the absurdity of the opposing error and sharpen the arrows with which folly is transfixed. They enhance in many ways the value and power of our Sacred Book.
I.
The Scripture documents may be viewed from several standpoints;—historical, exegetical, theological and literary. One may, for example, study the book of Job to find out the actual basis of fact that underlies it, or for the purpose of ascertaining and systematizing its doctrines, or he may read it as a great dramatic poem, and criticize it by the rules that would apply to any other dramatic poem. He may go through the Apocalypse, grammar and lexicon in hand, or he may study its flashing imagery as he would that of any other magnificent work of genius. He may read the Psalms as he would the odes of Horace. In these pages the Scriptures are considered simply as Literature. The question of inspiration or authority does not enter. Doctrinal inquiries are set aside. “To understand,” says Matthew Arnold, “that the language of the Bible is fluid, passing, literary, is the first step towards a right understanding of the Bible.”
The literary character of the Bible is admirably set forth in the following paragraph from a recent critic:
“As a particular book, the Bible is an unequaled source of literary inspiration. As a book of religious truth, it is supreme; but religious truth, without any impairment of its value or obscurity of its meaning, may be studied from the literary standpoint; in fact, in the light of literary criticism, or tested by the usual canons of the scholar, it will appear more sacred, more beautiful, more divine. Never forgetting that it is our manual of religion, it is also the vehicle of the most wonderful literature in human annals, and precedes in importance all others. There is no book so composite in character and yet so harmonious in plan, so multiplex in styles and yet so educational in rhetoric and logic, so varied in contents and yet so progressive in its philosophy and religion, as the Bible. Taken as a whole, it is massive, comprehensive, a revelation of the Infinite. Studied in its parts, it stimulates single faculties while it ministers nourishment to the whole frame. Its histories are more compact than those of Herodotus, Gibbon or Macaulay; its poetry, whose key is a mystery, quiets Homer, Shakespeare and Tennyson; its prophecies are unique climaxes of wisdom, both in drapery and substance; its biographies excel those of Plutarch, Irving, Carlyle and Boswell; its chronicles of wars are superior to those of Julius Cæsar, Wellington, Napoleon, and Ulysses Grant; its epistles eclipse those of Pliny, Madame Sevigne and Francis Bacon; its laws, in their ethical and spiritual import, are quite beyond Justinian, Blackstone and the English Parliament. Every phasis of literature, every norm of wisdom, is in the Bible. It ministers to all tastes and arouses the slumbering intellects of all who can comprehend the difference between reality and fiction, and who incline to virtue rather than vice. Ruskin confesses his indebtedness to the Bible, Homer and Sir Walter Scott, for his mental discipline; Charles Reade pronounces the characters in Scripture a literary marvel. Matthew Arnold daily read the New Testament in Greek for its style; Milton could not have written Paradise Lost without Genesis; Renan’s witchery of style is traceable to the New Testament. Job has taught the poets the art of construction, and David has sung an undying melody into the ears of the race. The Book of Ruth is the model idyl, and the Books of Esther and Daniel abound in incomparable dramatic elements; Isaiah has plumed the statesman for oratorical flights; Jeremiah has opened the fountains of pathos and sentiment in pathetic souls; Ezekiel has furnished a usable style of judicial denunciation for the criminal lawyer. Of all books, whether rhetoric, logic, vocabulary, poetry, philosophy, history, or whatever be the end, the Bible should be first and most carefully studied, its literary spirit and form should be closely traced and discerned, and its truth should be reverently incorporated into the daily speech, thought and life.”
But in this summary there is no mention made of the literary qualities which it is here proposed to consider. They are as completely ignored as if the very suggestion of their presence were profanation.
II.
The presumption is that in such a book, or rather collection of books as the Bible, the elements of Wit and Humor would be found. We have here the best historical, poetical, and moral works of a whole people. These documents cover in time more than a millennium and a half. It is more than probable that during that time amusing incidents occurred, even in connection with the religious trend of the history, some of which would be reported; that grotesque and odd characters existed, some of whom would be described, and their sayings and doings noted; that among the moral teachers of the people, there were some at least, who would point their precepts with wit and edge their rebukes with sarcasm. We should expect to find all these things, as we should expect to find pathos or sublimity. The humorous is just as legitimate in literature and quite as much an element of influence. It glows in all the other great books which have shaped the life and thought of mankind; and it is only fair to presume that we shall find its light shining from those pages that have been most potent of all.
But is not “the volume of this book” a serious one? Is it not profoundly in earnest? Are not its themes most solemn? Is not its purpose the highest under heaven, the most important to the inhabitants of earth? The conclusion, however, that the questioner has in mind is by no means inevitable. It is a mistake to suppose that humor is incompatible with seriousness, earnestness and solemnity. “As in one of my lectures,” says Henry Reed, “I spoke of attempting to draw too precise a line around sacred literature, making it too much a thing apart, so in regard to the literature of wit and humor. I shall be very sorry, if such a title as that which I have been obliged to use, led any one to think of it as of a more distinctive existence than is the case, instead of regarding those faculties as pervading the literature in various degrees, and thus forming some of the elements of its life. I shall have occasion to trace these elements in close connection with elements of tragedy, and to show how the processes we generalize under the names of wit and humor are kindred with the most intense passion and the deepest feeling.”