[294] Heb. ii. 3.
[295] See further on the fatal results of separating the Spirit's work in Scripture, from His work in the Church, Coleridge, Remains iii. 93, iv. 118; or quoted by Hare, Mission of the Comforter, Note H. vol. ii. pp. 468, 474.
[296] This distinction was drawn by Bishop Clifford, Fortnightly Review, Jan. 1887, p. 145.
[297] Cf. the quotation in Eusebius, H. E. v. 28.
[298] Athan. de Incarn. 12. Cf. Ewald's preface to his History of Israel.
[299] See Gratry, Henri Perreyve, pp. 162, 163.
[300] Delitzsch, O.T. History of Redemption, p. 106. Cf. Prof. Robertson Smith, Prophets of Israel, p. 108.
[301] See Epiphan. Haer. xlviii. 4. Westcott, Introd. to the Study of the Gospels, App. B, sect. ii. 4, sect. iv. 4. Mason, Faith of the Gospel, p. 255.
[302] See Professor Driver's admirable article on 'the cosmogony of Genesis.' Expositor, Jan. 1886.
[303] Professor Cheyne, speaking of such narratives of Scriptures as the record of Elijah, protests against the supposition that they are 'true to fact.' 'True to fact! Who goes to the artist for hard dry facts? Why even the historians of antiquity thought it no part of their duty to give the mere prose of life. How much less can the unconscious artists of the imaginative East have described their heroes with relentless photographic accuracy!' (The Hallowing of Criticism, p. 5.) But it seems to me that such a passage, by treating the recorders of the Old Testament as 'artists,' ignores their obvious intention to lay stress on what God has actually done, the deliverances He has actually wrought. They, at least, like the Greek historical 'artist' of the defeat of Persia, would have laid great stress on the facts having happened.