We may now come to the documents recently published. The MS. of the Armenian version of the commentary ascribed to Ephraem is dated A.D. 1195, and Moesinger declares that it is translated from the Syriac, of which it is said to retain many traces. [150:3] He states that in the judgment of the Mechitarist Fathers the translation dates from about the fifth century, [150:4] but an opinion on such a point can only be received with great caution. The name of Tatian is not mentioned as the author of the "Harmony," and the question is open as to whether the authorship of the commentary is rightly ascribed to Ephraem Syrus. In any case there can be no doubt that the Armenian work is a translation.
The Arabic work published by Ciasca, and supposed to be a version of Tatian's Diatessaron itself, is derived from two manuscripts, one belonging to the Vatican Library and the other forwarded to Rome from Egypt by the Vicar Apostolic of the Catholic Copts. The latter MS. states, in notes at the beginning and end, that it is an Arabic translation of the Diatessaron of Tatian, made from the Syriac by the presbyter Abû-l-Pharag Abdullah Ben-at-Tib, who is believed to have flourished in the first half of the eleventh century, and in one of these notes the name of the scribe who wrote the Syriac copy is given, which leads to the conjecture that it may have been dated about the end of the ninth century. A note in the Vatican MS. also ascribes the original work to Tatian. These notes constitute the principal or only ground for connecting Tatian's name with the "Harmony."
So little is known regarding the Diatessaron of Tatian that even the language in which it was written is matter of vehement debate. The name would, of course, lead to the conclusion that it was a Greek composition, and many other circumstances support this, but the mere fact that it does not seem to have been known to Greek Fathers, and that it is very doubtful whether any of them, with the exception of Theodoret, had ever seen it, has led many critics to maintain that it was written in Syriac. Nothing but circumstantial evidence of this can be produced. This alone shows how little we really know of the original. The recently discovered works, being in Arabic and Armenian, even supposing them to be translations from the Syriac and that the Diatessaron was composed in Syriac, can only indirectly represent the original, and they obviously labour under fatal disability in regard to a restoration of the text of the documents at the basis of the work. Between doubtful accuracy of rendering and evident work of revision, the original matter cannot but be seriously disfigured.
It is certain that the name of Tatian did not appear as the author of the Diatessaron. [152:1] This is obvious from the very nature of the composition and its object. We have met with three works of this description and it is impossible to say how many more may not have existed. As the most celebrated, by name at least, it is almost certain that, as time went on and the identity of such works was lost, the first idea of anyone meeting with such a Harmony must have been that it was the Diatessaron of Tatian. What means could there be of correcting it and positively ascertaining the truth? It is not as if such a work were a personal composition, showing individuality of style and invention; but supposing it to be a harmony of Gospels already current, and consequently varying from similar harmonies merely in details of compilation and arrangement, how is it possible its authorship could remain in the least degree certain, in the absence of an arranger's name?
An illustration of all this is aptly supplied in the case of Victor of
Capua, and I will allow Dr. Lightfoot himself to tell the story.
"Victor, who flourished about A.D. 545, happened to stumble upon an anonymous Harmony or Digest of the Gospels, and began in consequence to investigate the authorship. He found two notices in Eusebius of such Harmonies; one in the Epistle to Carpianus prefixed to the canons, relating to the work of Ammonius; another in the Ecclesiastical History, relating to that of Tatian. Assuming that the work which he had discovered must be one or other, he decides in favour of the latter, because it does not give St. Matthew continuously and append the passages of the other evangelists, as Eusebius states Ammonius to have done. All this Victor tells us in the preface to this anonymous Harmony, which he publishes in a Latin dress.
"There can be no doubt that Victor was mistaken about the authorship; for though the work is constructed on the same general plan as Tatian's, it does not begin with John i. 1, but with Luke i. 1, and it does contain the genealogies. It belongs, therefore, at least in its present form, neither to Tatian nor to Ammonius." [153:1]
How this reasoning would have fallen to the ground had the Harmonist, as he might well have done in imitation of Tatian, commenced with the words, "In the beginning was the Word"! The most instructive part is still to come, however, for although in May 1887 Dr. Lightfoot says: "There can be no doubt that Victor was mistaken about the authorship," &c., in a note now inserted at the end of the essay, after referring to the newly-discovered works, he adds: "On the relation of Victor's Diatessaron, which seems to be shown after all not to be independent of Tatian … See Hemphill's Diatessaron." [153:2] On turning to Professor Hemphill's work, the following passage on the point is discovered:—
"It will be remembered that Victor, Bishop of Capua, in the year 543, found a Latin Harmony or compilation of the four Gospels without any name or title, and being a man of enquiring mind he at once set about the task of discovering its unknown author. I have already mentioned the way in which, from the passage of Eusebius, he was led to ascribe his discovery to Tatian. This conclusion was generally traversed by Church writers, and Victor was supposed to have made a mistake. He is now, however, proved to have been a better judge than his critics, for, as Dr. Wace was the first to point out, a comparison of this Latin Harmony with the Ephraem fragments demonstrates their substantial identity, as they preserve to a wonderful degree the same order, and generally proceed pari passu." [153:3]
But how about Luke i. 1 as the beginning? and the genealogies? Nothing could more clearly show the uncertainty which must always prevail about such works. Shall we one day discover that Victor was equally right about the reading Diapente?