But again: not only mother and child, but a serpent, is introduced into the vision. Such a meeting of man, woman, and serpent has not been found in Scripture, since the beginning of Scripture, and now it is found in its end. Moreover, in the passage in the Apocalypse, as if to supply, before Scripture came to an end, what was wanting in its beginning, we are told, and for the first time, that the serpent in Paradise was the evil spirit. If the dragon of St. John is the same as the serpent of Moses, and the man-child is "the seed of the woman," why is not the woman herself she whose seed the man-child is? And, if the first woman is not an allegory, why is the second? if the first woman is Eve, why is not the second Mary? But this is not all. The image of the woman, according to Scripture usage, is too bold and prominent for a mere personification. Scripture is not fond of allegories. We have indeed frequent figures there, as when the sacred writers speak of the arm or sword of the Lord; and so too when they speak of Jerusalem or Samaria in the feminine; or of the mountains leaping for joy, or of the church as a bride or as a vine; but they are not much given to dressing up abstract ideas or generalizations in personal attributes. This is the classical rather than the Scripture style. Xenophon places Hercules between Virtue and Vice, represented as women; AEschylus introduces into his drama Force and Violence; Virgil gives personality to public rumor or Fame, and Plautus to Poverty. So on monuments done in the classical style, we {69} see virtues, vices, rivers, renown, death, and the like, turned into human figures of men and women. I do not say there are no instances at all of this method in Scripture, but I say that such poetical compositions are strikingly unlike its usual method. Thus we at once feel its difference from Scripture, when we betake ourselves to the Pastor of Hermes, and find the church a woman, to St. Methodius, and find Virtue a woman, and to St. Gregory's poem, and find Virginity again a woman. Scripture deals with types rather than personifications. Israel stands for the chosen people, David for Christ, Jerusalem for heaven. Consider the remarkable representations, dramatic I may call them, in Jeremiah, Ezechiel, and Hosea; predictions, threatenings, and promises are acted out by those prophets. Ezechiel is commanded to shave his head, and to divide and scatter his hair; and Ahias tears his garment, and gives ten out of twelve parts of it to Jeroboam. So, too, the structure of the imagery in the Apocalypse is not a mere allegorical creation, but is founded on the Jewish ritual. In like manner our Lord's bodily cures are visible types of the power of his grace upon the soul; and his prophecy of the last day is conveyed under that of the fall of Jerusalem. Even his parables are not simply ideal, but relations of occurrences which did or might take place, under which was conveyed a spiritual meaning.