Or, if we turn to those portions of the Gospels in which the incidents are narrated more in detail, and where a greater variety of persons is introduced, and where, therefore, the supposition of fabrication is the more peremptorily excluded, it is found that the supernatural and the ordinary elements are in no way to be distinguished in respect of the simple vivacity with which both present themselves to the eye. The evangelic narrative offers the same bright translucency, the same serenity, and the same precision, in reporting the most astounding as the most familiar occurrences. It is like a smooth-surfaced river, which, in holding its course through a varied country reflects from its bosom at one moment the amenities of a homely border, and at the next the summits of the Alps, and both with the same unruffled fidelity. As the subject of a rigorous historic criticism, and all hypothetical opinions being excluded, no pretext whatever presents itself for drawing a line around the supernatural portions of the Gospels, as if they were of suspicious aspect, and differed from the context in historic verisimilitude. Without violence done to the rules of criticism, we can not detach the miraculous portions of the history, and then put together the mutilated portions, so as to consist with the undoubted reality or the part which is retained. Or take the narrative of the raising of Lazarus of Bethany. A brilliant vividness, as when a sunbeam breaks from between clouds, illumines this unmatched history; and it rests with equal intensity upon the stupendous miracle, and upon the beauty and grace of the scene of domestic sorrow. If we follow Martha and Mary from the house to the spot where they meet their friend, and give a half-utterance to their confidence in his power, at what step—let us distinctly determine—at what step, as the group proceeds toward the sepulchre, shall we halt and refuse to accompany it? Where is the break in the story, or the point of transition, and where does history finish, and the spurious portion commence? Is it when we approach the cave’s mouth that the gestures of the persons become unreal, and the language untrue to nature? Where is it that the indications of tenderness and majesty disappear—at the moment when Jesus weeps, or when he invokes his Father, or when, with a voice which echoes in hades, he challenges the dead to come forth; or is it when “he who was dead” obeys this bidding?