The Greatest English Classic: A Study of the King James Version of the Bible and Its Influence on Life and LiteratureMcAfee, Cleland Boyd
History
The Greatest English Classic: A Study of the King James Version of the Bible and Its Influence on Life and Literature
McAfee, Cleland Boyd
Bible -- History; Bible -- Influence; Bible and literature; Bible. English -- Versions -- Authorized
As literature, however, apart from its religious
connection, it is subject to any of the criteria
of literature. In so far it is the fair subject of
criticism. It must stand or fall when it enters
the realm of literature by the standards of other
books. Indeed, many questions regarding its
dates, the authorship of unassigned portions, the
meaning of its disputed passages may be
answered most fairly by literary tests. That
is always liable to abuse; but literary tests
are always liable to that. There have been
enough blunders made in the knowledge of us
all to require us to go carefully in such a matter.
The Waverley Novels were published anonymously,
and, while some suspected Scott at once,
others were entirely clear that on the ground of
literary style his authorship was entirely impossible!
Let a magazine publish an anonymous
serial, and readers everywhere are quick to
recognize the writer from his literary style and
his general ideas, but each group "recognizes"
a different writer. Arguments based chiefly on
style overlook the large personal equation in all
writing. The same writer has more than one
natural style. It is not until he becomes in a
certain sense affected--grows proud of his
peculiarities--that he settles down to one form.
And it is quite impossible to assign a book to
any narrow historical period on the ground of
its style alone. But though large emphasis
could be laid upon the literary merits of the
Bible to the obscuring of its other more important
merits, it is yet true that from the literary
point of view the Bible stands as an English
classic, indeed, as the outstanding English
classic. To acknowledge ignorance of it is to
confess one's self ignorant of our greatest literary
possession.
Public-domain text, read in full here on John Shaqi.
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