The Greatest English Classic: A Study of the King James Version of the Bible and Its Influence on Life and LiteratureMcAfee, Cleland Boyd
Religion
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
Add to the thought of the earnestness and variety of the Scripture a word
about the simplicity of its literary expression. There is nothing
meretricious in its style. There is no effort to say a thing finely. The
translators have avoided all temptation to grow dramatic in reproducing
the original. Contrast the actual English Bible with the narratives or
other literary works that have been built up out of it. Read all that the
Bible tells about the loss of Paradise, and then read Milton's "Paradise
Lost." Nearly all of the conceptions of Milton's greatest poem are built
up from brief Scripture references. But Milton becomes subtle in his
analysis of motives; he enlarges greatly on events. Scripture never does
that. It gives us very few analyses of motive from first to last. That is
not the method nor the purpose of Scripture. It tells the story in terms
that move on the middle level of speech and the middle level of
understanding, while Milton labors with it, complicates it, entangling it
with countless details which are to the Scripture unimportant. It goes
straight to the simple and fundamental elements in the account. Take a
more modern illustration. Probably the finest poem of its length in the
English language is Browning's "Saul." It is built out of one incident and
a single expression in the Bible story of Saul and David. The incident is
David's being called from his sheep to play his harp and to sing before
Saul in the fits of gloom which overcome him; the expression is the single
saying that David loved Saul. Taking that incident and that expression,
Browning writes a beautiful poem with many decorative details, with keen
analysis of motive, with long accounts of the way David felt when he
rendered his service, and how his heart leaped or sang. Imagine finding
Browning's familiar phrases in Scripture: "The lilies we twine round the
harp-chords, lest they snap neath the stress of the noontide--those
sunbeams like swords"; "Oh, the wild joy of living!" "Spring's arrowy
summons," going "straight to the aim." That is very well for Browning, but
it is not the Scripture way; it is too complicated. All that the Bible
says can be said anywhere; Browning's "Saul" could not possibly be
reproduced in other languages. It would need a glossary or a commentary to
make it intelligible. It is beautiful English, and great because it has
taken a great idea and clothed it in worthy expression. But the simplicity
of the Bible narrative appears in sharp contrast with it. In my childhood
my father used to tell of a man who preached on the creation, and with
great detail and much elaboration and decoration told the story of
creation as it is suggested in the first chapter of Genesis. When it was
over he asked an old listener what he thought of his effort, and the only
comment was, "You can't beat Moses!" Well, it would be difficult to
surpass these Bible writers in simplicity, in going straight to the point,
and making that plain and leaving it.
Public-domain text, read in full here on John Shaqi.
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