Who Wrote the Bible? Part 8

4. More important and indeed perfectly decisive is the fact that the book is full of Chaldaisms, and that the Hebrew is the later Hebrew, of the days of Ezra, Nehemiah, Daniel, and Esther. It could not have been written by Solomon, any more than the "Idylls of the King" could have been written by Edmund Spenser. There are those, of course, who maintain that the book was written by Solomon; just as there are those who still maintain that the sun revolves around the earth. The reason for this opinion is found in the first sentence of the book itself. The book announces its own author, it is said; and to question the truth of this claim is to deny the veracity of Scripture. On this question we may call, from the array of conservative writers who have given us Smith's "Bible Dictionary," such a witness as Professor Plumptre:--

"The hypothesis that every such statement in a canonical book must be received as literally true is, in fact, an a.s.sumption that inspired writers were debarred from forms of composition which were open, without blame, to others. In the literature of every other nation the form of personated authors.h.i.+p, when there is no _animus decipiendi_, has been recognized as a legitimate channel for the expression of opinions, or the quasi-dramatic representation of character. Why should we venture on the a.s.sertion that if adopted by the writers of the Old Testament it would make them guilty of falsehood?...There is nothing that need startle us in the thought that an inspired writer might use a liberty which has been granted without hesitation to the teachers of mankind in every age and country." [Footnote: Art. "Ecclesiastes," vol. i. p.

645.]

That such is the character of the book and that it appeared some time during the Persian age are well-ascertained results of scholars.h.i.+p.

The doctrine of the book is not so easily summarized. It is a hard book to interpret. Dr. Ginsberg gives a striking _resume_ of the different theories of its teaching which have been promulgated. There is no room here to enter upon the great question. Let it suffice to say that we seem to have in these words the soliloquy of a soul struggling with the problem of evil, sometimes borne down by a dismal skepticism, sometimes a.s.serting his faith in the enduring righteousness. The writer's problem is the one to which Mr. Mallock has given an epigrammatic statement: "Is life worth living?" He greatly doubts, yet he strongly hopes. Much of the time it appears to him that the best thing a man can do is to enjoy the present good and let the world wag.

But the outcome of all this struggle is the conviction that there is a life beyond this life and a tribunal at which all wrongs will be righted, and that to fear G.o.d and keep his commandments is the whole duty of man. There are thus many pa.s.sages in the book which express a bitter skepticism; to winnow the wheat from the chaff and to find out what we ought to think about life is a serious undertaking. It is only the wise and skillful interpreter who can steer his bark along these tortuous channels of reflection, and not run aground. Yet, properly interpreted, the book is sound for substance of doctrine, and the experience which it delineates, though sad and depressing, is full of instruction for us. Dean Stanley's words about it are as true as they are eloquent; they will throw some light on the path which lies just before us:--

"As the Book of Job is couched in the form of a dramatic argument between the patriarch and his friends, as the Song of Songs is a dramatic dialogue between the Lover and the Loved One, so the Book of Ecclesiastes is a drama of a still more tragic kind. It is an interchange of voices, higher and lower, mournful and joyful, within a single human soul. It is like the struggle between the two principles in the Epistle to the Romans. It is like the question and answer of 'The Two Voices' of our modern poet.... Every speculation and thought of the human heart is heard and expressed and recognized in turn. The conflicts, which in other parts of the Bible are confined to a single verse or a single chapter, are here expanded into a whole book." And after quoting a few of the darker and more cynical utterances, this clear-sighted teacher goes on: "Their cry is indeed full of doubt and despair and perplexity; it is such as we often hear from the melancholy, skeptical, inquiring spirits of our own age; such as we often refuse to hear and regard as unworthy even a good man's thought or care, but the admission of such a cry into the Book of Ecclesiastes shows that it is not beneath the notice of the Bible, not beneath the notice of G.o.d."

[Footnote: _History of the Jewish Church_, ii. 283, 284.]

"THE SONG OF SONGS" is another of the books ascribed to Solomon. It may have been written in Solomon's time; that it was composed by Solomon himself is not probable.

It has generally been regarded as an allegorical poem; the Jews interpreted it as setting forth the love of Jehovah for Israel; the Christian interpreters have made it the representation of the love of Christ for his Church. These are the two princ.i.p.al theories, but it might be instructive to let Archdeacon Farrar recite to us a short list of the explanations which have been given of the book in the course of the ages:--

"It represents, say the commentators, the love of G.o.d for the congregation of Israel; it relates the history of the Jews from the Exodus to the Messiah; it is a consolation to afflicted Israel; it is an occult history; it represents the union of the divine soul with the earthly body, or of the material with the active intellect; it is the conversation of Solomon and Wisdom; it describes the love of Christ to his Church; it is historico-prophetic; it is Solomon's thanksgiving for a happy reign; it is a love-song unworthy of any place in the canon; it treats of man's reconciliation to G.o.d; it is a prophecy of the Church from the Crucifixion till after the Reformation; it is an antic.i.p.ation of the Apocalypse; it is the seven days' epithalamium on the marriage of Solomon with the daughter of Pharaoh; it is a magazine for direction and consolation under every condition; it treats in hieroglyphics of the sepulchre of the Saviour, his death, and the Old Testament saints; it refers to Hezekiah and the Ten Tribes; it is written in glorification of the Virgin Mary. Such were the impossible and diverging interpretations of what many regarded as the very Word of G.o.d. A few only, till the beginning of this century, saw the truth,--which is so obvious to all who go to the Bible with the humble desire to know what it says, and not to interpret it into their own baseless fancies,--that it is the exquisite celebration of a pure love in humble life; of a love which no splendor can dazzle and no flattery seduce."

These last sentences of Canon Farrar give the probable clew to the interpretation of the book. It is a dramatic poem, celebrating the story of a beautiful peasant girl, a native of the northern village of Shunem, who was carried away by Solomon's officers and confined in his harem at Jerusalem. But in the midst of all this splendor her heart is true to the peasant lover whom she has left behind, nor can any blandishments of the king disturb her constancy; her honor remains unstained, and she is carried home at length, heart-whole and happy, by the swain who has come to Jerusalem for her rescue. This is the beautiful story. The phrases in which it is told are, indeed, too explicit for Occidental ears; the color and the heat of the tropics is in the poetry, but it is perfectly pure; it celebrates the triumph of maiden modesty and innocence. "The song breathes at the same time," says Ewald, "such deep modesty and chaste innocence of heart, such determined defiance of the over- refinement and degeneracy of the court-life, such stinging scorn of the growing corruption of life in great cities and palaces, that no clearer or stronger testimony can be found of the healthy vigor which, in this century, still characterized the nation at large, than the combination of art and simplicity in the Canticles." [Footnote: _History of Israel_, iv. 43.]

The Book of Job has been the subject of a great amount of critical study. The earliest Jewish tradition is that it was written by Moses; this tradition is preserved in the Talmud, which afterward states that it was composed by an Israelite who returned to Palestine from the Babylonian Captivity. It is almost certain that the first of these traditions is baseless. The theory that it was written after the Captivity is held by many scholars, but it is beset with serious difficulties.

The book contains no allusion whatever to the Levitical law, nor to any of the religious rites and ceremonies of the Jews. The inference has therefore been drawn that it must have been written before the giving of the law, probably in the period between Abraham and Moses. It seems inconceivable that a devout Hebrew should have treated all the great questions discussed in this book without any reference to the religious inst.i.tutions of his own people. It is equally difficult to understand how the divine interposition for the punishment of the wicked and the rewarding of the righteous could have been so fully considered without a glance at the lessons of the Exodus, if the Exodus had taken place before the book was written. But these arguments for an early origin are quite neutralized by the doctrine of the book. The view of divine providence set forth in it is very unlike that contained in the Pentateuch. It is not necessary to say that there is any contradiction between these two views; but the subject is approached from a very different direction, and the whole tone of the book indicates a state of religious thought quite different from that which existed among the Hebrews before the Exodus. "If we are to believe that Moses wrote it,"

says a late critic, "then we must believe that he held these views as an esoteric philosophy, and omitted from the religion which he gave to his people the truths which had been revealed to him in the desert. The book itself must have been suppressed until long after his day. The ignorant Israelites could not have been trained under the discipline of the Law if they had had at the same time the fiery, cynical, half-skeptical, and enigmatical commentary which the Book of Job furnishes. There is nothing abnormal or contrary to the conception of an inspired revelation in the development of truth by wider views and deeper a.n.a.lysis through successive sacred writers. But it is repulsive to conceive an inspired teacher as first gaining the wider view, and then deliberately hiding it, to utter the truth in cruder and more partial forms." [Footnote: Raymond's _The Book of Job_, p. 18.] The fact that neither the person nor the Book of Job is mentioned in the historical books of the Jews, and that the first reference to him is in the Book of Ezekiel, would indicate that the date of the book must have been much later than the time of Moses. This argument could not be pressed, however, for we have noted already the silence of the earlier historical books concerning the Mosaic law.

The dilemma of the critics may be summed up as follows:--

1. The absence of allusion to the history of the Exodus and to the Mosaic system shows that it must have been written before the Exodus. 2.

The absence of all reference to the book in the Hebrew history, and more especially the doctrinal character of the book, shows that it could not have been written before the age of Solomon. The latter conclusion is held much more firmly than the former; and the silence respecting the history and the Law is explained on the theory that the book is a historical drama, the scene of which is laid in the period before Moses, and the historic unities of which have been perfectly observed by the writer. _The people of this drama_ lived before the Exodus and the giving of the Law, and their conversations do not, therefore, refer to any of the events which have happened since. The locality of the drama is the "Land of Uz," and the geographers agree that the descriptions of the book apply to the region known in the cla.s.sical geographies as "Arabia Deserta," southeast of Palestine. It is admitted that the scenery and costume of the book are not Jewish; and they agree more perfectly with what is known of that country than with any other. That Job was a real personage, and that the drama is founded upon historical tradition cannot be doubted. It is probable that it was written after the time of Josiah.

I need not rehea.r.s.e the story. Job is overtaken by great losses and sufferings; in the midst of his calamities three friends draw near to condole with him, and also to administer to him a little wholesome reproof and admonition. Their theory is that suffering such as he is enduring is a sign of the divine displeasure; that Job must have been a great sinner, or he could not be such a sufferer. This argument Job indignantly repels. He does not claim to be perfect, but he knows that he has been an upright man, and he knows that bad men round about him are prospering, while he is scourged and overwhelmed with trouble; he sees this happening all over the earth,--the good afflicted, the evil exalted; and he knows, therefore, that the doctrine of his miserable comforters cannot be true. Sin does bring suffering, that he admits; but that all suffering is the result of sin he denies. He cannot understand it; his heart is bitter when he reflects upon it; and the insistence of his visitors awakes in him a fierce indignation, and leads him to charge G.o.d with injustice and cruelty. They are shocked and scandalized at his almost blasphemous outcries against G.o.d; but he maintains his righteousness, and drives his critics and censors from the field.

Finally Jehovah himself is represented as answering Job out of the whirlwind, in one of the most sublime pa.s.sages in all literature,-- silencing the arguments of his friends, sweeping away all the reasonings which have preceded, explaining nothing, but only affirming his own infinite power and wisdom. Before this august manifestation Job bows with submission; the mystery of evil is not explained; he is only convinced that it cannot be explained, and is content to be silent and wait. The teaching of the book is well summarized in these words of Dr.

Raymond:--

"The current notion that calamity is always the punishment of crime and prosperity always the reward of piety is not true. Neither is it true that the distress of a righteous man is an indication of G.o.d's anger.

There are other purposes in the Divine mind of which we know nothing.

For instance, a good man may be afflicted, by permission of G.o.d, and through the agency of Satan, to prove the genuine character of his goodness. But whether this or some other reason, involved in the administration of the universe, underlies the dispensation of temporal blessings and afflictions, one thing is certain: the plans of G.o.d are not, will not be, cannot be revealed; and the resignation of faith, not of fatalism, is the only wisdom of man." [Footnote: _The Book of Job_, p. 49.]

I have reserved for the last the most precious of all the Hebrew writings, the _Book of Psalms_. The Hebrews called it "Tehillim," praise- book or hymn-book, and the t.i.tle exactly describes it; in the form in which we have it, it was a hymn-book prepared for the service of the later temple.

If the question "Who wrote the Psalms?" were to be propounded in any meeting of Sunday-school teachers, nine tenths of them would unhesitatingly answer, "David." If the same question were put to an a.s.sembly of modern Biblical scholars some would answer that David wrote very few and perhaps not any of the psalms; that they were written during the Maccabean dynasty, only one or two hundred years before Christ. Both these views are extreme. We may believe that David did write several of the psalms, but it is more than probable that the great majority of them are from other writers.

Seventy-three psalms of the book seem to be ascribed to David in their t.i.tles. "A Psalm of David," "Maschil of David," "Michtam of David," or something similar is written over seventy-three different psalms.

Concerning these t.i.tles there has been much discussion. It has been maintained that they are found in the ancient Hebrew text as const.i.tuent parts of the Psalms, and are therefore ent.i.tled to full credit. But this theory does not seem to be held by the majority of modern scholars. "The variations of the inscriptions," says a late conservative writer, "in the Septuagint and the other versions sufficiently prove that they were not regarded as fixed portions of the canon, and that they were open to conjectural emendations." [Footnote: _Speaker's Commentary_, iv.

151.] Dr. Moll, the learned author of the monograph on the Psalms in Lange's "Commentary," says in his introduction: "The a.s.sumption that all the inscriptions originated with the authors of the Psalms, and are therefore inseparable from the text, cannot be consistently maintained.

It can at most be held only of a few.... There is now a disposition to admit that some of them may have originated with the authors themselves."

The probability is that most of these inscriptions were added by editors and transcribers of the Psalms. You open your hymn-book, and find over one hymn the name of Watts, and over another the name of Wesley, and over another the name of Montgomery. Who inserted these names? Not the authors, of course, but the editor or compiler of the collection.

Compilers in these days are careful and accurate, but they do make mistakes, and you find the same hymn ascribed to different authors in different books, while hymns that are anonymous in one book are credited in another, rightly or wrongly, to the name of some author. The men who collected the hymn-book of the Jews made similar mistakes, and the old copies do not agree in all their t.i.tles.

But while the inscriptions over the psalms do not, generally, belong to the psalms themselves, and are not in all cases accurate, most of them were, no doubt, suffixed to the psalms at a very early day. "On the whole," says Dr. Moll, "an opinion favorable to the antiquity and value of these superscriptions has again been wrought out, which ascribes them for the most part to tradition, and indeed a very ancient one."

Even if the t.i.tles were rightly translated, then, they would not give us conclusive proof of the authors.h.i.+p of the Psalms. But some of the best scholars a.s.sert that they are not rightly translated. The late Professor Murray of Johns Hopkins University, whose little book on the Psalms is vouched for as one of the most admirable productions of Biblical scholars.h.i.+p which has yet appeared in this country, says that "whenever we have an inscription in our version stating that the psalm is 'of David' it is almost invariably a mistranslation of the original." It should be written "to David," and it signifies that the compilers ascribed the psalm to a more ancient collection to which the name of David had been appended, not because he wrote all the poems in it, but because he originated the collection and wrote many of its songs. This older collection was called "The Psalms of David" something as a popular hymn-book of these times is called Robinson's "Laudes Domini," because Dr. Robinson compiled the book, and wrote some of the hymns. This old Davidic collection is not in existence, but many of the psalms in our book were taken from it, and the t.i.tles in our version are attempts to credit to this old book such of them as were thus borrowed.

This method of crediting is not altogether unknown in this critical age.

In the various eclectic commentaries on the Sunday-school lessons I often find sentences and paragraphs credited to "William Smith" which were taken from Dr. Smith's "Bible Dictionary," the articles from which they are taken being signed in all cases by the initials of the men who wrote them. I find, also, quotations from the "Speaker's Commentary," of which Canon Cook is the editor, ascribed to "F. C. Cook," or to "Cook,"

though the table of contents in the volume from which the quotation was taken bears in capital letters the name of the writer of the commentary on this particular book. In like manner "Lange" gets the credit of all that is written in his famous "Bibelwerk," though he wrote very little of it himself. The power to distinguish between editors.h.i.+p and authors.h.i.+p was not, probably, possessed by ancient compilers in any greater degree than by modern ones; and the inscriptions over the psalms must be estimated with this fact in view.

I have spoken of the present collection of the Psalms as one book, but it is in reality five books. It is so divided in the Revised Version.

The concluding verse of the Forty-first Psalm is as follows: "Blessed be the Lord G.o.d of Israel, from everlasting to everlasting. Amen and amen."

This doxology marks the close of the first hymn-book prepared by the Jews for the wors.h.i.+p of the second temple. It was probably formed soon after the first return from the Exile. All the Psalms except the first, the tenth, and the thirty-third are credited to the old Davidic Psalm Book. The t.i.tle of the thirty-third has probably been omitted by some copyist; the ninth and tenth in some old Hebrew copies are written as one psalm, and there is an acrostical arrangement which shows that they really belong together. The psalm may have been divided for liturgical purposes, or by accident in copying. The t.i.tle of the ninth, therefore, covers the tenth. The first and second are, then, the only psalms that are not ascribed to the old book of which this book was simply an abridgment.

At the end of the Seventy-second Psalm is the doxology which marks the close of the second of these hymn-books. After a while the psalms of the first book grew stale and familiar, and a new book was wanted. "Gospel Hymns No. 1," of the Moody and Sankey psalmody, had to be followed after a year or two by "Gospel Hymns No. 2," and then by "No. 3" and "No. 4"

and "No. 5," and finally they were all bound up together. I may be pardoned for a.s.sociating things sacred with things not very sacred, and poetry with something that is not always poetry, but the ill.u.s.tration, familiar to all, shows exactly how these five hymn-books of the Jews first came to be, and how they were at length combined in one.

The last verse of the Seventy-second Psalm has puzzled many readers: "The prayers of David the son of Jesse are ended." After this you find in our collection several psalms ascribed to David, some of which he undoubtedly wrote. The probable explanation is that the Seventy-second Psalm was the last psalm of the old Davidic hymn-book; the compiler made it the last one of this second book, and carelessly copied into this psalm the inscription with which the old book ended.

The second of these hymn-books begins, therefore, with Psalm xlii., and ends with Psalm lxxii., a collection of thirty-one songs of praise.

Number three of the temple-service contains eighteen psalms, and ends with Psalm lx.x.xix; this book, as well as the one that precedes it, is ascribed by a probable tradition to Nehemiah as its compiler.

The last verse of Psalm cvi. indicates the close of the fourth book. It contains but seventeen psalms, and is the shortest book of the five. The fifth book includes the remaining forty-four psalms, among them the "Songs of David," or Pilgrim Songs, sung by the people on their journeys to Jerusalem to keep the solemn feasts. It is probable that this fifth book was compiled by the authorities in charge of the temple wors.h.i.+p, and that they at the same time collected the other four books and put them all together, completing in this way the greater book of sacred lyrics which has been so precious to many generations not only of Jews, but also of Christians.

Various unsuccessful attempts have been made to cla.s.sify these books according to their subject-matter. It is plain that the first two are composed chiefly of the oldest psalms and of those adapted to the general purposes of wors.h.i.+p; the third book reflects the grief of the nation in the Captivity; the fourth, the joy of the returning exiles; the fifth contains a more miscellaneous collection. The Jewish scholars recognize and sometimes attempt to explain this arrangement of the Psalms into five books. The Hebrew Midrash on Psalm i. I., says: "Moses gave the five books of the law to the Israelites, and as a counterpart of them, David gave the Psalms consisting of five books." This is, of course, erroneous; the present collection of Psalms was made long after the time of David; but it is not unlikely that some notion of a symmetrical arrangement of the Psalms, to correspond to the five-fold division of the Law, influenced the compilers of this Praise Book.

Of the contents of this book, of the peculiar structure of Hebrew poetry, and of the historic references in many of the psalms, much might be said, but this investigation would lead us somewhat aside from our present purpose.

It may, however, be well to add a word or two respecting some of the inscriptions and notations borne by the Psalms in our translation. Many of them are composed of Hebrew words, transliterated into English,-- spelled out with English letters. King James' translators did not know what they meant, so they reproduced them in this way. There has been much discussion as to the meaning of several of them, and the scholars are by no means agreed; the interpretations which follow are mainly those given by Professor Murray:--

First is the famous "Selah," which we used to hear p.r.o.nounced with great solemnity when the Psalms were read. It is a musical term, meaning, perhaps, something like our "Da Capo" or, possibly, "Forte"--a mark of expression like those Italian words which you find over the staff on your sheet music.

"Michtam" and "Maschil" are also musical notes, indicating the time of the melody,--metronome-marks, so to speak; and "Gitt.i.th" and "s.h.i.+ggaion"

are marks that indicate the kind of melody to which the psalm is to be sung.

"Negiloth" means stringed instruments; it indicates the kind of accompaniment with which the psalm was to be sung. "Nehiloth" signifies pipes or flutes, perhaps wind instruments in general.

The inscription "To the Chief Musician" means, probably, "For the Leader of the Choir," and indicates that the original copy of the psalm thus inserted in the book was one that had belonged to the chorister in the old temple. "Upon Shemimith" means "set for ba.s.s voices;" "Upon Alamoth," "set for female voices." "Upon Muthlabben," a curious transliteration, means "arranged for training the soprano voices."

Professor Murray supposes that this particular psalm was used for rehearsal by the women singers.

Some of these inscriptions designate the airs to which the psalms were set, part of which seem to be sacred, and part secular. Such is "Shushan Eduth," over Psalm lx., meaning "Fair as lilies is thy law," apparently the name of a popular religious air. Another, probably secular, is over Psalm xxii., "Aijeleth Shahar," "The stag at dawn," and another, over Psalm 1vi., "Jonathelem Rechokim," which is, being interpreted, "O silent dove, what bringest thou us from out the distance?"

These inscriptions and many other features of this ancient Hebrew poetry have furnished puzzles for the unlearned and problems for the scholars, but the meaning of the psalms themselves is for the most part clear enough. The humble disciple pauses with some bewilderment over "Neginoth" or "Michtam;" he cla.s.ses them perhaps among the mysteries which the angels desire to look into; but when he reads a little farther on, "The Lord is my shepherd; I shall not want;" or "G.o.d is our refuge and strength, a very present help in trouble;" or "Create in me a clean heart, O G.o.d, and renew a right spirit within me," he knows full well what these words mean. There is no life so lofty that these psalms do not lift up a standard before it; there is no life so lowly that it does not find in them words that utter its deepest humility and its faintest trust. Wherever we are these psalms find us; they search the deep things of our hearts; they bring to us the great things of G.o.d. Of how many heroic characters have these old temple songs been the inspiration!

Jewish saints and patriots chanted them in the synagogue and on the battle-field; apostles and evangelists sung them among perils of the wilderness, as they traversed the rugged paths of Syria and Galatia and Macedonia; martyrs in Rome softly hummed them when the lions near at hand were crouching for their prey: in German forests, in Highland glens, Lutherans and Covenanters breathed their lives out through their cadences; in every land penitent souls have found in them words to tell the story of their sorrow, and victorious souls the voices of their triumph; mothers watching their babes by night have cheered the vigil by singing them; mourners walking in lonely ways have been lighted by the great hopes that s.h.i.+ne through them, and pilgrims going down into the valley of the shadow of death have found in their firm a.s.surances a strong staff to lean upon. Lyrics like these, into which so much of the divine truth was breathed when they were written, and which a hundred generations of the children of men have saturated with tears and praises, with battle shouts and sobs of pain, with all the highest and deepest experiences of the human soul, will live as long as joy lives and long after sorrow ceases; will live beyond this life, and be sung by pure voices in that land from which the silent dove, coming from afar, brings us now and then upon her s.h.i.+ning wings some glimpses of a glory that eye hath never seen.

NOTE. The reference on pages 200 and 201 to the Gospel Hymns is not strictly accurate. "Number Five" has not been bound up with the other numbers.