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heightened by that solemnity of phrase which may be drawn from the sacred writings。 It has been said by some of the ancients that if the gods were to talk with men； they would certainly speak in Plato's style； but I think we may say； with justice； that when mortals converse with their Creator they cannot do it in so proper a style as in that of the Holy Scriptures。〃
As that earnestness of the literature of the original precluded any great amount of humor in the wide range of its literary forms； so in the King James version it precluded any trifling expressions； any plays on words； even the duplication of such plays as can be found in the Hebrew or the Greek。 You seldom find any turn of a word in the King James version； though you do occasionally find it in the Hebrew。 One such punning expression occurs in the story of Samson （Judges xv：16）； where our version reads： 〃With the jawbone of an ass； heaps upon heaps； with the jawbone of an ass have I slain a thousand men。〃 In the Hebrew the words translated 〃ass〃 and 〃heaps〃 are variants of the same word。 It comes near the Hebrew to say： 〃With the jawbone of an ass； masses upon masses；〃 and so on。 These translators would not risk reproducing such puns for fear of lowering the dignity of their results。 There is a deadly seriousness about their work and so they never lose strength as they go on。
That earnestness grows out of a second fact which may be emphasizednamely； the greatness of the themes of Bible literature。 Here is history； but it is not cast into fiction form。 History always becomes more interesting for a first reading when it is in the form of fiction； but it always loses greatness in that form。 Test it by turning from a history of the American revolutionary or civil war to an historical novel that deals with the same period； or from a history of Scotland to the Waverly novels。 In some degree the earnestness of the time is lost； the same facts are there； but they do not loom so large； nor do they seem so great。 So there is power in the fact that the historical elements of the version are in stately form and are never sacrificed to the fictional form。
These great themes save the work from being local。 It issues from life； but from life considered in the large。 The themes of great literature are great enough to make their immediate surroundings forgotten。 〃The English Bible deals with the great facts and the great problems。 It is from the point of view of those great facts that it handles even commonplace things； and you forget the commonplaceness of the things in the greatness of the dealing。 Take its attitude toward God。 One needs the sense of that great theme to read it fairly。 It quietly overlooks secondary causes； goes back of them to God。 Partly that was because the original writers were ignorant of some of those secondary causes； partly that they knew them； but wanted to go farther back。 Take the most outstanding instance； that of the Book of Jonah。 All its facts； without exception； can be told without mention of God； if one cared to do it。 But there could not be anything like so great a story if it is told that way。 One of his biographers says of Lincoln that there is nothing in his whole career which calls for explanation in other than a purely natural and human way。 That is true； if one does not care to go any farther back than that。 But the greatest story cannot be made out of Lincoln's life on those terms。 There is not material enough； the life must be delocalized。 It can be told without that larger view； so that it will be of interest to America and American children； but not so that it will be of value to generations of men in all countries and under all circumstances if it is told on those terms。 Part of the greatness of Scripture； from a literary point of view； is that it has such a tremendous range of theme； and is saved from a mere narration of local events by seeing those events in the light of larger considerations。
Let that stand for one of the great facts。 Now take one of the great problems。 The thing that makes Job so great a classic is the fact that； while it is dealing with a character； he is standing for the problem of undeserved suffering。 A man who has that before him； if he has at all the gift of imagination； is sure to write in a far larger way than when he is dealing with a man with boils as though he were finally important。 One could deal with Job as a character； and do a small piece of work。 But when you deal with Job as a type； a much larger opportunity offers。
It is these great ideas； as to either facts or problems； that give the seriousness； the earnestness to the literature of the Bible。 Men who express great ideas in literary form are not dilettante about them。 One of the English writers just now prominent as an essayist is often counted whimsical； trifling。 One of his near friends keenly resents that opinion； insists instead that he is dead in earnest； serious to the last degree； purposeful in all his work。 What makes that so difficult to believe is that there is always a tone of chaffing in his essays。 He seems always to be making fun of himself or of other people； and if he is dead in earnest he has the wrong style to make great literature or literature that will live long。
It is that earnestness and greatness of theme which puts the tang into the English of the Bible。 Coleridge says that 〃after reading Isaiah or the Epistle to the Hebrews； Homer and Virgil are disgustingly tame； Milton himself barely tolerable。〃 It need not be put quite so strongly as that； but there is large warrant of fact in that expression。
Go a little farther in thought of the literary characteristics of the Bible。 Notice the variety of the forms involved。 Recall Professor Moulton's four cardinal points in literature； all of it taking one of these forms： either description； when a scene is given in the words of the author； as when Milton and Homer describe scenes without pretending to give the words of the actors throughout； or； secondly； presentation； when a scene is given in the words of those who took part in it； and the author does not appear； as； of course； in the plays of Shakespeare； when he never appears； but where all his sentiments are put in the words of others。 As between those two； the Bible is predominantly a book of description； the authors for the most part doing the speaking； though there is； of course； an element of presentation。 Professor Moulton goes on with the two other phases of literary form： prose； moving in the region limited by facts； as history and philosophy deal only with what actually has existence； and poetry； which by its Greek origin means creative literature。 He reminds us that； however literature starts； these are the points toward which it moves； the paths it takes。 All four of them appear in the literature of the English Bible。 You have more of prose and less of poetry； but the poetry is there； not in the sense of rhyme； but in the sense of real creative literature。
A more natural way of considering the literature has been followed by Professor Gardiner。 He finds four elements in the literature of the Bible： its narrative； its poetry； its philosophizing； and its prophecy。 It is not necessary for our purpose to go into details about that。 We shall have all we need when we realize that； small as the volume of the book is； it yet does cover all these types of literature。 Its difference from other books is that it deals with all of its subjects so compactly。
It will accent this fact of its variety if we note the musical element in the literature of the Bible。 It comes in part from the form which marks the original Hebrew poetry。 It has become familiar to say that it is not of the rhyming kind。 Rather it is marked by the balancing of phrases or of ideas； so that it runs in couplets or in triplets throughout。 In the Psalms there is always a balance of clauses。 They are sometimes adversative； sometimes they are simply cumulative。 Take several instances from the 119th Psalm； each a complete stanza of Hebrew poetry； （verse 15） 〃I will meditate in thy precepts； and have respect unto thy ways〃； or this （verse 23）； 〃Princes also did sit and speak against me： but thy servant did meditate in thy statutes〃； or this （verse 45）； 〃And I will walk at liberty： for I seek thy precepts〃； （verse 51；） 〃The proud have had me greatly in derision： yet have I not inclined from thy law。〃 Each presents a parallel or a contrast of ideas。 That is the characteristic mark of Hebrew poetry。 It results in a kind of rhythm of the English which makes it very easy to set to music。 Some of it can be sung； though for some of it only the thunder is the right accompaniment。 But it is not simply in the balance of phrases that the musical element appears。 Sometimes it is in a natural but rhythmic consecution of ideas。 The 35th chapter of Isaiah； for example； is not poetic in the Hebrew； yet it is remarkably musical in the English。 Read it aloud from our familiar version：
〃The wilderness and the solitary place shall be glad for them； and the desert shall rejoice； and blossom as the rose。 It shall blossom abundantly； and rejoice even with joy and singing； the glory of Lebanon shall be given unto it； the excellency of Carmel and Sharon； they shall see