APPENDIX

(Adapted, and enlarged, from the Manual for the Study of English Classics, by George L. Marsh)

HELPS TO STUDY

GENERAL MATTERS

Fortunately the language of the English Bible has been changed as little as possible from the early versions. The fourteenth century translation of Wyclif, of course, had to be modernized in the work of Tyndale (sixteenth century) and of the King James translators (seventeenth century); but the American revision used in the text makes few verbal changes from the King James version except to correct errors or misunderstandings. What is the result of all this as to harmony of style with a primitive original?

What advantages has the form of the text, compared with the conventional way of printing the Bible, divided into chapters and verses? Are there any disadvantages?

It has been asserted (by Cardinal Newman, in his Idea of a University) that the Bible is not literature in the strict sense of that term, because it is "no picture of life, but an anticipation of death and judgment." Compare the view now commonly held (pp. 9, 10). Can the two views be reconciled?

Specific examples of the various "characteristics of Bible literature" pointed out by the editor (pp. 11-14) should be observed throughout the reading, and classified. The Notes (pp. 363-86) contain many questions and suggestions as to matters of style, literary effectiveness, etc., which have to a considerable extent anticipated this Appendix.

Many Old Testament narratives are found dramatized in the mys tery (or miracle) plays, of which specimens may be fourd in such sources as Manly's Specimens of the Pre-Shaksperean Drama.

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See particularly the comic quarrel attributed to Noah and his wife in the Towneley play of "Noah's Flood" (cf. selection V); and the pathetic Brome play of Abraham and Isaac (cf. pp. 40, 41). Note different types of narration: Deborah's narrative song (pp. 169-72); the fable (pp. 180-81, 374); the idyl (the Book of Ruth, pp. 191 ff.), etc. The Book of the Short Story includes in its lists of short stories the Books of Ruth, Jonah, and Esther, and the story of Shadrach, Meshach, and Abednego (pp. 330-33), besides various parts of the Apocrypha.

Do you find any narration which departs from the actual order in which events happened? Any plunging into the middle of things, for instance, with retrospective explanation? Any conscious use of suspense to heighten the effect? Any beginnings or endings with the particular "snap" that is likely to be characteristic of present-day short stories?

Uses of the Bible in great literature, especially in books read in the English course, should be noted. See pages 15-18, 363-86, and supplementary notes below. Of the books commonly read in schools, The Pilgrim's Progress very notably imitates the style of the English Bible.

Note the sentence structure—the tendency to connect simple clauses by "and" (as on p. 19 and elsewhere), and not to have much subordination. Observe repetitions also; repetition and parallelism are among the most common characteristics of Hebrew literature.

Perry Pictures of Old Testament subjects are numerous.

DETAILS AS TO SELECTIONS

Note that the first two selections are two different accounts of the creation; the first the so-called Elohistie account (from the Hebrew word which is translated God in the text), the second the Jehovistic account (from the word which in the American revised version is always rendered Jehovah). Observe the differences between the two accounts. On such matters as this, Gladden's Who Wrote the Bible will be helpful. See also such more recent works as Abbott's Life and Literature of the Ancient Hebrews and Marcus Dodd's The Origin and Nature of the Bible.

Find discrepancies in the account of the Flood, due to a strange patchwork of the Elohistic and Jehovistic narratives (Gladden, pp. 49-53); e. g., the mention of "seven and seven" animals (p. 29 of the text) and two animals of each species in other places. Do such discrepancies have any serious effect on the value and interest of the narrative?

To supplement literary references in the Notes (pp. 363 ff.): The poet Clough attempted a play on the story of Adam and Eve, of which portions exist, entitled "Fragments of the Mystery of the Fall." D. G. Rossetti's "Eden Bower'' also deals with the sin of Adam, combining the Talmudic legend of Lilith (said to have been Adam's first wife) with the Bible version.

Clou h has a poem, "Genesis XXIV," dealing with the story of Rebekah, and two poems on Jacob.

Precisely what were the "ten plagues" (pp. 101 ff.)? Make a careful list. Is the order climactic? Note repetitions having almost the effect of a refrain.

In what ways is Moses' song (pp. 123-4) different in style from the narrative prose?

Note the omission of three chapters and a fraction between selections XXXI and XXXII, dealing with the wandering of the Israelites, the feeding by manna, etc.

Which of the Ten Commandments (p. 125) are only religious in their bearing? Which are at the basis of present-day criminal codes? To what extent do they cover criminal law?

Wherein does the song of Deborah (pp. 169-72) differ from the preceding prose narrative? What particular elements of interest and effectiveness has it?

The story of Samson is rapidly told by Chaucer in his Monk's Tale. The operatic version, Samson et Delilah, by Saint-Saens (in which, however, the Bible story is considerably changed), may also be mentioned.

Note the allusion to Ruth (pp. 191 ff.) in Keats's "Ode to a Nightingale' (Lake ed. of The Golden Treasury, p. 330). What is the point of it, and its effectiveness? The Book of Ruth appears in The Book of the Short Story as "the very ideal and type of the idyl."

Browning's "Saul" (Lake ed. of Selections from Browning, pp. 105-25) is based on the situation presented on page 217.

Whittier's poem, "King Solomon and the Ants," deals with a legend of the King's visit from the Queen of Sheba (pp. 265-6). Study Byron's poem, "The Destruction of Sennacherib" (pp. 382-3), in comparison with the Bible narrative, for the purpose of discovering the poet's method in the choice of details, emphasis, etc.

The Book of Esther deals with atrocious cruelties. On what side are the sympathies of the author? Does he show any disapproval of the bloodthirsty spirit of his characters?

THEME SUBJECTS

1. A comparison of the two stories of the creation (pp. 19-23). 2. The story of the temptation and fall of Adam and Eve as told by Milton (Paradise Lost, especially books IV, V, IX-XII)a rapid summary, with attention to additions to the Bible account (pp. 24, 25).

3. An explanation of Byron's Cain-the way he changes the spirit of the Bible narrative (pp. 26, 27).

4. The story of Noah (pp. 27-33). (Comparison may be made, if the material is available, with other stories of a world-wide flood.)

5. A dramatization of the story of Abraham and Isaac told on pages 40 and 41.

6. The story of Isaac and Rebekah (pp. 41-47); of Jacob and Rachel (pp. 54-55).

7. A balanced character sketch contrasting Jacob and Esau (pp. 47-52, 57, 58).

8. Joseph's career (pp. 60-89)—a rapid narrative, picking out only the main events.

9. A similar theme on the career of Moses (pp. 90-143).

10. The relation of the Ten Commandments (pp. 126-7) to present criminal law.

11. The story of Jephthah's daughter (pp. 182-3). Tennyson's treatment (mentioned p. 375) may be compared.

12. The exploits of Samson (pp. 184-191)- -a summary with emphasis on the most striking incidents. Or Milton's treatment of the story may be compared, after a very brief synopsis of the original.

13. The story of Ruth (pp. 191-99). Or, instead of merely telling the story, more mature students may attempt an estimate of the qualities mentioned in the Notes (pp. 376-7) and any other merits they find.

14. A summary of Browning's "Saul," showing its relations with the Bible narrative (p. 217, etc.).

15. The career of David (pp. 215-58).

16. A comparison of some other story of friendship (Damon and Pythias is the most obvious example) with that of David and Jonathan.

17. An imaginary conversation between Solomon and the Queen of Sheba (pp. 265-6). It will be desirable to choose a particular topic.

18. A dramatization of "Elijah and the Prophets of Baal’’ (pp. 272-75).

19. An account of the captivity of the Jews (pp. 307 ff.).

20.

21.

22.

The story of Daniel (pp. 323-44).

The story of Esther (pp. 344-61).

The use of dreams in the Old Testament. The examples in the text should be collected, the purposes of the various uses considered, etc. See notes on pages 365-6, 380.

Theme subjects are suggested on page 364 of the Notes and implied in various other places.

ROLAW