The San Francisco call., 1896-12-25

Whatever one may believe or disbeiieve
as to the sacredness or divine origin of the
Christian Bible, no one who considers its
style of literary composition thoughtfully
will demur from the verdict of it's une-
qualed merit that has already been passed
upon it by many masters of Western liter
ature. And OF all the Christian Scriptures
there is none that surpasses in dramatic
element or in classic simplicity and dig
nifty OF style that part of the New Testa-
ment wherein is related the tale of the
Christ.
The story itself-laying aside for the
time the question of Its miracles and mar
vels-is one of keenest human interest.
Imagine, if we can, that the story of the
Christ we're to be published to the world
to-day for the first time, say in the form
of a pretty holiday romance. Then il
might be viewed and criticized, and, re-
viewed merely as a literary produc ction.
Would it not at once be pronounced the
work of master in fiction? Would it not
be read and reread by old and young
purely for its merit as fascinating work
of literary art-always supposing, oi
course, that the narrative were presented
in the same pleasing garb of dramatic
form and classic style as we find it re-
corded in the Bible by the four evangel-
lists.
Consider the story itself What de-
lightful touches of realism and idealism
are mingled in the simple narrative of the
carpenters son who came to be crucifed
for his greatness and goodness. From
q first to last it is a forceful romance, full OF
human passion, human weakness, human
treachery and human strength and great
ness. 1t lacks nothing In local coloring,
though only a bare word, or at most some
simple interpolating phrase here and
there throughout the long drama, is en-
pIoyed to portray it. In plot, incident
and.action there is nothing to be desired.
In no other story is there so lovable q
shero. The treachery of Judas is not
excelled in fiction. The chief charac-
ters in the drama are portrayed with care
full, painstaking fidelity, though one does
not realize this fact until he has studied
1houghtfully the entire narrative. And
herein is the greatest OF art--the Kind OF
art that conceals its own art. And the
story reads along as though its writing
had been but pleasing pastime to those
who gave the world its written story OF
the life of Christ.
Consider the directness, strength and
simplicity of its art in literary compost
ton. Take the narrative written by one
of the four chief biographers OF Jesus.
The merit of all their work is equal,
though each book has its own character
istic features. Ofthem all Luke is said to
have been the most learned, and his work
is considerably more exhaustive. He was
a Gentle, born at Antioch, and was for
long time the friend and companion OF
Paul. He does not claim to have been
witness OF the things that he wrote, but Is
said to have derived his knowledge
directly from those who were witnesses
There is no labored introduction to the
book OF Luke and no attempt is made al
fine writing. In four terse sentences at
the beginning of his book Luke tells why
he was moved to write. Succeeding this
brief preface, in the next six lines the
author introduces to his readers the TWO