Читать книгу The Parables of Our Lord - William Arnot - Страница 5

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The parable is one of the many forms in which the innate analogy between the material and the moral may be, and has been practically applied.2 The difficulty of constructing a definition which should include every similitude that belongs to this class, and exclude all others, has been well appreciated by expositors and frankly confessed. The parables of the New Testament, after critics have done their utmost to generalize and classify, must in the end be accounted sui generis, and treated apart from all others. The etymology of the name affords us no help, for it is applied without discrimination to widely diverse forms of comparison; it indicates the juxtaposition of two thoughts or things, with the view of exhibiting and employing the analogy which may be found to subsist between them; but several other terms convey precisely the same meaning, and therefore it cannot supply us with the distinguishing characteristic of a class. As far as I have been able to observe, hardly anything has been gained at this point by the application of logical processes. The distinctions which have been successfully made are precisely those which are sufficiently obvious without a critical apparatus; and in regard to those comparisons which bear the closest affinity to the parable, and in which, on account of the rainbow-like blending of the boundaries, logical definitions are most needed, logical definitions have most signally failed. Scholars have, for example, successfully distinguished parables from myths and fables; but this is laboriously to erect a fence between two flocks that in their nature manifest no tendency to intermingle; whereas, from some other forms of analogy, such as the allegory, the parable cannot be separated by a definition expressed in general terms, which shall be at once universally applicable and universally understood.

Into all parables human motives and actions go as constituents, and in most of them the processes of nature are also interwoven. The element of human action is generally introduced in a historic form, as “a certain man had two sons;” but some of the similitudes of Scripture, which by general consent are reckoned parables, lack this feature, as for example, the Lost Sheep.3 “What man of you, having an hundred sheep?” For my own part, while there are some that, on the one hand, I can with confidence include, and some that, on the other, I must with equal confidence keep out, I see not a few lying ambiguous on the border. My judgment inclines to what seems a medium between two extremes—between the decision of some German philosophical expositors who are too critical, and the decision of some English practical preachers who are not critical enough. I would fain eschew, on the one hand, the laborious trifling by which it is proved that the parable of the Sower is not a parable; and, on the other hand, the unfortunate facility which admits into the number almost all similitudes indiscriminately. I shall adopt the list of Dr. Trench,4 thirty in number, as being on the whole a fair and convenient medium; although I could not undertake to demonstrate that these only, and these all possess the qualities which in his judgment go to constitute a parable. Some that are included can scarcely be distinguished by logical definitions from some that are excluded; but so far am I from considering this a defect, that I deem it a necessary result of the impalpable infinitesimal graduation by which the fully-formed parable glides down into the brief detached metaphorical aphorism, in the words of the Lord Jesus during the period of his ministry.

Certain figurative lessons, differing from the parable on the one hand, and the allegory on the other, may be found scattered up and down both in the Scriptures and in secular literature, whose distinguishing characteristic is, that they are not spoken but enacted, and which I am disposed to regard as more nearly allied than any other to the parables of our Lord.

They seem to constitute a species of simple primitive germinal drama. Some examples occur in the history of the Hebrew monarchy before the period of the captivity. At Elisha’s request, Joash, King of Israel, shot arrows from a bow, in token of the victory which he should obtain over the Syrians. Left without instructions as to the frequency with which the operation should be repeated, the king shot three arrows successively into the ground, and paused. Thereupon the prophet, interpreting the symbol, declared that the subjugation of the Syrians would not be complete (2 Kings xiii.) Another specimen may be observed, shining through the history in the reign of Jehoshaphat, when a prophet named Chenaanah made a pair of iron horns, and flattered the King of Israel by the symbol that he would push the Syrians till he should consume them (2 Chron. xvii. 10). About the time of the captivity, and in the hands of Ezekiel, this species of parable appears with great distinctness of outline, and considerable fulness of detail. When a frivolous people would not take warning of their danger, the prophet, godly and grave, took a broad flat tile, and sketched on it the outline of a besieged city, and lay on his left side, silently contemplating the symbol of his country’s fate (chap. iv.) The strange act of the revered man attracted many eyes, and stirred new questionings in many hearts. Equally graphic is the representation of Israel’s captivity, in the dramatic parable recorded in chap. xii., where the prophet personally enacts the melancholy process of packing his goods, and escaping as an exile.

From the subsequent history, we learn that this significant act arrested attention; the people gazed in wonder on the sign, and anxiously inquired into its meaning.

It is eminently worthy of notice that the lavish and bold imagery of Ezekiel effectually served the immediate purpose for which it was employed; it attracted the people’s regard, explained the prophecy to their understandings, and fixed the lessons in their memories. It is true, indeed, that they did not repent; but this only shows that parables, even when dictated by the Spirit, have not inherent power to convert; even God’s word may, through the hearer’s sin, remain a dead letter in his hand. It emerges incidentally in the history that the preaching of Ezekiel was eminently popular; crowds came out to hear and see.

The ultimate spiritual success lies in other hands; but in as far as the instrument is concerned, it is proved, from the experience of this ancient prophet, that the mastery of analogies draws the people round the preacher’s feet, and brings his lessons into contact with their minds and hearts.

In modern times, much argument is employed to prove that the drama may be pure in itself, and effectual as a moral educator—argument which, however excellent it may be in theory, has hitherto proved impotent in fact. But from the beginning it was not so; Ezekiel was a dramatist; he acted his prophecies and his preachings on a stage. The warnings were in this form clearly articulated, and forcefully driven home; if they failed to produce the ultimate result of repentance, the obstacle lay not in the feebleness of the instrument, but in the wilful hardness of the subject whereon the instrument was plied. Dramatic representation in the simplicity of its infancy was a golden vessel of the sanctuary, employed in the service of God; long ago it was carried away into Babylon, and profanely used as a wine cup in the orgies of idols. Whether it shall ever be wrenched from the enemy, purified, and restored to the service of the temple, I know not.

In the general history of the world, the most interesting parable of this class that occurs to my memory is one attributed to a North American Indian in conversation with a Christian missionary. The red man had previously been well instructed in the Scriptures, understood the way of salvation, and enjoyed peace with God. Desiring to explain to his teacher the turning point of his spiritual experience, he had recourse, in accordance, perhaps, with the instincts and habits of his tribe, to the language of dramatic symbols rather than to the language of articulate words. Having gathered a quantity of dry withered tree leaves, he spread them in a thin layer, and in a circular form on the level ground. He then gently laid a living worm in the centre, and set fire to the circumference on every side. The missionary and the Indian then stood still and silent, watching the motions of the imprisoned reptile. It crawled hastily and in alarm towards one side, till it met the advancing girdle of fire, and then crawled back as hastily to the other. After making several ineffectual efforts to escape, the creature retired to the centre, and coiled itself up to await its fate. At this crisis, and just before the flames reached their helpless victim, the Indian stept gravely forward, lifted the worm from its fiery prison, and deposited it in a place of safety. “Thus,” this simple preacher of the cross indicated to the missionary—“Thus helpless and hopeless I lay, while the wrath due to my sin advanced on every side to devour me; and thus sovereignly, mightily, lovingly did Christ deliver my soul from death.”