Page images
PDF
EPUB

Even the most eminent commentators who have expressly written long treatises on it, make no scruple of violating the law of unity of design, by representing it as delivered, not in one "seven-sealed book," but in this, with the addition of "the little book," (ch. x. 2,) in the form of an appendix, which is plainly a conception of such a species of patchwork as to set the law utterly at defiance. Is a symbolic prophet, the intelligibility of whose composition rests, without doubt, entirely on the plan and design which characterize it, to be supposed to have made so faulty and defective an arrangement of his matter, that it was necessary to add an appendix? An appendix, from its nature, presupposes a deficiency of plan. How then can it be supposed to exist in a work which is based on plan? And how palpable a violation is there here, of one of the main laws of symbolic writing! We make no reference to the violation of this principle in other respects, of which almost all commentaries are full. The above is probably the most flagrant violation of it, and is sufficient to show that the principle has been absolutely contemned.

There is not any interpreter that we know of, that has recognized the law of the double allegory. This, so far as we know, is an idea that is now mooted the first time for the last eighteen hundred years. Now if there be two allegories, and not one, and if there has been supposed to be one instead of two, it is perfectly obvious, that an interpretation upon a theory so fundamentally wrong, is a sheer impossibility. At the same time, commentators have not

availed themselves of one of the most effective means of illumination which was in their power. This, however, may fairly be considered as a damage of minor consequence, in comparison with the other. A total absence of light is certainly in this case better than a false light.

As for the quaternal structure, we do not suppose that it has been conceived of by any interpreter as a law of symbolic prophecy; and apparently it has not even been recognized as a feature of it. It certainly has never been applied to the arrangement of the matter and to the apprehension of the plan and design of the Revelation.

Now if these laws have a sure foundation in sym bolic writing, as will be shown, it is obvious that all complaints of the darkness and uncertainty of the prophecy, are as yet premature and groundless.

CHAPTER VIII.

LAW OF UNITY OF DESIGN.

THIS law of symbolic composition, naturally results from that principle of "unity of idea," which, it has been shown, is an essential and fundamental principle of the allegory. It is indispensable to the intelligibility of symbolic representation, and there is not a single instance of an infringement of it.

No epic, tale, or composition of any sort develops this principle more highly than these prophecies do. Each of them forms what the Germans call "ein abgeschlossenes ganze," which may be translated literally into the somewhat uncouth English of a shutoff whole. Each is a whole complete in itself; all foreign elements, every thing that is not essentially connected with the main plot and design, is excluded, while unity of plan and design knits the several parts of the composition together in symmetry of form and affinity of relationship, and impresses upon the whole the stamp of a perfect unity.

The Cosmos of the material creation displays this unity of design; the whole revelation which God has made to man, and which has not improperly been

denominated His second creation within the universe of mind, displays it, and every symbolic composition which is part of this creation, is thoroughly impregnated with it. It not only accords with the unity of God's whole design, as it is manifested in His Word; it exhibits for itself a separate and independent unity. It is a miniature unity within a larger unity. This oneness of plan and design is indeed the vital element of the symbolic prophecy. It is absolutely requisite for its existence, not alone as an inspired revelation, but even as a legible and intelligible communication.

It will be sufficient to throw a glance on one or two of the prophecies of Daniel and Zechariah, to see how perfect is the unity of design which characterizes the compositions of these prophets-specimens of composition, which it is acknowledged by all, must be principally held in view in the interpretation of the Revelation. This book is undoubtedly expressly grounded upon them, not only as to style, but as to actual subject.

The prophecy of Daniel, ch. vii., shows the prevalence of this principle in its structure and composition. The prophet here predicts concerning four empires represented under the form of Four Beasts. He traces the history of these from their rise in the sea, which gives them origin, to their dreadful end in the burning flame. He keeps them separate and distinct from the power which procures their destruction. He exhibits also the principle of an introduction which, be it observed, is an evident mark of unity of design. It necessarily impresses upon the work to which it is

prefixed the character of oneness. The introduction he prefixes is the following: Four winds strive together on the great sea, and, as a result of the tempest thus occasioned, four beasts arise, lifting themselves up among the swelling billows, or, as may be conceived, vomited forth upon the shore by their fury. These winds which perform this agency, constitute no part of the prophecy, as appears from the interpretation of it. Here there occurs no allusion to the winds. Nor can this representation be conceived. to form any part of the prediction. The winds individually are plainly incapable of representing particular subjects. They cannot be described, nor can they therefore bear any individual signification. The "four winds" are simply employed, as is evident, to constitute an exordium or introduction to the prophecy, and to afford a representation of the origin of the subjects of it. In this introduction, which may be regarded as undeveloped and little more than in the germ, compared with the introductions of John, who, however, undoubtedly models his longer and more elaborate specimens upon this germ, there is a plain manifestation of unity of design. The root is here displayed to which the subject of the prophecy are traced. They have a common origin, and they are introduced. Unity of design is thus imprinted on the prophecy twice, by the representation made by the introduction and by the origin.

This germinal introduction develops unity, as well as beauty of design, both in the first and second sense of the allegory.

« PreviousContinue »