A Study of Bible [45]
[1] Strong, The Theology of the Poets.
Any one familiar with Milton will recognize that as a typical instance of the way in which a seed idea from the Scripture comes to flower and fruit in him. The result is that more people have their ideas about heaven and hell from Milton than from the Bible, though they do not know it.
It seems hardly fair to use John Bunyan (1628-1688) as an illustration of the influence of the English Bible on literature, because his chief work is composed so largely in the language of Scripture. Pilgrim's Progress is the most widely read book in the English language after the Bible. Its phrases, its names, its matter are either directly or indirectly taken from the Bible. It has given us a long list of phrases which are part of our literary and religious capital. Thackeray took the motto of one of his best-known books from the Bible; but the title, Vanity Fair, comes from Pilgrim's Progress. When a discouraged man says he is "in the slough of despond," he quotes Bunyan; and when a popular evangelist tells the people that the burden of sin will roll away if they look at the cross, "according to the Bible," he ought to say according to Bunyan. But all this was only the outcome of the familiarity of Bunyan with the Scripture. It was almost all he did know in a literary way. Macaulay says that "he knew no language but the English as it was spoken by the common people; he had studied no great model of composition, with the exception of our noble translation of the Bible. But of that his knowledge was such that he might have been called a living concordance."[1]
[1] History of England, vol. III., p. 220.
After these three--Shakespeare, Milton, and Bunyan--there appeared another three, very much their inferiors and having much less influence on literary history. I mean Dryden, Addison, and Pope. It is not necessary to credit the Scripture with much of Dryden's spirit, nor with much of his style, and certainly not with his attitude toward his fellows; but it is a constant surprise in reading Dryden to discover how familiar he was with the King James version. Walter Scott insists that Dryden was at heart serious, that "his indelicacy was like the forced impudence of a bashful man." That is generous judgment. But there is this to be said: as he grows more serious he falls more into Bible words. If he writes a political pamphlet he calls it "Absalom and Ahithophel." In it he holds the men of the day up to scorn under Bible names. They are Zimri and Shimei, and the like. When he is falling into bitterest satire, his writing abounds in these Biblical allusions which could be made only by one who was very familiar with the Book. Quotations cannot be abundant, of course, but there is a great deal of this sort of thing:
"Sinking, he left his drugget robe behind, Borne upward by a subterranean wind, The mantle fell to the young prophet's part, With double portion of his father's art."
In his Epistles there is much of the same sort. When he writes to Congreve he speaks of the fathers, and says:
"Their's was the giant race before the flood."
Farther on he says:
"Our builders were with want of genius curst, The second temple was not like the first."
Now Dryden may have been, as Macaulay said, an "illustrious renegade," but all his writing shows the influence of the language and the ideas of the King James version. Whenever we sing the "Veni Creator" we sing John Dryden.
So we sing Addison in the paraphrase of Scripture, which Haydn's music has made familiar:
"The spacious firmament on high, With all the blue ethereal sky."
While Dryden yielded to his times, Addison did not, and the Spectator became not only a literary but a moral power. In the effort to make it so he was thrown back on the largest moral influence of the day, the Bible, and throughout the Spectator and through all of Addison's writing you find on all proper occasions the Bible pressed to the front. Here again Taine puts it strikingly: "It is no small thing to make morality fashionable; Addison