"Intense study of the Bible," he says, "will keep any writer from being vulgar, in point of style." Granted; and the sacred scriptures3 of any people and any creed4 would have the some influence. Vulgarity, unless it is bestial5, is monkeyish. Obviously this is a characteristic alien to religion, which is based on the sense of wonder, and deals chiefly with the sublime6. While the mind is absorbed by the unseen, imagination is called into play; and imagination is the antithesis7 of vulgarity. The unknown is also the terrible, and when the mind is alarmed there is no room for the puerilities of egotism. Any exaltation of feeling serves the same purpose. The most vulgar woman, in terror at a danger to her child, is lifted into the sphere of tragedy, and becomes a subject for art; nor could the lowest wretch8 exhibit vulgarity when committing a murder under the influence of passion. Vulgarity, in short, is self-consciousness, or at least only compatible with it; and displays itself in self-assertion at the expense of others, or in disregard or in defiance9 of their feelings. Now Monotheism, such as the Bible in its sublimest10 parts is pregnant with, naturally banishes11 this disposition12, just in proportion as it is real. It may tolerate, and even cherish, many other evils, but not that; for vulgarity, as I understand it, is absolutely inconsistent with awe13. How then do I account for the vulgarities of the Salvation14 Army? Simply by the fact that these people have no awe; they show the absurdities15 of religion without its sentiments. They are townspeople, used to music-halls, public-houses, street-fights, and frivolous16 crowds. Their antics would be impish to religionists whose awe was nurtured17 by hills and forests, the rising and setting sun, and the majesty18 of night.
Not only do we find the same austere19 simplicity20 in the Vedas, the Kuran, and other sacred scriptures; we find it in most of the old world literature. The characteristic of modern writings is subtlety21 and dexterity22; that of the ancient, massiveness and directness; and the same difference holds good in a comparison of the various stages of our literature. The simplicity of the Elizabethan lyrics23, to say nothing of Chaucer, is only to be emulated24 in later ages, whose life is so much more complex, by a recluse25 visionary like Blake. Even when Shelley approaches it, in such songs as that of Beatrice in the last act of the "The Cenci," we feel that stream of music is crossed and shaken by subtle under-currents.
What Coleridge claims for the Bible may be claimed for all imaginative and passionate26 literature. ?schylus, Lucretius, Dante, Milton; how does the Bible excel these in that respect? When we come to Shakespeare we find a sublimity27 which transcends28 that of Isaiah, Ezekiel, and Job, with a pathos29, a humor, and a wit, such as no Hebrew writer ever imagined. And Shakepeare's superb style triumphs easily in all these fields. Coleridge recommends the Bible as an antidote30 to vulgarity. I would recommend Milton as much, Dante more, and Shakespeare beyond all.
"Our version of the Bible," Coleridge elsewhere says, "has preserved a purity of meaning to many terms of natural objects. Without this holdfast, our vitiated imaginations would refine away language to mere31 abstractions." This is merely saying that our Bible, designed for common people centuries ago, is a monument of Saxon English. Clearly that is an accident of our translation, and not an essence of the Bible itself. As much may be said for all our ancient standards.
Coleridge admits that our New Testament32 is less elegant and correct than the Old, and contains "slovenly33 phrases which would never have come from Ben Jonson, or any other good prose writer of the day." Yet our New Testament, according to Mr. Swinburne (and there is no better judge), is translated from canine34 Greek into divine English. The truth is, the style of our Bible is owing to the translators. They lived before the hurry of our cheap periodical press, when men wrote leisurely35 for leisured readers. There was also no great accumulation of native literature, and scholars studied almost exclusively the masterpieces of Greece and Rome. Their sense of style was therefore superior. Read the Dedication36 to King James in our authorised version, then the introduction to our revised version, and see what an immense difference there is between the styles. Or read Paul's noble praise of charity in the two versions. By substituting love for charity, the revisers have vitiated the sense, and destroyed the balance of the style. Their mincing37 monosyllable is too weak to bear the structural38 weight of the clauses. A closer analysis shows that they have spoiled the passage throughout. They had no ear: in other words, no style. The old translators had ears, and knew other people had. Their work was meant to be read aloud, and it bears the test. That test is the supreme39 one, and goes deeper than hearing. Flaubert, a great master of style, always read his manuscript aloud; holding that phrases are right when they correspond to all the necessities of respiration40, while ill-written phrases oppress the chest, disturb the beatings of the heart, and contravene41 the conditions of life. Shakespeare bears this test triumphantly42. In his great passages, respiration is easy and pronunciation simple; the language is a splendid and mellifluous43 stream.
I venture to say in conclusion: Consult the revised version of the Bible for meaning, but read the old one for style. It is a treasury44 of musical and vigorous Saxon, a well of strong English undefiled; although Hebrew is a poor language, and the Greek of the New Testament is perhaps the worst ever written. But do not think, as Macaulay pretended, that the language of the Bible is sufficient for every purpose. It sustained the genius of Bunyan, but the mightier45 genius of Shakespeare had to draw from other sources to support its flight. Our English Bible contains six thousand words; Shakespeare's vocabulary contains nine thousand more.

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收听单词发音

1
resuscitated
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v.使(某人或某物)恢复知觉,苏醒( resuscitate的过去式和过去分词 ) | |
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2
deference
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n.尊重,顺从;敬意 | |
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3
scriptures
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经文,圣典( scripture的名词复数 ); 经典 | |
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creed
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n.信条;信念,纲领 | |
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bestial
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adj.残忍的;野蛮的 | |
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sublime
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adj.崇高的,伟大的;极度的,不顾后果的 | |
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antithesis
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n.对立;相对 | |
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wretch
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n.可怜的人,不幸的人;卑鄙的人 | |
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defiance
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n.挑战,挑衅,蔑视,违抗 | |
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sublimest
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伟大的( sublime的最高级 ); 令人赞叹的; 极端的; 不顾后果的 | |
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banishes
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v.放逐,驱逐( banish的第三人称单数 ) | |
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12
disposition
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n.性情,性格;意向,倾向;排列,部署 | |
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13
awe
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n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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14
salvation
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n.(尤指基督)救世,超度,拯救,解困 | |
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15
absurdities
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n.极端无理性( absurdity的名词复数 );荒谬;谬论;荒谬的行为 | |
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16
frivolous
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adj.轻薄的;轻率的 | |
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17
nurtured
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养育( nurture的过去式和过去分词 ); 培育; 滋长; 助长 | |
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18
majesty
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n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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19
austere
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adj.艰苦的;朴素的,朴实无华的;严峻的 | |
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simplicity
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n.简单,简易;朴素;直率,单纯 | |
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21
subtlety
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n.微妙,敏锐,精巧;微妙之处,细微的区别 | |
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22
dexterity
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n.(手的)灵巧,灵活 | |
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23
lyrics
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n.歌词 | |
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24
emulated
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v.与…竞争( emulate的过去式和过去分词 );努力赶上;计算机程序等仿真;模仿 | |
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25
recluse
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n.隐居者 | |
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26
passionate
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adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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sublimity
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崇高,庄严,气质高尚 | |
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transcends
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超出或超越(经验、信念、描写能力等)的范围( transcend的第三人称单数 ); 优于或胜过… | |
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29
pathos
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n.哀婉,悲怆 | |
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antidote
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n.解毒药,解毒剂 | |
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mere
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adj.纯粹的;仅仅,只不过 | |
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testament
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n.遗嘱;证明 | |
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33
slovenly
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adj.懒散的,不整齐的,邋遢的 | |
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canine
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adj.犬的,犬科的 | |
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leisurely
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adj.悠闲的;从容的,慢慢的 | |
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dedication
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n.奉献,献身,致力,题献,献辞 | |
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mincing
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adj.矫饰的;v.切碎;切碎 | |
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structural
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adj.构造的,组织的,建筑(用)的 | |
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supreme
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adj.极度的,最重要的;至高的,最高的 | |
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respiration
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n.呼吸作用;一次呼吸;植物光合作用 | |
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41
contravene
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v.违反,违背,反驳,反对 | |
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42
triumphantly
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ad.得意洋洋地;得胜地;成功地 | |
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43
mellifluous
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adj.(音乐等)柔美流畅的 | |
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44
treasury
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n.宝库;国库,金库;文库 | |
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45
mightier
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adj. 强有力的,强大的,巨大的 adv. 很,极其 | |
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