rwp - Genius

rwp@1Corinthians:15:10 @{What I am} (\ho eimi\). Not, {who} (\hos\), but {what} (\ho\), neuter singular. His actual character and attainments. All "by the grace of God" (\chariti theou\). {I laboured more abundantly than they all} (\perissoteron autn pantn ekopiasa\)...energy and used it. Genius is...

rwp@John:2:25 @{And because he needed not} (\kai hoti chreian eichen\). Imperfect active, "and because he did not have need." {That any one should bear witness concerning man} (\hina tis martursi peri tou anthrpou\). Non-final use of \hina\ with first aorist active subjunctive of \marture\ and the generic article (\peri tou anthrpou\) concerning mankind as in the next clause also. {For he himself knew} (\autos gar eginsken\). Imperfect active, "for he himself kept on knowing" as he did from the start. {What was in man} (\ti n en ti anthrpi\). Indirect question with \estin\ of the direct changed to the imperfect \n\, a rare idiom in the _Koin_. This supernatural knowledge of man is a mark of deity. Some men of genius can read men better than others, but not in the sense meant here.

rwp@Info_Luke @ THE CHARACTER OF THE BOOK Literary charm is here beyond dispute. It is a book that only a man with genuine culture and literary genius could write. It has all the simple grace of Mark and Matthew plus an indefinable quality not in these wonderful books. There is a delicate finish of detail and proportion of parts that give the balance and poise that come only from full knowledge of the subject, the chief element in a good style according to Dr. James Stalker. This scientific physician, this man of the schools, this converted Gentile, this devoted friend of Paul, comes to the study of the life of Christ with a trained intellect, with an historian's method of research, with a physician's care in diagnosis and discrimination, with a charm of style all his own, with reverence for and loyalty to Jesus Christ as Lord and Saviour. One could not afford to give up either of the Four Gospels. They each supplement the other in a wonderful way. John's Gospel is the greatest book in all the world, reaching the highest heights of all. But if we had only Luke's Gospel, we should have an adequate portrait of Jesus Christ as Son of God and Son of Man. If Mark's is the Gospel for the Romans and Matthew's for the Jews, the Gospel of Luke is for the Gentile world. He shows the sympathy of Jesus for the poor and the outcast. Luke understands women and children and so is the universal Gospel of mankind in all phases and conditions. It is often called the Gospel of womanhood, of infancy, of prayer, of praise. We have in Luke the first Christian hymns. With Luke we catch some glimpses of the child Jesus for which we are grateful. Luke was a friend and follower of Paul, and verbal parallels with Paul's Epistles do occur, but there is no Pauline propaganda in the Gospel as Moffatt clearly shows (_Intr. to Lit. of the N.T._, p. 281). The Prologue is in literary _Koin_ and deserves comparison with those in any Greek and Latin writers. His style is versatile and is often coloured by his source. He was a great reader of the Septuagint as is shown by occasional Hebraisms evidently due to reading that translation Greek. He has graciousness and a sense of humour as McLachlan and Ragg show. Every really great man has a saving sense of humour as Jesus himself had. Ramsay dares to call Luke, as shown by the Gospel and Acts, the greatest of all historians not even excepting Thucydides. Ramsay has done much to restore Luke to his rightful place in the estimation of modern scholars. Some German critics used to cite strkjv@Luke:2:1-7| as a passage containing more historical blunders than any similar passage in any historian. The story of how papyri and inscriptions have fully justified Luke in every statement here made is carefully worked out by Ramsay in his various books, especially in _The Bearing of Recent Discovery on the Trustworthiness of the New Testament_. The main feature of this proof appears also in my _Luke the Historian in the Light of Research_. Songs:many items, where Luke once stood alone, have been confirmed by recent discoveries that the burden of proof now rests on those who challenge Luke in those cases where he still stands alone.

rwp@Matthew:13:3 @{Many things in parables} (\polla en parabolais\). It was not the first time that Jesus had used parables, but the first time that he had spoken so many and some of such length. He will use a great many in the future as in Luke 12 to 18 and Matt. 24 and 25. The parables already mentioned in Matthew include the salt and the light (5:13-16|), the birds and the lilies (6:26-30|), the splinter and the beam in the eye (7:3-5|), the two gates (7:13f.|), the wolves in sheep's clothing (7:15|), the good and bad trees (7:17-19|), the wise and foolish builders (7:24-27|), the garment and the wineskins (9:16f.|), the children in the market places (11:16f.|). It is not certain how many he spoke on this occasion. Matthew mentions eight in this chapter (the Sower, the Tares, the Mustard Seed, the Leaven, the Hid Treasure, the Pearl of Great Price, the Net, the Householder). Mark adds the Parable of the Lamp (Mark:4:21; strkjv@Luke:8:16|), the Parable of the Seed Growing of Itself (Mark:4:26-29|), making ten of which we know. But both Mark (Mark:4:33|) and Matthew (13:34|) imply that there were many others. "Without a parable spake he nothing unto them" (Matthew:13:34|), on this occasion, we may suppose. The word parable (\parabol\ from \paraball\, to place alongside for measurement or comparison like a yardstick) is an objective illustration for spiritual or moral truth. The word is employed in a variety of ways (a) as for sententious sayings or proverbs (Matthew:15:15; strkjv@Mark:3:23; strkjv@Luke:4:23; strkjv@5:36-39; strkjv@6:39|), for a figure or type (Heb. strkjv@9:9; strkjv@11:19|); (b) a comparison in the form of a narrative, the common use in the Synoptic Gospels like the Sower; (c) "A narrative illustration not involving a comparison" (Broadus), like the Rich Fool, the Good Samaritan, etc. "The oriental genius for picturesque speech found expression in a multitude of such utterances" (McNeile). There are parables in the Old Testament, in the Talmud, in sermons in all ages. But no one has spoken such parables as these of Jesus. They hold the mirror up to nature and, as all illustrations should do, throw light on the truth presented. The fable puts things as they are not in nature, Aesop's Fables, for instance. The parable may not be actual fact, but it could be so. It is harmony with the nature of the case. The allegory (\allgoria\) is a speaking parable that is self-explanatory all along like Bunyan's _Pilgrim's Progress_. All allegories are parables, but not all parables are allegories. The Prodigal Son is an allegory, as is the story of the Vine and Branches (John:15|). John does not use the word parable, but only \paroimia\, a saying by the way (John:10:6; strkjv@16:25,29|). As a rule the parables of Jesus illustrate one main point and the details are more or less incidental, though sometimes Jesus himself explains these. When he does not do so, we should be slow to interpret the minor details. Much heresy has come from fantastic interpretations of the parables. In the case of the Parable of the Sower (13:3-8|) we have also the careful exposition of the story by Jesus (18-23|) as well as the reason for the use of parables on this occasion by Jesus (9-17|).

rwp@Revelation:1:20 @{The mystery of the seven stars} (\to mustrion tn hepta astern\). On the word \mustrion\ see on ¯Matthew:13:11; strkjv@2Thessalonians:2:7; strkjv@Colossians:1:26|. Here it means the inner meaning (the secret symbol) of a symbolic vision (Swete) as in strkjv@10:7; strkjv@13:18; strkjv@17:7,9; strkjv@Daniel:2:47|. Probably the accusative absolute (Charles), "as for the mystery" (Robertson, _Grammar_, pp. 490, 1130), as in strkjv@Romans:8:3|. This item is picked out of the previous vision (1:16|) as needing explanation at once and as affording a clue to what follows (2:1,5|). {Which} (\hous\). Masculine accusative retained without attraction to case of \astern\ (genitive, \hn\). {In my right hand} (\epi ts dexias mou\). Or "upon," but \en ti\, etc., in verse 16|. {And the seven golden candlesticks} (\kai tas hepta luchnias tas chruss\). "The seven lampstands the golden," identifying the stars of verse 16| with the lampstands of verse 12|. The accusative case here is even more peculiar than the accusative absolute \mustrion\, since the genitive \luchnin\ after \mustrion\ is what one would expect. Charles suggests that John did not revise his work. {The angels of the seven churches} (\aggeloi tn hepta ekklsin\). Anarthrous in the predicate (angels of, etc.). "The seven churches" mentioned in strkjv@1:4,11|. Various views of \aggelos\ here exist. The simplest is the etymological meaning of the word as messenger from \aggell\ (Matthew:11:10|) as messengers from the seven churches to Patmos or by John from Patmos to the churches (or both). Another view is that \aggelos\ is the pastor of the church, the reading \tn gunaika sou\ (thy wife) in strkjv@2:20| (if genuine) confirming this view. Some would even take it to be the bishop over the elders as \episcopos\ in Ignatius, but a separate \aggelos\ in each church is against this idea. Some take it to be a symbol for the church itself or the spirit and genius of the church, though distinguished in this very verse from the churches themselves (the lampstands). Others take it to be the guardian angel of each church assuming angelic patrons to be taught in strkjv@Matthew:18:10; strkjv@Acts:12:15|. Each view is encompassed with difficulties, perhaps fewer belonging to the view that the "angel" is the pastor. {Are seven churches} (\hepta ekklsiai eisin\). These seven churches (1:4,11|) are themselves lampstands (1:12|) reflecting the light of Christ to the world (Matthew:5:14-16; strkjv@John:8:12|) in the midst of which Christ walks (1:13|).

CONCORD Genius