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rwp@Info_2Peter @ ANACHRONISMS It used to be said that it was impossible for II Peter to have been written in the first century, because it had the atmosphere of the second. But one fact is strongly against that argument. In strkjv@2Peter:3:8| occurs the quotation of strkjv@Psalms:90:4| about the thousand years without any chiliastic turn at all, a thing sure to happen in the second century after chiliasm had come to have such a swing. Peter's use of it suits the first century, not the second. As a matter of fact, the false teachers described in II Peter suit the first century precisely if one recalls Paul's troubles with the Judaizers in Galatia and Corinth and with the Gnostics in Colossae and Ephesus. "Every feature in the description of the false teachers and mockers is to be found in the apostolic age" (Bigg).

rwp@Info_John @ JOHN'S PORTRAIT OF CHRIST No one questions that the Fourth Gospel asserts the deity of Christ. It is in the Prologue at the very start: "And the Word was God" (John:1:1|) and in the correct text of strkjv@John:1:18|, "God only begotten" (\theos monogens\). It occurs repeatedly in the book as in the witness of the Baptist: "This is the Son of God" (John:1:34|). It is in the charge of the Pharisees (John:5:18|) and the claim of Christ himself (John:5:20-23; strkjv@6:48; strkjv@8:12,58; strkjv@11:25; strkjv@14:9; strkjv@17:5|) with the full and frank conviction of the author in strkjv@John:20:31|. He has made good his purpose. He has proven that Jesus of Nazareth is the Son of God. With some critics this purpose has vitiated the entire book. The effort has been made to show that Paul, Peter, the Epistle to the Hebrews, the Synoptics give a lower view of Christ without the term \theos\ applied to him. In particular it was once argued that Q, the Logia of Jesus, used by Matthew and Luke (the non-Markan portions in both Matthew and Luke), gives a reduced picture of Jesus as on a lower plane than God, the Arian or Ritschlian view at any rate as answering for God to us though not God in actual nature. But in the Logia of Jesus we find the same essential picture of Jesus Christ as the Son of God and the Son of Man as I have shown in my _The Christ of the Logia_ (1924). The only way to get rid of the deity of Christ in the New Testament is to throw overboard all the books in it as legendary or reflections of late theological development away from the original picture. The very earliest picture drawn of Christ that has been preserved to us, that in the Logia of Jesus (drawn W. M. Ramsay believes before Christ's crucifixion), is in essential agreement with the fully drawn portrait in the Fourth Gospel. Each picture in the Four Gospels adds touches of its own, but the features are the same, those of the God-Man Jesus Christ, the Saviour of the world. The brilliant blind preacher of Edinburgh, George Matheson, sees this clearly (_Studies in the Portrait of the Messiah_, 1900; _St. John's Portrait of Christ_, 1910).

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@Revelation:9:7 @{The shapes} (\ta homoimata\). Old word from \homoio\, to make like (from \homoios\, like), likeness, in N.T. only here, strkjv@Romans:5:14; strkjv@Phillipians:2:7|, "the likenesses were like" (\homoia\). \Homoima\ is "midway between \morph\ and \schma\" (Lightfoot). {Unto horses} (\hippois\). Associative-instrumental case, as is the rule with \homoios\ (1:15; strkjv@2:18; strkjv@4:6ff.; strkjv@9:10,19; strkjv@11:1; strkjv@13:2,11|), but with the accusative in strkjv@1:13; strkjv@14:14|. Songs:also \homoioi chrusi\ (like gold) in this same verse. {Prepared for war} (\htoimasmenois eis polemon\). Perfect passive participle of \hetoimaz\. This imagery of war-horses is like that in strkjv@Joel:2:4f|. "The likeness of a locust to a horse, especially to a horse equipped with armour, is so striking that the insect is named in German _Heupferd_ (hay horse), and in Italian _cavalett_ a little horse" (Vincent). {As it were crowns} (\hos stephanoi\). Not actual crowns, but what looked like crowns of gold, as conquerors, as indeed they were (4:4; strkjv@6:2; strkjv@12:1; strkjv@14:14|). These locusts of the abyss have another peculiar feature. {As men's faces} (\hs prospa anthrpn\). Human-looking faces in these demonic locusts to give added terror, "suggesting the intelligence and capacity of man" (Swete). Vincent actually sees "a distinct resemblance to the human countenance in the face of the locust."