Turning over the pages of Coleridge's "Table Talk" recently, my attention was arrested oy several passages I had marked, many years ago, in that suggestive book. Two or three of these, referring to the style of the Bible, resuscitated some reflections I made on the first reading, and which I now venture to express: with all deference, let me add, to Coleridge's ethereal genius and magical mastery of words. "Intense study of the Bible," he says, "will keep any writer from being vulgar, in point of style." Granted; and the sacred scriptures of any people and any creed would have the some influence. Vulgarity, unless it is bestial, is monkeyish. Obviously this is a characteristic alien to religion, which is based on the sense of wonder, and deals chiefly with the sublime. While the mind is absorbed by the unseen, imagination is called into play; and imagination is the antithesis 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 wretch 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 defiance of their feelings. Now Monotheism, such as the Bible in its sublimest parts is pregnant with, naturally banishes this disposition, 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 awe. How then do I account for the vulgarities of the Salvation Army? Simply by the fact that these people have no awe; they show the absurdities of religion without its sentiments. They are townspeople, used to music-halls, public-houses, street-fights, and frivolous crowds. Their antics would be impish to religionists whose awe was nurtured by hills and forests, the rising and setting sun, and the majesty of night.
Not only do we find the same austere simplicity 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 subtlety and dexterity; 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 lyrics, to say nothing of Chaucer, is only to be emulated in later ages, whose life is so much more complex, by a recluse 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 passionate literature. ?schylus, Lucretius, Dante, Milton; how does the Bible excel these in that respect? When we come to Shakespeare we find a sublimity which transcends that of Isaiah, Ezekiel, and Job, with a pathos, a humor, and a wit............