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Updated: May 27, 2025
Such is Phil.'s way of explaining ξεοπνευστια[Footnote: I must point out to Phil. an oversight of his as to this word at p. 45; he there describes the doctrine of theopneustia as being that of 'plenary and verbal inspiration, But this he cannot mean, for obviously this word theopneustia comprehends equally the verbal inspiration which he is denouncing, and the inspiration of power or spiritual virtue which he is substituting. Neither Phil., nor any one of his school, is to be understood as rejecting theopneustia, but as rejecting that particular mode of theopneustia which appeals to the eye by mouldering symbols, in favor of that other mode which appeals to the heart by incorruptible radiations of inner truth.] (theopneustia), or divine prompting, so as to reconcile the doctrine affirming a virtual inspiration, an inspiration as to the truths revealed, with a peremptory denial of any inspiration at all, as to the mere verbal vehicle of those revelations. He is evidently as sincere in regard to the inspiration which he upholds as in regard to that which he denies. Phil. is honest, and Phil. is able. Now comes my turn. I rise to support my leader, and shall attempt to wrench this notion of a verbal inspiration from the hands of its champions by a reductio ad absurdum, viz., by showing the monstrous consequences to which it leads which form of logic Phil. also has employed briefly in the last paragraph of last month's paper; but mine is different and more elaborate. Yet, first of all, let me frankly confess to the reader, that some people allege a point-blank assertion by Scripture itself of its own verbal inspiration; which assertion, if it really had any existence, would summarily put down all cavils of human dialectics. That makes it necessary to review this assertion. This famous passage of Scripture, this locus classicus, or prerogative text, pleaded for the verbatim et literatim inspiration of the Bible, is the following; and I will so exhibit its very words as that the reader, even if no Grecian, may understand the point in litigation. The passage is this:
For it is a law of nature that people soon forget an old benefit, unless you keep on renewing it by later ones, for however often you oblige them, if you refuse them one request, they only remember the refusal. Another motive was that Classicus was dead, and so there was no fear of the odium of endangering a senator, which in these cases is usually the most serious objection.
Well, the outcome of our line of attack was as follows: the Senate decreed that the property owned by Classicus before he went to the Province should be set apart from that which he subsequently acquired, and that his daughter should receive the former and the rest be handed over to the victims of his extortion.
The above version is by Dom John Chapman, O.S.B., who says that this passage was "cited throughout the Middle Ages as the locus classicus for method of contemplation." This is, except for our text, the earliest mention of the "Dark Ray" in literature. Evidently Pseudo Dionysius did not invent the term himself, but followed a much older Christian tradition.
But whenever, as here, they come from the depths of personal experience, they possess peculiar freshness and force; and, indeed, this Colloquy of the Saint of Siena with her Lord has become a locus classicus in the literature of the interior life.
The locus classicus in regard to this personage is in Lord Cockburn's "Memorials of his Time." "Strong built and dark, with rough eyebrows, powerful eyes, threatening lips, and a low growling voice, he was like a formidable blacksmith. His accent and dialect were exaggerated Scotch; his language, like his thoughts, short, strong, and conclusive.
Provision had been made for such cases by the laws, but the custom had fallen into disuse and it was revived then for the first time after many years. Another argument urged by the Baetici for continuing the suit was that they had impeached not only Classicus, but his intimates and tools, and had demanded leave to prosecute them by name.
And the volume ended with a poem, which Wordsworth composed in 1798, in one day, during a tour with his sister to Tintern and Chepstow. The Lines written above Tintern Abbey have become, as it were, the locus classicus or consecrated formulary of the Wordsworthian faith. They say in brief what it is the work of the poet's biographer to say in detail.
Our plan was first to prove the guilt of Classicus himself; then it was a natural transition to his intimates and tools, because the latter could never be condemned unless Classicus were guilty. Consequently, we took two of them and closely connected them with Classicus, Baebius Probus and Fabius Hispanus, both men of some influence, while Hispanus possesses a strong gift of eloquence.
A storm of prejudice broke out against him, and there is no denying that his hands were crime-stained, that he, like many others, had taken advantage of the evil times of Domitian, and that he had been selected by the provincials to get up the case, not as a man of probity and honour, but because he had been a personal enemy of Classicus, by whom, indeed, he had been banished.
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