than a bird. Nor does man, when supernaturally influenced, cease to be a man. An inspired man is not God, nor a divinely manipulated Automaton?; ?In Scripture there may be as much imperfection as, in the parts of any organism, would be consistent with the perfect adaptation of that Organism to its destined end. Scripture then, taken together, is a statement of moral and religious truth sufficient for men?s salvation, or an infallible and sufficient rule of faith and practice.? J.S. Wrightnour: ?Inspire means to breathe in, as a flute player breathes into his instrument. As different flutes may have their own shapes, peculiarities, and what might seem like defects, so here; yet all are breathed into by one Spirit. The same Spirit who inspired them selected those instruments, which were best for his purpose, as the Savior selected his apostles. In these writings therefore is given us, in the precise way that is best for us the spiritual instruction and food that we need. Food for the body is not always given in the most concentrated form, but in the form that is best adapted for digestion. So God gives gold, not in coin ready stamped, but in the quartz of the mine whence it has to be dug and smelted.? Remains of Arthur H. Hallam, in John Brown?s Rab and his Friends, 274 ? ?I see that the Bible fits in to every fold of the human heart. I am a man, and I believe it is God?s book, because it is man?s book.?

4. In inspiration God may use all right and normal methods of literary composition.

As we recognize in literature the proper function of history, poetry, and fiction; of prophecy, parable, and drama; of personification and proverb; of allegory and dogmatic instruction; and even of myth and legend; we cannot deny the possibility that God may use any one of these methods of communicating truth, leaving it to us to determine in any single case which of these methods he has adopted.

In inspiration, as in regeneration and sanctification, God works ?in divers manners? ( <580101>Hebrews 1:1). The Scriptures, like the books of secular literature, must be interpreted in the light of their purpose. Poetry must not be treated as prose, and parable must not be made to ?go on all fours,? when it was meant to walk erect and to tell one simple story. Drama is not history, nor is personification to be regarded as biography. There is a rhetorical overstatement, which is intended only as a vivid emphasizing of important truth. Allegory is a popular mode of illustration. Even myth and legend may convey great lessons not otherwise apprehensible to infantile or untrained minds. A literary sense is needed in

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