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Schaff - History of the Christian Church Vol. 8 - Media Sabda Org

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220<br />

gave to <strong>the</strong> Germans, in <strong>the</strong>ir own vernacular, a version <strong>of</strong> <strong>the</strong> Bible, a<br />

catechism, and a hymn-book. Calvin did not translate <strong>the</strong> Scriptures<br />

(although from his commentaries a tolerably complete version might be<br />

constructed), and his catechism and a few versified psalms never became<br />

popular; but he wrote classical French as well as classical Latin, and<br />

excelled his contemporaries in both. He was schooled in <strong>the</strong> Renaissance,<br />

but, instead <strong>of</strong> running into <strong>the</strong> pedantic Ciceronianism <strong>of</strong> Bembo, he made<br />

<strong>the</strong> old Roman tongue subservient to <strong>Christian</strong> thought, and raised <strong>the</strong><br />

French language to <strong>the</strong> dignity <strong>of</strong> one <strong>of</strong> <strong>the</strong> chief organs <strong>of</strong> modern<br />

civilization, distinguished for directness, clearness, precision, vivacity, and<br />

elegance.<br />

The modern French language and literature date from Calvin and his<br />

contemporary, François Rabelais (1483–1553). These two men, so totally<br />

different, reflect <strong>the</strong> opposite extremes <strong>of</strong> French character. Calvin was <strong>the</strong><br />

most religious, Rabelais <strong>the</strong> most witty man, <strong>of</strong> his generation; <strong>the</strong> one <strong>the</strong><br />

greatest divine, <strong>the</strong> o<strong>the</strong>r <strong>the</strong> greatest humorist, <strong>of</strong> France; <strong>the</strong> one a<br />

<strong>Christian</strong> stoic, <strong>the</strong> o<strong>the</strong>r a hea<strong>the</strong>n Epicurean; <strong>the</strong> one represented<br />

discipline bordering on tyranny, <strong>the</strong> o<strong>the</strong>r liberty running into license.<br />

Calvin created <strong>the</strong> <strong>the</strong>ological and polemical French style,—a style which<br />

suits serious discussion, and aims at instruction and conviction. Rabelais<br />

created <strong>the</strong> secular style, which aims to entertain and to please. f368<br />

Calvin sharpened <strong>the</strong> weapons with which Bossuet and <strong>the</strong> great Roman<br />

Catholic divines <strong>of</strong> <strong>the</strong> seventeenth century attacked Protestantism, with<br />

which Rousseau and <strong>the</strong> philosophers <strong>of</strong> <strong>the</strong> eighteenth century attacked<br />

<strong>Christian</strong>ity, and with which Adolf Monod and Eugène Bersier <strong>of</strong> <strong>the</strong><br />

nineteenth century preached <strong>the</strong> simple gospel <strong>of</strong> <strong>the</strong> New Testament. f369<br />

§ 67. CALVIN’S LITERARY LABORS.<br />

The best edition <strong>of</strong> Calvin’s Opera by <strong>the</strong> Strassburg pr<strong>of</strong>essors,<br />

BAUM, CUNITZ, and REUSS (now all dead), embraces so far 48<br />

quarto vols. (1863–1892); <strong>the</strong> remaining volumes were prepared<br />

for publication by Dr. Reuss before his death (1891). He wrote to<br />

me from Neuh<strong>of</strong>, near Strassburg, July 11, 1887: “Alles ist zum<br />

Druck vorbereitet und ganz fertig mit Prolegomenis, etc. Es bleibt<br />

nichts mehr zu thun übrig als die Correctur und die Fortsetzung<br />

des immer à jour gehaltenen Index rerum et nominum, et locorum<br />

S. S., was ein anderer nach meinem Tode besorgen kann. Denn ich

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