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The Acts of the Apostles

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WRITl^EN OR ORAL SOURCES 239<br />

cially where a sacred text was concerned) ; ra<strong>the</strong>r it was<br />

thought that exegesis approached nearer to <strong>the</strong> truth,<br />

and was <strong>the</strong> more edifying, <strong>the</strong> more things—<strong>of</strong>ten<br />

quite heterogeneous—it read into <strong>the</strong> text and <strong>the</strong><br />

more it combined toge<strong>the</strong>r things quite distinct from<br />

one ano<strong>the</strong>r.<br />

Chapter ii. suffers much from obscm-ity. It is not at<br />

all clear whe<strong>the</strong>r <strong>the</strong> event narrated took place on <strong>the</strong><br />

day <strong>of</strong> Pentecost or shortly beforehand, nor is it clear<br />

where <strong>the</strong> scene <strong>of</strong> action is placed ; <strong>the</strong>re is obscurity as<br />

to <strong>the</strong> character <strong>of</strong> <strong>the</strong> miracle ; it is doubtful whe<strong>the</strong>r<br />

<strong>the</strong> Spirit fell only upon <strong>the</strong> <strong>Apostles</strong> or upon all <strong>the</strong><br />

Christians ; it is not clear what became <strong>of</strong> <strong>the</strong> natives<br />

<strong>of</strong> Jerusalem (only Jews <strong>of</strong> <strong>the</strong> Dispersion dwelling<br />

in Jerusalem are spoken <strong>of</strong>; yet see verse 14); it is<br />

not explained how <strong>the</strong> phenomenon could have been<br />

brought to <strong>the</strong> notice <strong>of</strong> several thousand persons ; it<br />

is not clear how St. Peter could speak <strong>of</strong> great cosmic<br />

miracles, which certainly did not occur, nor are <strong>the</strong>y<br />

mentioned afterwards in <strong>the</strong> narrative—many o<strong>the</strong>r<br />

things also are obscure. But to attempt to clear away<br />

<strong>the</strong>se obscurities by assuming a written source, contain-<br />

ing none <strong>of</strong> <strong>the</strong>se faults, which has been spoiled by <strong>the</strong><br />

correction <strong>of</strong> an editor—<strong>the</strong> editor is always a simpleton—<br />

is a strange way out <strong>of</strong> <strong>the</strong> difficulty. It is ever<br />

so much more natural to suppose that we have here<br />

a worked-up narrative <strong>of</strong> a character that <strong>of</strong> itself<br />

forbids close examination into <strong>the</strong> clearness and de-<br />

finiteness <strong>of</strong> its details, because throughout one single<br />

point is kept in view. <strong>The</strong> unprejudiced reader does<br />

not notice <strong>the</strong>se instances <strong>of</strong> obscurity—on <strong>the</strong> o<strong>the</strong>r<br />

hand, <strong>the</strong> essential point <strong>of</strong> <strong>the</strong> narrative stands out

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