The Art of Illustration E-Book

C. H. Spurgeon

• Herausgeber: Booksell-Verlag
• Kategorie: Religion und Spiritualität
• Sprache: Englisch

Veröffentlichungsjahr: 2021

Beschreibung

In "The Art of Illustration," C. H. Spurgeon presents a seminal exploration of the significance and techniques of effective preaching through the use of illustrations. Combining a wealth of Biblical references with practical advice, Spurgeon's literary style is characterized by a blend of eloquent prose and vivid imagery, making complex theological concepts accessible to both clergy and laypersons alike. Written in the context of 19th-century evangelicalism, the book reflects Spurgeon's intent to enhance the persuasiveness and relatability of sermons, urging preachers to utilize relatable narratives that resonate with their congregations. C. H. Spurgeon, revered as the 'Prince of Preachers,' was a notable Baptist minister whose sermons gained immense popularity during his lifetime and continue to influence modern preaching. His deep commitment to the Gospel and mastery of communication can be attributed to a rich background in pastoral work, where he recognized the need for preachers to connect with their audiences through compelling stories and analogies. Spurgeon's own experiences and challenges in ministry inform his insights in this work, making it both personal and profoundly practical for aspiring and seasoned ministers. For anyone seeking to invigorate their sermons and deepen their impact, "The Art of Illustration" serves as an invaluable resource. Spurgeon's encouraging guidance not only equips preachers with essential tools for effective communication but also inspires a greater appreciation for the transformative power of storytelling in the context of sharing faith.

Leseprobe

C. H. Spurgeon

The Art of Illustration

Published by Good Press, 2022

[email protected]

EAN 4057664635921

Table of Contents

LECTURE I.

LECTURE II.

LECTURE III.

LECTURE IV.

LECTURE V.

LECTURE I.

Table of Contents

ILLUSTRATIONS IN PREACHING.

The topic now before us is the use of illustrations in our sermons. Perhaps we shall best subserve our purpose by working out an illustration in the present address; for there is no better way of teaching the art of pottery than by making a pot. Quaint Thomas Fuller says, "Reasons are the pillars of the fabric of a sermon; but similitudes are the windows which give the best lights." The comparison is happy and suggestive, and we will build up our discourse under its direction.

The chief reason for the construction of windows in a house is, as Fuller says, to let in light. Parables, similes, and metaphors have that effect; and hence we use them to illustrate our subject, or, in other words, to "brighten it with light," for that is Dr. Johnson's literal rendering of the word illustrate. Often when didactic speech fails to enlighten our hearers we may make them see our meaning by opening a window and letting in the pleasant light of analogy. Our Saviour, who is the light of the world, took care to fill his speech with similitudes, so that the common people heard him gladly; his example stamps with high authority the practice of illuminating heavenly instruction with comparisons and similes. To every preacher of righteousness as well as to Noah, wisdom gives the command, "A window shalt thou make in the ark." You may build up laborious definitions and explanations and yet leave your hearers in the dark as to your meaning; but a thoroughly suitable metaphor will wonderfully clear the sense. The pictures in an illustrated paper give us a far better idea of the scenery which they represent than could be conveyed to us by the best descriptive letterpress; and it is much the same with scriptural teaching: abstract truth comes before us so much more vividly when a concrete example is given, or the doctrine itself is clothed in figurative language. There should, if possible, be at least one good metaphor in the shortest address; as Ezekiel, in his vision of the temple, saw that even to the little chambers there were windows suitable to their size. If we are faithful to the spirit of the gospel we labor to make things plain: it is our study to be simple and to be understood by the most illiterate of our hearers; let us, then, set forth many a metaphor and parable before the people. He wrote wisely who said, "The world below me is a glass in which I may see the world above. The works of God are the shepherd's calendar and the plowman's alphabet." Having nothing to conceal, we have no ambition to be obscure. Lycophron declared that he would hang himself upon a tree if he found a person who could understand his poem entitled "The Prophecy of Cassandra." Happily no one arose to drive him to such a misuse of timber. We think we could find brethren in the ministry who might safely run the same risk in connection with their sermons. Still have we among us those who are like Heraclitus, who was called "the Dark Doctor" because his language was beyond all comprehension. Certain mystical discourses are so dense that if light were admitted into them it would be extinguished like a torch in the Grotta del Cane: they are made up of the palpably obscure and the inexplicably involved, and all hope of understanding them may be abandoned. This style of oratory we do not cultivate. We are of the same mind as Joshua Shute, who said: "That sermon has most learning in it that has most plainness. Hence it is that a great scholar was wont to say, 'Lord, give me learning enough, that I may preach plain enough.'"

Windows greatly add to the pleasure and agreeableness of a habitation, and so do illustrations make a sermon pleasurable and interesting. A building without windows would be a prison rather than a house, for it would be quite dark, and no one would care to take it upon lease; and, in the same way, a discourse without a parable is prosy and dull, and involves a grievous weariness of the flesh. The preacher in Solomon's Ecclesiastes "sought to find out acceptable words," or, as the Hebrew has it, "words of delight": surely, figures and comparisons are delectable to our hearers. Let us not deny them the salt of parable with the meat of doctrine. Our congregations hear us with pleasure when we give them a fair measure of imagery: when an anecdote is being told they rest, take breath, and give play to their imaginations, and thus prepare themselves for the sterner work which lies before them in listening to our profounder expositions. Riding in a third-class carriage some years ago in the eastern counties, we had been for a long time without a lamp; and when a traveler lighted a candle, it was pleasant to see how all eyes turned that way, and rejoiced in the light: such is frequently the effect of an apt simile in the midst of a sermon; it lights up the whole matter, and gladdens every heart. Even the little children open their eyes and ears, and a smile brightens up their faces as we tell a story; for they, too, rejoice in the light which streams in through our windows. We dare say they often wish that the sermon were all illustrations, even as the boy desired to have a cake made all of plums; but that must not be: there is a happy medium, and we must keep to it by making our discourse pleasant hearing, but not a mere pastime. No reason exists why the preaching of the gospel should be a miserable operation either to the speaker or to the hearer. Pleasantly profitable let all our sermons be. A house must not have thick walls without openings, neither must a discourse be all made up of solid slabs of doctrine without a window of comparison or a lattice of poetry; if so, our hearers will gradually forsake us, and prefer to stay at home and read their favorite authors, whose lively tropes and vivid images afford more pleasure to their minds.

Every architect will tell you that he looks upon his windows as an opportunity for introducing ornament into his design. A pile may be massive, but it cannot be pleasing if it is not broken up with windows and other details. The palace of the popes at Avignon is an immense structure; but the external windows are so few that it has all the aspect of a colossal prison, and suggests nothing of what a palace should be. Sermons need to be broken up, varied, decorated, and enlivened; and nothing can do this so well as the introduction of types, emblems, and instances. Of course, ornament is not the main point to be considered; but still many little excellences go to make up perfection, and this is one of the many, and therefore it should not be overlooked. When Wisdom built her house she hewed out her seven pillars, for glory and for beauty, as well as for the support of the structure; and shall we think that any rough hovel is good enough for the beauty of holiness to dwell in? Certainly a gracious discourse is none the better for being bereft of every grace of language. Meretricious ornament we deprecate, but an appropriate beauty of speech we cultivate. Truth is a king's daughter, and her raiment should be of wrought gold; her house is a palace, and it should be adorned with "windows of agate and gates of carbuncle."

Illustrations tend to enliven an audience and quicken attention. Windows, when they will open—which, alas! is not often the case in our places of worship—are a great blessing by refreshing and reviving the audience with a little pure air, and arousing the poor mortals who are rendered sleepy by the stagnant atmosphere. A window should, according to its name, be a wind-door, through which a breath of air may visit the audience; even so, an original figure, a noble image, a quaint comparison, a rich allegory, should open upon our hearers a breeze of happy thought, which will pass over them like life-giving breath, arousing them from their apathy, and quickening their faculties to receive the truth. Those who are accustomed to the soporific sermonizings of certain dignified divines would marvel greatly if they could see the enthusiasm and lively delight with which congregations listen to speech through which there flows a quiet current of happy, natural illustration. Arid as a desert are many volumes of discourses which are to be met with upon the booksellers' dust-covered shelves; but if in the course of a thousand paragraphs they contain a single simile, it is as an oasis in the Sahara, and serves to keep the reader's soul alive. In fashioning a discourse think little of the bookworm, which will be sure of its portion of meat however dry your doctrine, but have pity upon those hungering ones immediately around you who must find life through your sermon or they will never find it at all. If some of your hearers sleep on they will of necessity wake up in eternal perdition, for they hear no other helpful voice.

While we thus commend illustrations for necessary uses, it must be remembered that they are not the strength of a sermon any more than a window is the strength of a house; and for this reason, among others, they should not be too numerous. Too many openings for light may seriously detract from the stability of a building. We have known sermons so full of metaphors that they became weak, and we had almost said crazy, structures. Sermons must not be nosegays of flowers, but sheaves of wheat. Very beautiful sermons are generally very useless ones. To aim at elegance is to court failure. It is possible to have too much of a good thing: a glass house is not the most comfortable of abodes, and besides other objectionable qualities it has the great fault of being sadly tempting to stone-throwers. When a critical adversary attacks our metaphors he generally makes short work of them. To friendly minds images are arguments, but to opponents they are opportunities for attack; the enemy climbs up by the window. Comparisons are swords with two edges which cut both ways; and frequently what seems a sharp and telling illustration may be wittily turned against you, so as to cause a laugh at your expense: therefore do not rely upon your metaphors and parables. Even a second-rate man may defend himself from a superior mind if he can dexterously turn his assailant's gun upon himself. Here is an instance which concerns myself, and I give it for that reason, since these lectures have all along been autobiographical. I give a cutting from one of our religious papers: "Mr. Beecher was neatly tripped up in 'The Sword and the Trowel.' In his 'Lectures on Preaching' he asserts that Mr. Spurgeon has succeeded 'in spite of his Calvinism'; adding the remark that 'the camel does not travel any better, nor is it any more useful, because of the hump on its back.' The illustration is not a felicitous one, for Mr. Spurgeon thus retorts: 'Naturalists assure us the camel's hump is of great importance in the eyes of the Arabs, who judge of the condition of their beasts by the size, shape, and firmness of their humps. The camel feeds upon his hump when he traverses the wilderness, so that in proportion as the animal travels over the sandy wastes, and suffers from privation and fatigue, the mass diminishes; and he is not fit for a long journey till the hump has regained its proportions. Calvinism, then, is the spiritual meat which enables a man to labor on in the ways of Christian service; and, though ridiculed as a hump by those who are only lookers-on, those who traverse the weary paths of a wilderness experience know too well its value to be willing to part with it, even if a Beecher's splendid talents could be given in exchange.'"

Illustrate, by all means, but do not let the sermon be all illustrations, or it will be only suitable for an assembly of simpletons. A volume is all the better for engravings, but a scrap-book which is all woodcuts is usually intended for the use of little children. Our house should be built up with the substantial masonry of doctrine, upon the deep foundation of inspiration; its pillars should be of solid scriptural argument, and every stone of truth should be carefully laid in its place; and then the windows should be ranged in due order, "three rows" if we will: "light against light," like the house of the forest of Lebanon. But a house is not erected for the sake of the windows, nor may a sermon be arranged with the view of fitting in a favorite apologue. A window is merely a convenience subordinate to the entire design, and so is the best illustration. We shall be foolish indeed if we compose a discourse to display a metaphor; as foolish as if an architect should build a cathedral with the view of exhibiting a stained-glass window. We are not sent into the world to build a Crystal Palace in which to set out works of art and elegancies of fashion; but as wise master-builders we are to edify a spiritual house for the divine inhabiting. Our building is intended to last, and is meant for every-day use, and hence it must not be all crystal and color. We miss our way altogether, as gospel ministers, if we aim at flash and finery.

It is impossible to lay down a rule as to how much adornment shall be found in each discourse: every man must judge for himself in that matter. True taste in dress could not be readily defined, yet every one knows what it is; and there is a literary and spiritual taste which should be displayed in the measuring out of tropes and figures in every public speech. "Ne quid nimis" is a good caution: do not be too eager to garnish and adorn. Some men seem never to have enough of metaphors: each one of their sentences must be a flower. They compass sea and land to find a fresh piece of colored glass for their windows, and they break down the walls of their discourses to let in superfluous ornaments, till their productions rather resemble a fantastic grotto than a house to dwell in. They are grievously in error if they think that thus they manifest their own wisdom, or benefit their hearers. I could almost wish for a return of the window-tax if it would check these poetical brethren. The law, I believe, allowed eight windows free from duty, and we might also exempt "a few, that is eight" metaphors from criticism; but more than that ought to pay heavily. Flowers upon the table at a banquet are well enough; but as nobody can live upon bouquets, they will become objects of contempt if they are set before us in lieu of substantial viands. The difference between a little salt with your meat and being compelled to empty the salt-cellar is clear to all; and we could wish that those who pour out so many symbols, emblems, figures, and devices would remember that nausea in oratory is not more agreeable than in food. Enough is as good as a feast; and too many pretty things may be a greater evil than none at all.

It is a suggestive fact that the tendency to abound in metaphor and illustration becomes weaker as men grow older and wiser. Perhaps this may, in a measure, be ascribed to the decay of their imagination; but it also occurs at the same time as the ripening of their understanding. Some may have to use fewer figures of necessity, because they do not come to them as aforetime; but this is not always the case. I know that men who still possess great facility in imagery find it less needful to employ that faculty now than in their earlier days, for they have the ear of the people, and they are solemnly resolved to fill that ear with instruction as condensed as they can make it. When you begin with a people who have not heard the gospel, and whose attention you have to win, you can hardly go too far in the use of figure and metaphor. Our Lord Jesus Christ used very much of it; indeed, "without a parable spake he not unto them"; because they were not educated up to the point at which they could profitably hear pure didactic truth. It is noticeable that after the Holy Ghost had been given, fewer parables were used, and the saints were more plainly taught of God. When Paul spoke or wrote to the churches in his epistles he employed few parables, because he addressed those who were advanced in grace and willing to learn. As Christian minds made progress the style of their teachers became less figurative, and more plainly doctrinal. We seldom see engravings in the classics of the college; these are reserved for the spelling-books of the dame-school. This should teach us wisdom, and suggest that we are to be bound by no hard and fast rules, but should use more or less of any mode of teaching according to our own condition and that of our people.

Illustrations should really cast light upon the subject in hand, otherwise they are sham windows, and all shams are an abomination. When the window-tax was still in force many people in country houses closed half their lights by plastering them up, and then they had the plaster painted to look like panes; so that there was still the appearance of a window, though no sunlight could enter. Well do I remember the dark rooms in my grandfather's parsonage, and my wonder that men should have to pay for the light of the sun. Blind windows are fit emblems of illustrations which illustrate nothing, and need themselves to be explained. Grandiloquence is never more characteristic than in its figures; there it disports itself in a very carnival of bombast. We could quote several fine specimens of sublime spread-eagleism and magnificent nonsense.

A piece of high-flown oratory sheds light upon nothing, and does not in the faintest degree enable us to understand the reasons. The object of language of this kind is not to instruct the hearer, but to dazzle him, and, if possible, to impress him with the idea that his minister is a wonderful orator. He who condescends to use clap-trap of any kind deserves to be debarred the pulpit for the term of his natural life. Let your figures of speech really represent and explain your meaning, or else they are dumb idols, which ought not to be set up in the house of the Lord.

It may be well to note that illustrations should not be too prominent, or, to pursue our figure, they should not be painted windows, attracting attention to themselves rather than letting in the clear light of day. I am not pronouncing any judgment upon windows adorned with "glass of various colors which shine like meadows decked in the flowers of spring"; I am looking only to my illustration. Our figures are meant not so much to be seen as to be seen through. If you take the hearer's mind away from the subject by exciting his admiration of your own skill in imagery, you are doing evil rather than good. I saw in one of our exhibitions a portrait of a king; but the artist had surrounded his majesty with a bower of flowers so exquisitely painted that every one's eye was taken away from the royal figure. All the resources of the painter's art had been lavished upon the accessories, and the result was that the portrait, which should have been all in all, had fallen into a secondary place. This was surely an error in portrait-painting, even though it might be a success in art. We have to set forth Christ before the people, "evidently crucified among them," and the loveliest emblem or the most charming image which calls the mind away from our divine subject is to be conscientiously forsworn. Jesus must be all in all: his gospel must be the beginning and end of all our discoursing; parable and poesy must be under his feet, and eloquence must wait upon him as his servant. Never by any possibility must the minister's speech become a rival to his subject; that were to dishonor Christ, and not to glorify him. Hence the caution that the illustrations be not too conspicuous.