Manual The Great Commission Miscellaneous Writings of C. H. Mackintosh, volume IV

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Table of contents

In the spirit Rev of Jesus Christ Alpha and Omega Son of Man The churches Christ the lamb- lamb as lion, lamb takes the scroll The seals- horseman, Antichrist, confusion, black sun and bloody moon, Arrested judgment, Great awakening, fire from the altar Trumpets- star called wormwood, irruption of demons, euphrates angels, End of God,s patience, bitter honey, Measuring rod, 2 witnesses, Great panorama False Trinity- eternal plan, war in heaven, Satan rampant, wild beast out of the sea, unholy spirit, the number of man Lambs Redeemed- lamb upon Zion, everlasting gospel, vintage wine, winepress of God The Bowls- beginning of the end, wrath, judgment upon the sun, throne of the beast, prep for armageddon, 7th bowl Babylon Lord of Lord's years All things new.

The atonement money kinsman redemption of the inheritance bitten Israel rich in God glories Ruth the altar at Bethel the Shunamite Tabernacle of God with Men Grace Prevails Peace day of visitation journeys to Jerusalem the two debtors. The only begotten Son Word was made flesh I will put my trust in Him received up into Glory things in subjection under His feet Then shall the Son also Himself be subject unto Him that put all things under Him. New Testament of Old Testament Themes- rule of God, salvation, victory, people, son of David, servant messiah, shepherd king.

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Spiritual Significance in Numeralogy supernatural design in the works of God, and Word of God occurrences of words. Seal of apostleship Living of the gospel Baptized unto Moses False christ's and false prophets Natures teaching Chastening of the Lord for allowed sins Spiritual gifts Outward acts of service Structure of order in the assembly Truth of resurrection. Christ as Jehovah, last Adam, the seed, angel of the Lord, tabernacle, pascal lamb, branch, rock. What is the Bible? What is it?

Notes on the book of Exodus - The Original Classic Edition

Scripture of truth, its origin, its service, its alleged inaccuracies, the sacred books of the east. Birthplace, first call, second call, promised land, Egypt, separation, chedorlaomer, covenant, hagar, circumcision, Sodom, gerar and Beersheba, temptation, mechpelah, isaacs marriage, death. The Son of God Thou art fairer He is coming again, that blessed hope, when Jesus comes, mysteries of the kingdom, antichrist, peace in a world of war.

Meaning of worship, importance, authority, object,ground, power , manner, hindrances, place, results. Suppers of the NT Institution, purpose, participants, procedure, frequency, responsibility,. Ten studies in Hebrews 1. The Hebrews 2. The Diety of Christ 3. The Humanity of Christ 4. Our Rest 5. Our High Priest 6. Melchizedek and a better Covenant 7. A Priest in Heaven 8. An Adequate Sacrifice 9. Faith The Walk of Faith.

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Signed copy Dispensation: innocence, conscience, human government, promise, law, grace, divine government. Short papers on: the Bible, sin, conscience, law, grace, divine wrath, eternal life, cross. A series of letters to young believers- Ex- must a man be converted and why, how do I obtain peace with god, deliverance from sin, has God predestined men to be lost, election, Christ our high priest, new birth, fellowship, baptism, Lord's supper, Lord's table, worship, service, ourmplace on earth.

The reception of the gospel-faith The fruit of the gospel-love The anticipations of the gospel-hope.

Notes on the Book of Numbers

Forms of misbelief Proofs of existence of God Names and Attributes of God Trinity Truths old and new test divine persons Christ- humanity, deity, offices, resurrection, ascension Holy Spirit Man second coming tribulation coming with saints last judgments millennial reign eternal state. Great Words of the Gospel- regeneration, redemption, substitution, justification, sanctification, intercession, resurrection, expectation, manifestation, glorification. An account of its inception, progress, principles and failures, and its lessons for present day Believers. God's Unspeakable Gift What is the Gospel?

While the noble and the learned were comparing eyes to burning-glasses, and tears to terrestrial globes, coyness to an enthymeme, absence to a pair of compasses, and an unrequited passion to the fortieth remainder-man in an entail, Juliet leaning from the balcony, and Miranda smiling over the chess-board, sent home many spectators, as kind and simple-hearted as the master and mistress of Fletcher's Ralpho, to cry themselves to sleep.


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No species of fiction is so delightful to us as the old English drama. Even its inferior productions possess a charm not to be found in any other kind of poetry. It is the most lucid mirror that ever was held up to nature. The creations of the great dramatists of Athens produce the effect of magnificent sculptures, conceived by a mighty imagination, polished with the utmost delicacy, embodying ideas of ineffable majesty and beauty, but cold, pale, and rigid, with no bloom on the cheek, and no speculation in the eye.

In all the draperies, the figures, and the faces, in the lovers and the tyrants, the Bacchanals and the Furies, there is the same marble chillness and deadness. Most of the characters of the French stage resemble the waxen gentlemen and ladies in the window of a perfumer, rouged, curled, and bedizened, but fixed in such stiff attitudes, and staring with eyes expressive of such utter unmeaningness, that they cannot produce an illusion for a single moment. In the English plays alone is to be found the warmth, the mellowness, and the reality of painting.

We know the minds of men and women, as we know the faces of the men and women of Vandyke. The excellence of these works is in a great measure the result of two peculiarities, which the critics of the French school consider as defects,—from the mixture of tragedy and comedy, and from the length and extent of the action. The former is necessary to render the drama a just representation of a world in which the laughers and weepers are perpetually jostling each other,—in which every event has its serious and ludicrous side.

The latter enables us to form an intimate acquaintance with characters with which we could not possibly become familiar during the few hours to which the unities restrict the poet.

In this respect, the works of Shakspeare, in particular, are miracles of art. In a piece, which may be read aloud in three hours, we see a character gradually unfold all its recesses to us. We see it change with the change of circumstances. The petulant youth rises into the politic and warlike sovereign. The profuse and courteous philanthropist sours into a hater and scorner of his kind. The tyrant is altered, by the chastening of affliction, into a pensive moralist. The veteran general, distinguished by coolness, sagacity, and self-command, sinks under a conflict between love strong as death, and jealousy cruel as the grave.

The brave and loyal subject passes, step by step, to the extremities of human depravity. We trace his progress, from the first dawnings of unlawful ambition to the cynical melancholy of his impenitent remorse. Yet, in these pieces, there are no unnatural transitions. Nothing is omitted: nothing is crowded. Great as are the changes, narrow as is the compass within which they are exhibited, they shock us as little as the gradual alterations of those familiar faces which we see every evening and every morning.

The magical skill of the poet resembles that of the Dervise in the Spectator, who condensed all the events of seven years into the single moment during which the king held his head under the water.

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It is deserving of remark, that, at the time of which we speak, the plays even of men not eminently distinguished by genius,—such, for example, as Jonson,—were far superior to the best works of imagination in other departments. Therefore, though we conceive that, from causes which we have already investigated, our poetry must necessarily have declined, we think that, unless its fate had been accelerated by external attacks, it might have enjoyed an euthanasia, that genius might have been kept alive by the drama till its place could, in some degree, be supplied by taste,—that there would have been scarcely any interval between the age of sublime invention and that of agreeable imitation.

The works of Shakspeare, which were not appreciated with any degree of justice before the middle of the eighteenth century, might then have been the recognised standards of excellence during the latter part of the seventeenth; and he and the great Elizabethan writers might have been almost immediately succeeded by a generation of poets similar to those who adorn our own times. But the Puritans drove imagination from its last asylum. They prohibited theatrical representations, and stigmatised the whole race of dramatists as enemies of morality and religion.

Much that is objectionable may be found in the writers whom they reprobated; but whether they took the best measures for stopping the evil appears to us very doubtful, and must, we think, have appeared doubtful to themselves, when, after the lapse of a few years, they saw the unclean spirit whom they had cast out return to his old haunts, with seven others fouler than himself.

ISBN 13: 9781258126520

By the extinction of the drama, the fashionable school of poetry,—a school without truth of sentiment or harmony of versification,—without the powers of an earlier, or the correctness of a later age,—was left to enjoy undisputed ascendency. A vicious ingenuity, a morbid quickness to perceive resemblances and analogies between things apparently heterogeneous, constituted almost its only claim to admiration.

Suckling was dead. Milton was absorbed in political and theological controversy. If Waller differed from the Cowleian sect of writers, he differed for the worse. He had as little poetry as they, and much less wit; nor is the languor of his verses less offensive than the ruggedness of theirs. In Denham alone the faint dawn of a better manner was discernible. But, low as was the state of our poetry during the civil war and the Protectorate, a still deeper fall was at hand.

Hitherto our literature had been idiomatic. In mind as in situation we had been islanders. The revolutions in our taste, like the revolutions in our government, had been settled without the interference of strangers. Had this state of things continued, the same just principles of reasoning which, about this time, were applied with unprecedented success to every part of philosophy would soon have conducted our ancestors to a sounder code of criticism.

There were already strong signs of improvement.


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  • Our prose had at length worked itself clear from those quaint conceits which still deformed almost every metrical composition. The parliamentary debates, and the diplomatic correspondence of that eventful period, had contributed much to this reform. In such bustling times, it was absolutely necessary to speak and write to the purpose. The absurdities of Puritanism had, perhaps, done more. At the time when that odious style, which deforms the writings of Hall and of Lord Bacon, was almost universal, had appeared that stupendous work, the English Bible,—a book which, if everything else in our language should perish, would alone suffice to show the whole extent of its beauty and power.

    The respect which the translators felt for the original prevented them from adding any of the hideous decorations then in fashion. The groundwork of the version, indeed, was of an earlier age. The familiarity with which the Puritans, on almost every occasion, used the Scriptural phrases was no doubt very ridiculous; but it produced good effects.