Andrew Guffey

"The spirits of the living world were never meant to be so neighbourly with the spirits of that other. "Grant to them eternal rest, O Lord. And let light eternal shine upon them." Let them rest in their own places of light; far, far from us be their discipline and their endeavour. The phrases of the prayers of intercession throb with something other than charity for the departed; there is a fear for the living. Grant them, grant them rest; compel them to their rest. Enlighten them, perpetually enlighten them. And let us still enjoy our refuge from their intolerable knowledge. "As if in a last communion with the natural terrors of man, Margaret Anstruther endured a recurrent shock of fear. She recalled herself. To tolerate such knowledge with a joyous welcome was meant, as the holy Doctors had taught her, to be the best privilege of man, and so remained. The best maxim towards that knowledge was yet not the Know thyself of the Greek so much as the Know love of the

Austin Farrer, A Rebirth of Images (London: Dacre, 1949). No one has applied himself to the question of the literary art of the Apocalypse with more relentlessness than Austin Farrer. The book is a masterpiece and a puzzle, at once impressive and bemusing. The entire book is dominated by the conclusion (or shall we say, conviction) that the Apocalypse “is the one great poem which the first Christian age produced” (6). Accordingly, in this study of the book of Revelation, Farrer claims “to introduce into the field of scriptural divinity a known method of poetical analysis” (20). The origins of Christianity were, in fact, a “rebirth” of the imagery of the Jewish Scriptures. The most complete rebirth was accomplished in Revelation; in John’s poetical labor, the images of the Old Testament were reborn completely with Christ as the new center. Farrer saw, more than many, the sophistication of the book. He approaches the book as a work of genius, not that of a madman, though the dif