Introduction
1. General characteristics. Few books have exercised so wide an influence as this. Not only has it a message for believers, for whose edification it was primarily intended, but it casts a mysterious spell even over readers whose religious standpoint is furthest removed from its own. There is nothing like it in literature except the three Epistles attributed to the same source. The attempt to analyse the effect produced by a unique work of genius like the present is never successful—the effect is the product of the author's personality, and personality is unanalysable—but, without attempting this, it may be possible to draw attention in a helpful way, at the outset, to two of its leading characteristics.
(a) The writer possesses the unusual gift of clothing the profoundest ideas in language of childlike simplicity. His ideas are far deeper than St. Paul's, but are much more simply expressed. Take, for example, his descriptions of the nature of God: 'God is [a] spirit, and they that worship him must worship him in spirit and in truth'; 'He that loveth not, knoweth not God, for God is love'; or of the preexistence and divinity of the Word, 'In the beginning was the Word, and the Word was with God, and the Word was God'; or of His oneness with the eternal Father, 'I and the Father are one'; 'Before Abraham was, I AM'; or of the Incarnation, 'And the Word was made flesh, and dwelt among us (and we beheld his glory, the glory as of the only begotten of the Father) full of grace and truth'; or of Christ as the Life, 'I am the Resurrection and the Life: he that believeth in Me, though he were dead, yet shall he live, and whosoever liveth and believeth in Me shall never die'; or of true faith, 'Blessed are they that have not seen, and yet have believed.' In these and many other passages the peculiar union of simplicity and profundity produces the effect of sublimity, a characteristic often noted by the ancients, who expressed it by the figure of a soaring eagle, which became the accepted symbol, even as early as the second century, of the Fourth Evangelist.
(b) The Gospel is not only a history, but an allegory. It is the work of a mystic, trained in the allegorical method of interpreting the Scriptures, and expecting his own work to be interpreted in a like manner. 'John,' says Clement of Alexandria (200 a.d.), 'having observed that the bodily things [i.e. the bare historic facts] had been sufficiently set forth by the [earlier] Gospels,.. produced a spiritual [i.e. an allegorical] Gospel' (Euseb. 'H. E.' vi. 14). We must not, however, press the idea of allegory too far. We are not to suppose, with Origen, that some of the incidents in the Gospel are not history at all, but only allegory. But we may assume that the author's choice of materials is dominated by an allegorical or didactic purpose. He sits down to write, not a biography, but an interpretation of the life of Christ, and since his method is that of allegory, we are justified in seeking a mystical meaning not only in every saying and in every incident, but even in minute details which at first sight seem trivial. This persistent symbolism gives to the Fourth Gospel much of its mysterious charm. It produces an effect on the mind not unlike that of one of Holman Hunt's pictures. Even the uninitiated feel that far more is suggested than is expressed on the surface. Specially clear and striking examples of the author's symbolism occur in John 1:51; (the open heavens), John 2:1; (the good wine of the gospel), John 2:21; (the temple of Christ's body), John 3:5; (water and the Spirit), John 3:14; (the uplifted serpent), John 4:10; (the living water), John 4:36; (the fields white for harvest), John 6:31; (the true manna and the bread from heaven), 7, 8 (the symbolism of the feast of tabernacles), John 9:1; (the opening of the eyes of the man born blind, symbolising Christ as the Light of the world), John 10:9; John 10:11; (Christ as the Door of the sheep and the Good Shepherd), John 11:25; (the raising of Lazarus, symbolising Christ as the Resurrection and the Life), John 11:51; (the mystical meaning of the high priest's utterance), John 12:7; (the anointing, symbolising Christ's death and burial), John 12:24; (the corn of wheat), John 13:15; (the symbolical feet-washing), John 13:30; ('and it was night'), John 14:6; (Christ 'the Way'), John 15:5; (the Vine and the branches), John 16:25; (Christ's words are 'in proverbs,' i.e. allegorical), John 19:34; (the symbolism of the blood and water: cp. 1 John 5:6; 1 John 5:8), John 19:36; ('a bone of him shall not be broken'), John 20:5; (the symbolism of the grave clothes), John 20:17; ('Touch me not,' etc.), John 21:5; (symbolism of the draught of fishes and of the meal), John 20:18; (the 'girding' of Peter).