Bible Characters — A Reader’s Guide

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In Category - Theology
Moody, Dwight Lyman, 1837-1899, Parker, Joseph, 1830-1902, Talmage, T. De Witt (Thomas De Witt), 1832-1902, Gillette, C. B. [Author of introduction, etc.] Project Gutenberg 2017 Not confirmed
Bible -- Biography Readers of public-domain and historical texts
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Words 132,429
Reading time 576 min
Text sections 13

The catalog record for Bible Characters — A Reader’s Guide provides practical reading context through 132,429 words, 9 hr 36 min estimated reading time, and 13 detected text sections.

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Project Gutenberg metadata also associates the work with “Bible -- Biography,” connecting these edition facts with the source record’s subject description.

A composite work compiling sermons and writings on biblical figures by Dwight L. Moody, T. De Witt Talmage, and Joseph Parker, with an introduction by C. B. Gillette. The excerpts reveal vivid, dramatic retellings of episodes like John the Baptist's beheading and Saul's campaign against the Amalekites, emphasizing moral lessons and divine judgment.
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an who went to Heaven, and he went by way of blood. So we find it in all the worships of God from the earliest times.

In the story of Abel and Cain we are told: “In process of time it came to pass that Cain brought of the fruit of the ground an offering unto the Lord. And Abel also brought of the firstlings of his flock, and of the fat thereof, and the Lord had respect unto Abel and to his offering; but unto Cain and his offering He had not respect. And Cain was very wroth, and his countenance fell.”

Now, we find that Cain brought a bloodless sacrifice--“he brought of the fruit of the ground”--and Abel brought a bleeding lamb. Right on the morning of grace we see here that God had marked a way for men to come to Him, and that way was the way that Abel took, and Cain came to God with a sacrifice of his own, in his own way. Cain, perhaps, reasoned that he did not see why the products of the earth--why the fruit--should not be as acceptable to God as a bleeding lamb. He did not like a bleeding lamb, and so he brought his fruit.

Now, we do not know how there was any difference between those two boys. Both must have been brought up in the same way; both came from the same parents. Yet we find in the offerings there was a difference between them.

In the twenty-second chapter of Genesis we find the story of Abraham and his only son, Isaac. Abraham was a follower of God, a man who loved and feared God, and He commanded him to make a blood sacrifice.

We read in this chapter that He commanded Abraham to make the sacrifice of his only son. And we read that the next morning the old man saddled his ass and started. He did not tell his wife any thing about it. If he had, she would likely have persuaded him to remain where he was. But he has heard the voice of God, and he obeys the command. He has heard God’s wish, and he is going to do it.

So, early in the morning--Abraham did not wait till 10 or 12 o’clock, but went early in the morning--he takes two of his young men with him and his son Isaac, and you can see him starting out on the three days’ journey. They have the wood and the fire, for he is going to worship his God.

As Abraham goes on, he looks at his boy and says: “It is a strange commandment that God has given. I love this boy dearly. I do not understand it, but I do know it is all right, for the Judge of all the earth makes no mistakes.” An order from the Judge of Heaven is enough for Abraham.

The first night comes, their little camp is made, and Isaac is asleep. But the old man does not sleep. He looks into the face of his sleeping boy, and sadly says: “I will have no boy soon. I shall never see him on this earth again. But I must obey God.”

I can see Abraham marching on the next day, and you might have seen him drying his tears as he glanced upon that only son and thought upon what he had been called upon to do. The second night comes; tomorrow is the day for the sacrifice. What a night that must have been to Abraham! Hear him say: “Tomorrow I must take the life of that boy--my only son, dearer to me than any thing on earth--dearer to me than my life.”

The third day comes, and as they go along they see the mountain in the distance. Then Abraham says to the young men: “You stay here with the beasts.” He takes the wood and the fire, and along with his boy prepares to ascend Mount Moriah, from the peak of which could be seen the spot where, a few hundred years later, the Son of man was offered up.

This volume assembles character studies from three prominent nineteenth-century preachers—Dwight L. Moody, T. De Witt Talmage, and Joseph Parker—each offering a distinct homiletic voice. The excerpts show Talmage’s flair for graphic, sensory detail: in his account of John the Baptist’s death, he describes “the ghastly, bleeding head” and “the death glare” still in the eyes, while the banqueters “shout with laughter.” The editor, C. B. Gillette, frames the collection as a way to gain “personal acquaintance” with biblical figures, though the actual content is less biographical analysis than dramatic sermonizing.

Sensationalism and Moral Framing

Talmage’s style relies on heightened, almost cinematic imagery to drive home moral points. In the John the Baptist passage, he contrasts the innocent birthday festival—“No harm in kindling the lights”—with the grisly aftermath: Salome carries the head “with as much indifference as a waiting maid might take a tray of empty glassware.” The effect is to shock the reader into revulsion, then pivot to a lesson about the corruption of worldly celebrations. Similarly, his account of Saul’s battle against the Amalekites builds a crescendo of violence—“swords cut and hack; javelins ring on shields”—only to undercut the victory with Saul’s disobedience over spoils. The moral is explicit: the Israelites “are conquered by sheep and oxen.” This pattern of vivid horror followed by doctrinal commentary recurs throughout the excerpts.

Editorial Intent vs. Actual Content

Gillette’s introduction promises a collection that helps readers “draw as near as possible to these great and good characters.” Yet the excerpts do not provide intimate character portraits; instead, they offer dramatic retellings of key episodes, often with heavy editorializing. For instance, the John the Baptist narrative focuses on Salome’s dance and the beheading, not on John’s own teachings or personality. The Saul passage is less about Saul’s inner conflict than about the external spectacle of battle and the lesson of obedience. The catalog subject “Bible—Biography” is thus somewhat misleading: the work is better described as a sermon anthology that uses biblical figures as springboards for moral exhortation.

Voice and Variation Among Contributors

Although the excerpts are attributed to three authors, the sample primarily showcases Talmage’s oratorical style. Moody and Parker are mentioned in the introduction but do not appear in the provided text. The introduction itself notes Moody’s power came not from “superior scholarship” or eloquence but from “the power of God,” suggesting a contrast in approach. Parker is described as drawing from an “immense intellectual store-house.” Without excerpts from all three, the reader cannot assess how their voices differ. The title page lists them as “Famous Authors,” but the actual range of homiletic methods remains partially obscured by the selection.

Readers approaching this volume should expect not systematic biography but fervent, scene-driven sermons that prioritize moral impact over historical or psychological depth. The excerpts suggest a work best sampled for its period rhetoric and its window into late-nineteenth-century American preaching. Those seeking a balanced, scholarly treatment of biblical figures will need to supplement this collection with other sources.

I keep thinking about those old sermons—Moody’s fiery Saul, Talmage’s doomed Baptist—and how they make judgment feel so immediate. Yet, in quieter hours, I find myself returning to the songs those same men surely hummed between chapters, their tunes carrying the weight that plain prose cannot. That is what The Story of the Hymns and Tunes — Themes and Context evokes for me: the half-remembered hymn behind the preacher’s pause.

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