And the Word has existed from the beginning, being the God-Said of the creative week. In man's potencies of whatever kind — moral, intellectual, emotional, aesthetic — whatever power or virtue or grace there may be — in all this we behold an image of the Lord from heaven. Once more: personality cannot, at least in this world, exist apart from embodiment, or some kind of incarnation, which shall be to it for sphere and vehicle and instrument. Some kind of body is needed which, by its avenues and organs, shall awaken, disclose, and perfect character.
And as Christ's body vehicled and organed His Personality, and so enabled Him to manifest the fullness of the Godhead which dwelt in Him body-wise, so man's body was made in the image of Christ's, even that body which in His eternal foreknowledge was eternally His. This, then, was the image in which man was created, the image of Christ's human Personality, or Christ's spirit and soul and body. Man is the image of Christ and Christ is the image of God; that is to say: Man is the image of the image of God, or God's image as seen in secondary reflection.
On his body side he sprang from dust: on his soul side he sprang up with the animals: on his spirit side he sprang from God.
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Thus, in his very beginning, in the original makeup of him, man was a religious being. Coming into existence as God's inbreathing, man was, in the very fact of being Divinely inbreathed, God's Son and image.
Clue: Genesis man
Well, then, might man's first home be an Eden — type of heaven, and his first day God's seventh day — even the Creator's Sabbath. Man's authority over nature. It was man's original commission, humanity's primal charter. And history is the story of the execution of the commission, civilization the unfolding of the privileges of the charter. Wherever civilized man has gone, there he has been gaining dominion over the fish of the sea, and the fowl of the air, and every living thing that moveth on the earth, ay, subduing earth itself.
See, e. Again: see man's supremacy over the face of Nature; see, e. Gothard; and spans rivers, as the St. Lawrence; and stretches railways, as from Atlantic to Pacific; see how he reclaims mountain slopes and heaths and jungles and deserts and pestilential swamps, bringing about interchanges of vegetable and animal life, and even mitigating climates, so that here, at least, man may be said to be the creator of circumstances rather than their creature.
Again: see man's supremacy over the forces and resources of Nature; see how he subsidizes its mineral substances, turning its sands into lenses, its clay into endless blocks of brick, its granite into stalwart abutments, its iron into countless shapes for countless purposes, its gems into diadems; see how he subsidizes its vegetable products, making its grains feed him, its cottons clothe him, its forests house him, its coals warm him. See how he subsidizes the mechanical powers of nature, making its levers lift his loads, its wheels and axles weigh his anchors, its pulleys raise his weights, its inclined planes move his blocks, its wedges split his ledges, its screws propel his ships.
See how he subsidizes the natural forces, making the air waft his crafts, the water run his mills, the heat move his engines, the electricity bear his messages, turning the very gravitation into a force of buoyancy. But in whose name shall man administer the mighty domain?
In his own name, or in another's? In another's most surely, even in the name of Him in whose image he is made.
Man holds the estate of earth in fief; his only right the right of usufruct. Jesus Christ the archetypal Man. Jesus the form, mankind the figure. See Romans ; Colossians ; Revelation Man's incomparable dignity. His starting point is the Eternal, Infinite One. A genuine coin, stamped in effigy of Kaiser or President, is worth what it represents.
Man, stamped in the effigy of the King of kings and Lord of lords, is worth, let me dare to say it, what he represents, even Deity. Little lower than the angels, little lower than Elohim, did Elohim make him Psalm All this explains why this earth, cosmically so tiny, morally is so vast. Jesus Christ came not to save the worthless. Sign in. Find out what critically acclaimed shows and highly anticipated movie the Spider-Man: Far from Home star has on her Watchlist. Watch now. A man tells his grandchildren about prehistoric man. Weakhands is unable to court a woman because of his physical weakness.
Humiliated by Bruteforce, he bumps into Lillywhite, who has also been cowering since her mother died. But when they venture out in search of breakfast, Bruteforce separates the couple and sends Weakhands scrambling into a cave. There, he hits upon the design for a club: A rock on the end of a stick. With this equalizer, he soon vanquishes Bruteforce and wins Lillywhite back again. Although this short drama of primitive man was apparently intended as a serious work, it's awfully difficult to watch it today without at least cracking a smile. Whatever the filmmakers' intentions -- and they're not entirely clear -- Man's Genesis is undeniably funny.
Maybe director D. Griffith was concerned that audiences would find this material amusing no matter how he handled it, for he added a subtitle calling the film "A Psychological Comedy Founded Upon the Darwinian Theory of the Evolution of Man. If not, it's a drama.
And by the way, what's a "psychological comedy"?
The story is presented as a parable of ancient times which takes the audience back to the discovery of creative intelligence, specifically, to the very moment a primitive man discovers his ability to craft a tool to achieve an important goal. This isn't at all the "genesis" of humanity, but why quibble?
The caveman episode which comprises the bulk of this film is presented as a tale-within-a-tale, told by an old man to a little boy and girl who are squabbling, a pair of siblings who are presumably his grandchildren. One aspect of unintended comedy is the implication that this anecdote is a flashback to Grandpa's childhood, back in the Stone Age!
Despite having to wear grassy outfits and fur pelts that are sure to provoke mirth, the actors in the Stone Age sequence appear to take their roles seriously, especially the solemn leading lady, Mae Marsh. Mae struggles to maintain her dignity while the male actors behave in an ape-like fashion, crouching behind boulders and barking at each other.
As you'd imagine the story enacted is rudimentary, a basic conflict between a bullying Goliath and a weak but clever David.
The intended moral is problematic, however. It seems the old man telling the tale intends to teach the children that we should use our intelligence to solve conflicts, that Might does not make Right, yet the protagonist of his story uses his intelligence to build a club, then uses this weapon to pound his enemy to death. Hasn't he demonstrated that Might, backed by intelligence, is indeed Right? At the end, when the old man finishes telling this story, we half expect the little boy to utilize the lesson by building a club to pummel his sister; instead, the kids go off together happily, hand in hand, having learned.
Man's Genesis is not entirely ridiculous. It's certainly unusual and well worth seeing, either for campy laughs or to get some sense of what contemporary attitudes were about early civilization, but no one is going to mistake it for a serious work of speculative anthropology. I would love to know what the director and his players actually believed they were doing.
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