EAllusion wrote:Regarding 19th century influence, The Late War obviously isn't needed to point that out, and the problem is more than the Book of Mormon being written with 19th century literary style and form. The 19th century content in the Book of Mormon covers protestant theology, post-revolutionary notions of liberty and government, moundbuilder myth including (incorrect) ideas about the origin of Native Americans, etc. These all fit Smith's time and place well but are highly anachronistic to pre-Columbian mesoamerica. That's the backbone of the work. It's not something that can be layered in translation without the translation not having to have much of a relationship with the underlying text. Such a proposed source document might as well be an ancient recipe for lentil soup.
Well put, EA. One of the greatest contradictions in the apologetic discussion of Book of Mormon origins has been this absolute demand that any person forwarding a hypothesis on the composition of the text essentially spell out in detail, supplying all pertinent evidence--firsthand accounts being a must, exactly how it was done. Naturally this has had the impact of driving people to do exactly that. But the usual way literary analysis is done does not involve proving that Edgar Allen Poe had the poetry of Elizabeth Barrett Browning open at his elbow when he was composing The Raven. It instead involves comparing the language of Poe's famous poem with the poetry of Browning. Where there are echoes, one assumes that the influence of Browning has exerted itself in Poe's mind, whether Poe consciously summoned it or not.
Those of us who fiddle around with music composition have perhaps had the experience of jamming on some chords, stumbling onto something that is very pleasing, and then thinking, "Eureka! This is amazing!", only to realize, suddenly, that you are playing a song someone else had already written.
Is that what is going on here? I don't know. The proposed influence appears to be pervasive, but I think that those who object on the grounds that the narrative and content of the Book of Mormon are quite different from Hunt are making an obviously true observation. So, is Smith or "the author" deliberately drawing on Hunt for a purpose? Is he simply using the few resources he has to cobble together an ambitious project? Is he a musician or poet, riffing on the material he knows best, and composing a rather remarkable prose epic?
Personally, I am intrigued by the latter possibility. I view the Book of Mormon as a continuation of the epic tradition, which is, in its ancient roots, a prophetic enterprise. Epic poets and bards all drew upon the tradition of their predecessors and worked to add something of their own to the tradition. We can view the pseudo-biblical prose epics of the 18th and early 19th century as Smith's epic predecessors. For all of the obvious flaws of the product, I would argue that his work is more ingenious than these others and certainly it was more enduring.
One of the problems we face in grappling with these issues is our naïve way of chopping up the world of literature and assigning what may be rather arbitrary values to it all. But, the boundaries that are set for the purposes of community construction and maintenance have little to do with the larger history of literature. The Book of Mormon, humble as it is in many ways, belongs in the tradition of not only the Bible, but also Homer, and, more immediately, Spalding and Hunt.
I don't think this is anything to resist, make fun of, or take for granted. It is something that could be much better understood by those who choose to have any particular relationship with the text. The problem starts, in my view, when we demand that our choice be at the center of the universe, or, having rejected that choice, decide that our former choice should be stomped on and ridiculed. We see that predictable drama played out every day in conversations between LDS and ex-LDS people.
I am salivating, but maybe not for the reasons others are. As a student of ancient epic, I have long viewed the Book of Mormon through that lens. In fact, I see the Book of Mormon as being like the Christian epics of the Renaissance in many ways--think Jerusalem Liberated or the Lusiads. Unfortunately I was lacking a reasonably close epic model in Smith's environment from which some of his framework was perhaps being borrowed. I think in Hunt I have found one such work. Hunt is not
the key to unraveling the mystery of the Book of Mormon.
I see it as
a key to better understanding the literary tradition in which Joseph Smith was operating. It is a tradition that can be appreciated either secularly, spiritually, or both secularly and spiritually.
"Petition wasn’t meant to start a witch hunt as I’ve said 6000 times." ~ Hanna Seariac, LDS apologist