Thessalonians 1
3:1~18--The opening 'we' subject form identifies Paul, but gives group adherence. It is later reduced to 'I' in verse 5, but the tone is clear; Paul is the mover and the troupe his 'body', so to speak. Verse 6 allows us to see that some rather large period of time has elapsed. In verse 11 there is an expression of hope to be able to travel to Thessalonica again.
Emphasis is put on 'our god' in several instances and can be said to have double usage--the implication being an insinuation of higher office by Paul and the 'Jewish' tradition, as well as the desire to include the audience.
4:1,2,9,10,17,18--These verses all deal directly with the comtemporary audience. It is important to note that in verses 16~18 the pronoun 'we' would have most reasonably included both Paul's troupe and those of the direct and immediate audience. The context and situation of the surrounding communication do not allow much room at all for this being a universal & timeless consideration. Most obviously, Paul had been teaching them about what he thought would happen in their time.
5:1~11, 14, 25~28--These are all communicated to the direct and immediate audience, thus are locked in history. It is important to take note of the usage, in verse 3, of the third person plural. This would have to have been non-Christian, and could likely have been pointing towards the Jewish temple system in Paul's mind--who knows.
Although there are a number of commands, they are actually all as historically fixed as that of verse 25--just harder to grasp today if one doesn't keep the 'letter from a first century human to another first century human' in mind.
In summery, it can be said that this letter reflects the least degree of universal & timeless principle from among the epistles--regardless of degree of authenticity. This instrument was 'alive' at the time of being written. It does not offer a view of nor the understanding of a human society's reading it some 1,949 years down the road.
We can pull parts of it from the historical setting in which the reason for its having been written, and for what it did include, and apply them for general settings in our lives' circumstances, yet that does not make the original intention for what had been written, any less fixed by historical constrants than does the fact that the letter was caused by historical facts that are no longer in existence.
There is no reason, therefore, to conclude that the instrument is of anything more than human origin, regardless of whatever esthetic value it may be said to have.
3:1~18--The opening 'we' subject form identifies Paul, but gives group adherence. It is later reduced to 'I' in verse 5, but the tone is clear; Paul is the mover and the troupe his 'body', so to speak. Verse 6 allows us to see that some rather large period of time has elapsed. In verse 11 there is an expression of hope to be able to travel to Thessalonica again.
Emphasis is put on 'our god' in several instances and can be said to have double usage--the implication being an insinuation of higher office by Paul and the 'Jewish' tradition, as well as the desire to include the audience.
4:1,2,9,10,17,18--These verses all deal directly with the comtemporary audience. It is important to note that in verses 16~18 the pronoun 'we' would have most reasonably included both Paul's troupe and those of the direct and immediate audience. The context and situation of the surrounding communication do not allow much room at all for this being a universal & timeless consideration. Most obviously, Paul had been teaching them about what he thought would happen in their time.
5:1~11, 14, 25~28--These are all communicated to the direct and immediate audience, thus are locked in history. It is important to take note of the usage, in verse 3, of the third person plural. This would have to have been non-Christian, and could likely have been pointing towards the Jewish temple system in Paul's mind--who knows.
Although there are a number of commands, they are actually all as historically fixed as that of verse 25--just harder to grasp today if one doesn't keep the 'letter from a first century human to another first century human' in mind.
In summery, it can be said that this letter reflects the least degree of universal & timeless principle from among the epistles--regardless of degree of authenticity. This instrument was 'alive' at the time of being written. It does not offer a view of nor the understanding of a human society's reading it some 1,949 years down the road.
We can pull parts of it from the historical setting in which the reason for its having been written, and for what it did include, and apply them for general settings in our lives' circumstances, yet that does not make the original intention for what had been written, any less fixed by historical constrants than does the fact that the letter was caused by historical facts that are no longer in existence.
There is no reason, therefore, to conclude that the instrument is of anything more than human origin, regardless of whatever esthetic value it may be said to have.