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Character Costume Figure Drawing Step by Step
Drawing Methods for Theatre Costume Designers 1st
Edition Tan Huaixiang Digital Instant Download
Author(s): Tan Huaixiang
ISBN(s): 9780240805344, 0240805348
Edition: 1
File Details: PDF, 17.29 MB
Year: 2004
Language: english
character
Tan Huaixiang

costume
figure
Step-by-Step Drawing Methods for Theatre Costume Designers

AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD

PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
200 Wheeler Road, Burlington, MA 01803, USA
Linacre House, Jordan Hill, Oxford OX2 8DP, UK

Copyright © 2004, Elsevier Inc. All rights reserved.

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Library of Congress Cataloging-in-Publication Data

Tan, Huaixiang.
Character costume figure drawing : step-by-step drawing methods for
theatre costume designers / by Tan Huaixiang.
p. cm.
Includes index.
ISBN 0-240-80534-8 (pbk. : alk. paper)
1. Costume. 2. Costume design. 3. Drawing--Technique. I. Title.
PN2067.T36 2004
792.02’6--dc22
2003023767

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

For information on all Focal Press publications

visit our website at www.focalpress.com

04 05 06 07 08 10 11 9 8 7 6 5 4 3 2 1

Printed in China
Table of Contents
Preface v CHAPTER 2
Acknowledgements vi
Introduction vii
CREATING THE FACE 69
What Makes a Good Theatrical Costume Proportions of the Face—Front, Profile, and
Designer? vii Three-Quarter Views 70
The Importance of Personality and Body Step One: Establish the Head as an Abstract
Language vii Form or Mass 70
Philosophy for Drawing viii Step Two: Block in the Features 72
Step Three: Contour the Features 74
Types and Characteristics of Faces 83
CHAPTER 1 Facial Expressions 92
How Can Proper Facial Expression Be
DRAWING THE FIGURE 1 Achieved? 92
Proportions of the Body 2 Emotions 92
The Basic Bone Structure of the Body 6 Positioning the Head and Neck and Directing the
The Joints of the Body 7 Eyesight 111
The Head, Chest, and Pelvis 7
The Relationships between the Limbs and Body
Masses 10 CHAPTER 3
The Balance of the Body 10
Weight on Both Legs 10
FIGURE AND FACIAL
Weight on One Leg 16 VARIATIONS 113
Body Leaning on an Object 21 Characteristics of Different Age Groups 113
Figures in Action 24 Children’s Faces and Body Types 118
Abstract Stick Figures in Action 24 Teenagers’ Faces and Body Types 118
Contouring the Stick Figure 25 Youths’ Faces and Body Types 122
Figures in Dance 37 Middle-Aged Faces and Body Types 126
Figure Poses Change through Time and Elderly Faces and Body Types 130
Fashion 50 Characteristics of Different Figure Types 132
Garments and Textures in Relation to the Body in Heavy Body Types 132
Action 60 Thin, Tall, or Short Body Types 135
iv M CONTENTS

CHAPTER 4 CHAPTER 6
HANDS, FEET, AND RENDERING
ACCESSORIES 139 TECHNIQUES 185
Heads and Hats 140 Creating Highlights and Shadows 185
Hands, Gloves, and Props 150 Characteristics of Materials and Drawing
Hand Proportions 151 Strokes 189
Relationship Angle between Hand and Wrist 152 Painting Costumes 196
Feet and Shoes 160 Painting from Light to Dark 196
Rendering Sheer Material 207
Painting from Dark to Light 208
CHAPTER 5 Painting with Markers 217
Creating Texture 225
CHARACTER COSTUME Painting the Head and Face 233
DESIGN CREATION 169 Decorating the Background of the Costume
Design 235
What Is the Best Way to Begin? 170
Drawing Supplies 247
Proportion, Action, and Movement 171
What Is the Figure Doing beneath the
Garments? 172
Detailed Costumes 173 CHAPTER 7
Outlining the Garment 173 COSTUME RENDERING
The Details 174
GALLERY 249

Credits to Walt Stanchfield: Words of Wisdom

A handout for people who are interested in animation drawings or
want to be animators.
Preface
A
s an instructor, I have been working with the- is difficult for me to express myself exactly the way I
atre costume design students for many years. want to in English, so I hope the visual images speak
I know how students become frustrated for themselves. The various illustrations demon-
when drawing human figures, and I understand their strate my step-by-step processes. I have incorporated
needs. I feel I have a responsibility to write this book a number of examples of my costume designs into
in order to help students who have trouble drawing, each subject to give more visual explanations on the
and hope this book will greatly help all prospective topic and to show how to utilize line quality, form,
designers out there. Because English is my second and texture to create facial expressions and body
language, writing this book has been a very difficult language, and to explore variations in characters and
task. Some days I felt it was impossible and wanted garments. I have tried hard to make this book easily
to give up. But the desire to help my students—fu- comprehensible and easy to follow. I hope this book
ture designers—encouraged me to continue. is both useful to students and entertaining to casual
The development of this book is based on years readers. It can be used as a reminder or as inspira-
of experience with educational theatre and, more tion by college students and professionals who are in-
specifically, my teaching experience with college stu- terested in character drawings for all different types
dents. I know they need a guide they can use in their of character creations. I hope this book will help
free time to educate themselves and practice figure costume design students enjoy the process of figure
drawing to become skilled costume designers. I tried drawing, and if it helps even a little with design art-
to make this book instructional and fundamental. I work, I will feel rewarded.
tried to keep it simple, direct, and straightforward. It

v
 Acknowledgments
I
would like to thank all the professionals and derful, understanding leaders and for teaching me
friends who encouraged me to write this discipline and timeliness. Your positivity will always
book. be remembered.
A special thanks to Bonnie J. Kruger, who in- Thanks to the UCF Faculty Center for Teaching
troduced me to the Focal Press. Thank you to the and Learning computer lab professors and staff
Focal Press for your support and understanding. for all your great help whenever I needed it for my
Thanks to all my professors at the Central classes and computer problems.
Academy of Drama in Beijing, China: Hou Qidi, Thanks to the entire faculty and staff in the
Ma Chi, Xing Dalun, Wang Ren, Li Chang, Zhang department of theatre at the University of Central
Bingyao, Qi Mudong, Zhang Chongqing, He Yunlan, Florida for all your help, support, and kindness.
Yie Ming, An Lin, Wang Xiping, Sun Mu, and Li Thanks to my dear friends Xiangyun Jie, Julia
Dequan. You laid the foundation for me to pursue Zheng, Helen Huang, Peiran Teng, Dunsi Dai,
and achieve what I have today. You nurtured and Liming Tang, HaiBou Yu, Zhang Chongqing, and
motivated me to start my theatre design career. Your Rujun Wang for giving me unconditional support
influence has changed my life. and advice. You put a smile on my face when I
Thanks to the professors in the Department needed it most.
of Theatre Arts at Utah State University, Colin B. Thank you to my parents for shaping me into
Johnson, Sid Perkes, and Bruce E. McInroy, for your the person I am today. A big thank you goes to my
kindness, advice, and support. You taught me how daughter, Yingtao Zhang, for all your inspirational
to survive in the United States and were patient and ideas and unending support and encouragement.
understanding at all times. I greatly treasure your Thanks to my husband, Juli Zhang, for encouraging
instruction. me and helping me to succeed in my own profes-
Thanks to all my former chairmen with whom sional life.
I worked: Sid Perks, Bruce A. Levitt, Wesley Van Finally, thank you to all my students for your tol-
Tassel, and Donald Seay. Thank you for being won- erance and for allowing me to be your instructor.

vi
Introduction
T The Importance of Personality and
his book is visually oriented to provide a
simple, viewable guide that focuses on the
principles and formats of character costume
Body Language
figure drawings. Throughout all the illustrations, To capture the impression of a character’s spirit
you will see dimension and diversity in the charac- is always a goal when developing character figure
ters. Facial expressions, body language, body action, drawings. By nature, we all relate to human emotion
and props are incorporated to clearly characterize because we all experience it. Characters are human
each figure. beings, and human beings all possess personalities.
To portray a character’s emotions and personality
on paper is a challenge, but well worth the results.
What Makes a Good Theatrical When I create costume designs, I try not only to
illustrate the costumes, but also to portray a com-
Costume Designer? pleted characterization. I try to manipulate every
I would never say that a person who draws beautiful body part to build compositional beauty and artisti-
pictures is always a good costume designer. A good cally express the power of a character’s substance.
costume designer must have many other qualities Every gesture, action, facial expression, and acces-
and capabilities, such as imagination and knowledge sory will add meaning and entertainment to the
in theatre, world history, theatre history, costume design. People say that we should not judge a person
history, and literature. The designer must retain by his or her appearance, but when an actor appears
good communication and organizational skills; on stage, his or her appearance becomes significant.
possess research and technical skills like drawing, The character’s body language reflects the soul and
rendering, computer graphics, costume construc- spirit of the character, and an interesting gesture
tion, crafts, millinery, and personnel management; helps to display the style of the costumes. Using
be a good team player; and even be in good health. body language to emphasize the personality and sta-
All these factors make a wonderfully ideal costume tus of a character is to give the character an exciting
designer. Drawing and painting skills are tools for appearance. Character figures enhance and adorn
helping a designer develop and express visual images the costume designs, and they communicate with
and design concepts. Renderings are not the final the director, actor, other designers, and the produc-
product, the final product is the actual stage costume tion team. Expressing the personality of the charac-
made suitable and proper for the actors. ter in your drawings is like the saying, “A picture is
worth a thousand words.”

vii
viii M INTRODUCTION

Philosophy for Drawing

Drawing human figures should be fun. Nobody was
born an innate artist and nobody will become one
overnight, but I believe that with some effort, any-
body can draw. Although improving your drawing
skills requires tremendous effort, enjoying it and be-
ing interested will greatly help. When you are driven
to do well, you will. Watch, listen, and absorb.
To develop a more positive attitude, consider this:
Just do it. Work helps. Avoid a pessimistic and sluggish
attitude. Desire and dedication are the discipline of a
career, and work is the language of that discipline.
POSITIVITY!
CONFIDENCE!
PRACTICE!
SUCCESS!
1
Drawing the Figure
M
y objective in writing this book is to show how to draw figures using a simple and
easy drawing method. Specifically, the book is intended to help theatre students
improve their drawing skills so that they can give effective design presentations.
Most theatre students do not have any solid drawing training, nor do they have any human
anatomy or figure-drawing courses in their curricula. Drawing requires a lot of practice and
knowledge of the proportions of the human body. I believe that with effort, anybody can
draw.
Theatre students typically have to do production assignments and work in the shops, help-
ing to build either scenery or costumes for the production. Their time is occupied with those
assignments, leaving them little time to improve their drawing skills. That is why I am trying
to find a short, easy, and fast way to help them improve their drawing abilities. The methods
in this book can be used without a model. However, if theatre students have the opportunity
to draw the human figure from live models, they should do so. Drawing live models is a tre-
mendous help in understanding the human body.

1
2 M CHAPTER 1

PROPORTIONS OF THE BODY Most of the proportions of the body that I used in shorter or chubbier. When keeping these measure-
this book are based on the theories of proportions ments in mind, the figure will always look right.
There are many concepts or methods for measuring used in many other art books. There are fantastic I recommend that you use the following steps to
the divisions of the human body. The eight-heads-tall art books from which you can learn about the create a figure drawing, until you become familiar
figure proportion method is often used by artists or proportions of the body and about figure drawing with body proportions. Refer to Figures 1-1 and 1-2
fashion illustrators. Some fashion drawings may use techniques, such as Bridgman’s Complete Guide to as you complete these steps.
eight-and-a-half- or nine-heads-tall figures to dem- Drawing from Life, by George B. Bridgman; The
onstrate the garments, using a slim, sophisticated 1. Place two marks on the paper — one on the
Complete Book of Fashion Illustration, by Sharon
image. Realism is not intent of fashion designers or top portion of the page, one on the bottom
Lee Tale and Mona Shafer Edwards; The Human
illustrators. Rather, their objective is to create a styl- portion of the page — to indicate the height of
Figure: An Anatomy for Artists, by David K. Rubins;
ized or exaggerated version of reality, which today is the body. Then draw a vertical line from the
Drawing the Head and Figure, by Jack Hamm; and
a tall, slim, and athletic figure, with a long neck and top mark to the bottom mark. The composi-
Drawing on the Right Side of the Brain, by Betty
long legs. Fashion illustrations emphasize the current tion of the figure should be considered; that
Edwards. These books helped me improve my under-
ideals or trends of fashion beauty. The thin body and is, keeping the figure centered or off-centered,
standing of the human body and taught me how to
specific poses are designed to enhance the garments. more to the left or to the right side, and so on.
present the body well. You can study the rules and
Fashion illustrators are creating the images of fash- These guidelines control the figure height.
principles of figure drawing but you have to learn
ionable products to stimulate customers to purchase how to use them through practice. 2. Draw a mark at the middle point of the verti-
the garments. Beautiful illustrations can impress and To give my characters a realistic appearance, I cal line to find the middle point of the body.
influence customers to buy and wear the advertised slightly change the size of the head. Compared to This mark is where the crotch is located and is
clothing. the eight-heads-tall proportions, I enlarge the head also the half-height of the body. I am going to
Costume designs for theatrical productions are to extend outside the usual boundary of the first call the area from this mark up the upper half
quite different from fashion illustrations. The head area. This enlarges the head in proportion to of the body. To me, this mark is the most criti-
costume designer uses the history of fashion as a the top half of the body. I keep the feet within the cal reference point for good proportions of the
reference for creating costumes for many varieties of bottom-half portion of the body. When I start the body. (See Figure 1-1, mark #5.)
characters or groups of characters in plays. The char- foundation of a figure, however, I still start with the
acters are everyday-life people: young or old, thin or 3. Divide the upper body from the top mark to
eight-heads-tall method because it is an even number
heavy, short or tall, with different nationalities and the crotch line into four equal parts. This cre-
and easier to divide for calculation purposes. My di-
particular personalities. Costume design for produc- ates five marks but four portions. Number all
visions on the body may differ from other books, but
tions requires creating practical garments that are the marks: The very top mark, mark #1, is the
the measurements work for my figure drawings. My
going to be worn on stage by believable characters top of the skull; we won’t use mark #2; mark
primary intent is to have a system that is easy to use.
who have well-defined personalities. Sometimes a #3 is the armpit; mark #4 is the waistline; and
The key for developing a character figure drawing
well-defined character costume design can inspire mark #5 is the half-body mark (it is also the
that is in proportion is to keep the top half (from
the actors and enhance the design presentation for crotch, pelvis, or hipline). The very bottom
the crotch up to the top of the skull) equal to the
the production team. In my drawings and designs, I mark drawn in step 1 is mark #6. I will refer
bottom half (from the crotch down to the bottom of
try to emphasize a realistic style of body proportions, by numbers to these six marks extensively in
the feet). The crotch is the main division point. The
but I use slightly exaggerated facial features and the discussion that follows.
head can actually be made either a little bigger or
body language to create characters with personality. smaller. A small head will make the figure look taller 4. Make the head bigger compared to mark #2
The real creative challenge is how to express person- or thinner; a bigger head will make the figure look (usually considered the chin in measurement
alities of characters.
 Drawing the Figure M 3

systems used in other drawing books). The into four equal parts. The first mark is the usually equals the width of the bottom of the
head will be increased by adding a distance top of the pelvis (see letter G in Figure 1-1). rib cage or chest. The bottom of the pelvis/
approximately the size of a chin from mark The male pelvis width is different from the hipline/crotch line is wider than width of the
#2 down (see letter A on the sketch in Figure female. The female hip width is usually wider the top of the pelvis (see letter H in Figure 1-1).
1-1). This shortens the neck. Fashion drawings than her shoulders. The male hip width is The hipline’s width will depend on whether
usually are just the opposite, showing a longer less wide than the shoulders. For both males you are drawing a female or male. The other
neck. The mark at letter A is going to be the and females, the width of the top of the pelvis two marks are not used.
bottom of the chin.
5. Draw an egg-shaped frame between the top 1-1 Proportion of the Body, Marks A through H
mark and the chin mark, A, to indicate the
shape of the head.
The top of the skull
6. Divide the distance between mark #2 and the
armpit line (mark #3) in half and mark it as let-
ter B; this mark is going to be the shoulder line
or collarbone. Generally speaking, the width of Chin
Shoulder slope
the shoulders is a measurement about two heads The width of the shoulders
Shoulder line
wide for females and two-and-a-half heads wide
Armpit
for males. Measure the width of the shoulders Bustline
and add two marks (see letter C in Figure 1-1).
The bottom of the rib cage
7. Divide the distance between mark #2 and Waistline
the shoulder line, B, in half and add another The width of the top of
mark. This mark helps to establish the the pelvis
1/2 height of the Crotch
shoulder-slope line (see letter D in Figure 1-1). The width of the bottom
body or
Look at the sketch and review this in detail. hipline of the pelvis or hipline

8. Divide the distance between the armpit (mark

#3) and the waistline (mark #4) into four
equal parts. Now you have drawn three marks
to create four parts. The first mark from the
top of this group is the bustline (see letter E
in Figure 1-1); this mark usually refers to the
nipples position or bustline. The third mark
from the top is the bottom of the rib cage (see
letter F in Figure 1-1). The second mark is not
used.
9. Divide the distance between the waistline The bottom of the
(mark #4) and the crotch or hipline (mark #5) feet
4 M CHAPTER 1

10. Treat the chest/rib cage as a tapered box (refer 11. Treat the pelvis as a tapered-up box. Connect divide the distance between mark #5 (crotch
to Figure 1-2). Connect the shoulder line with the top of the pelvis line with the bottom of line) and mark #6 (the bottom of the feet) into
the bottom of the rib cage to make a tapered- the pelvis line (mark #5, also the hipline/ four equal parts. Then mark them from the
down box. The shoulder should be wider than crotch line) to draw a tapered-up box. The top down (see letters I, J, and K in Figure 1-2).
the bottom of the rib cage. Keep both sides female hipline is wider than the male hipline.
13. Divide the distance between K and mark #6
of the body symmetrical with the body cen-
12. The area from the crotch down will be for into three equal parts. The feet are drawn in
terline. The pit of the neck is at the middle of
the legs and feet. The legs join the pelvis at the bottom third (see letter L in Figure 1-2).
the shoulder line — it is the body centerline.
the hipline. Before starting to draw the legs,
14. Draw two lines from both corners of mark #5
(hipline/crotch) down to letter L to indicate
1-2 Proportion of the Body, Marks I through M the legs. Keep them symmetrical. Then divide
these two lines in half; the middle marks on
these two lines are the knee positions (see let-
The pit of the ter M in Figure 1-2). This method of drawing
The pit of the neck is at the leg length avoids the leggy look of fashion-
neck body centerline. illustration figures. Our objective is to create
Chin a realistic look corresponding to the actors,
rather than a fashion ideal.
Shoulder line
Chest Armpit 15. The arms join to the chest at the shoulder
Bustline line. In human anatomy theory, the upper
arm from the shoulder to the elbow is longer
The elbow is at
than the distance from the elbow to wrist. In
Waistline 1/2 the length
of the arm. my method, I treat them as two equal parts
Pelvis in length for an easy calculation ratio. When
Crotch or the arm is hanging down, the elbow usually
hipline lines up with the waistline. The measurement
from the shoulder to the elbow should equal
Fingertip line
the measurement from the elbow to the wrist.
From the elbow joint, measure down to indi-
The kneecap cate the placement of the wrist.
Kneecap
is at 1/2 the
length of the leg. 16. Add hands to the wrists. The fingertips usu-
ally stop at letter I (the fifth head in other
books). Asian people often have shorter arms,
African people usually have longer arms, and
Caucasians often have arms that are longer
Ankle Ankle
than Asians’ but shorter than Africans’. There
Feet
are many variations and exceptions to any ra-
cial generality.
 Drawing the Figure M 5

17. As shown in Figure 1-3, contour the body ac- The proportions of the body, either seven- or The body measurement methods used in this
cording to the basic bone/stick structure (see eight-heads tall, work only for the body standing in book are not the only methods you should follow,
the section, “Contouring the Stick Figure”). a straight position. When the body is bending or the but I recommend you use my system as a guide or
Figures 1-4 and 1-5 show the contouring lines head is facing up or down, you cannot apply the mea- reference for drawing stage costumes.
for the male and female body, respectively. surements to the body because of foreshortening.

1-3 Proportions of the Body, Stick Structure, Front and 1-4 Contouring Lines for the Male Body, Front and Back
Back Views Views

Front View Back View Front View Back View

6 M CHAPTER 1

1-5 Contouring Lines for the Female Body, Front and Back THE BASIC BONE STRUCTURE
Views OF THE BODY
The bone structure in this book is symbolic and
abstract. It is not my intention to copy the real hu-
man skeleton. My objective in using a simple and
abstract bone structure is to make it easier to draw
and understand, and easier to obtain the proper
proportions of the figures. The shape of the hu-
man body is complex. To draw it well, you need to
spend extensive time studying bones and muscles.
Unfortunately, in most cases, theatre students don’t
have a long time to study the human anatomy. The
simplified abstract bone structure used here is going
to help students to better understand the human
body and its movements (see Figure 1-6).
The skeleton dominates and directs all surfaces
of the body, and the bone joints determine and
dominate all the movements of the body. We must
discuss the basic bone structure of the human body
to understand body movements. To keep it clear and
simple, my discussion is focused on the basic length
and width of the outer edges of the skeleton, and
on the major joints of the skeleton. The outer edges
of the skeleton include the outline of the skull and
the outline, or frame, of the chest and pelvis masses.
The major joints include the spine, shoulder, elbow,
wrist, hip/leg, knee, and ankle. In real life, the chest
and pelvis are irregular shapes. In this book, I am
going to use either boxes or abstract shapes to dem-
onstrate the body parts. Small circles will be used
for each joint. Abstract sticks will be used for the
length of the bone. The length of the bones between
the forearm and upper arm, and between the lower
Front View Back View
leg and thigh, may differ in real skeletons, but I will
make them equal distances here because it will be
easier to calculate the proportion ratio.
 Drawing the Figure M 7

The Joints of the Body unit. Joints are capable of moving in many directions ral expressiveness as a whole. Incorrect positions will
within their limitations. Each arm has its own joints: make the figures seem stiff or lopsided. Through our
Joints connect or hinge together two things. There shoulder, elbow, wrist, and finger. Each leg also experiences during our daily activities, we know how
are many joints on the human body. The spine joins has its joints: hip, knee, ankle, and toe. Each joint joints work. But showing the joints properly through
the head mass, chest mass, and pelvis mass. The col- directs body movements. In figure drawing, when drawing is critical and requires practice. The bone
larbone, shoulder blade, and arm are joined together joints are in the correct positions, they will show joints allow us to move our body parts comfortably
at the shoulder and connected with the chest as a comfortable movements and body rhythm with natu- and also inform us of the limitations of our joints.
Consider and study how your own joints work; prac-
tice stick figure drawings to analyze the joint func-
1-6 The Abstract Skeleton of the Body and Its Joints tions and limitations in different positions.

The Head, Chest, and Pelvis

There are three major masses of the human
body — the head, chest, and pelvis. They are joined
together by the spine, which controls the movements
and turning directions of the head, chest, and pelvis.
The significant fact here is that these three masses
are able to move independently of one another (see
Figure 1-7).
Making the three masses move in different direc-
tions will add dramatic excitement and personality to
the figure. When the body moves, the balance has to
be maintained. The proper angles between the body
masses maintain this balance. The neck area of the
spine usually has more flexibility than the lumbar
spine. The flexible spine allows the head, chest,
and pelvis to face up, down, or sideways, or to turn
around. When each mass faces in different direc-
tions, you will see twisting movements.
When the body is in action, the body centerline
becomes curved. This line can also be called the ac-
tion line. When the body bends or twists, it creates
angles or curves between each mass. If the body is in
standing position, you will see the level of each mass
forming a 90-degree right angle to the spine — the
centerline of the body. When the body bends for-
Front View Side View Back View ward, it brings the front of the chest and the front
8 M CHAPTER 1

of the pelvis close together to form an angle, while tance between the other side of the chest and pelvis, twisted in different directions within spine limita-
stretching the distance between the back of the forming a curved line. You will see the same pattern tions, but the chest and pelvis always move in oppo-
chest and pelvis, forming a curved line. When the when the body bends backward. When the body is site directions from each other in order to keep the
body bends to either side, it brings one side of the in a twisting position, the body centerline and the body in balance; otherwise, the body would fall.
chest and one side of the pelvis close together, form- outline of the body become curvy lines rather than A small turn of the body gives some action to the
ing an angle between them, and stretches the dis- sharp angles. The three masses can be turned and figure. A full or exaggerated turn or twisting of the

1-7 The Body Masses and Their Movements

The head, chest, and pelvis are joined together by the spine and move independently of one another.
Make the blocks move in different directions to add dramatic excitement and personality to the figure.
 Drawing the Figure M 9

body increases the dramatic action and attitude of to speak for your characters’ actions. When you make tablish the relationships of the head to the torso, the
the character, and gives a loud or screaming emotion- the three masses face different directions (see Figure head to the neck, the head to the chest, and the chest
al statement. Try to manipulate these three masses by 1-8), you will immediately see your character alive to the pelvis. These relationships portray a great deal
turning them in different directions, allowing them and active. It is essential in character drawing to es- of the personality of the character.

1-8 Turning the Three Body Masses

When the body
is in a twisting
position, the
body centerline
This side of the body is becomes curvy
stretched. rather than
This side of the body is angular.
stretched.

This side of the body

This side of the body forms an angle.
This side of the body forms an angle.
forms an angle.

Body bending Body bending Body bending Body in a

forward backward to the side twisting position
10 M CHAPTER 1

The Relationships between the can be pushed up because the flexible lumbar spine the body well-balanced, locate the center of gravity
allows the pelvis to be tilted. The relaxed-leg side for the figure. These are the important elements
Limbs and Body Masses of the pelvis line and hipline will be dropped. The in helping us understand and draw human figures.
We have discussed how the arms are joined to the nonsupporting leg usually steps forward, keeping Keep the movement liquid and the balance solid.
chest, and how the legs are joined to the hipbone/ a relaxed or bending position to compensate for
pelvis. Therefore, when the chest and pelvis move in the length of the weighted leg and the drop of the
different directions, the arms should follow the chest pelvis mass. Weight on Both Legs
as a unit, and the legs should follow the pelvis as a Most costume designers create their figures for
unit. The limbs cannot be considered as separate ob- designing costumes without live models. They draw The spine is the centerline of the body, from where
jects from their units (see Figure 1-9). For example, the figures from their heads or from reference books all body parts are symmetrically balanced. The joints
when the body is in an erect standing position, the or magazines. Once you understand how the human of the body are lined up and parallel to each other.
chest and pelvis masses are in horizontal lines paral- structure and joints work, you will feel at ease and Due to the force of gravity, no matter how the body
lel to each other. The joints of the shoulder, elbow, comfortable with your drawings. You will be able to moves, there is always a center of gravity line from
and wrist as well as the joints of the hip, knee, and create your own characters of motion in a variety of the pit of the neck directly down to the ground. This
ankle will be parallel to their units. But when the positions in order to demonstrate the costumes and gravity line will never change to curved or angled,
chest moves in a direction that makes the right side personalities of the roles in the play. but the body centerline will change to curved when
of the shoulder higher than the left side, the right the body is in action.
shoulder and arm will go higher as well. When many
students draw this position, they draw the arms at THE BALANCE OF THE BODY
the same level. They forget the arms are connected
to the chest mass. The human body is uniquely and symmetrically bal-
Arm and leg movements also partially control the anced. The human body also has a natural balance
levels of the chest and pelvis. When one arm rises ability. The weight of the body often swings back
higher than the other arm, the shoulder of the ris- and forth from one leg to the other when the body
ing arm will go higher. When one leg supports the is walking. When the body is turning or twisting,
weight of the body, this leg will push this side of it creates angles and curves in order to keep the
the pelvis higher and in a tilted position. The pelvis body balanced. This principle is like the balance
in a sculptured object. If the bottom portion of the
sculpture leans to one side, then the top portion of
the sculpture must lean in the opposite direction to
maintain the balance of the whole piece. To create a
more sophisticated sense of movements or actions,
define the body language by employing twisted an-
gles and curves faced in different directions. To keep
 Drawing the Figure M 11

1-9 The Relationships between the Limbs and the Three Masses

The chest and arms When the body is in

The spine controls the
move as a unit. action, the body centerline
movements and turning
directions of the head, becomes curved.
chest, and pelvis.

The arm and leg movements

control the levels of the chest
and pelvis.

The weight-supporting
leg pushes the pelvis in
a tilted position.
The pelvis and legs
move as a unit.
12 M CHAPTER 1

When the body is standing straight, all body 1-10 Weight on Both Legs
weight is distributed equally on two legs (see
Figure 1-10). The body centerline is straight. The
center of gravity line overlaps with the body center-
line, starting from the pit of the neck and extending The pit of the neck is
directly down between the middle of the two feet to the center of gravity line
the ground, whether the feet are in a closed or open and the body centerline.
position. All the horizontal lines (the shoulder line,
bustline, waistline, pelvis line, hipline) are parallel to
the ground and form 90-degree angles with the body The crotch is at
centerline. 1/2 the height of
Figures 1-11 through 1-16 are design samples the body.
showing weight on both legs.
The elbow is at
1/2 the length of
the arm.

The kneecap
is at 1/2 the
length of
the leg.

All the horizontal

The center body lines are
of gravity line parallel to the ground
falls midway and form 90-degree
between the angles with the
feet. center of gravity line.

The weight on both legs

Other documents randomly have
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The Project Gutenberg eBook of The works of
the Rev. John Wesley, Vol. 02 (of 32)
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*** START OF THE PROJECT GUTENBERG EBOOK THE WORKS OF THE

REV. JOHN WESLEY, VOL. 02 (OF 32) ***
 THE
WORKS
OF THE
Rev. JOHN WESLEY
 Transcriber’s Notes
The cover image was provided by the transcriber and is placed in the public
domain.

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The concluding Table of Contents, has been moved to the front of the book to
make it more useable.

The author has used an asterisk (*) to indicate passages he considers most
worthy of attention.

The text may show quotations within quotations, all set off by double quote
marks. The inner quotations have been changed to single quote marks for
improved readability.

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the pronunciation of the word with screen-readers or not display properly in
some handheld devices.

This book was written in a period when many words had not become
standardized in their spelling. Words may have multiple spelling variations
or inconsistent hyphenation in the text. These have been left unchanged
unless indicated with a Transcriber’s Note.

Footnotes are identified in the text with a superscript number and have been
accumulated in a table at the end of the text.

Transcriber’s Notes are used when making corrections to the text or to provide
additional information for the modern reader. These notes have been
accumulated in a table at the end of the book and are identified in the text
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over the underline.
 THE

WORKS
OF THE

Rev. JOHN WESLEY, M.A.

Late Fellow of Lincoln-College, Oxford.

Volume II.

BRISTOL:
Printed by WILLIAM PINE, in Wine-Street
MDCCLXXI.

THE

CONTENTS
Of the Second Volume.
SERMONS on several Occasions.
SERMON XVII.
 The Circumcision of the Heart.

m. ii. 29. Circumcision is that of the heart, in the Spirit and not in the
letter.

SERMON XVIII.

The Marks of the New Birth.

hn iii. 8. So is every one that is born of the Spirit.

SERMON XIX.

The great Privilege of those that are born of God.

John iii. 9. Whosoever is born of God, doth not commit sin.

SERMON XX.

The Lord our Righteousness.

r. xxiii. 6. This is his name whereby he shall be called, The Lord our
Righteousness.

SERMON XXI.

Upon our Lord’s Sermon on the Mount.

Discourse I.

Matt. v. 1‒4.

SERMON XXII.

Upon our Lord’s Sermon on the Mount.

Discourse II.

Matt. v. 5‒7.
 SERMON XXIII.

Upon our Lord’s Sermon on the Mount.

Discourse III.

Matt. v. 8‒12.

SERMON XXIV.

Upon our Lord’s Sermon on the Mount.

Discourse IV.

Matt. v. 13‒16.

SERMON XXV.

Upon our Lord’s Sermon on the Mount.

Discourse V.

Matt. v. 17‒20.

SERMON XXVI.

Upon our Lord’s Sermon on the Mount.

Discourse VI.

Matt. vi. 1‒15.

SERMON XXVII.

Upon our Lord’s Sermon on the Mount.

Discourse VII.

Matt. vi. 16‒18.

 SERMON XXVIII.

Upon our Lord’s Sermon on the Mount.

Discourse VIII.

Matt. vi. 19‒23.

SERMON XXIX.

Upon our Lord’s Sermon on the Mount.

Discourse IX.

Matt. vi. 24‒34.

SERMON XXX.

Upon our Lord’s Sermon on the Mount.

Discourse X.

Matt. vii. 1‒12.

 SERMON XVII.
1

THE CIRCUMCISION OF THE

HEART.
Rom. ii. 29.
Circumcision is that of the heart, in the spirit and not in the letter.

1.
’TISnowthepreaches
melancholly remark of an excellent man, that “He who
the most essential duties of Christianity, runs the
hazard of being esteemed by a great part of his hearers, a setter forth
of new doctrines.” Most men have so lived away the substance of that
religion, the profession whereof they still retain, that no sooner are any
of those truths proposed, which difference the Spirit of Christ from the
Spirit of the world, than they cry out, Thou bringest strange things to
our ears; we would know what these things mean.—Though he is only
preaching to them Jesus and the resurrection, with the necessary
consequence of it. If Christ be risen, ye ought then to die unto the
world, and to live wholly unto God.

2. A hard saying this to the natural man, who is alive unto the
world, and dead unto God, and one that he will not readily be
persuaded, to receive as the truth of God, unless it be so qualified in
the interpretation, as to have neither use nor significancy left. He
receiveth not the words of the Spirit of God, taken in their plain and
obvious meaning. They are foolishness unto him: neither indeed can he
know them, because they are spiritually discerned: They are
perceivable only by that spiritual sense, which in him was never yet
awakened; for want of which he must reject as idle fancies of men,
what are both the wisdom and the power of God.
 3. That circumcision is that of the heart, in the spirit and not in the
letter; that the distinguishing mark of a true follower of Christ, of one
who is in a state of acceptance with God, is not either outward
circumcision or baptism, or any other outward form, but a right state of
soul, a mind and spirit renewed after the image of him that created it,
is one of those important truths, that can only be spiritually discerned.
And this the apostle himself intimates in the next words, whose praise
is not of men, but of God. As if he had said, “Expect not, whoever thou
art, who thus followest thy great Master, that the world, the men who
follow him not, will say, well done, good and faithful servant! Know that
the circumcision of the heart, the seal of thy calling, is foolishness with
the world. Be content to wait for thy applause, ’till the day of thy Lord’s
appearing. In that day shalt thou have praise of God, in the great
assembly of men and angels.”

I design, first, particularly to enquire, wherein this circumcision of

heart consists: And, secondly to mention some reflections, that
naturally arise from such an enquiry.

I. 1. I am, first, to enquire, wherein that circumcision of heart

consists, which will receive the praise of God. In general we may
observe, it is that habitual disposition of soul, which in the sacred
writings is termed holiness, and which directly implies, the being
cleansed from sin, from all filthiness both of flesh and spirit, and by
consequence, the being endued with those virtues, which were also in
Christ Jesus, the being so renewed in the image of our mind, as to be
perfect, as our Father in heaven is perfect.

2. To be more particular, Circumcision of heart implies humility,

faith, hope, and charity. Humility, a right judgment of ourselves,
cleanses our minds from those high conceits of our own perfections,
from that undue opinion of our own abilities and attainments, which
are the genuine fruit of a corrupted nature. This entirely cuts off that
vain thought, I am rich and wise, and have need of nothing; and
convinces, us, that we are by nature wretched, and poor, and
miserable, and blind, and naked. It convinces us, that in our best
estate, we are of ourselves all sin and vanity; that confusion, and
ignorance and error, reign over our understanding; that unreasonable,
earthly, sensual, devilish passions, usurp authority over our will: in a
word, that there is no whole part in our soul, that all the foundations of
our nature are out of course.

3. At the same time we are convinced, that we are not sufficient of

ourselves to help ourselves; that without the Spirit of God we can do
nothing but add sin to sin: that it is he alone who worketh in us by his
almighty power, either to will or do that which is good; it being as
impossible for us even to think a good thought, without the
supernatural assistance of his Spirit, as to create ourselves, or to renew
our whole souls in righteousness and true holiness.

4. A sure effect of our having formed this right judgment, of the

sinfulness and helplessness of our nature, is a disregard of that honour
which cometh of man, which is usually paid to some supposed
excellency in us. He who knows himself, neither desires nor values the
applause which he knows he deserves not. It is therefore a very small
thing with him, to be judged by man’s judgment. He has all reason to
think, by comparing what it has said either for or against him, with
what he feels in his own breast, that the world, as well as the God of
this world, was a liar from the beginning. And even as to those who are
not of the world, though he would chuse, if it were the will of God, that
they should account of him as of one desirous to be found a faithful
steward of his Lord’s goods, if haply this might be a means of enabling
him to be of more use to his fellow-servants, yet as this is the one end
of his wishing for their approbation, so he does not at all rest upon it.
For he is assured, that whatever God wills, he can never want
instruments to perform; since he is able, even of these stones, to raise
up servants to do his pleasure.

5. This is that lowliness of mind, which they have learned of Christ,

who follow his example and tread in his steps. And this knowledge of
their disease, whereby they are more and more cleansed from one part
of it, pride and vanity, disposes them to embrace, with a willing mind,
the second thing implied in circumcision of heart, that faith which alone
is able to make them whole, which is the one medicine given under
heaven to heal their sickness.

6. The best guide of the blind, the surest light of them that are in
darkness, the most perfect instructor of the foolish, is faith. But it must
be such a faith as is mighty through God, to the pulling down of
strong-holds, to the overturning all the prejudices of corrupt reason, all
the false maxims revered among men; all evil customs and habits; all
that wisdom of the world which is foolishness with God; as casteth
down imaginations (reasonings) and every high thing that exalteth
itself against the knowledge of God, and bringeth into captivity every
thought to the obedience of Christ.

7. All things are possible to him that thus believeth: the eyes of his
understanding being enlightened, he sees what is his calling, even to
glorify God, who hath bought him with so high a price, in his body and
in his spirit, which now are God’s by redemption, as well as by creation.
He feels what is the exceeding greatness of his power, who as he
raised up Christ from the dead, so is able to quicken us, dead in sin, by
his Spirit which dwelleth in us. This is the victory which overcometh the
world, even our faith: that faith which is not only an unshaken assent
to all that God hath revealed in scripture, and in particular to those
important truths, Jesus Christ came into the world to save sinners; he
bare our sins in his own body on the tree; he is the propitiation for our
sins; and not for ours only, but also for the sins of the whole world:
2But likewise the revelation of Christ in our hearts; a divine evidence or
conviction of his love, his free, unmerited love to me a sinner, a sure
confidence in his pardoning mercy, wrought in us by the Holy Ghost: a
confidence, whereby every true believer is enabled to bear witness, I
know that my Redeemer liveth; that I have an Advocate with the
Father; that Jesus Christ the righteous is my Lord, and the propitiation
for my sins. I know he hath loved me, and given himself for me. He
hath reconciled me, even me to God; and I have redemption through
his blood even the forgiveness of sins.

8. Such a faith as this, cannot fail to shew evidently the power of

him that inspires it, by delivering his children from the yoke of sin, and
purging their consciences from dead works: by strengthning them so,
that they are no longer constrained to obey sin in the desires thereof;
but instead of yielding their members unto it as instruments of
unrighteousness, they now yield themselves entirely unto God, as those
that are alive from the dead.

9. Those who are thus by faith born of God, have also strong
consolation through hope. This is the next thing which the circumcision
of the heart implies; even the testimony of their own spirit, with the
Spirit which witnesses in their hearts, that they are the children of God.
Indeed it is the same Spirit who works in them that clear and chearful
confidence, that their heart is upright toward God; that good
assurance, that they now do, through his grace, the things which are
acceptable in his sight; that they are now in the path which leadeth to
life, and shall, by the mercy of God endure therein to the end. It is he
who giveth them a lively expectation of receiving all good things at
God’s hand; a joyous prospect of that crown of glory, which is reserved
in heaven for them. By this anchor a Christian is kept steady in the
midst of the waves of this troublesome world, and preserved from
striking upon either of those fatal rocks, presumption or despair. He is
neither discouraged by the misconceived severity of his Lord, nor does
he despise the riches of his goodness. He neither apprehends the
difficulties of the race set before him to be greater than he has
strength to conquer, nor expects them to be so little as to yield him the
conquest, ’till he has put forth all his strength. The experience he
already has in the Christian warfare, as it assures him, his labour is not
in vain, if whatever his hand findeth to do, he doth it with his might; so
it forbids his entertaining so vain a thought, as that he can otherwise
gain any advantage, as that any virtue can be shewn, any praise
attained, by faint hearts and feeble hands: or indeed by any but those
who pursue the same course with the great apostle of the Gentiles, I,
says he, so run, not as uncertainly, so fight I, not as one that beateth
the air. But I keep under my body, and bring it into subjection; lest by
any means when I have preached to others, I myself should be a cast-
away.
 10. By the same discipline is every good soldier of Christ, to inure
himself to endure hardship. Confirmed and strengthened by this, he will
be able not only to renounce the works of darkness, but every appetite
too and every affection, which is not subject to the law of God. For
every one, saith St. John, who hath this hope, purifieth himself even as
he is pure. It is his daily care, by the grace of God in Christ, and thro’
the blood of the covenant, to purge the inmost recesses of his soul,
from the lusts that before possest and defiled it; from uncleanness, and
envy, and malice, and wrath, from every passion and temper, that is
after the flesh, that either springs from, or cherishes, his native
corruption: as well knowing, that he whose very body is the temple of
God, ought to admit into it nothing common or unclean; and that
holiness becometh that house for ever, where the Spirit of holiness
vouchsafes to dwell.

11. Yet lackest thou one thing, whosoever thou art, that to a deep
humility, and a stedfast faith, hast joined a lively hope, and thereby in a
good measure cleansed thy heart from its inbred pollution. If thou wilt
be perfect, add to all these charity; add love, and thou hast the
circumcision of the heart. Love is the fulfilling of the law, the end of the
commandment. Very excellent things are spoken of love; it is the
essence, the spirit, the life of all virtue. It is not only the first and great
command, but it is all the commandments in one. Whatsoever things
are just, whatsoever things are pure, whatsoever things are amiable or
honourable; if there be any virtue, if there be any praise, they are all
comprized in this one word, love. In this is perfection and glory and
happiness: the royal law of heaven and earth is this, Thou shalt love
the Lord thy God with all thy heart, and with all thy soul, and with all
thy mind, and with all thy strength.

12. *Not that this forbids us to love any thing besides God: It
implies, that we love our brother also. Nor yet does it forbid us (as
some have strangely imagined) to take pleasure in any thing but God.
To suppose this, is to suppose the Fountain of holiness, is directly the
author of sin: since he has inseparably annexed pleasure to the use of
those creatures, which are necessary to sustain the life he has given
us. This therefore can never be the meaning of his command. What the
real sense of it is, both our blessed Lord and his apostles tell us too
frequently and too plainly to be misunderstood. They all with one
mouth bear witness, that the true meaning of those several
declarations, The Lord thy God is one Lord. Thou shalt have no other
Gods but me; Thou shalt love the Lord thy God with all thy strength;
thou shalt cleave unto him; The desire of thy soul shall be to his name:
is no other than this. The one perfect Good shall be your one ultimate
end. One thing shall ye desire for its own sake, the fruition of him that
is all in all. One happiness shall ye propose to your souls, even an
union with him that made them: the having fellowship with the Father
and the Son: the being joined to the Lord in one spirit. One design ye
are to pursue to the end of time, the enjoyment of God in time and in
eternity. Desire other things, so far as they tend to this. Love the
creature—as it leads to the Creator. But in every step you take, be this
the glorious point that terminates your view. Let every affection, and
thought, and word, and work, be subordinate to this. Whatever ye
desire or fear, whatever ye seek or shun, whatever ye think, speak, or
do, be it in order to your happiness in God, the sole end as well as
source of your being.

13. *Have no end, no ultimate end but God. Thus our Lord, One
thing is needful. And if thine eye be singly fixt on this one thing, thy
whole body shall be full of light. Thus St. Paul, This one thing I do; I
press toward the mark, for the prize of the high calling in Christ Jesus.
Thus St. James, Cleanse your hands, ye sinners, and purify your hearts,
ye double-minded. Thus St. John, Love not the world, neither the
things that are in the world. For all that is in the world, the lust of the
flesh, the lust of the eye, and the pride of life, is not of the Father, but
is of the world. The seeking happiness in what gratifies either the
desire of the flesh, by agreeably striking upon the outward senses, the
desire of the eye, of the imagination, by its novelty, greatness, or
beauty; or the pride of life, whether by pomp, grandeur, power, or the
usual consequence of them, applause and admiration: Is not of the
Father, cometh not from, neither is approved by the Father of spirits;
but of the world; it is the distinguishing mark of those, who will not
have him to reign over them.
 II. 1. Thus have I particularly inquired, what that circumcision of
heart is, which will obtain the praise of God. I am, in the second place,
to mention some reflections, that naturally arise from such an inquiry,
as a plain rule whereby every man may judge of himself, whether he
be of the world or of God.

And, first, it is clear, from what has been said, that no man has a
title to the praise of God, unless his heart is circumcised by humility,
unless he is little, and base, and vile in his own eyes: unless he is
deeply convinced of that inbred “corruption of his nature, whereby he
is very far gone from original righteousness,” being prone to all evil,
averse to all good, corrupt and abominable; having a carnal mind,
which is enmity against God, and is not subject to the law of God; nor
indeed can be: unless he continually feels in his inmost soul, that
without the Spirit of God resting upon him, he can neither think, nor
desire, nor speak, nor act, any thing good or well-pleasing in his sight.

No man, I say, has a title to the praise of God, till he feels his want
of God: nor indeed, till he seeketh that honour, which cometh of God
only: and neither desires nor pursues that which cometh of man,
unless so far only as it tends to this.

2. Another truth which naturally follows from what has been said,
is, that none shall obtain the honour that cometh of God, unless his
heart be circumcised by faith; even a faith of the operation of God:
unless refusing to be any longer led by his senses, appetites, or
passions, or even by that blind leader of the blind, so idolized by the
world, natural reason, he lives and walks by faith, directs every step, as
seeing him that is invisible, looks not at the things that are seen, which
are temporal, but at the things that are not seen, which are eternal;
and governs all his desires, designs and thoughts, all his actions and
conversations, as one who is entered in within the veil, where Jesus
sits at the right-hand of God.

3. *It were to be wished, that they were better acquainted with this
faith, who employ much of their time and pains, in laying another
foundation; in grounding religion, on “the eternal fitness of things,” on
“the intrinsic excellence of virtue,” and the beauty of actions flowing
from it: on the reasons, as they term them, of good and evil, and the
relations of beings to each other. Either these accounts of the grounds
of Christian duty, coincide with the scriptural, or not. If they do, why
are well-meaning men perplext, and drawn from the weightier matters
of the law, by a cloud of terms, whereby the easiest truths are
explained into obscurity. If they are not, then it behoves them to
consider, who is the author of this new doctrine: whether he is likely to
be an angel from heaven, who preacheth another gospel than that of
Christ Jesus: though, if he were, God, not we, hath pronounced his
sentence, Let him be accursed.

4. Our gospel, as it knows no other foundation of good works than

faith, or of faith than Christ, so it clearly informs us, we are not his
disciples, while we either deny him to be the author, or his Spirit to be
the inspirer and perfecter both of our faith and works. If any man have
not the Spirit of Christ, he is none of his. He alone can quicken those
who are dead unto God, can breathe into them the breath of Christian
life, and so prevent, accompany, and follow them with his grace, as to
bring their good desires to good effect. And as many as are thus led,
by the Spirit of God, they are the sons of God. This is God’s short and
plain account of true religion and virtue; and other foundation can no
man lay.

5. *From what has been said we may, thirdly, learn, That none is
truly led by the Spirit, unless that Spirit bear witness with his spirit, that
he is a child of God: unless he sees the prize and the crown before
him, and rejoices in hope of the glory of God: so greatly have they
erred, who have taught that in serving God, we ought not to have a
view to our own happiness. Nay, but we are often and expresly taught
of God, to have respect unto the recompence of reward; to balance the
toil with the joy set before us, these light afflictions with that exceeding
weight of glory. Yea, we are aliens to the covenant of promise, we are
without God in the world, until God of his abundant mercy, hath
begotten us again, unto a living hope, of the inheritance incorruptible,
undefiled, and that fadeth not away.
 6. But if these things are so, ’tis high time for those persons to deal
faithfully with their own souls, who are so far from finding in
themselves this joyful assurance, that they fulfil the terms and shall
obtain the promises of that covenant, as to quarrel with the covenant
itself, and blaspheme the terms of it: to complain, “They are too
severe, and that no man ever did, or shall live up to them!” What is
this, but to reproach God, as if he were an hard master, requiring of his
servants more than he enables them to perform; as if he had mocked
the helpless works of his hands, by binding them to impossibilities; by
commanding them to overcome, where neither their own strength, nor
his grace was sufficient for them?

7. *These blasphemers might almost persuade those, to imagine

themselves guiltless, who in the contrary extreme, hope to fulfil the
commands of God, without taking any pains at all. Vain hope! that a
child of Adam should ever expect, to see the kingdom of Christ and of
God, without striving, without agonizing first, to enter in at the strait
gate! That one who was conceived and born in sin, and whose inward
parts are very wickedness, should once entertain a thought, of being
purified as his Lord is pure, unless he tread in his steps, and take up
his cross daily; unless he cut off his right-hand, and pluck out the right-
eye and cast it from him; that he should ever dream of shaking off his
old opinions, passions, tempers, of being sanctified throughout in spirit,
soul, and body, without a constant and continued course of general
self-denial!

8. What less than this can we possibly infer from the above cited
words of St. Paul? Who “living in infirmities, in reproaches, in
necessities, in persecutions, in distresses for Christ’s sake, who being
full of signs and wonders and mighty deeds, who having been caught
up into the third heaven;” yet reckoned (as a late author strongly
expresses it) that all his virtues would be unsecure, and even his
salvation in danger, without this constant self-denial. So run I, says he,
not as uncertainly, so fight I, not as one that beateth the air. By which
he plainly teaches us, That he who does not thus run, who does not
thus deny himself daily, does run uncertainly, and fighteth to as little
purpose as he that beateth the air.
 9. To as little purpose does he talk of fighting the fight of faith, as
vainly hope to attain the crown of incorruption (as we may, lastly, infer
from the preceding observations) whose heart is not circumcised by
love. Love cutting off both the lust of the flesh, the lust of the eye, and
the pride of life, engaging the whole man, body, soul and spirit, in the
ardent pursuit of that one object, is so essential to a child of God, that
“without it, whosoever liveth is counted dead before him.” Though I
speak with the tongue of men and angels, and have not love, I am as
sounding brass, or a tinkling cymbal. Though I have the gift of
prophecy, and understand all mysteries and all knowledge, and though
I have all faith so as to remove mountains, and have not love, I am
nothing. Nay, though I give all my goods to feed the poor, and my body
to be burned, and have not love, it profiteth me nothing.

10. Here then is the sum of the perfect law, this is the true
circumcision of the heart. Let the spirit return to God that gave it, with
the whole train of its affections. Unto the place from whence all the
rivers came, thither let them flow again. Other sacrifices from us he
would not; but the living sacrifice of the heart he hath chosen. Let it be
continually offered up to God through Christ, in flames of holy love.
And let no creature be suffered to share with him: for he is a jealous
God. His throne will he not divide with another: he will reign without a
rival. Be no design, no desire admitted there, but what has him for its
ultimate object. This is the way wherein those children of God once
walked, who being dead, still speak to us, “Desire not to live but to
praise his name; let all your thoughts, words and works, tend to his
glory. Set your heart firm on him, and on other things, only as they are
in and from him.” “Let your soul be filled with so entire a love of him,
that you may love nothing but for his sake.” “Have a pure intention of
heart, a stedfast regard to his glory in all your actions.” “Fix your eye
upon the blessed hope of your calling, and make all the things of the
world minister unto it.” For then, and not till then, is that mind in us
which was also in Christ Jesus, when in every motion of our heart, in
every word of our tongue, in every work of our hands, we “pursue
nothing but in relation to him, and in subordination to his pleasure:”
when we too, neither think, nor speak, nor act, to fulfil our own will,
but the will of him that sent us: when whether we eat or drink, or
whatever we do, we do all to the glory of God.
 SERMON XVIII.

THE MARKS OF THE NEW

BIRTH.
John iii. 8.
So is every one that is born of the Spirit.

1.
HOW is every one that is born of the Spirit? That is born again?
Born of God? What is meant by the being born again? The
being born of God? Or, being born of the Spirit? What is implied in,
The being a son or a child of God? Or, having the Spirit of adoption?
That these privileges, by the free mercy of God, are ordinarily
annexed to baptism, (which is thence termed by our Lord in the
preceding verse, the being born of water and of the Spirit) we know:
but we would know what these privileges are? What is The New
Birth?

2. Perhaps it is not needful to give a definition of this, seeing the

scripture gives none. But as the question is of the deepest concern,
to every child of man, (since except a man be born again, born of
the Spirit, he cannot see the kingdom of God) I propose to lay down
the marks of it in the plainest manner, just as I find them laid down
in scripture.

I. 1. The first of these (and the foundation of all the rest) is faith.
So St. Paul, 3Ye are all the children of God by faith in Christ Jesus.
So St. John, 4To them gave he power (ἐξουσίαν· right or privilege, it
might rather be translated) to become the sons of God, even to
them that believe on his name: which were born, when they
believed, (not of blood, nor of the will of the flesh, not by natural
generation, nor of the will of man, like those children adopted by
men, in whom no inward change is thereby wrought,) but of God.
And again in his general epistle 5Whosoever believeth that Jesus is
the Christ, is born of God.

2. But it is not a barely notional or speculative faith, that is here

spoken of by the apostles. It is not a bare assent to this proposition,
“Jesus is the Christ;” nor indeed to all the propositions contained in
our creed, or in the Old and New Testament. It is not merely “an
assent, to any, or all these credible things, as credible.” To say this,
were to say (which who could hear?) that the devils were born of
God. For they have this faith. They trembling believe, both that
Jesus is the Christ, and that all scripture having been given by
inspiration of God, is true as God is true. It is not only “an assent to
divine truth, upon the testimony of God,” or “upon the evidence of
miracles.” For they also heard the words of his mouth, and knew him
to be a faithful and true witness. They could not but receive the
testimony he gave, both of himself, and of the Father which sent
him. They saw likewise the mighty works which he did, and thence
believed that he came forth from God. Yet notwithstanding this faith,
they are still reserved in chains of darkness, unto the judgment of
the great day.

3. For all this is no more than a dead faith. The true, living,
Christian faith, which whosoever hath, is born of God, is not only an
assent, an act of the understanding, but a disposition which God
hath wrought in his heart; “a sure trust and confidence in God, that
through the merits of Christ, his sins are forgiven, and he reconciled
to the favour of God.” This implies, that a man first renounce
himself; that in order to be found in Christ, to be accepted through
him, he totally reject all confidence in the flesh; that having nothing
to pay, having no trust in his own works or righteousness of any
kind, he come to God, as a lost, miserable, self-destroyed, self-
condemned, undone, helpless sinner; as one whose mouth is utterly
stopped, and who is altogether guilty before God. Such a sense of
sin commonly called despair, (by those who speak evil of the things
they know not) together with a full conviction, such as no words can
express, that of Christ only cometh our salvation, and an earnest
desire of that salvation, must precede a living faith: a trust in him,
who “for us paid ransom by his death, and fulfilled the law in his
life.” This faith then, whereby we are born of God, is “not only a
belief of all the articles of our faith, but also a true confidence of the
mercy of God, through our Lord Jesus Christ.”

4. An immediate and constant fruit of this faith, whereby we are

born of God, a fruit which can in no wise be separated from it, no
not for an hour, is power over sin: power over outward sin, of every
kind; over every evil word and work; for wheresoever the blood of
Christ is thus applied, it purgeth the conscience from dead works:
and over inward sin; for it purifieth the heart from every unholy
desire and temper. This fruit of faith, St. Paul has largely described,
in the sixth chapter of his epistle to the Romans. 6How shall we
(saith he) who by faith are dead to sin, live any longer therein? Our
old man is crucified with Christ, that the body of sin might be
destroyed, that henceforth we should not serve sin.—Likewise
reckon ye yourselves to be dead unto sin, but alive unto God,
through Jesus Christ our Lord.—Let not sin therefore reign, even in
your mortal body, but yield yourselves unto God, as those that are
alive from the dead. For sin shall not have dominion over you.—God
be thanked, that ye were the servants of sin—but being made free—
the plain meaning is, God be thanked, that though ye were in time
past the servants of sin, yet now being free from sin, ye are become
the servants of righteousness.
 5. The same invaluable privilege of the sons of God, is as
strongly asserted by St. John; particularly, with regard to the former
branch of it, namely, power over outward sin. After he had been
crying out, as one astonished at the depth of the riches of the
goodness of God, 7Behold what manner of love the Father hath
bestowed upon us, that we should be called the sons of God!
Beloved, now are we the sons of God; and it doth not yet appear
what we shall be; but we know, that when he shall appear we shall
be like him; for we shall see him as he is: he soon adds, Whosoever
is born of God, doth not commit sin, for his seed remaineth in him,
and he cannot sin, because he is born of God. But some men will
say, “True; whosoever is born of God, doth not commit sin
habitually.” Habitually! Whence is that? I read it not. It is not written
in the book. God plainly saith, He doth not commit sin. And thou
addest, habitually! Who art thou that mendest the oracles of God?
That addest to the words of this book? Beware I beseech thee, lest
God add to thee, all the plagues that are written therein! Especially
when the comment thou addest is such, as quite swallows up the
text: so that by this μεθοδεία πλάνης, this artful method of
deceiving, the precious promise is utterly lost: by this κυβεία
ανθρώπων, this tricking and shuffling of men, the word of God is
made of none effect. O beware thou that thus takest from the words
of this book, that taking away the whole meaning and spirit from
them, leavest only what may indeed be termed a dead letter, lest
God take away thy part out of the book of life!

6. Suffer we the apostle to interpret his own words, by the whole

tenor of his discourse. In the fifth verse of this chapter he had said,
Ye know that he (Christ) was manifested, to take away our sins; and
in him is no sin. What is the inference he draws from this?
8Whosoever abideth in him sinneth not: whosoever sinneth hath not
seen him, neither known him. To his inforcement of this important
doctrine, he promises an highly necessary caution: 9Little children,
let no man deceive you, (for many will endeavour so to do; to
persuade you that you may be unrighteous, that you may commit
sin, and yet be children of God.) He that doth righteousness is
righteous, even as he is righteous. He that committeth sin is of the
devil; for the devil sinneth from the beginning. Then follows,
Whosoever is born of God, doth not commit sin; for his seed
remaineth in him, and he cannot sin, because he is born of God. In
this, adds the apostle, the children of God are manifest, and the
children of the devil. By this plain mark (the committing or not
committing sin) are they distinguished from each other. To the same
effect are those words in his fifth chapter, 10We know that
whosoever is born of God, sinneth not; but he that is begotten of
God keepeth himself, and that wicked one toucheth him not.

7. Another fruit of this living faith is peace. For 11being justified

by faith, having all our sins blotted out, we have peace with God,
through our Lord Jesus Christ. This indeed our Lord himself, the
night before his death, solemnly bequeathed to all his followers.
12Peace, saith he, I leave with you; (you who believe in God, and
believe also in me) my peace I give unto you. Not as the world
giveth, give I unto you. Let not your heart be troubled, neither let it
be afraid. And again, 13These things have I spoken unto you, that in
me ye might have peace. This is that peace of God, which passeth
all understanding, that serenity of soul, which it hath not entered
into the heart of a natural man to conceive, and which it is not
possible for even the spiritual man to utter. And it is a peace which
all the powers of earth and hell are unable to take from him. Waves
and storms beat upon it, but they shake it not; for it is founded upon
a rock. It keepeth the hearts and minds of the children of God, at all
times and in all places. Whether they are in ease or in pain, in
sickness or health, in abundance or want, they are happy in God. In
every state they have learned to be content, yea, to give thanks
unto God through Christ Jesus: being well assured, that “Whatsoever
is, is best;” because it is his will, concerning them. So that in all the
vicissitudes of life, their heart standeth fast, believing in the Lord.

II. 1. A second scriptural mark of those who are born of God is

hope. Thus St. Peter, speaking to all the children of God, who were
then scattered abroad, saith, 14Blessed be the God and father of our
Lord Jesus Christ, who according to his abundant mercy, hath
begotten us again unto a lively hope. Ἐλπίδα ζῶσαν, A lively or living
hope, saith the apostle: because there is also a dead hope (as well
as a dead faith) a hope which is not from God, but from the enemy
of God and man; as evidently appears by its fruits; for, as it is the
offspring of pride, so it is the parent of every evil word and work,
whereas every man that hath in him this living hope, is holy as he
that calleth him is holy: every man that can truly say to his brethren
in Christ, Beloved, now are we the sons of God, and we shall see
him as he is, purifieth himself, even as he is pure.

2. This hope implies, 1. The testimony of our own spirit or

conscience, that we walk in simplicity and godly sincerity; secondly,
the testimony of the Spirit of God, bearing witness with, or to, our
spirit, that we are the children of God, and if children, then heirs,
heirs of God and joint-heirs with Christ.

3. Let us well observe, what is here taught us by God himself,

touching the glorious privilege of his children. Who is it, that is here
said to bear witness? Not our Spirit only, but another; even the Spirit
of God: he it is who beareth witness with our spirit. What is it, he
beareth witness of? That we are the children of God; and if children,
then heirs; heirs of God, and joint-heirs with Christ:――if so be that
we suffer with him (if we deny ourselves, if we take up our cross
daily, if we chearfully indure persecution or reproach for his sake)
that we may also be glorified together, And in whom doth the Spirit
of God bear this witness? In all who are the children of God. By this
very argument does the apostle prove in the preceding verses that
they are so: 15As many, saith he, as are led by the Spirit of God,
they are the sons of God. For ye have not received the Spirit of
bondage again, to fear; but ye have received the Spirit of adoption,
whereby we cry, Abba, Father! It follows, The Spirit itself beareth
witness with our spirit, that we are the children of God.

4. The variation of the phrase in the 15th verse, is worthy our

observation. Ye have received the Spirit of adoption, whereby we
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