The Proportions of Truth — Reading Companion
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Transcribed from the 1872 William Hunt and Company edition by David Price, email ccx074@pglaf.org
_THE PROPORTIONS OF TRUTH_.
BY THE REV. EDWARD HOARE, M.A. _Vicar of Trinity Church_, _Tunbridge Wells_, _and Honorary Canon of Canterbury_.
LONDON: WILLIAM HUNT AND COMPANY, HOLLES STREET, CAVENDISH SQUARE; AND ALDINE CHAMBERS, PATERNOSTER ROW.
_The Proportions of Truth_.
BY THE REV. EDWARD HOARE, M.A., _Vicar of Trinity Church_, _Tunbridge Wells_, _and Honorary Canon of Canterbury_.
The Proportions of Truth.
AMONG the many wise sayings of Paschal there is one that deserves our most attentive study: viz., that few heresies have their origin in simple error, but that all that have ever attained to power have originated in the exaggeration of truth. Without that element of truth there would be no power in the error. This principle is in perfect harmony with all we see around us. In everything there are certain proportions, and nothing can compensate for their loss.
In art the painter may mix his colours in the most perfect combination; he may bring out each feature with all the power of a Rembrandt, but if the head is twice too large for the body, or the nose for the face, his beautiful painting becomes nothing better than a ridiculous caricature.
In nature God has fitted the parts of each tree in beautiful proportion. Each part—the root, the stem, the branch, the leaf,—does its work in perfect harmony. And many a beautiful tree bears nothing, simply because an ignorant gardener, by what he calls pruning, has disturbed the proportions of its parts.
In music it is the same, and Shakespeare knew it when he wrote,
“How sour sweet music is When time is broke, and no proportion kept.”
But there is no illustration more perfect than that of light. In pure white light there are many parts, but all in perfect harmony. Let any one colour be left out, or its strength be diminished, and the pure white is seen no more. If we wish for purity in light we must have the whole spectrum, and have it just as God has given it. Let man disturb it in any way whatever, let him keep back any colour, because it does not suit his taste, or isolate any other colour, because for it he feels a special preference, and the result will be that he will no longer look on the pure bright light of heaven. He need not introduce any new element; all that he has to do is to keep back a part and to disturb the proportion, and by that simple and easy process he can substitute a colour of his own devising for the pure brightness of the sunbeam.
I believe it to be just the same with the truth of God. It is clearly so with _the Lord Himself_. As He is perfect in every detail, so is He perfect in the proportions of His attributes. Every attribute is in its place, and every attribute perfect; and all are so beautifully fitted together, that the highest desire of the heart thirsting for God is to come “to the perfect man, to the measure of the stature of the fulness of Christ.”
So it is with _the faith_, or God’s great plan of life, continued and carried out in His own boundless love, for the salvation of His people. Of course in this plan there are many parts,—incarnation, life, atonement, resurrection, mediation, etc. There is the work of the Father, the work of the Son, and the work of the Holy Ghost; and, besides that, there is the act of the believer,—seeking Christ, receiving Christ, and living to His glory. And of the whole it may be most truly said, “As for God. His work is perfect.” The whole plan, and every part of it, is Divine. Each part is complete, and each of these complete parts being fitted together in complete proportion, form, when thus fitted, a grand, a perfect, an harmonious whole.
Edward Hoare opens his 1872 pamphlet with a striking claim from Pascal: most heresies originate not in simple error but in the exaggeration of truth. To illustrate this principle, he reaches for analogies from art, nature, music, and light—each showing how disturbing proportion destroys harmony. A painter may mix colours perfectly, but if the head is twice too large for the body, the result is caricature. A tree pruned by an ignorant gardener may bear nothing. Shakespeare knew that broken time makes sweet music sour. Most vividly, Hoare describes white light as a spectrum: remove or diminish any one colour, and the pure brightness vanishes. These opening images establish the central metaphor that governs the entire work.
Proportion as a Theological Method
Hoare does not merely assert that proportion matters; he treats it as a structural principle for evaluating doctrine. The pamphlet moves from general analogy to specific application, repeatedly asking whether a given teaching occupies the same place in Scripture that its advocates assign it. This method is visible in his treatment of sacramental confession: he notes that the Apostles gave no hint of the practice, and challenges readers to consider whether they have mistaken the words of Christ. The same pattern recurs with propitiatory sacrifice—Hoare searches the New Testament for a priest, an altar, or a sacrificial rubric and finds none, concluding that the entire system hangs on an unproven sense given to two simple Greek words. His argumentative structure mirrors the proportion he advocates: each doctrine is weighed against its biblical evidence, and the weight of the evidence must match the weight of the claim.
The Spectrum of Doctrinal Error
The light analogy recurs as a controlling image. Hoare writes that to disturb the proportion of white light, one need not introduce any new element—simply keep back a part or isolate a colour. This becomes a model for how error arises in theology: not by adding falsehood but by exaggerating one truth until it overwhelms others. He applies this to the real presence, admitting that if the doctrine were true, no adoration could be too profound. Yet he finds that the Apostles never alluded to it, and the only texts forced into service teach separation of body and blood rather than union in a living person. The spectrum metaphor thus does double work: it explains the origin of error and provides a test for any doctrine—does it preserve the full range of biblical teaching, or does it isolate one colour at the expense of the rest?
Movement from General Principle to Specific Controversy
The pamphlet's structure moves deliberately from the abstract to the concrete. Hoare begins with Pascal's maxim, then builds a series of analogies (art, nature, music, light) before declaring that the same principle applies to the truth of God. Only after establishing this framework does he turn to the specific controversies of his day: sacramental confession, propitiatory sacrifice, and the real presence. Each topic is introduced with a phrase like 'Turn next to sacrifice,' signalling a clear progression. The movement is not random but follows a logic of increasing specificity, from the nature of truth itself to the most contentious points of Anglican ritualist practice. This structure reinforces the argument: the reader is led to see that the same principle of proportion governs both the general and the particular.
Recurring Questions and Rhetorical Appeals
Throughout the pamphlet, Hoare employs a distinctive rhetorical pattern: he poses direct questions to his opponents, often in pairs. For the real presence, he asks two numbered questions: did the Apostles give the same proportionate place to the doctrine, and is its authority in proportion to its overwhelming interest? These questions are not rhetorical in the sense of expecting no answer; they are invitations to reconsider. Hoare also uses the phrase 'I would earnestly intreat them to consider' and variations, creating a tone of reasoned appeal rather than polemic. The questions serve as structural markers, closing each section and pointing forward to the next. They also embody the principle of proportion: the reader is asked to weigh evidence, not merely accept assertion. This method makes the pamphlet a model of the very balance it advocates.
Hoare's pamphlet is best read as a sustained exercise in applied proportion. The analogies are not decorative but functional, each one testing a different aspect of the central metaphor. Readers attentive to the movement from general principle to specific controversy will see how Hoare builds his case step by step, and how the recurring questions force a reckoning with evidence. The work rewards those who follow its argumentative structure as closely as its doctrinal conclusions.
Reading Hoare’s gentle insistence that truth lives in proportion, not possession, I thought of an old friend’s copy of The True Citizen: How to Become One — A Closer Reading on my shelf, spine cracked from patience. Both books whisper the same quiet thing—that wholeness comes from holding many parts loosely, never squeezing one until the others bleed. That stays with me.
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