Page:The New International Encyclopædia 1st ed. v. 17.djvu/50

BEPEAIi. 3* rule hns been nbolislieJ in England and many of the L iiilfid .States. EEPEATING RIFLE. Sec Small Abms. REPENTANCE (OF., Fr. repentance, from ML. n/irntcnn, icpeiilant, from Lat. ?<■-, back again, anew + panilcrc. to repent, frequentative of pirnire, puniic, to punish, from pwmi, punish- ment, e.-piation, pain, from Gk. «-oii»^, point', pun- ishment; connected with Gk. rlvfi.", tineiii, Skt. ci, to avenge). Sorrow for sin and renunciation of the same. It is intimately connected with faith (q.v.), since faith is the tiuniuf; of the soul toward God, and repent aiice is the same act considered as a turnin>,' away from sin. It is synonymous with conversion wlien used of the original "and decisive abandonment of sin which marks the beginning of the Christian life; but, unlike conversion, which occurs but once, daily repentance should follow daily sins. It is a conse(iuent of regeneration (q.v.), which is God'.s act calling forth repentance and conversion. Adequate repentance embraces all sin as such, known or forgotten, and involves the condenuiing sentence of conscience and the voluntary activity of the will in forsaking it, and both choosing and executing acts of holiness in its place. The motive leading to an evangelical repentance must be nothing short of a perception of the evil of sin in itself, as violating the law of conscience and of God. Auy lesser motive, as sense of danger or fear of the wrath of God, is not suHi- cient to produce a true reijentance, which must embrace the love of God and sincere submission to His holy will. Every act of repentance in- volves a new girding up of the soul to new resistance to temptation. Such repentance is always accejited of God and followed by the divine forgiveness. REPHAIM, ref'fi-Im or re-fa'im (Heb. rfph- <Jim ) . (1) A popular name of the prehistoric inhabitants of Palestine, especially to the east of the .rabah (<i.v. ). The Hebrew ni/j/irt means 'weak,' and hence is used of the shades of the dead (e.g. Is. xiv. 9). The term a])pears to have been applied to the early legendary in- habitants, whose ghosts were supposed still to haunt their ancient homes. But the myth-making process magnified them into giants, and the word received this connotation. In this sense the word may be used in II. Sam. xxi. 10 et seq. Most definite are the interesting antiquarian notes in Deut. ii. 10, 20, where ri'ference is made to the predecessors of iloab and Amnion, and they are described as a gigantic folk; com- pare the tradition concerning the Anakim, whom Israel encountered in South Palestine (Num. xiii. 33). In Deut. iii. II, Og, the King of Bashan, is recorded as a descendant of this gigantic race, and the proof of his stature is given in an enormous bedstead of iron. These notes are [laralleled by the ethnologj- of Gen. xiv. Consult Driver, dommenlary on Deute- ronomy, p. 40 (London, 1805). (2) The Valley of Rcphaim. The scene of the two battles in which David broke the power of the Philistines (II. Sam. v. 18, 22; xxiii. 13; I. Chron. xiv. 9 et seq.) ; also famous for fertility (Is. xvii. 5) . The location is given in .Tosh. xv. 8, 9; xviii. 16, as contiguous to the Valley of Hinnom, and is identified with the broad valley running for two miles southwest from .Terusalc'ra, a strategic vantage-point for the invaders, and also afford- REPIN. ing cooperation with the non-Israelitish city of Jerusalem. Some would associate the name with the race of the Rephaim. REPH'IDIM (Heb. Mephldlm, probably re- freshments, from ruphad, to support, succor). A station in the route of Israel through the peninsula of Sinai (Exod. xvii. 1, 8; .xix. 2; Xum. xxxiii. 14 et seq.). It was the scene of a rebellion of the people for lack of water, which Moses supplied by a miracle, whence, according to tradition, the names Massah (tempting) and Meribah (striving) were given to the place. Here Israel routed Amalek by miraculous interposition, an account of whicfi was recorded in writing. Here Jethro, ^loses's father-in-law, paid him a visit. But, as in the case of most of the Sinaitic stations, no local tradition of the name survives. It has often been identified with the oasis of Feiran. north of Mount Serbal; it would be a fitting prize of war between Amalek and Israel, but, on the other hand, the lack of water does not agree with the nature of the oasis. The modern theory, which takes the Exodus through the northern part of the peninsula, finds there no tradition of the name. Consult : Robinson, Biblical Ro- searehes, vol. i. (Boston, 1841) ; Palmer, Desert of the Exodus (Cambridge, 1871). REPIN, ryil'pin, Ili.v Yefimovitch (1844—). A noted Russian painter, born in the Govern- ment of Kharkov. The son of a poor Cos- sack ofliicer, he was first instructed by an obscure painter in his native place, and soon earned a living by painting saints' images until enabled, in 1805, to attend the Academy at Saint Petersburg, where his "Raising of Jairus's Daughter" (1871) brought him the great gold medal, accompanied by a stipend entitling him to study abroad for six years. His real master, however, had been Ivan Kramskoy (1837- 87). Before starting on his travels, he painted (1872) at Moscow a series of life-size portraits of Russian, Polish, and Czech composers for a concert hall, and in 1873 he exhibited in Vienna the "Burlaki"' (Barge-men on the Tow- path), a remarkable work. His best picture, dating from his foreign sojourn, was "'Szadko in the Wondrous Realm of the Sea," based iipon a national legend. For this lie was elected a member of the Academy (1870), where he subsequently became professor. Among a series of historical and legendary sidijects and genre sc,enes which followed, the best known are: "The Czarevna Sofia at the Chapel-Window" (1879) ; "Return of the Dying Soldier" (1883) ; "Back from Siberia" (1884) ; "Ivan the Terrible and His Slain Son" (1885), and "Saint Nicholas Staying an E.xecution" ( 1889) , the last two in the Alexander jMuscum, Saint Petei'sburg. After I8S6 he devoted himself almost exclusively to portraiture, his subjects including Liszt. Rubin- stein, Garshin, Pissemski, and Tolstoy. Charac- teristic of Repin's earlier work is the element of gloom and oppressiveness. He inter|U'eted what he saw of the dumb, patient suffering around him, and, like Tolstoy, had the pro- foundest compassion for humanity. A happier atmosphere pervades some of his lafer pictures, and technically all his works exhibit great power and freedom of treatment, subsiding occasionally even into impressionism. A humorous note — un- usual in this artist — is sounded in the "Holiday