THE LADIES' REPOSITORY. Ꭱ NOVEMBER, 1846. MEDITATION. (SEE ENGRAVING.) you that the other sex have almost all the advantage in this intercourse, commanding all the decisions of the same. True, it is said that the woman may give the negative; but is it not man that often pronounces the "veto?" Do, then, my dear young ladies, in common discretion, whilst you abhor coquetry, keep your affections uncommitted until you are assured that you may repose them to the constancy of an unwaver WELL, here she is-Meditation! I wonder what she meditates about! You see we consider her an individual, and not an ideality; for we cannot unpersonify her, when here she is personified. That, indeed, were a curious ratiocination, amounting to the positive sin of metaphysics, and nullifying even that, by its own rule. One of the most sensible modern improvements is the repudiation of this old-ing suitor; and, of all things, let there not be the fashioned rhetorical figure of personification. And this reform has gradually and naturally taken place, without criticism or contest. slightest indication of surrendering them unasked. The young believe that the ardency of the sentiment of love prescribes and claims to itself a parIs this a good delineation? No, it is not a good ticular code of conduct and constancy; but trust delineation. It is imposing, without being just—in- not so. Its tendency is just to the contrary. This volving a sensible and a moral peccadillo at once. sentiment, in common with every other aspiration Remark the figure: it is as tall as the castle behind of human affection, vacillates in exact accordance it. This might fairly be so given; for the castle may with the general fickleness of the character which be diminished to any schedule of distance; but its entertains it. On such a one throw not away your shades should be also diminished to the same distance regards, merging your whole character in an unworand obscurity, which here is not the case. Also, we thy weakness. Feel yourself forbidden to do it, by all see that the lady's cloak really intercepts part of the the promptings of dignity and truth, and by regard building, which is a tall building; for see how short for your parents, implying a still higher authority. the trees fall of it. We must place the picture very It is only superior characters-characters of conunpleasantly near to render this effect. Landseersistent integrity, rationality, and morality-in perdraws well; but this is out of his line. In animals {fectly well-balanced characters, that integrity of feelhe has no superior. This is a gentle face; yet its perception is of bitterness; and it is very sad. Pity that one so young should be so sad! This maiden has not been reared to religion, and religion is not paramount in her soul, throwing all merely human sentiments into subordination, sustaining under misfortune, and guarding all the avenues of excessive suffering. The young maiden of nineteen summers muses over a disappointed affection! And what! are we about to write a "love story" for the Repository? No such thing is thought of no such liberty taken. There shall be nothing either overt or covert to be objected to in what we present to our young ladies. ing exists. Others may desire a good ardently, and pursue it properly and sedulously; but as soon as assured of obtaining it, it becomes lessened in their view-diminishes more and more to their imagination; and, decreasing in the same exaggerated ratio with its access, it finally ceases to be an object of desire, or of pursuit. In the sentiment of love more than in any other aspiration of the mind this is the case. Observe that where the epithet "fickle" is applied, it is almost invariably to this sentiment that it is pointed; and, as has been said, you will see that it runs through the whole of the character so stigmatized. Beware of such! Let your love, if it do not originally await your esteem, at least be regulated by it. For why, do you not all intend to be married? See, our young lady holds a rose-a souvenirAnd is not marriage the great sacrament of life? transient symbol, perhaps, of as fading a devotion! And should there not be a preliminary acquaint-She meditates. She indulges in no tears, yet one rests anceship to marriage? And should it not be shown in her eye-another has fallen on her young face. VOL. VI.-41 322 POETRY OF THE SAMARITANS. POETRY OF THE SAMARITANS. BY STEPHEN M. VAIL, A. M. INTRODUCTORY REMARKS. EVERY nation having a literature, has its poetry. The Samaritans, though so inconsiderable as a nation, are not an exception. In their literature we have yet remaining their Pentateuch and their version of it, written in the Samaritan dialect, the Samaritan chronicles, and the Samaritan songs. A short account of these songs we propose to give in the following paper, together with some extracts from them, showing their spirit and character. There are only twelve which have come down to us, and these are in part broken and fragmentary. We have a version of them in Arabic, which has assisted much in deciphering and translating them. In some instances we have preferred to adopt the Arabic instead of the Samaritan reading, as in I, 12. POETRY, OR SONGS OF THE SAMARITANS. These songs, of which we are about to speak, have never been translated into English; nor, indeed, have they ever been printed and published till a few years since. Gesenius, that veteran orientalist of the University of Halle, in Germany, having obtained manuscripts of these songs from the library of the British Museum at London, after the labor of four years, published them to the world with a good Latin translation. It is with the aid of this translation we have made a version of them in English. The external form of these songs or rhythm is different in different songs; yet follows the rhythmical laws of the Hebrews, Syrians, and Arabs. We say the rhythmical laws, not metrical, since the Samaritans, in the manner of the Hebrews, abstain from numbering and measuring their verses, and have adopted a certain rule of dividing them. In the London manuscripts, most of the songs are arranged according to the order of the letters of the alphabet; that is, each clause, consisting of two distiches, begins from that letter which the alphabetical order of the verse demands. Some of these songs are quoTEAU ra, that is, having the same ending, similar to those which are called by the Arabs lamica; the law of which is, that all the verses of the same song go out in the same letter. These songs are mostly made up of hymns and psalms, composed for the use of the public worship of the Samaritans. And they seem to have obtained almost the same place among them that the Psalms have obtained among the Jews and Christians. The poetry is, for the most part, light, and like the Syriac. And almost all the authors write in nearly the same circle of thoughts and images. Yet there are specimens of ingenuity, and of beauty and elevation of sentiment. THE DOCTRINAL USE OF THESE SONGS. These songs are exceedingly useful and important for illustrating the doctrines of the Samaritans. From them we have a much more certain knowledge of the Samaritan doctrines, than from all other Samaritan monuments which, to this day, have been published. The Jewish Rabbis, on account of their national hatred toward the poor Samaritans, published about them all sorts of falsehoods, as, e. g., that they were idolaters; that they denied the existence of angels, and the doctrine of the resurrection, etc. The accounts of them by the ancient fathers are very uncertain. But the authors of these songs do not stop to indicate strictly their rites, ceremonies, and other external forms; but in the manner of the sacred poets, as by the way and undesignedly they unlock the hidden recesses of their faith. The principal things of Samaritan theology, as far as they are contained in these songs, we will now briefly recapitulate, quoting those passages of the songs where they occur; and, first, they teach that there is one God without any ally or partner, (II, 10, 12;) without human weakness, (I, 4, 6;) without the form of a human body, (II, 7;) known partly from reason and his works, (II, 5, 13,) but mostly from the book divinely inspired-his nature not understood by mortals, (II, 10, 14.) The world they make of two parts-the one open to the senses, the other the spiritual seat of angels. They teach that the world was created from nothing, (I, 4; III, 13.) Man was made from the dust of Mount Safra, and in the image of angels, not of God, (XII, 18, 19.) Angels are the hidden powers of the world, and are called the divine hosts-present at the giving of the law, (III, 1; IV, 8, 11)-Moses the prophet of all times, the terminus of revelation, the friend and familiar servant of God, the vertex of the world-the sun, the crown; and after his ascent into heaven, he will dwell in the splendor of a god, (I, 11 seq.; XII, 25 seq.) The Samaritans reject all books as divine except the five books of Moses. Moses, therefore, was their only prophet; and hence they came to regard him with an extravagant veneration. The law they hold to be a part of the heavenly world, the first of all created things created on the six days—a spark of the divine garment, (I, 15; IV, 12 seq.) By the assiduous study and careful observation of it, men attain to eternal life, (I, 12, 18.) The Sabbath they piously regard. They constantly admonish men to be pious worshipers of God; and they promise to his worshipers distinguished rewards, (I, 8, 9, 19;) and at last there will be a great day of judgment, the remission of sins, and the resurrection of the good. False prophets, with their worshipers, shall be excluded from the resurrection, and burnt up with fire, (VII, 9 seq.) In one passage the Messiah is referred to, (III, 22.) THE AGE OF THESE SONGS. Nothing can be determined with certainty in regard to the age of these songs. In this question the fifth song is of the greatest moment, which shows POETRY OF THE SAMARITANS. that the Samaritans were agitated and oppressed by their enemies when these songs were written. Probably it was during the persecution under Justinianit may have been under the Saracens, or Mohammedans. The latter opinion derives support from the names of the authors, which, for the most part, are of Arabic origin, as Abulphatach Ben Tusuf, Saphi al Merdschan, etc. Other marks seem to indicate an earlier origin, as the ancient dialect, which, after the empire of the Saracens, seems to have died away. These songs we have endeavored to translate literally, and as far as possible to preserve the Samaritan form and expression. The lines and verses, almost without exception, stand exactly as they do in the Samaritan order. The first four songs are translated entire, with only an occasional omission. That which is omitted in the subsequent songs is indicated in the proper places. SONG I. This song was sung, according to the Arabic inscription, early on each Sabbath morning, and celebrates the dignity and sanctity of that holy day. It is also a hymn of praise to the Creator, especially on account of the work of creation and the giving of the law. 1 There is no God but one- 2 In thy law of majesty and truth, 3 Thy great and matchless wisdom And reveals thy divine authority, That thou mightest be still more glorious. 4 Without weariness thou didst make All thy excellent works: Thou didst bring them forth from nothing, 5 Thou didst make them perfect: In them was no defect: Thou madest their perfection visible; 6 Without fatigue thou didst rest On the seventh day: To the six days Thou madest it the crown.* 7 Thou didst call it holy; Thou didst make it the head- 8 Thou didst make it a covenant Between thee and thy worshipers; 9 They are blessed who keep the Sabbath; For they are worthy of his [God's] blessing. *The Sabbath is called the crown of the six days, because it is their honor, ornament, and end. He makes them to feel his sacred presence, While released from worldly care and weariness. 10 With his precious gifts Our Lord hath honored us; He hath given to us the Sabbath day, That we might rest in quiet. 11 All the magnificence of them, [i. e., God's gifts,] Hast thou revealed and delivered to Moses; Especially thy holy book Thou didst deliver to thy friend. 12 The tables of the law 323 Thou didst give to the [Arab., servant] of thy house, 13 He, giving life to his creatures, From whom is whatsoever fills the world- 14 Prophecy,† as a crown, was placed upon him, The illumination of Moses Fell upon him who was worthy of it. 15 The aliment of our life Are the tables of the law- For ever and for ever. 16 Where is there a god Like the God of our fathers? 17 With the son [Arab., servant] of his house His wonders to him he hath revealed, 18 The Creator, who has created the world, By his law by Moses, Has given life [spiritual] to the living. 19 The reader who reads, "Thou shalt have no other gods before me," Also reads, "Keep the Sabbath, To sanctify it."‡ 20 Sublime and great is He, All of whose glory Magnifies the son of his house 21 Glory unto glory Hath Jehovah added: Jehovah is the God of ages, And Moses is the prophet of all generations. SONG II. This second song is a hymn of praise to God, showing forth his power, especially in creation, as effected by himself alone; and his mercy, munificence, eternity, and wisdom are praised. 1 Thou art one, Whose is the divine glory: *Exodus xx, 3. †The sense of the poet is, that prophecy was created during the six days of the creation, and afterward it was communicated to this man, who, by this divine gift, was distinguished before other mortals. The sense is, the law of observing the Sabbath is, by Divine command, not less sacred than that of avoiding idolatry. The Jews and Samaritans compared the highest crimes to idolatry. 324 POETRY OF THE SAMARITANS. Thou hast created magnificently, And all things were made by thy hand. 2 To the joy of thy creatures, Thou art known to be eternal: That there is no other God besides thee. 3 Thou showest forth thy power, [That] it is altogether without bounds; Thy works reveal, That thou art alone in thy greatness. 4 Thou, who dost endue thy creatures With the gifts of thy wisdom, Thou doest this in marvelous ways, 5 Thou, without any voice, dost announce 6 These things [i. e., the visible world] with might have been made; They show forth only a part of thine excellence; 7 Without words thou didst call, And the world appeared; Thy creatures hasten around, And they submit themselves to thy words. 8 Thou art the first, Whose beginning no one knows: Thou art the last, To whom there is neither end nor bound. 9 God holds the world, So great is its fear of him: God holds the world, And yet his hand touches it not. 10 Thou art alone; with thee is no companion; With thee is none other-no ally; Thou art the powerful, the eternal, the tremendous, The mighty one, the conqueror, the terrible. 11 Whatever may be like to thee, Thou art not like to it in the least; Beyond its extent thou [dost exist.] 12 With no ally didst thou bring forth the worldWith no other didst thou create it; Thou alone didst bring it forth, And on account of thy greatness thou art praised. 13 By reason we have known thee; [And] from thy works; From thy book We have known both THEE and thy works.* 14 We praise thee for thy benefits, According to the measure of our strength; We have searched thee as thou art, Not according as we are, [i. e., we have searched thee conscious of our weakness rightly to know thee, the true God.] 15 We have desired thy grace; We have waited for thy benefits; We would not turn our face from thee, But unto thee would we ever look. 16 We stand as wayfaring men At the gate of thy mercy; * How much like this is the beautiful remark of Lord Bacon: "Thy creatures have been my books, but thy Scriptures much more. I have sought thee in the fields and gardens; but I have found thee in thy temples!" Let it be far from thee, that thou shouldst deny 17 Stretching forth our hands, We earnestly supplicate [thy] gifts, And stretching forth the hands of thy grace, 18 The soul stands in need of refreshing; Give thy gifts [not] according to thy justice, 19 Thou art inclined to mercy- Gives only thou thyself. |