transmitted to posterity were, in a literal sense, poems; that is, compositions in which imagi'nation had the chief hand, formed into some • kind of numbers, and pronounced with a musi. 'cal modulation or tone'.' It is indeed easy to believe, that human language might attain a considerable degree of elevation and force, before it acquired the exactness of prose composition, This we observe in young writers, who, if they possess any degree of genius, are generally flowery and poetic and find much time and practice needful to attain the neatness and purity of correct prose. The human mind, like a good vine, sends forth vigorous and lofty branches; but it requires the judgment of an experienced hand to prune away the weak and unnecessary shoots, in order to give perfection to the fruit. Or, we may compare it to a river, strong and rapid in a state of nature, but often ready to overflow its boundaries, and desolate the surrounding country, till the hand of art rears high and strong banks, and by proper canals and locks, distributes its waters, so as to be the means only of fertility and pleasure. The nature of the Hebrew poetry hath been so learnedly and satisfactorily ascertained by Bp. LoWTH, and his system is so well known and generally adopted by the learned, that what I shall offer on this subject will be little more than the result of his discoveries. 1 Dissertation on Ossian's Poems, also lecture vi. p. 132. kc. See likewise Bishop Lowth's Prelect. sect, iv. That the Hebrew poetry does not consist in rhyme, is very evident; and no less so that it consisted not in measured lines of equal length, like those of blank verse: but it is distinguished from simple prose by the following circumstances. 1. The use of highly figurative language, of which we have seen several examples in the preceding section; and with which our prophetic writers particularly abound. This is perfectly natural and consistent. Our first views of objects are generally exaggerated, and make a strong impression on the mind from their novelty: hence it is natural to speak of them in poetic language. And this language is perfectly adapted to prophecy, since it was natural to describe with rapturous and glowing language, what was seen in vision and in ecstasy. A 2d mark of poetic composition is the arrangement of the words in their poetic order, which is often the reverse of the prosaic. To those acquainted with the learned languages this remark can want no illustration; and to the plainest English reader it may be rendered intelligible by a single verse from the oracle to Shebna1. And I will drive thee from thy station, Here the first line gives the prosaic, and the second the poetic order not but poetry admits Lowth's Ifa. xxii. 19. the former arrangement, though modern prose seldom will admit the latter. The 3d and most characteristic property of Hebrew poetry is what Bishop LowTH calls a parallelism; or a certain poetic correspondency between the parts and members of the poetic verses. The different lengths and measures of the Hebrew verse are ascertained by the alphabetic psalms' and poems, in which every verse begins with a certain letter, in the manner of an acrostic. Transferring the rules derived from these examples to the other poetical parts of scripture, we find that they resolve themselves into poetic lines, or verses, as in the following examples; though it may not be always easy to mark and divide them so distinctly. Seek ye Jehovah, while he may be found; • Call ye upon him while he is near2.' A wise son rejoiceth his father; But a foolish son is the grief of his mother'.' Give a portion to seven, and also to eight; For thou knowest not what evil shall be upon the 'earth".' ་ These instances, borrowed from Bishop LoWTH, exhibit the three kinds of parallels, which he calls synonymous, antithetic, and constructive; but for a full account of them I must refer to his learned preliminary dissertation to 1 Psalm xxv. &c. xxxiv. xxxvii. cxi. cxii. cxix. cxlv. Prov. xxxi. 10-31; and Lament. i. ii. iii. iv. 2 Isa. lv. 6. 3 Prov. x. 1. 4 Eccles. xi. 2. Isaiah, where the inquisitive reader will find ample satisfaction. I would add, however, that the Hebrew poetry consists of long and short lines, of couplets, triplets, and other combinations of verses suficient to form a considerable variety, and to suit the different species of poetic composition employed by the inspired writers. 4. The last mark of the poetic style is a certain rhythm and harmonious arrangement of the syllables. That the verses had something regular in their 'form and composition, seems probable from their apparent parity and uniformity, and the relation ⚫ which they manifestly bear to the distribution of the sentence into its members. But as to the harmony and cadence, the metre or rhythm, of 'what kind they were, and by what laws regula'ted, these examples give tis no light, nor afford us sufficient principles on which to build any 'theory, or to form any hypothesis. For harmony arises from the proportion, relation, and correspondence of different combined sounds; and verse from the arrangement of words, and the disposition of syllables, according to the num ber, quantity, and accent; therefore the harmony and true modulation of verse depends upon a perfect pronunciation of the language, and a knowledge of the principles and rules of versifi'cation; and metre supposes an exact knowledge ' of the number and quantity of the syllables, and ' in some languages of the accent. But the true pronunciation of Hebrew is lost: lost to a degree far beyond what can ever be the case of any Eu ropean language preserved only in writings: for 'the Hebrew language...has lain now for 2000 years, in a manner mute, and incapable of utterance the number of syllables is, in a great many words, uncertain: the quantity and accent wholly unknown." 6 ' Thus the learned translator of Isaiah; and, by this extract, the reader will perceive his lordship pays little regard to the Masoretic points and accents, and esteems the rules of the Jews of no authority.' Without these, however, that the Hebrew writers had a respect to quantity and accent, there is sufficient evidence in the poetic licences they employ in lengthening and abbreviating words, by forms little used in their prose or historical compositions; and by an arrangement of words sometimes very intricate, and at this distance of time, very hard to understand. We have said, the Hebrews had their poetic licences, and to these, I conceive, should be referred some peculiarities in their language, which critics and grammarians have found it difficult to account for. Among these, one of the principal seems to be an enallege or change of tenses; the past for future, and the future for past, or rather both past and future for the present; which is wanting in the Hebrew, excepting the participle, and this in many cases cannot be conveniently employed. It is however rather as a poetic beauty, 1 Lowth's Prelim. Dissert. to Isaiah, 8vo. ed. p. 10. See also his Lectures, Lect. III. E |