αλλα πλείω.

cian and Syriac . Heb. 23. Strabo, lib. x. p. 722. Edit. Amstel. acknowledges that the name is barbarous or foreign : Των οργανων ενια βαρβαρως ονομασται, να λα και σαμβύκη η και βαρβιτος, και "Some musical instruments have barbarous names, as the nabla and sambuké, the barbitos, the magadis, and several others." Josephus Ant. lib vii. cap. 12. § 3. describes it thus: H de ναβλα, δωδεκα φθογγους έχεσα τοις δακτυλιος ΚΡΟΥETAI; "The nabla has twelve sounds, and is struck or played upon with the fingers." In playing, it was turned about with both hands. Thus Ovid, De Arte Amandi, lib. iii.

Disce etiam duplici genialia Nablia Palmá

Vertere; conveniunt dulcibus illa modis.

Its name, like that of the Utricularis Tibia (Eng. bag-pipe,) is taken from its resemblance to a bottle or flaggon, Utris,) for thus also a signifies.

It began to be in use about the time of David. This may be gathered from its being mentioned by David in several places of the Psalms, and by the sacred writers who succeeded, but never once by those who preceded him. Hesychius says it was Svonxo, a harsh sounding instrument; others, however, highly commend it. And in the Adulterer of Philomen, when one says that he knows not what the nabla is another replies, Ουκ οισθα Ναβλαν ; Boy by out aɣalov. "Not know the nabla? Then εδεν εν οισθ' αγαθον. thou knowest nought that is good." Thus Bochart, Vol. I. p. 728. And from the passage of Sopater there produced, from what Josephus says of the nabla, and from his joining it in the place above

cited with the Κινυρα, of which he says, Η μεν κινυρα, δεκα χορδαίς εξημμενη, τύπτεται πληκτρῳ, that “it is furnished with ten strings, and played upon with a plectrum." From all this taken together, I say it is manifest that the nabla was a stringed instrument; and therefore not, as a very ingenious writer to whom I am very much obliged, has supposed, a kind of bag-pipe, such as Dr. Russella informs us is still in use about Aleppo. cxliv. 9, the nabla appears, sometimes at least, to have had only ten strings. And the Targum, Syriac, Septuagint and Vulgate, in both passages agree in this explanation of the word my Gnasur, or Hasur.

From Psa. xxxiii. 2.

The KINOOR () was a musical instrument of the stringed kind; a lute, harp, or the like, played on with the hand, according to 1 Sam. xvi. 23; though Josephus, Ant. lib. vii. cap. 12. § 3. Edit. Hudson, says that the kinyra David, made for the Levites, was furnished with ten strings, and played on with a plectrum. From this word no doubt are derived not only the Greek xivuga, a harp, by which the Seventy very frequently render it, but also Xivugos and xivugsofa, signifying lamentation or κινυρος κινυρεσθαι, moaning. Whence, as Bochart, Vol. I. p. 729, has observed, it is probable that the Greeks used this instrument on mournful occasions; whereas, among the Hebrews, playing on the kinoor was a sign of joy, as Gen. xxxi. 27. 2 Chron. xx. 27, 28. Job xxi. 12. Psal. cxliv. 2, 3. Hence, however, as he

"Nat. Hist. of Aleppo, p. 94.

further remarks, it will not follow that the Hebrew

kinoor and Grecian xvuga were instruments of different kinds; since the same sort of instruments might affect the mind in different manners, according as it was differently played upon. See Isa. xvi. 11. and Calmet as above, and Parkhurst.

Effects the most astonishing and almost preternatural are attributed in the Scriptures to the Hebrew music. To produce these the poetic compositions must have been exquisitely grand, the instruments perfect in their kinds, and perfectly adapted to the effects they were intended to produce; and the musicians uncommonly skilful. Of their instruments we know little besides their names, and even the signification of these is by no means well ascertained. But much of their poetry remains, and is a standing monument of the high state of cultivation to which the most difficult of all sciences had at a very early period arrived; and among a people too, whom the proud and insolent Greeks affected to call barbarians.

Even an infidel, who is capable of examining the poetic compositions of the Hebrews in their original language, will allow that they possess all the characteristics of the most energetic, sublime, and affecting poetry. In sacred poetry, the inspired writers alone have succeeded: for it belongs to the Divine Spirit to describe the things of GoD in a suitable manner, and in appropriate language. Several eminent men have written upon this subject, and written well: but there is one point on which little has been said, viz. the combination of

sense and sound in various parts of the compositions of the Hebrew writers.

For full evidence of the exquisite art possessed by some of the prophets, in conveying the sense of their words by their sounds, I shall refer the learned reader, first to the original of David's lamentation over Saul and Jonathan, 2 Sam. i. 19-27. This lamentation, says Dr. Kennicott, is justly admired as a picture of distress the most tender and the most striking; unequally divided by grief into longer and shorter breaks, as nature could pour them forth from a mind interrupted by the alternate recurrence of the most lively images of love and greatness. His reverence for Saul, and his love for Jonathan, have their strongest colourings but the greatness and bravery of those warriors come full upon him, and are expressed with peculiar energy.

Being himself a warrior, it is in that character he sees their greatest excellence; and, though his imagination hurry from one point of recollection to another, yet we hear him at first-at last— every where lamenting-How are the MIGHTY fallen! It is almost impossible to read the noble original without finding every word swollen with a sigh, or broken with a sob. A heart pregnant with distress, striving to utter expressions descriptive of its feelings, (which are repeatedly interrupted by an excess of grief) is most sensibly painted throughout the whole.

Even an English reader may be convinced of

R

this, from the following specimen, which includes only the three last hemistichs.

נפלאתה אהבתך לי מאהבת נשים

Niphleathah ahabtecha lec meahabath nashim.

Thy love to me was wonderful, beyond the love of women.

איך נפלו גברים

Eik napheloo gibboreem.

How are the MIGHTY fallen!

ויאברו כלי מלחמה

Wayobedoo kelee milchamah.

And the weapons of war perished!

The Psalms afford several instances of this connexion of sense and sound. The following, from Psalm xviii. 15. is a fine specimen :

וברקים רב ויהמם

Oobrakkeem rabb Vayhummem.

And lightnings he multiplied, and confounded them: in which Dr. Delaney has justly observed, the rattling and pounding of thunder are distinctly heard in the sounds of the original words.

We have another striking example in the 10th

verse:

וירכב על כרוב ויעף

Wayircav hhal keroob waiyahoph.

He rode upon a cherub, and did fly:

וידא על כנפי רוח

Wayeda hhal kanphee rooach.

Yea, he flew on the wings of the wind!

How astonishingly are the blowing and rushing of the wind expressed in the last word of each hemistich! The clap of the wing also in the word

kanphee may be distinctly heard. Could such a coincidence be the effect of accident!