The prophetic, indeed, differs in one respect from every other species of the sacred poetry: when first divulged, it is impenetrably obscure; and time, which darkens every other composition, elucidates it. That obscurity, therefore, in which at first this part of the sacred writings was involved, is now in a great measure removed: there are now many things which the course of events (the most certain interpreter of prophecy) has completely laid open; from many the Holy Spirit has itself condescended to remove the veil with which they were at first concealed; many sacred institutions there are, the reason and intent of which are more clearly understood, since the design of the Jewish dispensasation has been more perfectly revealed. Thus it happens, that, instructed and supported by these aids, of which the ancient Hebrews were destitute, and which in truth appear not to have been conceded to the prophets themselves, we come better accomplished for the knowledge and comprehension of that part of the sacred poetry which is the most singular in its nature, and by far the most difficult of expla nation. who will refer to Mr Postlethwaite's elegant discourse on the subject. [Cambridge, 1781.]-S. H. What our Author has advanced concerning the language of prophecy, is not quite so satisfactory as I could have wished; for though the accomplishment of an event predicted be the only certain key to the precise application of every term which the prediction contained, yet if there be not something in the words of the prophecy which at the time of its delivery may serve to mark its general import, how shall those to whom it is addressed apply the prediction to its proper object and purpose? Our Author traces in the prophetic language an assumption of imagery from the Chaos, Creation, Deluge, &c.; surely then, if the application of figures from these topics were apposite and obvious, they must have conveyed the general purport of the prediction which contained them; and, instead of being designed to obscure its real meaning, were doubtless employed for the contrary purpose. To me the reason of the thing is so clear, and our Saviour's practice of referring to former events with this very intent so certain, (see Matt. xxiv. 15. 37, &c.), that I cannot but consider it as the most prominent characteristic of the prophetic language.-S. H. LECTURE XII. OF THE COMPARISON. Comparisons are introduced for three purposes; illustration, amplification, and variety-For the first an image is requisite, apt, well-known, and perspicuous; it is of little consequence whether it be sublime or beautiful, or neither: hence comparisons from objects which are in themselves mean and humble, may be sometimes useful—For the purpose of amplification an image is requisite which is sublime or beautiful, even though it should be less apt and perspicuous: and on this plea, a degree of obscurity, or a remoteness in the resemblance, may sometimes be excused—When variety is the object, splendid, beautiful, and elegant imagery must be sought for; and which has an apt agreement with the object of the comparison in the circumstances or adjuncts, though the objects themselves may be different in kind—The most perfect comparison is that in which all these excellencies are united-The peculiar form of comparisons in the Hebrew poetry; it results from the nature of the sententious style- They are short, frequent, simple, depending often on a single attribute-Different images displayed in the parallel sentences: many comparisons are arranged in this manner to illustrate the same subject; or different attributes of the same comparison are often distributed in the different divisions or parallelisms. IN the following Lecture I shall endeavour to treat of the Comparison, which I have classed the third in order of the poetical figures, with a view of illustrating in some degree both its general properties, and its peculiar application and force in the poetic compositions of the Hebrews. Comparisons serve three distinct purposes, namely, illustration, amplification, and pleasure or variety.* If I am not mistaken, among those writers who enter into the minuteness of criticism, a distinction is observed in the use of the words Comparison, Simile, and Allusion. Comparison seems to be not only the general term, which includes the whole class, but is more immediately appropriated to a certain species; I mean the most perfect of them, where the resemblance is minutely traced through all the agreeing parts of the objects assimilated.—“ Censure,” says & In the first place, comparisons are introduced to illustrate a subject, and to place it in a clearer and more conspicuous point of view. This is most successfully effected when the object which furnishes the simile is familiar and perspicuous, and when it exactly agrees with that to which it is compared. In this species of comparison, elevation or beauty, sublimity or splendour, are of little consequence; strict propriety, and a direct resemblance, calculated exactly for the explanation of the subject, is a sufficient commendation. Thus Homer very accurately depicts the numbers of the Grecian army, their ardour and eagerness for battle, by a comparison taken from flies collected about a milk-pail ;* and Virgil compares the diligence of the Tyrians in building their city, and the variety of their occupations, with the labours of the bees ;+ without in the least degrading the dignity of the Epic Muse. Dr Ogden, in one of his excellent sermons, "is so seldom in season, that it may not unaptly be compared to that bitter plant which comes to maturity but in the age of a man, and is said to blossom but once in a hundred years.' Simile seems to be a term chiefly appropriated to poetry, and often implies a slighter and more fanciful resemblance than the former word. A species of comparison not extending to a simile is called an allusion; it chiefly consists in comparing one fact with another. The most fanciful and poetical is, when two facts, bearing a remote resemblance in a few circumstances, are compared; a beautiful example of which may be found in one of Dr Ogden's sermons." If it be the obscure, the minute, the ceremonial parts of religion for which we are contending, though the triumph be empty, the dispute is dangerous: like the men of Ai, we pursue, perhaps, some little party that flies before us, and are anxious that not a straggler should escape; but when we look behind us, we behold our city in flames."-T. "thick as insects play, The wandering nation of a summer's day, That, drawn by milky steams at evening hours, From pail to pail with busy murmur run The gilded legions, glittering in the sun."-Pope's Hom. Il. ii. 552. Mr Pope has considerably elevated this passage by the splendour of his imagery and diction." The wandering nation," and the "gilded legions;" each of these expressions raises the image very considerably, (though I do not altogether approve of thus heaping figure upon figure, or rather in this instance reverting in the way of metaphor to the first object of the comparison, for "gilded legions" are here actually compared with " gilded legions.")—The rural scenery also, and the pleasant time of evening, give elegance to an idea very coarse and disgusting in itself.-T. Æn. i. 432. See the use to which Milton has applied the same diminutive insect, Paradise Lost, B. i. 768., and the address with which the simile is introduced by the expressions, thick-swarm'd, &c. in the lines immediately preceding. No writer was ever so great a master of amplification as Milton. For proofs of this assertion, in addition to the comparison just referred to, see B. i. v. 196-285, &c. B. ii. v. 285. 485. and other passages without number.— S. H. I might produce many examples to the purpose from the sacred poetry, but shall content myself with two or three, than which, both as to matter and expression, nothing can be meaner or more vulgar; nothing, however, can be conceived more forcible or expressive. Isaiah introduces the King of Assyria insolently boasting of his victories: "And my hand hath found, as a nest, the riches of the peoples; And as one gathereth eggs deserted, So have I made a general gathering of the earth: And there was no one that moved the wing, And Nahum, on a similar subject: "All thy strong-holds shall be like fig-trees with the first ripe figs; If they be shaken, they fall into the mouth of the eater."‡ There is also another comparison of Isaiah taken from domestic life, very obvious and very common; but which, for the gracefulness of the imagery, the elegance of the arrangement, and the forcible expression of the tenderest affections, has never been exceeded: "But Sion saith: Jehovah hath forsaken me; And my Lord hath forgotten me. Can a woman forget her sucking infant; That she should have no tenderness for the son of her womb? Even these may forget; But I will not forget thee."§ Isa. x. 14. Nah. iii. 12. § Isa. xlix. 14, 15. This sentiment is most beautifully paraphrased by an elegant poetess of our own times; the excellence of whose poetry is her least commendation. I cannot resist the temptation of transcribing a few lines, which appear to me at once forcible, interesting, and sublime: Heaven speaks! O Nature, listen and rejoice! She! whom strong instinct arms with strength to bear All forms of ill, to shield that dearest care; She! who with anguish stung, with madness wild, Will rush on death to save her threaten'd child; All selfish feelings banish'd from her breast, There is another species of comparison, the principal intent of which is the amplification of the subject; and this is Will she, for all ambition can attain, The charms of pleasure, or the lures of gain, Which reason's light illumes, which friendship warms, Of man forgetful, man the child of love!" Have wing'd their course, and roll'd their destin'd years; Deep in the gloom of everlasting night; When wild, destructive flames shall wrap the skies, When Chaos triumphs, and when Nature dies; God shall himself his favour'd creature guide Where living waters pour their blissful tide; Where the enlarg'd, exulting, wondering mind, Where perfect knowledge, bright with cloudless rays, Where friendship, unembitter'd by distrust, Shall in immortal bands unite the just; Devotion rais'd to rapture breathe her strain, Miss Williams's Poems, vol. i. p. 107.—T. Analogical positions serve for the most part as illustrations, rather than proofs; but no demonstration of reason alone, can so closely take hold on the heart as the images contained in this expostulation.—For a mother to forget her sucking infant, and feel no tenderness for the son of her womb, is to be more unnatural than even a brute: but impossible as it may seem that one such mother should exist, yet, were the established order of nature to be so far subverted as that every mother should become thus monstrous, still the Universal Parent will never forget his offspring. Pliny has mentioned a picture by Aristides of "a town taken by storm, in which was seen an infant creeping to the breast of its mother, who, though expiring from her wounds, yet expresses an apprehension and fear, lest, the course of her milk being stopped, the child should suck her blood.”—This picture, it is probable, gave occasion to the following epigram of Æmilianus, which Mr Webb (see his Beauties of Painting, p. 161.) has thus finely translated: |