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to its etymology, is expressive of a composition cut or divided, in a peculiar manner, into short and equal sentences.

The nature of the Greek and Latin poetry is, in this respect, directly opposite; and that in conformity to the genius of the different languages. For the Greek, beyond every other language, (and the Latin next to it), is copious, flowing, and harmonious, possessed of a great variety of measures, of which the impression is so definite, the effects so striking, that if one should recite some lame and imperfect portion of a verse, or even enunciate hastily several verses in a breath, the numbers would nevertheless be clearly discernible: so that in these every variety essential to poetry and verse may be provided for almost at pleasure, without the smallest injury to the different metres. But in the Hebrew language the whole economy is different. Its form is simple above every other; the radical words are uniform, and resemble each other almost exactly; nor are the inflexions numerous, or materially different: whence we may readily understand, that its metres are neither complex nor capable of much variety; but rather simple, grave, temperate; less adapted to fluency than dignity and force: so that possibly they found it necessary to distinguish the extent of the verse by the conclusion of the sentence, lest the lines, by running into each other, should become altogether implicated and

confused.

Two observations occur in this place worthy of attention, and arise naturally from what has been said. The first is, that a poem translated literally from the Hebrew into the prose of any other language, whilst the same forms of the sentences remain, will still retain, even as far as relates to versification, much of its native dignity, and a faint appearance

divided it. Shur signifies singing with the voice (vocal music): Nazan, to play upon an instrument. Zamar implies either vocal or instrumental melody. Thus, Bineginoth mismor shir (see Psal. lxvii. 1.) I think means a metrical song, accompanied with music. Thus I suppose mismor to denote measure, or numbers, what the Greeks called pupov (rythmon). It may also be more immediately referred to the former and original sense of the root, as signifying a poem cut into short sentences, and pruned from every luxuriancy of expression, which is a distinguishing characteristic of the Hebrew poetry. Prose composition is called Sheluchah, loose or free, diffused with no respect to rule; like a wild tree, luxuriant on every side in its leaves and branches: Metrical language is Zimrah, cut and pruned on every side into sentences, like branches distributed into a certain form and order; as vines, which the vine-dresser corrects with his pruning-knife, and adjusts into form.-Author's Note.

of versification.

This is evident in our common version of

the Scriptures, where frequently

"The order chang'd, and verse from verse disjoin'd,

Yet still the poet's scatter'd limbs we find:"

But the case is very different in literal translations from the Greek or Latin.* The other remark which I wished to recommend to your notice is, that a Hebrew poem, if translated into Greek or Latin verse, and having the conformation of the sentences accommodated to the idiom of a foreign language, will appear confused and mutilated; will scarcely retain a trace of its genuine elegance and peculiar beauty. For, in exhibiting the works of great poets in another language, much depends upon preserving not only the internal meaning, the force and beauty as far as regards the sense, but even the external lineaments, the proper colour and habit, the movement, and, as it were, the gait of the original. Those, therefore, who have endeavoured to express the beauties of the sacred poets in Greek or Latin verse, have unavoidably failed in the attempt to depict them according to their native genius and character; and have exhibited something, whether inferior or not, certainly very unlike them, both in kind and form: Whether, on the other hand, they have been able to approach, in some degree, their energy, their majesty and spirit, it is not our present object to consider.

* "Nevertheless," (that is, though the sacred poetry be not possessed of metrical syllables, and divided into feet, which is the opinion of this learned man), "we cannot doubt that it has another species of metrical arrangement, which depends upon the subject.-Is it not evident, that if you translate some of them into another language, they still retain this metrical form, if not perfect, at least in a great degree? which cannot possibly take place in those poems the metre of which consists in the number and quantity of syllables." R. Azarias in Mantiss. Dissert. ad Libr. Cosri, p. 420.-Author's Note.

THE SECOND PART.

OF THE PARABOLIC OR POETICAL STYLE OF

THE HEBREWS.

LECTURE IV.

THE ORIGIN, USE, AND CHARACTERISTICS OF THE PARABOLIC, AND ALSO OF THE SENTENTIOUS STYLE.

The Poetic Style of the Hebrews bears the general title of Parabolic-Its constituent principles are the sententious, the figurative, and the sublime-The source of the Parabolic style, and its original use: among other nations; among the Hebrews-Certain examples of it preserved from the first ages in the writings of Moses.-1. The sententious kind; its nature and effects.

THE subject which next presents itself to our investigation, is the Style of the Hebrew poetry. The meaning of this word I do not wish to be restricted to the diction only of the sacred poets, but rather to include their sentiment, their mode of thinking; whence, as from its genuine source, the peculiar character of their composition may be deduced. It will be proper however, before we proceed, to remark, that as it is the nature of all poetry, so it is particularly of the Hebrew, to be totally different from common language; and not only in the choice of words, but in the construction, to affect a peculiar and more exquisite mode of expression. The truth of this remark will appear from what usually happens to a learner of Hebrew. He, for instance, who is a proficient in the historical books, when he comes to the poetical parts will find himself almost a perfect stranger. The phraseology, however, peculiar to the poets, the bold ellipses, the sudden transitions of the tenses, genders, and persons, and other similar circumstances, I shall leave to the grammarian; or rather I shall leave (since I do not find that the grammarians acknowledge any distinction

between poetical and common language) to be collected from practice and attentive reading. It would be a no less indolent and trifling occupation to post through all those forms of tropes and figures, which the teachers of rhetoric have pompously (not to say uselessly) heaped together; since there is no necessity of applying to the sacred poetry for examples of these-every composition, however trite and barren, abounding in them. Of these, therefore, we shall be sparing, and use them not as freely as we might, but as much only as shall appear absolutely necessary: for at present we are not so much to inquire what are the general principles of poetical composition, as what are the peculiar marks and characters of the Hebrew poetry. Let us consider, therefore, whether the literature of the Hebrews will not suggest some general term, which will give us an opportunity of discussing the subject, so as to bring it under one comprehensive view; and which, being divided according to its constituent parts, will prescribe a proper order and limit to our disquisition.

A poem is called in Hebrew Mizmor, that is, as was before remarked, a short composition cut and divided into distinct parts. It is thus called in reference to the verse and numbers. Again, a poem is called, in reference to the diction and sentiments, Mashal ;+ which I take to be the word

"Agreeable to this is the meaning of the Arabic verb Zamar, collected, or tied up, therefore rendered smaller, and contained within less space: it also means to sing," &c.-H.

† Numb. xxi. 27. xxiii. and xxiv. frequently. Mic. ii. 4. Isa. xiv. 4. Psal. xlix. 5. lxxviii. 2. Job xxvii. 1. xxix. 1.

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Mashal, he likened, he compared, he spoke in parables; he uttered proverbs, sentences grave and pointed, a composition ornamented with figures and comparisons also he ruled, he was eminent, he possessed dominion and authority; delegated, perhaps, and vicarious in its original and restricted sense, whence at last it was taken more laxly, as referring to any kind of dominion: The elder servant of Abraham, who presided over his family, was certainly called Hamashel be-bal, asher lo, Gen. xxiv. 2. He was, in fact, a steward in the place of his master, and representing him by a delegated authority; whence there is evidently a relation between the two interpretations of this root, consisting in this circumstance, that both the parabolical image and the steward or deputy are representative. Mashal is therefore a composition elevated and grave, weighty and powerful, highly ornamented with comparisons, figures, and imagery; such is the style of the Psalms, the Prophets, and the Book of Job: it is a diction which under one image or exemplar includes many, and may easily be transferred to every one of the same kind-which is in general the nature of proverbs: it is, in fine, any sentence or axiom excellently or gravely uttered, concise, and confined to a certain form or manner; as is evident from 1 Sam. xxiv. 14. and from many examples in the Proverbs of Solc

mon.

properly expressive of the poetical style. Many translators render it by the word parable, which in some respects is not improper, though it scarcely comprehends the full compass of the Hebrew expression; for, if we investigate its full and proper force, we shall find that it includes three forms or modes of speech,-the sententious, the figurative, and the sublime. To these, as parts or divisions of the general subject, may be referred whatever occurs concerning the parabolic or poetical style of the Hebrews: but the reason of this arrangement will perhaps be better understood, if we premise a short inquiry into the origin and early use of this style of composition.

The origin and first use of poetical language are undoubtedly to be traced into the vehement affections of the mind. For, what is meant by that singular frenzy of poets, which the Greeks, ascribing to divine inspiration, distinguished by the appellation of enthusiasm, but a style and expression directly prompted by nature itself, and exhibiting the true and express image of a mind violently agitated? when, as it were, the secret avenues, the interior recesses of the soul are thrown open; when the inmost conceptions are displayed, rushing together in one turbid stream, without order or connexion? Hence sudden exclamations, frequent interrogations, apostrophes even to inanimate objects: for, to those who are violently agitated themselves, the universal nature of things seems under a necessity of being affected with similar emotions. Every impulse of the mind, however, has not only a peculiar style and expression, but a certain tone of voice, and a certain gesture of the body adapted to it. Some, indeed, not satisfied with that expression which language affords, have added to it dancing and song: and as we know there existed in the first ages a very strict connexion between these arts and that of poetry, we may

"In Arabic, Mathal (for W, sh, and n, th, are interchangeable letters) means to make a likeness, to express or imitate a resemblance, to dictate a parable or proverb, to give an instance."-H.

With Mashal, Chidah is frequently joined, and means, a saying pointed, exquisite, obscure; such as requires either to the conception or understanding of it considerable ingenuity. It is derived from Chud, to propose a problem or enigma, or some exquisite and curious saying; which agrees with Chedad, to sharpen, or to be sharp.

"In the Arabic, it signifies to be bent; and Chid, he turned out of his way: whence Schultens (Comment. in Job xvi. 20.) deduces the Hebrew word Chidah; as it were an intricate species of composition, a riddle." H.-Author's Note.

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