receive from the intervention of the deity: The nations shall rush like the rushings of many waters; but God shall rebuke them, and they shall fly far off; and they shall be chased as the chaff of the mountain before the wind, and like the down of the thistle before the whirlwind. Figurative allusions, too, we frequently find, to the rites and ceremo nies of their religion; to the legal distinctions of things clean and unclean; to the mode of their temple service; to the dress of their priests; and to the most noted incidents recorded in their sacred history; as to the destruction of Sodom, the descent of God upon Mount Sinai, and the miraculous passage of the Israelites through the Red Sea. The religion of the Hebrews included the whole of their laws and civil constitution. It was full of splendid external rites that occupied their senses; it was connected with every part of their national history and establishment; and hence, all ideas founded on religion, possessed in this nation a dignity and importance peculiar to themselves, and were uncommonly fitted to impress the imagination.

From all this it results, that the imagery of the sacred poets is, in a high degree, expressive and natural; it is copied directly from real objects that were before their eyes; it has this advantage, of being more complete within itself, more entirely founded on national ideas and manners, than that of most other poets. In reading their works we find ourselves continually in the land of Judæa. The palm-trees, and the cedars of Lebanon, are ever rising in our view. The face of their ter ritory, the circumstances of their climate, the manners of the people. and the august ceremonies of their religion, constantly pass under dif ferent forms before us.

The comparisons employed by the sacred poets are generally short. touching on one point only of resemblance, rather than branching out into little episodes. In this respect, they have perhaps an advantage over the Greek and Roman authors whose comparisons, by the length to which they are extended, sometimes interrupt the narration too much, and carry too visible marks of study and labour. Whereas, in the Hebrew poets, they appear more like the glowings of a lively fancy, just glancing aside to some resembling object, and presently returning to its track. Such is the following fine comparison, introduced to describe the happy influence of good government upon a people, in what are called the last words of David, recorded in the 2d book of Samuel: (xxiii. 3.) "He that ruleth over men must be just, ruling in the fear of God; and he shall be as the light of the morning, when the sun riseth; even a morning without clouds; as the tender grass springing out of the earth, by clear shining after rain." This is one of the most regular and formal comparisons in the sacred books.

Allegory, likewise, is a figure frequently found in them. When formerly treating of this figure, I gave, for an instance of it, that remarkably fine and well supported allegory, which occurs in the 80th Psalm, wherein the people of Israel are compared to a vine. Of parables, which form a species of allegory, the prophetical writings are full; and if to us they sometimes appear obscure, we must remember, that in those early times, it was universally the mode throughout all the eastern nations, to convey sacred truths under mysterious figures and representa

tions.

But the poetical figure, which, beyond all others, elevates the style of scripture, and gives it a peculiar boldness and sublimity, is prosopopia

or personification. No personifications employed by any poets, are so magnificent and striking as those of the inspired writers. On great occasions, they animate every part of nature; especially, when any appearance or operation of the Almighty is concerned. "Before him went the pestilence-the waters saw thee, O God, and were afraid—the mountains saw thee, and they trembled.-The overflowing of the water passed by ;--the deep uttered his voice, and lifted up his hands on high." When inquiry is made about the place of wisdom, Job introduces the "Deep, saying, it is not in me; and the sea saith, it is not in me.Destruction and death say, we have heard the fame thereof with our ears." That noted sublime passage in the book of Isaiah, which describes the fall of the king of Assyria, is full of personified objects; the fir-trees and cedars of Lebanon breaking forth into exultation on the fall of the tyrant; hell from beneath, stirring up all the dead to meet him at his coming; and the dead kings introduced as speaking, and joining in the triumph. In the same strain, are these many lively and passionate apostrophes to cities and countries, to persons and things, with which the prophetical writings every where abound. "O thou sword of the Lord how long will it be ere thou be quiet? put thyself up into the scabbard, rest and be still. How can it be quiet," (as the reply is instantly made) "seeing the Lord hath given it a charge against Askelon, and the sea-shore; there hath he appointed it." Jerem. xlvii. 6.

In general, for it would carry us too far to enlarge upon all the instances, the style of the poetical books of the Old Testament is, beyond the style of all other poetical works, fervid, bold, and animated. It is extremely different from that regular correct expression, to which our ears are accustomed in modern poetry. It is the burst of inspiration. The scenes are not coolly described, but represented as passing before our eyes. Every object, and every person, is addressed and spoken to, as if present. The transition is often abrupt; the connection often obscure; the persons are often changed; figures crowded, and heaped upon one another. Bold sublimity, not correct elegance, is its character. We see the spirit of the writer raised beyond himself, and labouring to find vent for ideas too mighty for his utterance.

After these remarks on the poetry of the scriptures in general, I shall conclude this dissertation, with a short account of the different kinds of poetical composition in the sacred books; and of the distinguishing characters of some of the chief writers.

The several kinds of poetical composition which we find in scripture, are chiefly the didactic, elegiac, pastoral, and lyric. Of the didactic species of poetry, the book of Proverbs is the principal instance. The nine first chapters of that book are highly poetical, adorned with many distinguished graces, and figures of expression. At the 10th chapter the style is sensibly altered, and descends into a lower strain, which is continued to the end: retaining, however, that sententious pointed manner, and that artful construction of period, which distinguish all the Hebrew poetry. The book of Ecclesiastes comes likewise under this head; and some of the Psalms, as the 119th in particular.

Of elegiac poetry, many very beautiful specimens occur in scripture; such as the lamentation of David over his friend Jonathan ; several passages in the prophetical books; and several of David's Psalms, composed on occasions of distress and mourning. The 42d psalm, in particular, is, in the highest degree, tender and plaintive. But the most regular and

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perfect elegiac composition in the scripture, perhaps in the whole world, is the book, entitled the Lamentations of Jeremiah. As the prophet mourns in that book over the destruction of the temple, and the holy city, and the overthrow of the whole state, he assembles all the affecting in ages which a subject so melancholy could suggest. The composition is uncommonly artificial. By turns, the prophet, and the city of Jerusa lem, are introduced, as pouring forth their sorrows; and in the end, a chorus of the people send up the most earnest and plaintive supplications to God. The lines of the original too, as may, in part, appear from our translation, are longer than is usual in the other kinds of Hebrew poetry and the melody is rendered thereby more flowing and better adapted to the querimonious strain of elegy.

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The Song of Solomon affords us a high exemplification of pastoral poetry. Considered with respect to its spiritual meaning, it is undoubt edly a mystical allegory; in its form, it is a dramatic pastoral, or a perpetual dialogue between personages in the character of shepherds; and suitably to that form, it is full of rural and pastoral images, from beginning to end.

Of lyric poetry, or that which is intended to be accompanied with music, the Old Testament is full. Besides a great number of hymns and songs, which we find scattered in the historical and prophetical books, such as the Song of Moses, the Song of Deborah, and many others of like nature, the whole book of Psalms is to be considered as a collection of sacred odes. In these, we find the ode exhibited in all the varieties of its form, and supported with the highest spirit of lyric poetry; sometimes sprightly, cheerful and triumphant; sometimes solemn and magnificent; sometimes tender and soft. From these instances, it clearly appears, that there are contained in the Holy Scriptures, full exemplifications of several of the chief kinds of poetical writing.

Among the different composers of the sacred books, there is an evident diversity of style and manner; and to trace their different characters in this view, will contribute not a little towards our reading their writings with greater advantage. The most eminent of the sacred poets are, the Author of the book of Job, David and Isaiah. As the compositions of David are of the lyric kind, there is a greater variety of style and manner in his works, than in those of the other two. The manner in which, considered merely as a poet, David chiefly excels, is the pleasing, the soft, and the tender. In his Psalms there are many lofty and sublime passages; but, in strength of description, he yields to Job; in sublimity, he yields to Isaiah. It is a sort of temperate grandeur, for which David is chiefly distinguished; and to this he always soon returns, when, upon some occasions, he rises above it. The psalms in which he touches us most, are those in which he describes the happiness of the righteous, or the goodness of God; expresses the tender breathings of a devout mind, or sends up moving and affectionate supplications to Heaven Isaiah is without exception, the most sublime of all poets. This is abundantly visible in our translation; and, what is a material circumstance, none of the books of scripture appear to have been more happily translated than the writings of this prophet. Majesty is his reigning character; a majesty more commanding, and more uniformly supported, than is to be found among the rest of the Old Testament poets. He possesses, indeed, a dignity and grandeur, both in his conceptions and expressions, which is altogether unparalleled, and pecu

liar to himself. There is more clearness and order too, and a more visible distribution of parts, in his book, than in any other of the prophetical writings.

When we compare him with the rest of the poetical prophets, we immediately see in Jeremiah a very different genius. Isaiah employs himself generally on magnificent subjects. Jeremiah has little turn for the sublime, and inclines always to the tender and elegiac. Ezekiel, in poetical grace and elegance, is much inferior to them both; but he is distinguished by a character of uncommon force and ardour. To use the elegant expressions of Bishop Lowth, with regard to this prophet: Est atrox, vehemens, tragicus; in sensibus, fervidus, acerbus, indigna. bundus; in imaginibus fecundus, truculentus, et nonnunquam pene deformis; in dictione grandiloquus, gravis, austerus, et interdum incultus; frequens in repetitionibus, non decoris aut gratiæ causa, sed ex indignatione et violentia. Quicquid susceperit tractandum id sedulò pcrsequitur; in eo unicè hæret defixus ; a proposito raro deflectens. In cæteris, a plerisque vatibus fortasse superatus; sed in eo genere, ad quod videtur a natura unice comparatus, nimirum, vi, pondere, impetu, granditate nemo unquam eum superavit.' The same learned writer compares Isaiah to Homer, Jeremiah to Simonides, and Ezekiel to Eschylus. Most of the Book of Isaiah is strictly poetical; of Jeremiah and Ezekiel, not above one half can be held to belong to poetry. Among the minor prophets, Hosea, Joel, Micah, Habakkuk, and especially Nahum, are distinguished for poetical spirit. In the prophecies of Daniel and Jonah, there is no poetry.

It only now remains to speak of the Book of Job, with which I shall conclude. It is known to be extremely ancient; generally reputed the most ancient of all the poetical books; the author uncertain. It is remarkable, that this book has no connection with the affairs or manners of the Jews, or Hebrews. The scene is laid in the land of Uz, or Idumæa, which is a part of Arabia; and the imagery employed is generally of a different kind, from what I before showed to be peculiar to the Hebrew poets. We meet with no allusions to the great events of sacred history, to the religious rites of the Jews, to Lebanon or to Carmel, or any of the peculiarities of the climate of Judæa. We find few comparisons founded on rivers or torrents; these were not familiar objects in Arabia But the longest comparison that occurs in the book, is to an object frequent and well known in that region, a brook that fails in the season of heat, and disappoints the expectation of the traveller.

The poetry, however, of the book of Job, is not only equal to that of any other of the sacred writings, but is superior to them all, except those of Isaiah alone. As Isaiah is the most sublime, David the most pleasing and tender, so Job is the most descriptive, of all the inspired poets. A peculiar glow of fancy, and strength of description, characterise the author. No writer whatever abounds so much in metaphors. He may be said not to describe, but to render visible, whatever he treats of. A variety of instances might be given. Let us remark only those strong and lively colours, with which, in the following passages taken from the 18th and 20th chapters of his book, he paints the condition of the wicked; observe how rapidly his figures rise before us; and what a deep impression, at the same time, they leave on the imagination. 'Knowest thou not this of old, since man was placed upon the earth, that the triumphing of the wicked is short, and the joy of the hypocrite

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but for a moment? Though his excellency mount up to the heavens, and his head reach the clouds, yet he shall perish forever. He shall fly away as a dream, and shall not be found; yea, he shall be chased away, as a vision of the night. The eye also which saw him, shall see him no more; they which have seen him shall say, where is he ?-He shall suck the poison of asps; the viper's tongue shall slay him. In the ful ness of his sufficiency, he shall be in straits; every hand shall come upon him. He shall flee from the iron weapon, and the bow of steel shall strike him through. All darkness shall be hid in his secret pla A fire not blown shall consume him. The heaven shall reveal his iniquity, and the earth shall rise up against him. The increase of his house shall depart. His goods shall flow away in the day of wrath. The light of the wicked shall be put out; the light shall be dark in his tabernacle. The steps of his strength shall be straitened, and his own counsel shall cast him down. For he is cast into a net, by his own feet. He walketh upon a snare. Terrors shall make him afraid on every side; and the robber shall prevail against him. Brimstone shall be scattered upon his habitation. His remembrance shall perish from the earth, and he shall have no name in the street. He shall be driven from light into darkness. They that come after him shall be astonished at his day. He shall drink of the wrath of the Almighty.'

LECTURE XLII.

EPIC POETRY.

Ir now remains to treat of the two highest kinds of poetical writing, the epic and the dramatic. I begin with the epic. This lecture shall be employed upon the general principles of that species of composition : after which, I shall take a view of the character and genius of the most celebrated epic poets.

The epic poem is universally allowed to be, of all poetical works, the most dignified, and, at the same time, the most difficult in execution. To contrive a story which shall please and interest all readers, by being at once entertaining, important, and instructive; to fill it with suitable incidents; to enliven it with a variety of characters, and of descriptions; and throughout a long work, to maintain that propriety of sentiment, and that elevation of style, which the epic character requires, is unquestionably the highest effort of poetical genius. Hence so very few have succeeded in the attempt, that strict critics will hardly allow any other poems to bear the name of epic, except the Iliad, and the Æneid.

There is no subject, it must be confessed, on which critics have displayed more pedantry, than on this. By tedious disquisitions, founded on a servile submission to authority, they have given such an air of mystery to a plain subject, as to render it difficult for an ordinary reader to conceive what an epic poem is. By Bossu's definition, it is a discourse invented by art, purely to form the manners of men, by means of instructions disguised under the allegory of some important action, which is related in verse. This definition would suit several of Esop's