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 instanees, 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 nis 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 peculiar 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 seldom discovers any disposition to be 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, indignabundus; in imaginibus fecundus, truculentus, et nonnunquam penè 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 persequitur; in eo unicè hæret defixus; a proposito raro deflectens. In cæteris, a plerisque vetibus fortasse superatus; sed in eo genere, ad quod videtur a na

tura unice comparatus, niinirum, vi, pondere, impetu, granditate, neno 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 es pecially 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! 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 connexion w.th 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, characterize 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 but for a moment? Though his excellency mount up to the heavens, and his head reach the clouds, yet he shall perish for ever. 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, snall 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 fulness 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 o own shall consume him. The heaven shall reveal his iniquity, and the earth shall rise up against him. The increase of his house shail depart. His goods shall flow away in the

ces.

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.'

QUESTIONS.

AMONG the various kinds of poetry, what? Whence, what probably deriwhich we are at present employed in ved its origin? In the book of Ezra, examining, what justly deserves a what are we expressly told; and of place? With what view alone, do the some of David's Psaln.s, what is obsacred books afford a curious object of served? Repeat the remarks made on criticism? What do they display; and the 24th Psalm, to illustrate this rewhat exhibit? In what view do they mark. Why does our author notice this give rise to discussion of another kind? instance? The method of composition But what, at present, is our business; which has been explained, being uniand what must needs give pleasure?versally introduced into the hymns of What treatise ought to be particularly the Jews, what was the consequence? perused; and of it, what is observed? In But of this mode, what is observed? this lecture, what course is consequently Hence, where do we find it prevailing; pursued? In showing what, need not and what instance is given? Of this many words be spent? How is this il-form of writing, what is remarked? Inlustrated? What is there no reason to dependently of this peculiar mode of doubt? What has this occasioned ? construction, by what is the sacred Taking the Old Testament, in our own poetry distinguished? What are its twe translation, what do we find? How is most remarkable characters? What, this remark illustrated? To show what, might one at first imagine? But how do is this sufficient; and afterwards, what they prevent this effect? To what is shall be shown? What may it be pro- their poetry indebted for much of its per, in passing, to remark? What illus-sublimity? How might all writers, who tration of this remark is given? What attempt the sublime, profit much; and evidence have we, that music and why? When is the mind most affected poetry were cultivated among the Ile-by any great idea; and what is the ef brews, from the earliest times? Of the fect of attempting to prolong the imgeneral construction of Hebrew poetry, pression? Of most of the ancient onwhat is remarked? In what does it con-ginal poets, what is observed; and of eist? What is done in the first member what were the superfluities and excreof the period; and also in the second?scences of style, the result? With what What instance, to illustrate this form do the sacred books more particularly

Hebrew poetry, is given? To this abound, than any other writings? Why cm of composition, what is owing; is it proper to dwell a little upon this arand why? From what is the origin of ticle? What figures there, are particu this form of composition among the He-larly frequent? In order to do justice brews, to be deduced? With what were to these, what is necessary? In order hey accompanied; and by whom were to do what, is some attention of this they performed? To illustrate this, kind requisite; and why? Pursuing what instances are given? In this this course, what shall we find? Of manner, their poetry, when set to natural objects, what is observed; and music, naturally divided itself into what suggest to them many beautilid

figures? But in order to relish their observed? What other figure is also figures of this kind, of what must we frequently found in Scripture? When take notice? Of this remark, what il- formerly treating of this figure, what ustration is given? Again, as Judea was done? Of the parables of the prowas a hilly country, to what, during phetical writings, what is observed? the rainy months, was it exposed? What poetical figure is it, which, beHence, the frequent allusions to what; yond all others, elevates the style of and hence to what are great calamities Scripture? How is this fully illustrated? frequently compared? Repeat the pas- What is the general remark on the sage here introduced from the Psalms. poetical books of the Old Testament? Which were the two most remarkable From what is it extremely different; mountains of the country; and for and what is it? How are the scenes what were they respectively noted? represented; and how is this illustraHence, how are they, with the greatest ted? After these remarks on the poetry propriety, employed? Repeat the illus-of the Scriptures in general, with what trations that follow. Under this head, is this dissertation concluded? What what is farther to be remarked? Of are the several kinds of poetical comearthquakes, tempests, and thunder and position which we find in Scripture? Of lightning, what is observed? How does didactic poetry, what is the principal Isaiah describe the earth? In those instance? Of the nine first chapters of circumstances of terror, with which an that book, what is observed; and what appearance of the almighty is descri-is said of the rest? What other parts bed, from what, is it probable, the of Scripture likewise come under this figures were taken? Repeat the pas-head? Of elegiac poetry, what beautiful specimens occur in Scripture?

sage.

Besides the natural objects of their | Which of the Psalms is, in the highest own country, what did the Hebrews degree, tender and plaintive? But which. frequently employ as grounds of im is the most regular and perfect elegiac agery? With what were they chiefly composition in the Scriptures, and peroccupied; and in what estimation were haps that was ever written? Of this these held? As they were little addict-poem, what is observed? What does ed to commerce, and separated from the song of Solomon afford us? Consi the rest of the world by their laws and dered with respect to its spiritual mean their religion, what was the conse-ing, what is it; and what is it in its quence? Hence, as a matter of course, form? Suitably to this form, of what is what allusions flowed? Hence, also, it full? In what poetry does the Old what images were employed? To dis- Testament abound? How is this rerelish such images is the effect of what? mark illustrated? In the Psalms, what Of Homer, what is here observed? do we find? From these instances, what Repeat the passage here introduced clearly appears? Of the different comfrom Isaiah illustrative of this remark.posers of the sacred books, what is obTo what, also, do we frequently find served? Who are the most eminent of figurative allusions? What instances the sacred poets? As the compositions are mentioned? What did the religion of David are chiefly of the lyric kind, of the Hebrews include? Of what was what is the consequence; and in what it full; and with what was it connect- does he excel? In his Psalms, what are ed? Hence, what followed? From all found; but to whom does he yield; and this, what results? Whence is it copied; in what? For what is David chiefly and what advantage has it? In read-distinguished? In what Psalms does ing their works, where do we find our-he touch us most? Of Isaiah, what is selves; what are ever rising in our observed? In what is this abundantly view; and what constantly pass in dif-visible; and what is a material circumferent forms before us? Of the compari-stance? What is his reigning charac sons employed by the sacred poets, ter; and of it, what is remarked? what is observed? In this respect, over What does he possess; and what prewhom have they an advantage; and vails in his book, to a greater extent, how does this appear? To illustrate this than in any other book of the prophetiremark, what fine comparison is intro-cal writings? How do Isaiah and Jereduced Repeat it and of it, what is miah compare; and of Ezekiel, what

IT 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 Eneid.

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 fables, if they were somewhat extended, and put into verse; and accordingly, to illustrate his definition, the critic draws a parallel, in form, between the construction of one of Æsop's fables and the plan of Homer's Iliad. The first thing, says he, which either a writer of fables, or of heroic poems, does, is to choose some maxim or point of morality; to inculcate which, is to be the design of his work. Next, he invents a general story, or a series of facts, without any names, such as he judges will be most proper for illustra