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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 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 images which a subject so melancholy could suggest. The composition is uncommonly artificial. By turns, the prophet, and the city of Jerusalem, 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.

The song of Solomon affords us a high exemplification of pastoral poetry. Considered with respect to its spiritual meaning, it is undoubtedly 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 hymus 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 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 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, 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 vatibus fortasse superatus; sed in eo genere, ad quod videtur a na

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tura 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 bis 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 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 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 plaA fire not blown shall consume him. The heaven shall reveal his iniquity, and the earth shall rise up againt him. The inerease of his house shall depart. His goods shall flow away in the

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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 Æsop'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

ting his intended moral. Lastly, he particularises his story; that is, if he be a fabulist, he introduces his dog, his sheep, and his wolf; or if he be an epic poet, he looks out in ancient history for some proper names of heroes to give to his actors; and then his plan is completed.

(This is one of the most frigid and absurd ideas that ever entered into the mind of a critic. ) Homer, he says, saw the Grecians divided into a great number of independent states; but very often obliged to unite into one body against their common enemies. The most useful instruction which he could give them in this situation, was, that a inisunderstanding between princes is the ruin of the common cause. In order to enforce this instruction, he contrived, in his own mind, such a general story as this. Several princes join in a confederacy against their enemy. The prince who was chosen as the leader of the rest, affronts one of the most valiant of the confederates, who thereupon withdraws himself, and refuses to take part in the common enterprise. Great misfortunes are the consequence of this division; till at length, both parties having suffered by the quarrel, the offended prince forgets his displeasure and is reconciled to the leader; and union being once restored, there ensues complete victory over their enemies. Upon this general plan of his fable, adds Bossu, it was of no great consequence, whether, in filling it up, Homer had employed the names of beasts, like Æsop, or of men. He would have been equally instructive either way. But as he rather fancied to write of heroes, he pitched upon the wall of Troy for the scene of his fable; he feigned such an action to happen there; he gave the name of Agamemnon to the common leader; that of Achilles, to the offended prince; and so the Iliad arose.

He that can believe Homer to have proceeded in this manner, may believe any thing. One may pronounce, with great certainty, that an author who should compose according to such a plan; who should arrange all the subject in his own mind, with a view to the moral, before he had ever thought of the personages who were to be the actors, might write, perhaps, useful fables for children; but as to an epic poem, if he adventured to think of one, it would be such as would find few readers. No person of any taste can entertain a doubt, that the first objects which strike an epic poet are, the hero whom he is to celebrate, and the action, or story, which is to be the ground-work of his poem. He does not sit down, like a philosopher, to form the plan of a treatise of morality. His genius is fired by some great enterprize, which, to him appears noble and interesting; and which, therefore, he pitches upon, as worthy of being celebrated in the highest strain of poetry. There is no subject of this kind, but will always afford some general moral instruction, arising from it naturally. The instruction which Bossu points out, is certainly suggested by the Iliad; and there is another which arises as naturally, and may just as well be assigned for the moral of that poem; namely, that providence avenges those who have suffered injustice; but that when they allow their resentment to carry. them too far, it brings misfortunes on themselves. The subject

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