it is evident, that art deduces its origin from the works of genius, not that genius has been formed or directed by art; and that it is properly applied in illustrating the works of even those writers, who were either ignorant of its rules, or inattentive to them. Since then it is the purpose of sacred poetry to form the human mind to the constant habit of true virtue and piety, and to excite the more ardent affections of the soul, in order to direct them to their proper end; whoever has a clear insight into the instruments, the machinery as as it were, by which this end is effected, will certainly contribute not a little to the improvement of the critical art. Now although it be scarcely possible to penetrate to the fountains of this celestial Nile, yet it may surely be allowed us to pursue the meanders of the stream, to mark the flux and reflux of its waters, and even to conduct a few rivulets into the adjacent plains.

The sacred poetry is undoubtedly entitled to the first rank in this school, since from it we are to learn both the origin of the art, and how to estimate its excellence. The commencement of other arts, however rude and imperfect, and though employed only on light and trivial matters, is an inquiry generally productive of satisfaction and delight. Here we may contemplate poetry in its very beginning; not so much the offspring of human genius, as an emanation from heaven; not gradually increasing by small accessions, but from its birth possessing a certain maturity both of beauty and strength; 'not administering to trifling passions, and offering its delicious incense at the shrine of vanity, but the priest

4 Our author either affects the orator too much in this passage, or too carelessly follows those Jews and Christians, who attribute all the Hebrew writings to the finger of God himself. He seems to forget, that, before the rites of Moses, the Moabites celebrated the victories of their king in a

ess of divine truth, the internunciate between earth and heaven. For this was the first and peculiar office of poetry, on the one hand to commend to the Almighty the prayers and thanksgivings of his creatures, and to celebrate his praises ;—and on the other, to display to mankind the mysteries of the divine will, and the predictions of future events; the best and noblest of all employments. It is to this observation, indeed, that I would particularly point your attention; for it is plain from the general tenour of the sacred volume, that the indications of future events have been, almost without exception, revealed in numbers and in verse; and that the same spirit was accustomed to impart, by its own energy, at once the presentiment of things, and to clothe it in all the magnificence, in all the elegance of poetry, that the sublimity of the style might consist with sentiments so infinitely surpassing all human conception, When considered, therefore, in this point of view, what is there of all which the most devoted admirers of poetry have ever written or fabricated in its commendation, that does not fall greatly short of the truth itself? What of all the insinuations, which its bitterest adversaries

very elegant poem, which Moses himself has preserved, and that there were other historical poems, even more ancient than the prophetic blessing of Jacob. To these our author seems not sufficiently to have attended in this place, though he has made some very just remarks on this subject in a succeeding lecture. I am of opinion, indeed, that the Hebrew poetry originated in the choirs of dancers (not always, however, of a religious kind) when the gestures of the dancer accorded with the music. To this I think the frequent parallelisms of the verses may be referred, of which no man has treated more satisfactorily than our author, Lect. 19. If indeed Moses was not the institutor of a practice totally new to the Hebrews, I mean the accommodation of poetry to music and dancing, it follows that poetry existed long before his time, rustic and uncultivated at first, no doubt, but afterwards more perfect and refined. Nor is it probable, that the first essays in poetry were made in the time of Moses, which may be called the golden age of the Hebrew language, and in which we meet with poetry too perfect to have been produced in the infancy of the art.

M.

have objected against it, which is not refuted by simply contemplating the nature and design of the Hebrew poetry? Let those who affect to despise the Muses cease to attempt, for the vices of a few, who may abuse the best of things, to bring into disrepute a most laudable talent. Let them cease to speak of that art as light or trifling in itself, to accuse it as profane or impious; that art, which has been conceded to man by the favour of his Creator, and for the most sacred purposes; that art, consecrated by the authority of God himself, and by his example in his most august ministrations.

Whether the Greeks originally derived their poetry from the fountains of nature, or received it through a different channel from a remoter source, appears a question of little importance, and not easy to be determined. Thus far, however, is evident, that an opinion was prevalent in Greece concerning the nature and origin of poetry, which appears most groundless and absurd, if we contemplate only the poetry of Greece, though truly and justly applicable to that of the Hebrews. They considered poetry as something sacred and celestial, not produced by human art or genius, but altogether a divine gift. Among them, therefore, poets were accounted sacred, the ambassadors of heaven, men favoured with an immediate intercourse and familiarity with the gods. The mysteries and ceremonies of their religion, and the worship of their deities, were all performed in verse; and the most ancient of their compositions, their oracles, always consisted of numbers. This circumstance I must add rendered them not only more sublime, but more deserving of credit in the eyes of the common people; for they conceived it equally the effect of divine inspiration to foresee events, and to express them in extemporaneous verse. Thus they seem to have re

tained some traces of an opinion impressed upon the minds of men in the very earliest ages concerning the true and ancient poetry, even after they had lost the reality itself, and when religion and poetry had by the licentiousness of fiction reciprocally corrupted each other.

Since, therefore, in the sacred writings the only specimens of the primeval and genuine poetry are to be found, and since these are not less venerable for their antiquity than for their divine original, I conceived it my duty in the first place to investigate the nature of these writings, as far as might be consistent with the design of this institution: in other words, it is not my intention to expound to the student of theology the ora cles of divine truth; but to recommend to the notice of the youth who is addicted to the politer sciences, and studious of the elegancies of composition, some of the first and choicest specimens of poetic taste. The diffi culty of the undertaking ought probably to have dis. couraged me from the attempt; yet with you, gentlemen, I trust my temerity will find this excuse, namely, that I have undertaken a subject the most noble in itself, and the best adapted to the circumstances of my office. I trust that you will allow me at least the merit of distinguishing what was most worthy of this place and this assembly; though perhaps I have too rashly engaged, without a due consideration of my own abil. ities.

In this disquisition it is my intention to pursue that track which the nature of the subject seems to require. Three points are to be considered in every poem: First, the argument or matter, and the manner of treating it; what disposition, what order, and what general form is adapted to each species of composition: Secondly, the elocution and style; in which are comprc.

hended lively and elevated sentiments, splendour and perspicuity of arrangement, beauty and variety of imagery, and strength and elegance of diction: Lastly, the harmony of the verse or numbers is to be considered, not only as intended to captivate the ear, but as adapted to the subject, and expressive of it, and as calculated to excite corresponding emotions in the soul. We shall now consider what is to be performed in each of these departments, and how far we may with safety, and with any prospect of advantage, engage in a critical examination of the Hebrew poetry.

With respect to the nature of the versification (if I may be allowed to reverse my own arrangement, and to speak of that first, which constituted the last division of my subject) I fear that little can be produced to your satisfaction or my own; since it is manifest not only from the unsuccessful endeavours of the most learned men, but from the nature of the thing itself, that scarcely any real knowledge of the Hebrew versification is now to be attained: and the only merit to which any modern writer can lay claim, is that of distinguishing certain facts (if any there be) from uncertain conjecture, and demonstrating how imperfect our information must of necessity be upon this topic. Were the inquiry, however, concerning the Hebrew metre to be wholly overlooked; yet since some vestiges of verse are discernible, a few observations of a general nature will probably occur, which we shall in the first place slightly advert to, and afterwards, as occasion serves, partic ularize and explain.

That part of these lectures, on the other hand, which treats of the style of the Hebrew poetry, will afford very ample scope for disquisition; since it possesses not only all the principal excellencies which are common to po