Still, however, a degree of obscurity must occasionally attend this style of composition; and this obscurity not only results from the nature of the figure, but is even not without its peculiar utility. For the mystical allegory is on this very account so agreeable to the nature of prophecy, that it is the form which the latter generally, and I might add lawfully, assumes, as most fitted for the prediction of future events. It describes events in a manner exactly conformable to the intention of prophecy; that is, in a dark, disguised, and intricate manner; sketching out in a general way their form and outline; and seldom descending to minuteness of description, and exactness of detail. If on some occasions it expressly signifies any notable circumstance, it seems to be for two principal reasons: First, that, as generally happens, by suddenly withdrawing from our view the literal meaning, the attention may be excited to the investigation of the figurative sense; and secondly, that certain express marks, or distinguishing features, may occasionally shew themselves, which, after the accomplishment of the prediction, may be sufficient to remove every doubt, and to assert and confirm, in all points, the truth and divinity of the prophecy. The prophetic, indeed, differs in one respect from every other species of the sacred poetry: when first divulged it is impenetrably obscure; and time, which PSAL. xxii. 17, 18, 19. and Ixix. 22. • If there be any one prophecy in the Bible comprising a double sense, surely it is that in ISAIAH, ch. vii. 15, &c. but notwithstanding the pretended clue to its twofold import, which some have flattered themselves with discovering in the separate addresses of the prophet to the KING, and to the HOUSE OF DAVID-how little room there is for so fanciful an hypothesis, those may see who will refer to Mr. POSTLETHWAITE's elegant discourse on the subject. [Cambridge, 1781.] S. H. What our author has advanced concerning the language of prophecy, is not quite so satisfactory as I could have wished; for though the accom darkens every other composition, elucidates this. That obscurity, therefore, in which at first this part of the sacred writings was involved, is now in a great measure removed; there are now many things which the course of events (the most certain interpreter of prophecy) has completely laid open; from many the Holy Spirit has itself condescended to remove the veil, with which they were at first concealed; many sacred institutions there are, the reason and intent of which are more clearly understood, since the design of the Jewish dispensation has been more perfectly revealed. Thus it happens, that, instructed and supported by these aids, of which the ancient Hebrews were destitute, and which in truth appear not to have been conceded to the prophets themselves, we come better accomplished for the knowledge and comprehension of that part of the sacred poetry, which is the most singular in its nature, and by far the most difficult of explanation. plishment of an event predicted be the only certain key to the precise application of every term which the prediction contained, yet if there be not something in the words of the prophecy, which at the time of its delivery may serve to mark its general import, how shall those, to whom it is addressed, apply the prediction to its proper object and purpose? Our author traces in the prophetic language an assumption of imagery from the chaos, creation, deluge, &c. surely then, if the application of figures from these topies were apposite and obvious, they must have conveyed the general purport of the prediction which contained them; and instead of being designed to obscure its real meaning, were doubtless employed for the contrary purpose. To me the reason of the thing is so clear, and our Saviour's practice of referring to former events with this very intent so certain, (see MATT. xxiv. 15, 37, &c.) that I cannot but consider it as the most promiBent characteristic of the prophetic language. S. H. LECTURE XII. OF THE COMPARISON. Comparisons are introduced for three purposes; illustration, amplification, and variety-For the first an image is requisite, apt, well-known, and perspicuous; it is of little consequence whether it be sublime or beautiful, or neither: hence comparisons from objects which are in themselves mean and humble may be sometimes useful-For the purpose of amplification an image is requisite which is sublime, or beautiful, even though it should be less apt and perspicuous: and on this plea a degree of obscurity, or a remoteness in the resemblance, may sometimes be excused -When variety is the object, splendid, beautiful, and elegant imagery must be sought for; and which has an apt agreement with the object of the comparison in the circumstances or adjuncts, though the objects themselves may be different in kind-The most perfect comparison is that, in which all these excellencies are united-The peculiar form of comparisons in the Hebrew poetry; it results from the nature of the sententious style-They are short, frequent, simple, depending often on a single attribute-Different images displayed in the parallel sentences; many comparisons are arranged in this manner to illustrate the same subject; or different attributes of the same comparison are often distributed in the different divisions or parallelisms. IN N the following lecture I shall endeavour to treat of the comparison, which I have classed the third in order of the poetical figures, with a view of illustrating in some degree both its general properties, and its peculiar application and force in the poetic compositions of the Hebrews. Comparisons serve three distinct purposes, namely, illustration, amplification, and pleasure or variety.' 1 If I am not mistaken, among those writers who enter into the minuteness of criticism, a distinction is observed in the use of the words comparison, simile, and allusion. Comparison seems to be not only the general term, which includes the whole class, but is more immediately appropriat ed to a certain species; I mean the most perfect of them, where the re In the first place, comparisons are introduced to illustrate a subject, and to place it in a clearer and more conspicuous point of view. This is most successfully effected, when the object which furnishes the simile is familiar and perspicuous, and when it exactly agrees with that to which it is compared. In this species of comparison elevation or beauty, sublimity or splendour, are of little consequence; strict propriety, and a direct resemblance, calculated exactly for the explanation of the subject, is a sufficient commendation. Thus Homer very accurately depicts the numbers of the Grecian army, their ardour and eagerness for battle, by a comparison taken from flies collected about a milk-pail; and Virgil compares the diligence of the Tyrians in building their city, and the variety of their occupations, with the labours of the semblance is minutely traced through all the agreeing parts of the objects assimilated." Censure," says Dr. Ogden, in one of his excellent sermons, "is so seldom in season, that it may not unaptly be compared to that bit"ter plant, which comes to maturity but in the age of a man, and is said "to blossom but once in a hundred years." Simile seems to be a term chiefly appropriated to poetry, and often implies a slighter and more fanciful resemblance than the former word. A species of comparison not extending to a simile is called an allusion ; it chiefly consists in comparing one fact with another. The most fanciful and poetical, is, when two facts, bearing a remote resemblance in a few circumstances, are compared, a beautiful example of which may be found in one of Dr. Ogden's sermons.—“ If it be the obscure, the minute, the cer"emonial parts of religion for which we are contending, though the tri"umph be empty, the dispute is dangerous; like the men of Ai we pursue, perhaps, some little party that flies before us, and are anxious that "not a straggler should escape, but when we look behind us we behold "our city in flames." T. 66 2 "thick as insects play, "The wandering nation of a summer's day, "That drawn by milky steams at evening hours, "In gathered swarms surround the rural bowers; "The gilded legions glittering in the sun," POPE'S Hom. Il. ii. 552. Mr. Pope has considerably elevated this passage by the splendour of his im bees;3 without in the least degrading the dignity of the epic Muse. I might produce many examples to the purpose from the sacred poetry, but shall content myself with two or three, than which, both as to matter and expression, nothing can be meaner or more vulgar, nothing, however, can be conceived more forcible or expressive. Isaiah introduces the king of Assyria insolently boasting of his victories: "And my hand hath found, as a nest, the riches of the peoples: "And as one gathereth eggs deserted, "So have I made a general gathering of the earth : "And there was no one that moved the wing; "That opened the beak, or that chirped."4 And Nahum on a similar subject: "All thy strong-holds shall be like fig-trees with the first ripe "figs: "If they be shaken, they fall into the mouth of the eater."5 There is also another comparison of Isaiah taken from domestic life, very obvious and very common; but which for the gracefulness of the imagery, the elegance of the arrangement, and the forcible expression of the tenderest affections, has never been exceeded : agery and diction; "the wandering nation" and "the gilded legions,” each of these expressions raise the image very considerably (though I do not altogether approve of this heaping figure upon figure, or rather in this instance reverting in the way of metaphor to the first object of the comparison, for " gilded legions" are here actually compared with " gilded le"gions.")—The rural scenery also, and the pleasant time of evening, give elegance to an idea very coarse and disgusting in itself. T. 3 En. i. 432. See the use to which MILTON has applied the same diminutive insect, Paradise Lost, B. i. 768, and the address with which the simile is introduced by the expressions thick-swarm'd, &c. in the lines immediately preceding.-No writer was ever so great a master of amplification as MILTON. For proofs of this assertion, in addition to the comparison just referred to, see B. i. v. 196-285, &c. B. ii. v. 285, 485, and other passages without number. S. H. 4 ISAI. X. 14. 5 NAн. iii. 12. |