ruse it with attention, and which I think in general are founded in truth. In the first place, the Hebrew poets frequently make use of imagery borrowed from common life, and from objects well known and familiar. On this the perspicuity of figurative language will be found in a great measure to depend: For a principal use of metaphors is to illustrate the subject by a tacit comparison; but if, instead of familiar ideas, we introduce such as are new, and not perfectly understood; if we endeavour to demonstrate what is plain by what is occult, instead of making a subject clearer, we render it more perplexed and difficult. To obviate this inconvenience, we must take care, not only to avoid the violent and too frequent use of metaphors, but also not to introduce such as are obscure and but slightly related. From these causes, and especially from the latter, arises the difficulty of the Latin satirist Persius; and but for the uncommon accuracy of the sacred poets in this respect, we should now be scarcely able to comprehend a single word of their productions. In the next place, the Hebrews not only deduce their metaphors from familiar, or well-known objects, but preserve one constant track and manner in the use and accommodation of them to their subject. The parabolic may indeed be accounted a peculiar style, in which things moral, political and divine, are marked and represented by comparisons implied or expressed and adopted from sensible objects. As in common and plain language, therefore, certain words serve for signs of certain ideas ; so, for the most part, in the parabolic style, certain natural images serve to illustrate certain ideas more abstruse and refined. This assertion indeed is not to be understood absolutely without exception; but thus far at least we may affirm, that the sacred poets in illustrating the same subject, make a much more constant use of the same imagery than other poets are accustomed to: and this practice has a surprising effect in preserving per. spicuity. I must observe in the last place, that the Hebrews employ more freely and more daringly that imagery in particular, which is borrowed from the most obvious and familiar objects, and the figurative effect of which is established and defined by general and constant use. This, as it renders a composition clear and luminous even where there is the greatest danger of obscurity; so it shelters effectually the sacred poets from the imputation of exuberance, harshness, or bombast.3 In order to confirm and illustrate by examples what has been briefly set forth in the preceding remarks, I shall proceed to consider a few instances of metaphors derived from natural objects, and such as are most in 3 It is very observable in our own as well as other languages, how much metaphors lose of the figurative sense by repetition; and it is curious to remark how metaphors are in this manner derived from one another. From the resemblance of a narrow bed of metal running in the earth to the situ ation of a vein in the human body, it has taken that name; and hence I apprehend are derived the expressions, a vein of poetry, a vein of humour, &c. T. ◄ The frequent recurrence for metaphorical expressions to natural objects, and particularly to plants and to trees, is so characteristic of the Hebrew poetry, that it might be almost called the botanical poetry. This circumstance, however, is not at all extraordinary, if we consider that the greater part of that people were occupied with tilling the earth, and keeping their flocks; and further, that the cultivation of poetry, instead of being confined to the learned, was so generally diffused, that every valley reechoed the songs of the shepherds. Hence in the very few remains of the Hebrew writings which are come down to us, I mean the Scriptures, there are upwards of 250 botanical terms, which none use so frequently as the poets and this circumstance I think gives an air of pastoral elegance to their poetry, which any modern writer will emulate in vain. It is, however, extraordinary, that the stars should be so seldom mentioned in the Hebrew poetry, for the names of not more than three or four. use: This I shall do in such a manner, that whatever observations occur upon one or two of them, may be applied to many other instances. The images of light and darkness are commonly made use of in all languages to imply or denote prosperity and adversity, agreeably to the common sense and perception which all men have of the objects themselves. But the Hebrews employ those metaphors more frequently, and with less variation than other people; indeed they seldom refrain from them whenever the subject requires, or will even admit of their introduction. These expressions, therefore, may be accounted among those forms of speech, which in the parabolic style are established and defined; since they exhibit the most noted and familiar images, and the application of them occur in the whole Bible. It has been said, that the patriarchal shepherds applied very much to the study of astronomy; but if so, whence is it, that we meet with such frequent allusions to botanical subjects, and so few to the heavenly luminaries? A comet is, however, I think, spoken of in NUMB. xxiv. 17. and in allusion to David, but it is by Balaam, who, residing on the borders of the Euphrates, it is reasonable to suppose was not altogether unacquainted with the Babylonish sciences. M. ances. There appears but little foundation for this last remark of the learned professor. For in reality, so little are the heavenly bodies subjects of poetic allusion, that we find them but seldom introduced into any poetry either ancient or modern. Our annotator seems to forget that poetry is no more than painting in language, and has not respect to names but appearThe appearance of every star is nearly the same, and consequently they can furnish no great variety of imagery, and that can only relate to their general qualities, their splendour, &c. whereas the nature and visible qualities of plants are infinitely diversified, and therefore admit of a much greater variety of allusion. Indeed a poem, the principal imagery of which consisted of the names of stars, would be a very strange and a very dull production. We cannot, therefore, argue from the silence of the Hebrew poetry, that Moses or the writers of the Scriptures were ignorant of astronomy; neither is it fair to suppose that a nation of shepherds, in the serene country of the East, were unacquainted with the host of heaven, which, in truth, from these causes, were the objects of adoration, and even of worship, in those parts, as appears from the preface to Mr. Wood's Account of the Ruins of Balbec. T. on this occasion is justified by an acknowledged analogy, and approved by constant and unvarying custom. In the use of images, so conspicuous and so familiar among the Hebrews, a degree of boldness is excusable. The Latins introduce them more sparingly, and therefore are more cautious in the application of them : Restore, great chief, thy country's light! Dispel the dreary shades of night! Thy aspect like the spring shall cheer, And brighter suns shall gild the year." The most respectable of the Roman Muses have scarcely any thing more elegant, I will add at the same time that they have scarcely any thing bolder on any similar occasion. But the Hebrews, upon a subject more sublime indeed in itself, and illustrating it by an idea which was more habitual to them, more daringly exalt their strains, and give a loose rein to the spirit of poetry. They display, for instance, not the image of the spring, of Aurora, of the dreary night, but the sun and stars as rising with increased splendour in a new creation, or again involved in chaos and primeval darkness. Does the sacred bard promise to his people a renewal of the divine favour, and a recommencement of universal prosperity? In what magnificent colours does he depict it! such indeed as no translation can illustrate, but such as none can obscure : "The light of the moon shall be as the light of the sun, "And the light of the sun shall be sevenfold." 7 ISAI. xxx. 26. These and the following descriptions of the increased splendour of the sun and the stars, are not taken from natural objects, but from fable. The remarkable felicity of the people is compared with that But even this is not sufficient : "No longer shalt thou have the sun for thy light by day; "Nor by night shall the brightness of the moon enlighten thee: "For JEHOVAH shall be to thee an everlasting light, "And thy God shall be thy glory. "Thy sun shall no more decline; "Neither shall thy moon wane ; "For JEHOVAH shall be thine everlasting light; In another place he has admirably diversified the same sentiment : "And the moon shall be confounded, and the sun shall be ashamed; "For JEHOVAH God of Hosts shall reign "On Mount Sion, and in Jerusalem; "And before his antients shall he be glorified.9 On the other hand, denouncing ruin against the proud king of Egypt: "And when I shall put thee out, I will cover the heavens, "And the stars thereof will I make dark; "I will involve the sun in a cloud, "Nor shall the moon give out her light. "All the bright lights of heaven will I make dark over thee, "And I will set darkness upon thy land, saith the Lord JEнO These expressions are bold and daring: but the imagery is well known, the use of it is common, the signification definite; they are therefore perspicuous, clear, and truly magnificent. There are, moreover, other images from natural objects, which although in some measure common to other nations as well as the Hebrews, are nevertheless, from golden age, of which the prophets had acquired a knowledge from the Egyptians. Isaiah has expatiated very much upon this image, of which more in the notes to the ninth Lecture. M. 8 ISAI. lx. 19, 20. 10 EZEK. xxxii. 7, 8. 9 ISAI. xxiv. 23. |