LECTURE XXIX.

OF THE IDYLLIUM OF THE HEBREWS.

Besides those poems which may be strictly termed Odes, the general appellation, which in the Hebrew is equivalent to Canticle or Song, includes another species, called by the Greeks the Idyllium. The reason of this name, and the definition of the poem to which it is appropriated. The historical psalms in general belong properly to this class.-The intercalary stanza, and the nature of it.-The elegant plan and arrangement of the hundred and seventh Psalm explained: also the ninth chapter of Isaiah, ver. 8, to chap. x. ver 4.—This passage a perfect specimen of the Idyllium: other examples of the Idyllium no less perfect as to style and form. The hymn of Cleanthes the Stoic commended.-The hundred and thirty-ninth Psalm in Latin verse.

AMONG those poems which by the Hebrews were adapted to music, and distinguished by the general appellation, there are some which differ in their nature from lyric poetry, strictly so called. It will therefore be more regular to class them with those compositions anciently termed Idylliums, the name and nature of which I shall endeavour to explain.

Whether we are to attribute the invention of the name to the poets themselves, or to the grammarians who revised their works, is difficult to say; but we find some of the Greek poems distinguished by the title Elon, which denotes a poem without any certain limitation as to form or subject. Even the odes of Pindar retain that appellation. But if there were any upon lighter subjects, or in a more humble strain, indeed in any respect of an inferior kind, and such as could not be classed under any of the common divisions, they were entitled Eidulla. Thus the small poems of Theocritus, which consist chiefly of Bucolics, intermingled with others of different kinds, are called Idylliums. In the same manner the Latins preferred the name of Eclogues, or poems selected from a number of others and for a contrary and more modest reason, that of Sylva (or Woods) was given to such verses as were hastily composed, and promiscuously thrown together, such as might afford matter for a more accurate revision or for a similar selection. But although the term Idyllium be a vague and general term, which denotes nothing certain relating to the nature of the poem, it still appears by use and

custom to have obtained a certain and appropriated destination; and perhaps it may not be improperly defined, a poem of moderate length; of a uniform, middle style, chiefly distinguished for elegance and sweetness; regular and clear as to plot, conduct, and arrangement. There are many perfect examples of this kind of poem extant in the writings of the Hebrews; some of which, I presume, it will not be unpleasing singly to point out and explain.

The first of these poems which attract our notice, are the historical Psalms, in celebration of the power and the other attributes of the Deity, as instanced in the miracles which he performed in favour of his people. One of the principal of these, bearing the name of Asaph, pursues the history of the Israelites from the time of their departure from Egypt to the reign of David, particularizing and illustrating all the leading events. The style is simple and uniform, but the structure is poetical, and the sentiments occasionally splendid. The historical, or rather chronological order, cannot be said to be exactly preserved throughout; for the minute detail of so protracted a series of events could scarcely fail to tire in a work of imagination. The Egyptian miracles are introduced in a very happy and elegant digression, and may be considered as forming a kind of episode. The same subject affords materials for two other Psalms, the hundred and fifth, and the hundred and sixth the one including the history of Israel, from the call of Abraham to the Exodus ; the other, from that period to the later ages of the commonwealth : both of them bear a strong resemblance to the seventy-eighth, as well in the subject as in the style (except perhaps that the diction is rather of a more simple cast ;) the mixture of ease and grace, displayed in the exordium, is the same in all.

These Psalms, both in plot and conduct, have a surprising analogy to the hymns of the Greeks. Indeed the Greek translators might very properly have given the title of 'TMNOI to the book of Psalms, as that word agrees much more exactly with the Hebrew title, than that which they have adopted. This species of poetry was very early in use among the Greeks, and was almost entirely appropriated to the celebration of their religious rites. The subjects in general were the origin of the gods, the places of their birth, their achievements, and the other circumstances of their history. Such are all the poems of this kind now extant in the Greek;

1 Ps. lxxviii.

such are the elegant hymns of Calimachus, as well as those which are attributed to Homer. The poem of Theocritus, entitled the Aióoxovool, or the praise of Castor and Pollux, is also a genuine hymn, and very elegant in its kind: nor is it improperly classed among the Idylliums, which may be said to include all of this species. But the true form and character of the hymn is excellently expressed by the two choirs of Salii (or priests of war) in Virgil: "qui carmine laudes

"Herculeas et facta ferunt."2

Those ancient hymns, which are falsely attributed to Orpheus, are more properly initiatory songs; for they contain "little more than invocations of the gods, which were made use of by those who were initiated in the sacred mysteries of any of the gods."3 Ovid, who was both an elegant and a learned poet, united the excellencies of both these species of hymns: for the exordium of the hymn to Bacchus contains the invocations of that god, or, in other words, announces solemnly his name and titles; the remainder celebrates his perfections and achievements.4

There is yet another Psalm, which may be enumerated among those of the historical kind, namely, the hundred and thirty-sixth. It celebrates the praises of the Almighty, and proclaims his infinite power and goodness; beginning with the work of creation, and proceeding to the miracles of the Exodus, the principal of which are related almost in the historical order. The exordium commences with this well known distich:

"Laudate Iehovam, quia bonus,

"Quia aeterna est eius benignitas :"

which, according to Ezra,5 was commonly sung by alternate choirs. There is, however, one circumstance remarkable attending it, which is, that the latter line of the distich, being added by the second choir, and also subjoined to every verse (which is a singular case) forms a perpetual epode. Hence the whole nature and form of the intercalary verse, (or burthen of the song) may be collected: it expresses in a clear, concise, and simple manner, some particular sentiment, which seems to include virtually the general subject or design of the poem; and it is thrown in at proper intervals, according to the nature and arrangement of it, for the sake of impressing the

2 Virg. Æn. viii. 285. 4 Metamorph. iv. 11.

3 Jos. SCALIGER, Annot. in Hymn. Orph. 5 EZRA iii. 10, 11.

subject more firmly upon the mind. That the intercalary verse is perfectly congenial to the Idyllium, is evident from the authority of Theocritus, Bion, Moschus, and even of Virgil. I shall add one or two examples from the sacred poetry, which will not lose in a comparison with the most perfect specimens in this department of poetry, which those excellent writers have bequeathed to posterity and in order to illustrate as well the elegance of the poem in general, as the peculiar force and beauty of the intercalary verse, the order and conduct of the subject must be particularly explained.

The hundred and seventh Psalm may undoubtedly be enumerated among the most elegant monuments of antiquity; and it is chiefly indebted for its elegance to the general plan and conduct of the poem. It celebrates the goodness and mercy of God towards mankind, as demonstrated in the immediate assistance and comfort which he affords, in the greatest calamities, to those who devoutly implore his aid. In the first place, to those who wander in the desert, and who encounter the horrors of famine; next, to those who are in bondage; to those who are afflicted with disease; and finally, to those who are tossed about upon the ocean. The prolixity of the argument is occasionally relieved by narration; and examples are superadded of the divine severity in punishing the wicked, as well as of his benignity to the devout and virtuous; and both the narrative and preceptive parts are recommended to the earnest contemplation of considerate minds. Thus the whole poem actually divides into five parts nearly equal; the four first of which conclude with an intercalary verse, expressive of the subject or design of the hymn :

"Laudent Iehovam ob eius misericordiam,

"Et miracula in hominum gratiam edita."

This distich also is occasionally diversified, and another sometimes annexed illustrative of the sentiment:

"Nam satiavit animam fatiscentem,

66 'Animamque esurientem implevit bonis."

"Nam fregit portas aheneas,

"Et vectes ferreos discidit:"

The sentiment of the epode itself is sometimes repeated, only varied

by different imagery:

"Laudent Iehovam ob eius misericordiam,

"Et miracula in hominum gratiam edita :

"Et offerant sacrificia laudis,

"Et facta eius laeto cantu enarrent:"

"Et exaltent eum in coetu populi,

"Et in concilio seniorum eum celebrent."

In all these passages, the transition from the contemplation of their calamities, to that of their deliverance, which is made by the perpetual repetition of the same distich, is truly elegant:

"Et invocarunt Iehovam in rebus afflictis;

"Ex eorum angustiis eos liberat."

This however does not appear in the least to partake of the nature of the intercalary verse. The latter part of the Psalm, which comprehends a vast variety of matter, concludes with two distichs, expressive of a sentiment, grave, solemn, and practical, and in no respect unworthy the rest of the poem.

There are many other examples to be found in the Psalms; but it must be confessed, few of them are equal, and none of them superior to this. I shall select another specimen from Isaiah; and the more willingly, because, in it, as in other passages of the same author, the common division into chapters has greatly obscured that most elegant writer, by absurdly breaking the unity of a very interesting poem, and connecting each part with matter which is totally foreign to the subject. If we unite the conclusion of the ninth chapter with the beginning of the tenth, we shall find a complete and connected prophecy against the kingdom of Israel or Samaria.6 It is replete with terror and solemnity, and possesses a degree of force and sublimity to which the Idyllium seldom rises; though it preserves the form of the Idyllium so perfect and express, that it cannot with propriety be referred to any other class. The poem consists of four parts, each of which contains a denunciation of vengeance against the crimes of this rebellious people, vehemently accusing them of some atrocious offence, and distinctly marking out the particular punishment. In the first, the pride and ostentation of the Israelites is reproved; in the second, the obduracy of their spirit, and the general depravation of their morals; in the third, their audacious impiety, which rages like a flame, destroying and laying waste the nation; and lastly, their iniquity is set forth as demonstrated in their partial administration of justice, and their oppression of the poor. To each of these a specific punishment is annexed; and a clause, declaratory of a further reserve of the divine vengeance, is

6 ISA. ix. 8.-x. 4. In one MS. a vacant space is left after IsA. x. 4, but no space of the same kind at the end of chap. ix. In another MS. after chap. x. 4, a space of one line is interposed. KENNICOTT.