CHAP. XII. The prophetic ode continued. CHAP. XIII. The prophetic ode continued CHAP. XIV. The prophetic ode continued CHAP. XV. The prophetic ode continued CHAP. XVI. The prophetic ode continued CHAP. XVII.-The prophetic ode continued CHAP. XVIII. The prophetic ode continued CHAP. XIX. The prophetic ode continued CHAP. XX. The prophetic ode continued THE POETRY OF THE PENTATEUCH. CHAPTER I. Character of Balaam's prophecies. Essentially different in style from the writings of Moses. Lowth's observations on the style of the Hebrew writings generally. Internal evidence of the prophecies attributed to Balaam being the compositions of that prophet. Probability that Balaam committed his prophecies to writing. Reasons assigned. The subjects of the Hebrew writings a natural cause of their sublimity. FROM the view which has been already taken of Balaam's prophecies, I think it must be clear that they are among the finest specimens of poetry with which the Bible—that sacred depository of the sublimest efforts of human intellect, operating under the immediate influence of inspiration-is so abundantly enriched. These sacred poems, rising, as they do, out of the comparative darkness of a primitive age, when literature may be truly said to have had neither name nor exist ence, have been declared, by the unanimous voice of commentators, to exhibit the highest attributes by which such compositions are distinguished. They are pre-eminently elevated, filling the mind with the most delightful impressions, and the ear with the most exquisite harmony, which latter quality is even retained in the simple but energetic translation authorized by the Church of England. They differ, however, essentially in their poetical character from any similar writings of Moses; and this circumstance is the strongest internal evidence of their authenticity. It shows them to have been emanations from a mind of totally different temperament, though, poetically considered, of similar organization, at least so far as it was under the direct influence of inspiration. The manner pursued in them is manifestly not identical with that of the Hebrew lawgiver; and this gives them a high specific value, as original compositions of a primitive age, which has left to posterity few records of its rude but masculine genius. The style in these noble productions has more refinement than that of Moses, but less vigour -more eloquence, but less simplicity-more grace, but less grandeur-more variety, but less condensation. It is more artificial and redundant, but less comprehensive and exact-more glowingly picturesque, but less severely graphic; and yet it possesses, in a very high degree, some of the qualities by which the style of Moses is especially distinguished. There are passages in which the condensation is singularly close; and I know of nothing, even among the Hebrew writings, which at times exhibits such a fund of meaning in so few words. The following remarks of Bishop Lowth, with reference to Hebrew poetry generally,* will, I think, in most particulars, especially apply to the prophecies of Balaam:-"The great excellence of the poetic dialect,' as Aristotle most judiciously remarks, consists in perspicuity without meanness. Familiar terms and words in common use form a clear and perspicuous, but frequently a low style; unusual or foreign expressions give it an air of grandeur, but frequently render, it obscure.'+ Of those which he calls foreign, the principal force lies in the metaphor; but as the temperate and reasonable use of this figure enlivens a composition, so the frequent introduction of metaphors obscures it, and if they very commonly occur, it will be little better than an enigma.' If the Hebrew poets be examined by the rules and precepts of this great philosopher and critic, it will readily be allowed that they have assiduously attended to the sublimity of their compositions by the abundance and splendour of their figures, though it may be doubted whether they might not have been more temperate in the use of them. For in those poems, at least, in which something of uncommon grandeur and sublimity is aimed at, there predominates a perpetual, I had almost said, a continued use of the metaphor, sometimes daringly introduced, sometimes rushing in with imminent hazard of propriety. See Sixth Prælection. + Poet. cap. 22. + Ib. A metaphor thus licentiously intruded is frequently continued to an immoderate extent. The orientals are attached to this style of composition; and many flights which our ears, too fastidious, perhaps, in these respects, will scarcely bear, must be allowed to the general freedom and boldness of these writers. But if we examine the sacred poems, and consider, at the same time, that a great degree of obscurity must result from the total oblivion in which many sources of their imagery must be involved; of which many examples may be found in the Song of Solomon, as well as in other parts of the sacred writings; we shall, I think, find cause to wonder, that in writings of so great antiquity, and in such an unlimited use of figurative expression, there should yet appear so much purity and perspicuity, both in sentiment and language. In order to explore the real cause of this remarkable fact, and to explain more accurately the genius of the parabolic style, I shall premise a few observations concerning the use of the metaphor in Hebrew poetry, which I trust will be sufficiently clear to those who peruse them 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 |