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So, the singular number is sometimes put for the plural.

This chiefly takes place when the Scriptures speak of the multitude col ectively, or of an entire species. Thus in Gen. iii. 8. tree in the Hebrew is put for trees. Exod. xiv, 17. (Heb.) I will get me honour upon Pharaoh and upon all his host, upon his chariots, and upon his horsemen, that is, the whole multitude of his chariots which are enumerated in verse 7. So in Exod. xv. 1. 21. the horse and his rider are put collectively for the horses and horsemen who were in the Egyptian army. So the Hivite, Canaanite, and Hittite, Exod. xxiii. 28., the or and the ass, Isa. i. 3., the stork, the turtle,

the crane, the swallow, Jer. viii. 7., the palmer-worm, Joel i. 4., street, Rev. xxi. 21., are respectively put for the Hivites, oxen, storks, &c. &c. It is proper to remark, that in very many instances the learned and pious translators of our authorized version have justly rendered the singular words in the plural number where the sense evidently required it.

3. Very frequently a certain or definite number is put for an uncertain and indefinite number.

Thus we find double for much or sufficient, in Isa. xl. 2. lxi. 7. Jer. xvi. 18. Zech. ix. 12. Rev. xviii. 6. Twice for several times, in Psal. lxii. 11. Five for a few, 1 Cor. xiv. 19., in which verse ten thousand are put for many Ten for many, Gen. xxi. 7. and 1 Sam. i. 8. But most frequently we have seven for an indefinite number. See Gen. iv. 15. Lev. xxvi. 18. 21. 24. 285. Ruth iv. 15. 1 Sam. ii. 5. Psal. cxix. 164. Prov. xxiv. 16. xxvi. 25. Isa. iv. 1. Jer. xv. 9. Ezek. xxxix. 9. 12. Zech. iii. 9. Matt. xii. 45. One hundred for inany, indefinitely, in Eccl. vi. 3. viii. 12. Prov. xvii. 10. Matt. xix. 29. Luke viii. 8. A thousand for a great many, Exod. xx. 6. xxxiv. 7. Deut. i. 11. 1 Sam. xviii. 7. Psal. cxix. 72. Ten thousand for an immense number, 1 Sam. xviii. 7. Psal. iii. 6. ; and ten thousand thousand for a countless host, in Num. x. 36. (Heb.) Dan. vii. 10. Rev. v. 11., &c.

4. A general name is put for a particular one,

As in Mark xvi. 15. where every creature means all mankind; as flesh also does in Gen. vi. 12. Psal. cxlv. 21. Isa. xl. 5, 6. lxvi. 23. Matt. xxiv. 22.

Luke iii. 6. and Rom. iii. 20.

5. Sometimes special words or particular names are put for such as are general:

Thus Jehovah is, in Psal. xlvi. 9., said to break the bow, and cut the spear in sunder, and to burn the chariot in the fire: that is, God destroys all the weapons of war, and blesses the world with peace. Again, in Dan. xii. 2., we read, Many of them that sleep in the dust of the earth shall awake; some to everlasting life, and some to shame and everlasting contempt. Here many is put for all. So man, generally, is put for all mankind, both male and female, Psal. i. 1. Mark xvi. 16. Numerous similar passages might be adduced. So, father is put for any ancestor, Psal. xxii. 4. xliv. 1. cvi. 6. Father for grandfather, 2 Sam. ix. 7. Dan. v. 11. Mother for grand mother, 1 Kings xv. 10. 13. compared with verses 2. 8. Brother for kinsman, Gen. xiii. 8. and xiv. 14. with Gen. xii. 5. Matt. xii. 46. John vii. 3. 5. In the same manner, son is put for any of the posterity: thus Laban is said to be Nahor's son, in Gen. xxix. 5., when he was the son of Bethuel, and grand son or nephew of Nahor. Compare Gen. xxii. 20. 23. with xxiv. 29. So Rebekah is called Abraham's brother's daughter, Gen. xxiv. 48. Father and mother intend all superiors, Exod. xx. 12. In like manner the Greeks, who are the most eminent of the heathen nations, are put for the whole Gentile world, in Rom. i. 16. Gal. iii. 28. and Col. iii. 11. So bread denotes all the necessaries of life, in Matt. vi. 11. and numerous other places. The fatherless and widows are put for any who are in distress or affliction, Isa. 1. 17. 23. James i. 27., &c.

II. Irony.

An IRONY is a figure, in which we speak one thing and design another, in order to give the greater force and vehemence to our meaning. An irony is distinguished from the real sentiments of the speaker or writer, by the accent, the air, the extravagance of the praise, the character of the person, or the nature of the discourse.

Very numerous instances of irony are to be found in the Scripture, which might be produced; but the following will suffice to show the nature of this figure.

Thus, the prophet Elijah speaks in irony to the priests of Baal-Cry aloud; for he is a God: either he is talking, or he is pursuing, or he is in a journey, or peradventure he sleepeth, and must be awaked. (1 Kings xviii. 77.) So the prophet Micah bids Ahab go to battle against Ramoth Gilead and prosper. (1 Kings xxii. 15.) We meet with an irony in Job xii. 2. No doubt but ye are the people, and wisdom shall die with you. That wellknown passage in Eccles. xi. 9. may also be considered as an irony: Re joice, young man, in thy youth; and let thine heart cheer thee in the days of thy youth, and walk in the way of thine heart and in the sight of thine eyes. Nay, the Almighty himself appears to speak ironically in Gen. jii. 22. And the LORD God said, Behold the man is become as one of us, to know good and evil; and also in Judges x. 14. Go and cry unto the gods which ye have chosen; let them deliver you in the time of your tribulation. And in the same manner we may apprehend Christ's rebuke to the Jewish doctors, when he says (Mark vii. 9.), Full well ye reject the commandment of God, that ye may keep your own tradition; where, by the word ×4, which our translators render full well, it is evident that our Saviour intends quite the contrary of what his language seems to import. Saint Paul also has a fine example of irony in 1 Cor. iv, 8. Now ye are full, now ye are rich, ye have reigned as kings without us; and I would to God ye did reign, that we also might reign with you.

Under this figure we may include the SARCASM, which may be defined to be an irony in its superlative keenness and asperity. As an instance of this kind, we may consider the soldier's speech to our Lord; when, after they had arrayed him in mock majesty, they bowed the knee before him, and

said, Hail, King of the Jews. (Matt. xxvii. 29.) So, again, while our Redeemer was suspended on the cross, there were some who thus derided him, Let Christ, the King of Israel, descend now from the cross, that we may see and believe. (Mark xv. 32.) III. Hyperbole.

This figure, in its representation of things or objects, either magnifies or diminishes them beyond or below their proper limits: it is common in all languages, and is of frequent cecurrence in the Scripture.

Thus, things, which are very lofty, are said to reach up to heaven. Deut. i. 28. ix. 1. Psal. cvii. 26. So, things which are beyond the reach or capacity of man, are said to be in heaven, in the deep, or beyond the sea, Deut. xxx. 12. Rom. x. 6, 7. So, a great quantity or number is commonly expressed by the sand of the sea, the dust of the earth, and the stars of heaven, Gen. xiii. 16. xli. 49. Judges vii. 12. 1 Sam. xiii. 5. 1 Kings iv. 29. 2 Chron. i. 9. Jer. xv. 8. Heb. xi. 12. In like manner, we meet, in Num. xiii. 33. with smaller than grasshoppers, to denote extreme diminutiveness: 2 Sam. i. 23. swifter than eagles, to intimate extreme celerity. Judges v. 4. the earth trembled, verse 5. the mountains melted. 1 Kings i. 40. the earth rent. Psal. vi. 6. I make my bed to swim. Psal. cxix. 136. rivers of tears run down mine eyes. So we read of angels' food, Psal. lxxviii. 25. The face of an angel, in Acts vi. 15.; the tongue In Ezek. xxi. 6. we read, Sigh with the breaking of thy loins, of an angel, in 1 Cor. xiii. 1. See also Gal. i. 8. and iv. 14 that is, most deeply. So in Luke xix. 40. we read that the stones would cry out, and in verse 44. They shall not leave in thee one stone upon another; that is, there shall be a total desolation. IV. Paronomasia.

sense.

PARONOMASIA is the name given to an expression, which contains two words, that are purposely chosen, so that they may resemble each other in sound, while they may differ in Hebrews, and is common among the oriental languages in It is a very favourite figure of rhetoric among the general. Paronomasia differs from our rhyme, inasmuch as the words which constitute it do not necessarily stand at the end of parallelisms or strophes, but may be placed together in any part of a sentence, and are found in prose as well as in poetry. Professor Stuart has given numerous examples of this figure in the Old Testament, which the limits of this work do not permit us to insert. The paronomasia also occurs very frequently in the New Testament, especially in the writings of Saint Paul, where it seems to be sometimes unpremeditated, and sometimes to be the result of design on indebted for this paragraph, divides the paronomasia into two the part of the writer. Professor Winer, to whom we are kinds, viz. :

1. Where words of a like sound are employed in the sam. sentence, without regard to their sense.

In Rom. i. 29. we have prsia, movиpræ-fovou, coveu:—31. acuring GuvTous-1 Cor. ii. 13. v diSaxTOIS #VEUμATOS, VIURETINOIS Opstine συγκρίνοντες-Luke xxi. 11. Και λιμοι και λοιμοι έσονται, These instances of paronomasia cannot be equivalently expressed in English. In order to form a paronoinasia of this kind, unusual words or forms of words are sometimes employed: as in Gal. v. 7. mesôsmoms—Ą ZEITPOVT. 2. Where the words are not only the same in sound, but there is also a resemblance or antithesis in the sense. Thus:

Gal. iv. 17. Ζηλουσιν ύμας... ίνα αυτούς ζηλουτε - They ZEAL ΟΡΕΣΤ AFFECT you....that ye might [ZEALOUSLY] affect them; that is, they earnestly desire to draw you over to their party,-that you may be devoted to their interests. Rom. v. 19. Ώσπερ δια της παρακοής του ένος ανθρωπου άμαρτωλοί Træbyσev ci #oààÐI, OUT xx Six THE UNMORS:-As by one man's DISOBEDIENCE many [or multitudes] were made sinners, so by the OBEDIENCE of one shall many (or multitudes] be made righteous.

Other instances of this kind of paronomasia occur in Phil. iii. 2. 3. 2 Cor. iv. 8. 2 Cor. v. 4. 2 Thess. iii. 11. Philem. 10. 20. Acts viii. 20. 1 Cor. iii. 17 vi. 2. xi. 29. 31. 2 Cor. x. 2. (Gr.)

In this manner a paronomasia is sometimes formed by repeating the same word in a different sense: as in Matt. viii, 22. Let the DEAD bury their dead. See the proper import of this passage explained in page 356. supra. Similar instances of paronomasia occur in the Greek Apocryphal writings of the Old Testament. Compare particularly Dan. xiii. 54, 55,3

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CHAPTER II.

ON THE INTERPRETATION OF THE POETICAL PARTS OF SCRIPTURE.

I. A large Portion of the Old Testament proved to be poetical; -Cultivation of Poetry by the Hebrews.-II. The Sententious Parallelism, the grand Characteristic of Hebrew Poetry.-Its Origin and Varieties.-1. Parallel Lines gradational ;— 2. Parallel Lines antithetic ;-3. Parallel Lines constructive ;-4. Parallel Lines introverted.-III. The poetical Dialect not confined to the Old Testament.-Reasons for expecting to find it in the New Testament.-Proofs of the Existence of the poetical Dialect there;-1. From simple and direct Quotations of single Passages from the poetical Parts of the Old Tes tament ;-2. From Quotations of different Passages, combined into one connected Whole ;-3. And from Quotations mingled with original Matter.-IV. Original Parallelisms occurring in the New Testament.-1. Parallel Couplets ;—2. Parallel Triplets;-3. Quatrains ;—4, 5. Stanzas of five and six Lines ;-6. Stanzas of more than six parallel Lines.-V. Other Examples of the poetical Parallelism in the New Testament ;-1. Parallel Lines gradational;—2. The Epanodos.VI. Different Kinds of Hebrew Poetry.-1. Prophetic Poetry ;-2. Elegiac Poetry;-3. Didactic Poetry ;-4. Lyric Poetry;-5. The Idyl;—6. Dramatic Poetry ;-7. Acrostic or Alphabetical Poetry.—VII. General Observations for better understanding the Compositions of the Sacred Poets.

I. It is obvious to the most cursory reader of the Holy | information concerning the much litigated question, respecting Scriptures, that among the books of the Old Testament there the nature of Hebrew metre; but many of his arguments are is such an apparent diversity in style, as sufficiently discovers successfully controverted by Bishop Jebb, in his Sacred Litewhich of them are to be considered as poetical, and which rature; to which work, and to Bishop Lowth's Lectures, the are to be regarded as prose compositions. While the histo- reader is necessarily referred, as the discussion of this very rical books and legislative writings of Moses are evidently difficult question would extend this chapter to an inordinate prosaic in their composition, the book of Job, the Psalms of length. The construction, characteristics, and different kinds David, the Song of Solomon, the Lamentations of Jeremiah, of Hebrew Poetry, including also the poetical style of the a great part of the prophetic writings, and several passages New Testament, are the subjects now to be considered: and occasionally scattered through the historical books, bear the our account of them is chiefly abridged from the Lectures of most plain and distinguishing marks of poetical writing. We Bishop Lowth, and from his preliminary dissertation prefixed can have no reason to doubt that these were originally writ- to his version of the prophet Isaiah, together with Bishop ten in verse, or in some kind of measured numbers; though, Jebb's elegant and instructive volume above cited. as the ancient pronunciation of the Hebrew language is now lost, we can only very imperfectly ascertain the nature of the Hebrew verse.

From the manner, however, in which Josephus, Origen, and Jerome have spoken of the Hebrew poetry, it should seem that in their time its beauty and rules were well known. Josephus repeatedly affirms that the songs composed by Moses are in heroic verse, and that David composed several sorts of verses and songs, odes and hymns, in honour of God: some of which were in trimeters or verses of three metrical feet, and others in pentameters or verses of five metrical feet. Origen and Eusebius are said to have espoused the same notion: and Jerome, probably influenced by the manner in which he found the poetical parts of the Old Testament exhibited in the manuscripts of the Septuagint version, fancied that he perceived iambic, alcaic, and sapphie verses in the Psalms, similar to those occurring in the works of Pindar and Horace: hexameters and pentameters in the songs of Deuteronomy and Isaiah, the book of Job, and those of Solomon; and sapphic verses in the Lamentations of Jeremiah. Among modern writers, the nature and genius of Hebrew poetry have been warmly contested; but by no one have these subjects been illustrated with more elegance and ability than by the eminently learned Bishop of London, Dr. Robert Lowth. In the third of his justly admired Lectures on Hebrew Poetry,' he has collected much and very valuable

In illustration of this remark, we may mention the song of Moses at the Red Sea (Exod. xv.); the prophecy of Balaam (Numn. xxiv. 18-24.); the song of Deborah and Barak. (Judg. v.) Nor is it improbable that the Book of the Wars of the Lord (Num. xxi. 14.), and the Book of Jasher (Josh. x. 13. 2 Sain. i. 18.), were written in poetic measure.

2 Antiq. Jud. lib. ii. c. 16. § 4. lib. iv. c. 8. § 44. and lib. vii. c. 12. § 3.

Hieronymi Præfat. in Chronic. Epist. 135. ad Paul. Urb. et Epist. ad

Paulin. Comment. in Ezek. c. 30.

▲ Carpzov (Introd. ad Libros Canonicos Vet. Test. pars ii. pp. 28, 29.) has given a list of ancient and modern writers who have treated on Hebrew Poetry and in pp. 2-27. he has noticed the various discordant opinions on this topic. The hypothesis of Bishop Hare on Hebrew metre was refuted by Bishop Lowth at the end of his lectures, and also in his "Larger Confutation," published in 1766, in 8vo. in answer to Dr. Edwards's Latin Letter in defence of Hare's system, published in the preceding year. The general opinion of the learned world has coincided with the arguments of Lowth. The first edition of these Lectures appeared in 1753, in 4to., under the title of "De Sacra Poësi Hebræorum Prælectiones Academicæ:" a second edition was printed by Bishop Lowth in 1763, in two volumes, octavo; the second voluine, consisting of additions made by the celebrated Professor Michaelis, who had reprinted the Prælectiones at Göttingen. Several subsequent editions have issued from the Clarendon press; particularly a beautiful one in 1821, including (besides the additions of Michaelis) the further observations of Rosenmüller (whose edition appeared at Leipsic in 1815), Richter, and Weiss. In 1787, Dr. George Gregory printed his excellent English translation of Bishop Lowth's Lectures, in two octavo volumes, with some very important additional notes; which was reprinted in 1816. In 1787 M. Herder published at Leipsic two octavo volumes On the Spirit of Hebrew Poetry, from which a selection was translated and published in

The peculiar excellence of the HEBREW POETRY will appear when we consider that its origin and earliest application have been clearly traced to the service of religion. To celebrate in hymns and songs the praises of Jehovah-to decorate the worship of the Most High with all the charms and graces of harmony-to give force and energy to the devout affections-was the sublime employment of the sacred muses: and it is more than probable, that the very early use of sacred music in the public worship of the Hebrews, contributed not a little to the peculiar character of their poetry, and might impart to it that appropriate form, which, though chiefly adapted to this particular purpose, it nevertheless preserves on every other occasion. In the Old Testament we have ample evidence that music and poetry were cultivated from the earliest ages among the Hebrews. In the days of the Judges, mention is made of the schools or colleges of the prophets; in which the candidates for the prophetic office, under the direction of some superior prophet, being altogether removed from intercourse with the world, devoted themselves entirely to the exercises and study of religion; and though the sacred history affords us but little information concerning their institutes and discipline, yet it is manifest from 1 Sam. x. 5-10. and xix. 20-24., that a principal part of their occupation consisted in celebrating the praises of Jehovah in hymns and poetry, with choral chants accompanied with various musical instruments. But it was during the reign of David that music and poetry were carried to the greatest perfection. For the service of the tabernacle he appointed four thousand Levites, divided into twenty-four courses, and marshalled under several leaders, whose sole business it was to sing hymns, and to perform instrumental music in the public Worship. Asaph, Heman, and Jeduthun were the chief directors of the music, and, from the titles of some of the psalms, we may also infer that they were excellent composers of hymns

1801, under the title of Oriental Dialogues. Both these publications are distinguished by that bold criticisin, which for the last fifty or sixty years has characterized too many of those German divines, to whose researches in other respects biblical literature is so largely indebted. Sir William Jones has a few observations on Hebrew metres in his Poesos Asiaticæ Comment. cap. ii. (Works, vi. pp. 22-59.) See also "An Essay on Hebrew Poetry, Ancient and Modern. By Philip Sarchi, LL.D. London, 1824;" the latter portion of the volume, which treats on modern Hebrew poetry, is both curious and interesting. Professor Pareau has also given an abstract of the most material observations on Hebrew Poetry, in his Institutio Interpretis Veteris Testamenti, pp. 426-457.

Pp. 4-22. The title at length of this beautifully and correctly printed work is as follows:-"Sacred Literature; comprising a Review of the Principles of Composition, laid down by the late Robert Lowth, D.D. Lord Bishop of London, in his Prælections and Isaiah, and an Application of the Principles so reviewed to the Illustration of the New Testament. By John Jebb, A.M. [afterwards D.D. and Bishop of Limerick.] London, 1820." 8vo.

or sacred poems. In the first book of Chronicles (ch. xxv.) | Which Ezra informs us (iii. 10, 11.) was sung by the priests we have an account of the institutions of David: which were more costly, splendid, and magnificent than any that ever obtained in the public service of other nations.

II. According to Bishop Lowth, there are four principal CHARACTERISTICS OF HEBREW POETRY, viz.-1. The acrostical or alphabetical commencement of lines or stanzas;-2. The admission of foreign words and certain particles, which seldom occur in prose composition, and which thus form a distinct poetical dialect;-3. Its sententious, figurative, and sublime expressions; and, 4. Parallelism, the nature of which is fully illustrated in a subsequent page. But the existence of the first three of these characteristics has been disproved by Bishop Jebb; who observes, that the grand characteristic of Hebrew poetry does not appear to belong peculiarly to the original language of the Old Testament, as contradistinguished from that of the New. "It is not the acrostical, or regularly alphabetical, commencement of lines or stanzas; for this occurs but in twelve poems of the Old Testament: it is not the introduction of foreign words, and of what grammarians call the paragogic or redundant particles; for these licenses, though frequent, are by no means universal, in the poetical books of Scripture; and they are occasionally admitted in passages merely historical and prosaic: it is not the rhyming termination of lines; for no trace of this artifice is discoverable in the alphabetical poems, the lines or stanzas of which are defined with infallible precision; and every most licentious mutilation of Scripture and finally, this attempt to force it on the text, has been accompanied by the grand characteristic is not the adoption of metre, properly so called, and analogous to the metre of the heathen classics; for the efforts of the learned, to discover such metre in any one poem of the Hebrews, have universally failed; and while we are morally certain, that even, though it were known and employed by the Jews, while their language was a living one, it is quite beyond recovery in the dead and unpronounceable state of that language; there are also strong reasons for believing, that, even in the most flourishing state of their literature, the Hebrew poets never used this declaration.

"Again, it is most certain, that the proper characteristic of Hebrew poetry is not elation, grandeur, or sublimity, either of thought or diction. In these qualities, indeed, a large portion of the poetical Scriptures is not only distinguished, but unrivalled: but there are also many compositions in the Old Testament, indisputably poetical, which, in thought and expression, do not rise above the ordinary tone of just and clear conceptions, calmly, yet pointedly delivered."

The grand, and, indeed, the sole characteristic of Hebrew Poetry, is what Bishop Lowth entitles PARALLELISM, that is, a certain equality, resemblance, or relationship, between the members of each period; so that in two lines, or members of the same period, things shall answer to things, and words to words, as if fitted to each other by a kind of rule or measure. Such is the general strain of the Hebrew poetry instances of which occur in almost every part of the Old Testament, particularly in the ninety-sixth psalm.

It is in a great measure owing to this form of composition that our admirable authorized version, though executed in prose, retains so much of a poetical cast; for, that version being strictly word for word after the original, the form and order of the original sentences are preserved; which, by this artificial structure, this regular alternation and correspondence of parts, makes the ear sensible of a departure from the common style and tone of prose.

and Levites in alternate choirs," after the ordinance of David, king of Israel;" as indeed may be collected from the hundred and thirty-sixth psalm itself, in which the latter verse sung by the latter choir forms a perpetual epode. Of the same nature is the song of the women concerning Saul and David (1 Sam. xviii. 7.); and in the very same manner does Isaiah describe the seraphim as chanting the praises of Jehovah— "they cried one to another," that is, alternately, Holy, holy, holy, Jehovah, God of hosts!

The whole earth is filled with his glory! Isa. vi. 3.

tion is to be found in the twenty-fourth psalm, composed on But the fullest example, perhaps, of this style of composi occasion of the induction of the ark to Mount Sion: the mode of performing which is particularly illustrated by Bishop Lowth, and must have had a most noble and impressive

effect.

siders only that relation and proportion of one verse to anIn determining the length of his lines, Bishop Lowth conother which arises from the correspondence of terms, and from the form of construction, whence results a rhythmus of propositions, and a harmony of sentences. From this correspondence of the verses one with another, arises a certain relation also between the composition of the verses, and the composition of the sentences, so that generally periods coincide with stanzas, members with verses, and pauses of the and the words or phrases answering one to another in the one with pauses of the other. This correspondence is called parallelism, the corresponding lines are called parallel lines, corresponding lines, parallel terms.

gree.

parallelism:-In Luke i. 52, 53. we read, He (God) hath put A single example will illustrate the above definition of down the mighty from their seats, and exalted them of low dehe hath sent empty away. In this passage the same thing is He hath filled the hungry with good things, and the rich expressed, viz. that God changes the conditions of men: and this same thing is also expressed in corresponding members that represent it in various points of view. Thus the into adversity. The words answer to each other, the mighty Almighty changes adversity into prosperity, and prosperity -those of low degree; put down-exalted; the hungry (or poor)-the rich; filled with good things-sent empty away. Lastly, the things or subjects stated answer to each other by a contrast sufficiently obvious; the former (the powerful and rich) are depressed; the latter (the humble and poor) are exalted.

sometimes so evident as to strike even a careless reader, and The nature of parallelism, thus defined and illustrated, is sometimes so subtle and obscure as to require considerable practice, and some familiarity with the system, in order to the sentences in probable order and connection. Thus, much distribute the pauses and develope the different members of doubt has arisen not only as to what books, but as to what parts of books, are to be accounted poetical. Sometimes, according to Bishop Jebb, it is continuous and unmixed, as racterizes the main body of a work with a prosaic introducin the Psalms, Proverbs, and Canticles; sometimes it cha tion and conclusion, as in the book of Job; sometimes it predominates throughout a whole book with an occasional mixture of prose, as in most of the prophets; sometimes the general texture is prose, with an occasional mixture of verses, as in the historical books, and the book of Ecclesiastes.

This parallelism has hitherto been confined principally to in the first edition of this work, the author had restricted it. the poetical books of the Old Testament; and to them chiefly, Bishop Jebb, however, has demonstrated that this grand characteristic of Hebrew poetry pervades the New Testament as well as the Old.

The origin of this form of poetical composition among the Hebrews, Bishop Lowth has satisfactorily deduced from the manner in which they were accustomed to sing or chant their sacred hymns. They were accompanied with music, and were alternately sung by opposite choirs: sometimes one choir performed the hymn itself, while the other sang a par-dations, being sometimes more accurate and manifest, someticular distich, which was regularly interposed at stated intervals. In this manner we learn that Moses with the Israelites

chanted the ode at the Red Sea (Exod. xv. 20, 21.); and the same order is observable in some of the psalms which are composed in this form. On some occasions, however, the musical performance was differently conducted, one of the choirs singing a single verse to the other, while the other constantly added a verse in some respect correspondent. Of this the following distich is an example::

Sing praises to Jehovah, for he is good,

Because his mercy endureth for ever. Psal. cxxxvi. 1.

1 Bp. Jebb's Sacred Literature, pp. 4, 5.

The poetical parallelism has much variety and many gratimes more vague and obscure: it may, however, on the whole, be said to consist of four species, viz. Parallel Lines Gradational, Parallel Lines Antithetic, Parallel Lines Synthetic, and Parallel Lines Introverted.

2 Lecture xxvii. Bishop Horsley, in his translation of the book of Psalms, has divided them so as to exhibit the construction of those divine composi tions to the best possible advantage.

Bishop Lowth has ranged the different kinds of parallelism under three classes only, viz. parallels synonymous, parallels antithetic, and parallels synthetic. The last two terms, it will be perceived, we have retained, and in lieu of parallels synonymous we have adopted the term parallel lines gradational. Bishop Jebb has assigned satisfactory reasons for changing the bishop's phraseology. According to Lowth, parallel lines synonymous are those which correspond one to another by expressing the same senu

1. PARALLEL LINES GRADATIONAL are those in which the second or responsive clause so diversifies the preceding clause, as generally to rise above it, sometimes by a descending scale in the value of the related terms and periods, but in all cases with a marked distinction of meaning. This species of parallelism is the most frequent of all: it prevails chiefly in the shorter poems, in many of the psalms, and very frequently in the prophecies of Isaiah. Three or four instances will suffice to show the nature of parallel lines gradational. The first example shall be taken from the first psalm.

O the happiness of that man

Who hath not walked in the counsel of the ungodly;
And hath not stood in the way of sinners:

And hath not sat in the seat of the scornful.

Psalm i. 1. "The exclamation with which the psalm opens, belongs equally to each line of the succeeding triplet. In the triplet itself, each line consists of three members; and the lines gradually rise, one above the other, not merely in their general sense, but specially throughout their correspond ing members. To walk, implies no more than casual intercourse; to stand, closer intimacy; to sit, fixed and permanent connection; the counsel, the ordinary place of meeting, or public resort; the way, the select and chosen footpath; the seat, the habitual and final resting place; the ungodly, nega tively wicked; sinners, positively wicked; the scornful, scoffers at the very name or notion of piety and goodness."

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The prophet is denouncing a terrible judgment on the land of Judah, by the devastation of locusts; and all naturalists and travellers, who have witnessed the desolation caused by those destructive insects, attest and confirm the fidelity of Joel's description of their progress and ravages.

2. PARALLEL LINES ANTITHETIC are those, in which two lines correspond one with another, by an opposition of terms and sentiments; when the second is contrasted with the first, sometimes in expressions, sometimes in sense only. This is not confined to any particular form. Accordingly the degrees of antithesis are various, from an exact contraposition of word to word, sentiment to sentiment, singulars to singulars, plu

The following passages will supply additional examples:rals to plurals, down to a general disparity, with something

Who shall ascend the mountain of Jehovah ? And who shall stand within his holy place? The clean of hands, and the pure in heart.

Psalm xxiv. 3, 4.

"To ascend marks progress; to stand, stability and confirmation: the mountain of Jehovah, the site of the divine sanctuary; his holy place, the sanctuary itself; and, in correspondence with the advance of the two lines which form the first couplet, there is an advance in the members of the third line: the clean of hands; and the pure in heart: the clean of hands, shall ascend the mountain of Jehovah: the pure in heart, shall stand within his holy place."

O Jehovah, in thy strength the king shall rejoice;
And in thy salvation, how greatly shall he exult!
The desire of his heart thou hast granted him;
And the request of his lips thou hast not denied.

Psalın xxi. 1, 2.

"The gradation of member above member, and line above line, in each couplet of this stanza, is undeniable: salvation' is an advance upon 'strength;' and 'how greatly shall he exult,' an advance upon 'He shall rejoice' again, 'the request of the lips,' is something beyond 'the desire of the heart,'-it is desire brought into act. The gradation in the last members of the last two lines may not be equally obvious; but it is by no means less certain: thou hast granted:-thou hast not denied." the negative form is here much stronger than the positive; for it is a received canon of biblical philology, that verbs of negation, or what amounts to the same thing, adverbs of negation prefixed to verbs, have, in such cases, the force of expressing the opposite affirmative with peculiar emphasis:-for example, The Lord will not hold him guiltless who taketh his name in vain: that is, WILL ASSUREDLY HOLD HIM GUILTY. Exod. xx. 7."

The prophetic muse is no less elegant and correct. Isaiah especially abounds in beautiful instances of this mode of gradation. Thus he says, Seek ye Jehovah, while he may be found Call ye upon him, while he is near;

Let the wicked forsake his way;

And the unrighteous man his thoughts:

And let him return to Jehovah, and he will compassionate him; And unto our God, for he aboundeth in forgiveness.

Isa. Iv. 6, 7.

"In the first line, men are invited to seek Jehovah, not knowing where he is, and on the bare intelligence that he may be found; in the second line, having found Jehovah, they are encouraged to call upon him by the assurance that he is NEAR. In the third line, the wicked, the positive, and presumptuous sinner is warned to forsake his way, his habitual course of iniquity; in the fourth line, the unrighteous, the negatively wicked, is called to renounce the very thought of sinning. While in the last line, the ap propriative and encouraging title OUR GOD, is substituted for the awful name of JEHOVAH; and simple compassion is heightened into overflowing mercy and forgiveness."a

In Isa. li. 1. 4. 7. there is another singularly fine example of moral gradation, which is admirably illustrated by Bishop Jebb, to whose "Sacred Literature" the reader is referred. But excellent as Isaiah confessedly is, he is not unrivalled in this kind of composition: the other prophets contain abundant examples; we shall, however, only adduce two instances. The first, which is from Hosea, is exquisitely pathetic, and will speak for itself:

How shall I give thee up, O Ephraim ?
Abandon thee, O Israel?

How shall I make thee as Admah,
Place thee in the condition of Zeboim ?

ment in different but nearly equivalent terms. But Bp. Jebb proves, from an examination of the bishop's examples, that this definition does not hold good: he therefore proposes that of cognate parallels as preferably appli cable to this kind of parallels. (Sacred Literature, pp. 34-50.) A learned critic, however, has suggested the terin gradational parallelism, as being most expressive, and also most applicable to the examples adduced by these eminent prelates. (British Critic for 1820. vol. xiv. pp. 585, 586.) We have, therefore, adopted this term in the present chapter. Bp. Jebb had further considered the introverted parallel as a variety of the Hebrew parallelisin; but as the same critic has assigned good reasons for constituting it a distinct

class, we have availed ourselves of his authority, and have accordingly

adopted it.

1 Bp. Jebb's Sacred Literature, p. 41. . Ibid. pp. 37, 38.

2 Ibid. 40. p. Ibid. pp. 46-49.

of a contrariety in the two propositions.

This species of parallelism is of less frequent occurrence in the prophetical poems of the Old Testament, especially those which are elevated in the style, and more connected in the parts; but it is admirably adapted to adages, aphorisms, proverbs, and detached sentences. Much, indeed, of the elegance, acuteness, and force, of a great number of the proverbs of Solomon, arises from the antithetic form, the opposition of diction, and sentiment, as in the following examples:

A wise son rejoiceth his father:
But a foolish son is the grief of his mother.

Prov. x. 1.

Here every word has its opposite, the terms father and mother being relatively opposite;

The memory of the just is a blessing;
But the name of the wicked shall rot.

Prov. x. 7.

In this instance there are only two antithetic terms, for memory and name are synonymous. See also Prov. xi. 24. xvi. 33. and xxix. 26.

But, though the antithetic parallel be of comparatively rare occurrence in the superior kinds of Hebrew poetry, it is not inconsistent with them. Thus, we have a beautiful instance of it

in the thanksgiving ode of Hannah, 1 Sam. ii. 4-7., and in

some of the Psalms, as in Psalm xx. 7, 8. xxx. 5. and xxxvii.
10, 11. Isaiah, also, by means of it, without departing from his
usual dignity, greatly increases the beauty of his composition.
For the mountains shall be removed;
And the hills shall be overthrown;

But my kindness from thee shall not be removed;
And the covenant of my peace shall not be overthrown.
Isa. liv. 10.

See likewise Isa. liv. 7, 8. ix. 10. and lxv. 13, 14. 3. PARALLEL LINES SYNTHETIC or CONSTRUCTIVE are those in which the parallelism consists only in the similar form of construction: in which word does not answer to word, and sentence to sentence, as equivalent or opposite; but there is a correspondence and equality between the different propositions, in respect of the shape and turn of the whole sentence, and of the constructive parts; such as noun answering to noun, verb to verb, member to member, negative to negative, interrogative to interrogative. This species of parallel includes such as do not come within the two former classes. Accordingly, Bishop Lowth remarks, that the variety of this form is very great; the parallelism being sometimes more, sometimes less exact, and sometimes hardly at all apparent. The nineteenth psalm will furnish a beautiful instance of parallel lines constructive:

The law of JEHOVAH is perfect, restoring the soul; The testimony of JEHOVAH is sure, making wise the simple; The precepts of JEHOVAH are right, rejoicing the heart; The commandinent of JEHOVAH is clear, enlightening the eyes; The fear of JEHOVAH is pure, enduring for ever; The judgments of JEHOVAH are truth, they are just altogether; More desirable than gold, or than much fine gold, And sweeter than honey, or the dropping of honey-combs. Psal. xix. 7-11. Additional instances of the constructive parallelism occur in Psalm exlviii. 7-13. Job xii. 13-16. Isa. xiv. 4--9. and Iviii. 5—8.

Respecting the three preceding species of parallelism, Bishop Jebb remarks that, separately, "each kind admits many subordinate varieties, and that, in combinations of verses, the several kinds are perpetually intermingled; cir

cumstances which at once enliven and beautify the composi-| (6.) Some periods also may be considered as forming stanzas tion, and frequently give peculiar distinctness and precision of five lines; in which the odd line or member usually either to the train of thought." He has illustrated this observation comes in between two distichs; or the line that is not parallel is by some instances of such subordinate varieties. The six generally placed between the two distichs; or, after two distiches following are taken partly from his volume, and partly from makes a full close : the nineteenth of Bishop Lowth's Lectures on Hebrew Poetry. Thus :

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Isaiah has two striking instances of these bi-membral lines.

When thou passest through waters, I am with thee;
And through rivers, they shall not overwhelm thee:
When thou walkest in the fire, thou shalt not be scorched;
And the flame shall not cleave to thee.

Isa. xliii. 2.

And they shall build houses, and shall inhabit them;
And they shall plant vineyards, and shall eat the fruit thereof:
They shall not build, and another inhabit;

They shall not plant, and another eat.

Isa. Lxv. 21, 22.

Who is wise, and will understand these things?
Prudent, and will know them?

For right are the ways of JEHOVAH:
And the just shall walk in them:
And the disobedient shall fall therein.

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The preceding are the chief varieties of the parallel lines, gradational, antithetic, and constructive: a few others of less note are discussed both by Bishops Lowth and Jebb; for which the reader is necessarily referred to their respective works. We now proceed to notice,

4. PARALLEL LINES INTROVERTED.-These are stanzas so constructed, that, whatever be the number of lines, the first line shall be parallel with the last; the second with the penultimate, or last but one; and so throughout, in an order

(2.) «Parallels are sometimes formed by a repetition of part that looks inward, or, to borrow a military phrase, from flanks

of the first sentence:

My voice is unto God, and I cry aloud:

My voice unto God, and he will hearken unto me:

I will remember the works of Jehovah ;

Yea, I will remember thy works of old:

The waters saw thee, O God;

The waters saw thee; they were seized with anguish.

Psal. Lxxviii. 1. 11. 16.

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to centre. This may be called the introverted parallelism, Bishop Jebb has illustrated this definition with several apposite examples, from which we have selected the three following.

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(5.) "There are parallels consisting of four lines; two distichssions. The first line of each stanza is parallel with the sixth; the second being so connected together by sound and construction, as to make one stanza:

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In stanzas of four lines, sometimes the parallel lines answer to one another, alternately; the first to the third, and the second to the fourth :

As the heavens are high above the earth

So high is his goodness over them that fear him :
As remote as the east is from the west;

So far hath he removed from us our transgressions.
Psal. ciii. 11, 12."
Sometimes, however, in the alternate quatrain, by a peculiar
artifice in the distribution of the sentences, the third line forms

a continuous sense with the first, and the fourth with the

second:

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"In these two stanzas of Isaiah, figuratively, in the first, and literally in the second, is predicted the return of the Jews from their several disper with the fifth; and the third with the fourth; also on comparing the stanzas one with another, it is manifest, that they are constructed with the utmost precision of mutual correspondence; clause harmonizing with clause, and line respectively with line; the first line of the first stanza with the first line of the second, and so throughout."

"The idols of the heathen are silver and gold:
The work of men's hand;

They have inouths, but they speak not;
They have eyes, but they see not;

They have ears, but they hear not;
Neither is there any breath in their mouths;
They who make them are like unto them;
So are all they who put their trust in them.

Psal. cxxxv. 15-18."

The parallelisms here marked are very accurate. In the first line of this example we have the idolatrous heathen;-in the eighth, those who pu their trust in idols:-in the second line, the fabrication;-in the seventh, the fabricators;-in the third line, mouths without articulation;—in the sixth, mouths without breath;-in the fourth line, eyes without vision; and, in the fifth line, ears without the sense of hearing.

proceeds to state, may be rendered yet more evident, by re-
The parallelism of the extreme members, Bishop Jebb
ducing the passage into two quatrains; thus:

The idols of the heathen are silver and gold;
The work of men's hand;

They who make them are like unto them;
So are all they who put their trust in them.
They have mouths, but they speak not:
They have eyes, but they see not;
They have ears, but they hear not;
Neither is there any breath in their mouths.

III. Such is the nature, and such are the species, of the parallelisms which are variously distributed throughout the Old Testament. With the exception of a few partial failures,

• Sacred Literature, pp. 53 54. 57 58.

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