in the sequel, under another image, to be immediately inflicted, unless the people repent of their wickedness. Thus far the Hebrew language differs not materially from others; those future actions or events which other writers, for the sake of force and clearness, express in the imperfect present, the Hebrews express in the perfect present with equal effect. In another point, it must be confessed, they differ essentially from other writers, namely, when they intimate past events in the form of the future tense and I must add, that this is a matter of considerable difficulty. If we resort to the translators and commentators, so far are they from affording any solution, that they do not so much as notice it, accommodating as much as possible the form of the tenses to the subject and context, and explaining it rather according to their own opinions, than according to the rules of grammar, or any fixed and established principles. If again we apply to the grammarians, we shall still find ourselves no less at a loss: they, indeed, remark the circumstance, but they neither explain the reason of it, nor yet are candid enough to make a fair confession of their own ignorance. They endeavour to confuse their disciples by the use of a Greek term, and have always at hand a sort of inexplicable and mysterious enallage or change of the tenses, with which, rather than say nothing, they attempt to evade a closer inquiry; as if the change were made by accident, and from no principle or motive than which nothing can be conceived more absurd or impertinent. That these apparent anomalies, however, are not without their peculiar force and beauty, I have not a doubt; that many of them should cause difficulty and obscurity, considering the great antiquity of the Hebrew language, is not to be wondered at. Some light may notwithstanding be reflected upon the subject, by a careful attention to the state of the writer's mind, and by considering properly what ideas were likely to be prevalent in his imagination at the time of his writing. There is a remarkable instance of this form of construction in that very song of Moses, to which we have just been alluding. After mentioning the divine dispensation, by which the Israelites were distinguished as the chosen people of God, he proceeds to state with what love and tenderness the Almighty had cherished them, from the time in which he brought them from Egypt, led them by the hand through the wilderness, and, as it were, 7 JOEL ii. carried them in his bosom: all these, though past events, are expressed in the future tense : "Inveniet eum in terra deserta, "Et in vasta eiulanti solitudine: "Custodiet eum tanquam pupillam oculi sui."8 You will readily judge whether this passage can admit of any other explication, than that of Moses supposing himself present at the time when the Almighty selected the people of Israel for himself; and thence, as from an eminence, contemplating the consequences of that dispensation. The case will be found similar in many other passages; as, in particular, more than once in that historical psalm, which is inscribed with the name of Asaph. After the prophet has exposed the perfidy of the people, their refractory conduct almost in the very crisis of their deliverance from the Egyptian bondage, he in a manner anticipates in his mind the clemency of God, and the repeated transgressions of the Israelites, and speaks of them as future events: "Ille tamen misericors condonabit iniquitatem, nec perdet; "Neque excitabit omnem suam indignationem. "Quomodo iam irritabunt eum in deserto, The general disposition and arrangement of the hundred and fourth psalm affords a most elegant exemplification of this construction. For the prophet, instancing the greatness and wisdom of God in the constitution and preservation of the natural world, speaks of the actions and decrees of the Almighty in the present tense, as if he himself had been a witness when they were brought to light; and displays their consequences and uses, and what are called the final causes, in the future tense, as if looking forward from the beginning through all future time. But although these and some other passages will admit of this explanation, there are many to which it will not apply. In these the situation and state of the authors are not so much to be considered, as the peculiar nature or idiom of the language. For the Hebrews frequently make use of the future tense in such a manner, that it appears not to have relation to the present speaker, but to the person or thing which was last spoken of. Thus when any action is con 8 DEUT. xxxii. 10. 9 PSAL. lxxviii. 38, 40. nected with another action, or consequent to it; or when the same action is repeated or continued, when a person perseveres in the same action, or performs it with great earnestness or assiduity, this is all expressed as if it were future.10 This form is therefore distinguished by the grammarians by the appellation ny, which is equivalent to prompt, expedite, or impending. Examples enough to this purpose might be produced from the passages which have been referred to on former occasions: for instance, from that most elegant prosopopœia of the mother of Sisera; from the allegory of the vine, which was brought out of Egypt; from the comparison founded on the maternal piety and solicitude of the eagle :11 the form and manner of all which may be easily perceived by an attentive reader, but cannot be well explained by the most industrious commentator. Now, if, as I have stated, this unusual form of construction be the effect either of some sudden emotion in the speaker, of some new and extraordinary state of mind; or if, on any other account, from the relation of the subject, or the genius of the language, it be possessed of some peculiar force or energy; it will obviously follow, that it must more frequently occur in poetry than in prose, since it is particularly adapted to the nature, the versatility, and variety of the former, and to the expression of any violent passion; and since it has but little affinity to that mildness and temperance of language, which proceeds in one uniform and even tenour. Thus if we attend diligently to the poetry of the Hebrews, and carefully remark its peculiar characteristics, we shall hardly find any circumstance, the regular and artificial conformation of the sentences excepted, which more evidently distinguishes it from the style of prose composition, than the singularity which is now under consideration. For though it be allowed, that this idiom is not so entirely inconsistent with prose, but that a few examples of it might be produced,12 on the whole I am convinced, that the free and frequent use of it may be accounted as the certain characteristic of poetry.(B) That the full force of these and other peculiarities, which serve to distinguish the poetical diction of the Hebrews, and to preserve that sublimity and splendour for which it is so remarkable, should be 10 See 2 SAM. xii. 3. 11 JUDG. V. 29. Ps. lxxx. 9, 12, 14. DEUT. xxxii. 11. 12 Hitherto I have only met with the following: JUDG. ii. 1. (See however HOUBIGANT in loc.) and xxi. 25. 1 SAM. xxvii. 9, 11. 2 SAM. xii. 31. 1 KINGS XXI. 6. 1 CHRON. xi. 8. See also PETERS on JOB, page 202. fully apparent from a few examples, is hardly to be expected; nor did I flatter myself with any such expectation, when I entered upon this part of my subject. My intention was only to produce an instance or two, which were most likely to occur to those who enter upon this course of reading, and which appeared to demand particular attention. The perfect character and genius, the whole form, principles, and nature of the poetical diction and ornaments, can neither be comprehended in any minute or artificial precepts whatever, nor perhaps be reduced altogether to rule and method: the complete knowledge and perception of these are only to be attained by reading and investigation, united with acuteness of judgement and delicacy of taste. LECTURE XVI. OF SUBLIMITY OF SENTIMENT. Sublimity of sentiment arises, efther from elevation of mind, or from some vehement passion; in each, it is either natural, or the effect of divine inspiration-Elevation of mind is displayed in the greatness of the subject, the adjuncts, and the imagery-Examples from the descriptions of the Divine Majesty; of the works and attributes of the Deity; also from the display of the Divine Power in the form of Interrogation and Irony-The Hebrew poets attribute the human passions to the Deity without departing from sublimity; and that frequently when the imagery appears least consistent with the Divine Majesty; the reason of this. If we consider the very intimate connexion, which on all occasions subsists between sentiment and language, it will perhaps appear, that the peculiar quality, of which we have just been treating, under the title of Sublimity of Expression, might ultimately be referred to that of Sentiment. In the strictest sense, however, Sublimity of Sentiment may be accounted a distinct quality, and may be said to proceed, either from a certain elevation of mind, and a happy boldness of conception; or from a strong impulse of the soul, when agitated by the more violent affections. The one is called by Longinus Grandeur of Conception, the other Vehemence or Enthusiasm of Passion. To each of these we must have recourse in the present disquisition, and in applying them to the sacred poets, I shall endeavour to detract nothing from the dignity of that inspiration, which proceeds from higher causes, while I allow to the genius of each writer his own peculiar excellence and accomplishments. I am indeed of opinion, that the Divine Spirit by no means takes such an entire possession of the mind of the prophet, as to subdue or extinguish the character and genius of the man: the natural powers of the mind are in general elevated and refined, they are neither eradicated nor totally obscured; and though the writings of Moses, of David, and of Isaiah, always bear the marks of a divine and celestial impulse, we may nevertheless plainly discover in them the particular characters of their respective authors. That species of the sublime, which proceeds from a boldness of spirit, and an elevation of the soul, whether inherent in the author, or derived from a divine impulse and inspiration, is displayed first |