LECTURE II.

THE DESIGN AND ARRANGEMENT OF THESE LECTURES.

The dignity of the subject, and its suitableness to the design of the institution-That poetry which proceeds from divine inspiration, is not beyond the province of criticism-Criticism will enable us to account for the origin of the art, as well as to form a just estimation of its dignity; that the opinion of the divine origin of poetry was common in Greece-This work purely critical: and consequently theological disquisitions will be avoided-The general distribution of the subject into three parts, the nature of the verse, the style, and the arrange

ment.

SOCRATES, as we read in Plato,1 having been frequently admonished in a dream to apply to music; and esteeming himself bound to fulfil a duty, which appeared to have been imposed upon him by divine authority, began with composing a hymn to Apollo, and afterwards undertook to translate some of the fables of Æsop into verse. This he did, I apprehend, under the persuasion, that the first fruits of his poetry (which he esteemed the principal branch of the science of music2) ought to be consecrated to the immortal gods; and that it was not lawful for him, who was but little versed in those studies, to descend to lighter subjects, which perhaps might in the main be more agreeable to his genius, before he had discharged the obligations of religion. It is my intention, gentlemen, to follow the example of this great philosopher; and since the university has honoured me with this office of explaining to you the nature and principles of poetry, I mean to enter upon it from that quarter, whence he thought himself obliged to commence the study and practice of the art. I have determined, therefore, in the first place, to treat of sacred poetry, that species, I mean, which was cultivated by the ancient Hebrews, and which is peculiarly appropriated to subjects the most solemn and sublime; that should my endeavours prove unequal to so great a subject, I may, as it were, with favourable auspices,

1 Phæd. sub init.

2" What then is education ?-As far as respects the body, it consists in the gymnastic exercises; as far as respects the mind, it consists in harmony." PLATO de Rep. Lib. II.

descend to matters of inferior importance. I undertake this office, however, with the most perfect conviction, that not only from a regard to duty it ought to be executed with diligence; but from the respectability of that body, at whose command it is undertaken, it ought to be executed with honour and reputation; nor is it merely to be considered what the intent of the institution and the improvement of the students may require, but what will be consistent with the dignity of this university. For since the university, when it gave its sanction to this species of discipline by a special degree, recommended the study of poetry, particularly because it might conduce to the improvement of the more important sciences, as well sacred as profane,3 nothing could certainly appear more useful in itself, or more agreeable to the purpose of this institution, and the design of its learned patrons, than to treat of that species of poetry, which constitutes so considerable a part of sacred literature, and excels all other poetry, not less in the sublimity of the style, than in the dignity of the subject.

It would not be easy, indeed, to assign a reason, why the writings of Homer, of Pindar, and of Horace, should engross our attention and monopolize our praise, while those of Moses, of David and Isaiah pass totally unregarded. Shall we suppose that the subject is not adapted to a seminary, in which sacred literature has ever maintained a precedence? Shall we say, that it is foreign to this assembly of promising youth, of whom the greater part have consecrated the best portion of their time and labour to the same department of learning? Or must we conclude, that the writings of those men, who have accomplished only as much as human genius and ability could accomplish, should be reduced to method and theory; but that those which boast a much higher origin, and are justly attributed to the inspiration of the Holy Spirit, may be considered as indeed illustrious by their native force and beauty, but not as conformable to the principles of science, nor to be circumscribed by any rules of art? It is indeed most true, that sacred poetry, if we contemplate its origin alone, is far superior to both nature and art; but if we would rightly estimate its excellencies, that is, if we wish to understand its power in exciting the human affections, we must have recourse to both: for we must consider what those affections are, and by what means they are to be excited. Moreover, as in all other branches of science, so in poetry, art or theory consists in a certain

3 See the statute relating to the poetic lecture.

knowledge derived from the careful observation of nature, and confirmed by practice and experience; for men of learning having remarked in things what was graceful, what was fit, what was conducive to the attainment of certain ends, they digested such discoveries as had been casually made, and reduced them to an established order or method whence it is evident, that art deduces its origin from the works of genius, not that genius has been formed or directed by art; and that it is properly applied in illustrating the works of even those writers, who were either ignorant of its rules, or inattentive to them. Since then it is the purpose of sacred poetry to form the human mind to the constant habit of true virtue and piety, and to excite the more ardent affections of the soul, in order to direct them to their proper end; whoever has a clear insight into the instruments, the machinery as it were, by which this end is effected, will certainly contribute not a little to the improvement of the critical art. Now, although it be scarcely possible to penetrate to the fountains of this celestial Nile, yet it may surely be allowed us to pursue the meanders of the stream, to mark the flux and reflux of its waters, and even to conduct a few rivulets into the adjacent plains. (A)

The sacred poetry is undoubtedly entitled to the first rank in this school, since from it we are to learn both the origin of the art, and how to estimate its excellence. The commencement of other arts, however rude and imperfect, and though employed only on light and trivial matters, is an inquiry generally productive of satisfaction and delight. Here we may contemplate poetry in its very beginning; not so much the offspring of human genius, as an emanation from heaven; not gradually increasing by small accessions, but from its birth possessing a certain maturity both of beauty and strength; not administering to trifling passions, and offering its delicious incense at the shrine of vanity, but the priestess of divine truth, the internunciate between earth and heaven. For this was the first and peculiar office of poetry, on the one hand to commend to the Almighty the prayers and thanksgivings of his creatures, and to celebrate his praises ;-and on the other, to display to mankind the mysteries of the divine will, and the predictions of future events; the best and noblest of all employments. It is to this observation, indeed, that I would particularly point your attention; for it is plain from the general tenour of the sacred volume, that the indications of future events have been, almost without exception, revealed in numbers and in verse; and that the same spirit was accustomed to im

part, by its own energy, at once the presentiment of things, and to clothe it in all the magnificence, in all the elegance of poetry, that the sublimity of the style might consist with sentiments so infinitely surpassing all human conception. When considered, therefore, in this point of view, what is there of all which the most devoted admirers of poetry have ever written or fabricated in its commendation, that does not fall greatly short of the truth itself? What of all the insinuations, which its bitterest adversaries have objected against it, which is not refuted by simply contemplating the nature and design of the Hebrew poetry? Let those who affect to despise the Muses, cease to attempt, for the vices of a few, who may abuse the best of things, to bring into disrepute a most laudable talent. Let them cease to speak of that art as light or trifling in itself, to accuse it as profane or impious; that art, which has been conceded to man by the favour of his Creator, and for the most sacred purposes; that art, consecrated by the authority of God himself, and by his example in his most august ministrations.

Whether the Grecks originally derived their poetry from the fountains of nature, or received it through a different channel from a remoter source, appears a question of little importance, and not easy to be determined. Thus far, however, is evident, that an opinion was prevalent in Greece concerning the nature and origin of poetry, which appears most groundless and absurd, if we contemplate only the poetry of Greece, though truly and justly applicable to that of the Hebrews. They considered poetry as something sacred and celestial, not produced by human art or genius, but altogether a divine gift. Among them, therefore, poets were accounted sacred, the ambassadors of heaven, men favoured with an immediate intercourse and familiarity with the gods. The mysteries and ceremonies of their religion, and the worship of their deities, were all performed in verse; and the most ancient of their compositions, their oracles, always consisted of numbers. This circumstance, I must add, rendered them not only more sublime, but more deserving of credit in the eyes of the common people; for they conceived it equally the effect of divine inspiration to foresee events, and to express them in extemporaneous verse. Thus they seem to have retained some traces of an opinion impressed upon the minds of men in the very earliest ages concerning the true and ancient poetry, even after they had lost the reality itself, and when religion and poeetry had, by the licentiousness of fiction, reciprocally corrupted each other. (B)

Since, therefore, in the sacred writings the only specimens of the primeval and genuine poetry are to be found, and since they are not less venerable for their antiquity than for their divine original, I conceived it my duty in the first place to investigate the nature of these writings, as far as might be consistent with the design of this institution in other words, it is not my intention to expound to the student of theology the oracles of divine truth; but to recommend to the notice of the youth who is addicted to the politer sciences, and studious of the elegancies of composition, some of the first and choicest specimens of poetic taste. The difficulty of the undertaking ought probably to have discouraged me from the attempt; yet with you, gentlemen, I trust my temerity will find this excuse, namely, that I have undertaken a subject the most noble in itself, and the best adapted to the circumstances of my office. I trust that you will allow me at least the merit of distinguishing what was most worthy of this place and this assembly; though perhaps I have too rashly engaged, without a due consideration of my own abilities.

In this disquisition it is my intention to pursue that track which the nature of the subject seems to require. Three points are to be considered in every poem: First, the argument or matter, and the manner of treating it; what disposition, what order, and what general form is adapted to each species of composition: Secondly, the elocution and style; in which are comprehended lively and elevated sentiments, splendour and perspicuity of arrangement, beauty and variety of imagery, and strength and elegance of diction: Lastly, the harmony of the verse, or numbers, is to be considered; not only as intended to captivate the ear, but as adapted to the subject, and expressive of it, and as calculated to excite corresponding emotions in the soul. We shall now consider what is to be performed in each of these departments, and how far we may with safety, and with any prospect of advantage, engage in a critical examination of the Hebrew poetry.

With respect to the nature of the versification (if I may be allowed to reverse my own arrangement, and to speak of that first, which constituted the last division of my subject) I fear that little can be produced to your satisfaction or my own; since it is manifest not only from the unsuccessful endeavours of the most learned men, but from the nature of the thing itself, that scarcely any real knowledge of the Hebrew versification is now to be attained: and the only merit to which any modern writer can lay claim, is that of distinguish