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LECTURE VII.

OF POETIC IMAGERY FROM COMM

Examples of poetical imagery from common life-
tremely simple among the Hebrews, whose prin
agriculture and pasturage-The dignity of thes
splendour of the imagery which is borrowed fro
the threshing instruments-The sublimity of
from familiar objects results from its própri
Hebrews explained; the imagery of which
terraneous sepulchres and funeral rites.

'IN
IN my last Lecture I explaine
have enabled the Hebrew poets
urative style the most perfect v
and sublimity. I remarked i
chiefly employed images ta'
such I mean as were genera!
secondly, that in the use or
served a regular track, me
that they used most freel
was most familiar, and
most generally understo
vations will I think fin
firmation, if those me
taken from arts, mar
you will easily recoll
source of poetical in
ject a few general
ample or two out
themselves in the

their ivacity dditional

:cularly with from one low ome) the barn, rs have contrived and a force to the JEHOVAH threshes es them under his feet, vers the nations to Israel

en remark was prophetically levell ay cast. It was a little unfortunate lectures were not translated previthey had, he certainly would never ocation of so pointed a sarcasm. T

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first, that the

of applying it, by the different

this account, nototh chastity and per

ey apply it solely to exdispersion of the wicked. e image itself in illustrating d a very proper and ready apolfreedom in the application of it, rt to the nature and method of this Palestine. It was performed in a osed to the wind, by bruising the ear,

in upon the sheaves a herd of cattle, .nstrument constructed of large planks, and nderneath with stones or iron; and somea machine in the form of a cart, with iron or axles indented, which Varro calls Phonicum, ng brought to Italy by the Carthaginians from enicia, which was adjacent to Palestine. From this is plain (not to mention that the descriptions agree in every particular) that the same custom was common

4 HAD. iii. 12. JOEL iii. 14. JER. li. 33. ISAI. xxi. 10.

5 Mic. iv. 13.

7 ISAI. xli. 15, 16.

6 PSALM lxxxiii. 14, 16. ISAI. xvii. 15

De Re Rust. 1. 52.

Hebrews and the Romans; and yet I do not the latter have borrowed any of their po

from this occupation. It is proper, how* 2 %, that this image was obvious and familForews in a high degree, as we learn from "'s and the threshing-floor of Ornan' the Jebusite, was stuated in an open place (as were all the rest) 1 sen itself, and in the highest part of the city, 1 ce try nace, indeed, where the temple of Solomon waterwanis erected.

mer, vao was uncommonly fond of every picture

ut, esteemed that under our consideration so eu und significant, that, in a few instances,10 he comparisons from the threshing-floor (for even ul of the boldness of this image in the form phor.) Two of these comparisons he introilustrate light subjects, contrary to the practice forews; but the third is employed upon a sub:magnificent, and this, as it approaches in some sublimity of the Hebrew, it may not be im

Two recite:

- is with autumnal harvests cover'd o'er,

• thick bestrown, lies Ceres' sacred floor,

• V en round and round, with never-wearied pain,
The rampling steers beat out th' unnumber'd grain :
→ he ierce coursers, as the chariot rolls,

jown whole ranks, and crush out heroes' souls."i This comparison, however, though deservedly accounthe grandest and most beautiful which antiqui• rasnitted to us, still falls greatly short of the knew witness and sublimity. A Hebrew writer we compared the hero himself with the instrumon, and get dis horses with the oxen that are harness

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ed to it, which is rather too apposite, and too exactly similar. But custom had not given equal licence to the Greek poetry; this image had not been equally familiar, had not occupied the same place as with the Hebrews; nor had acquired the same force and authority by long prescription.

I ought not in this place to omit that supremely magnificent delineation of the divine vengeance, expressed by imagery taken from the wine-press; an image which very frequently occurs in the sacred poets, but which Ho other poetry has presumed to introduce. But where shall we find expressions of equal dignity with the original in any modern language? By what art of the pencil can we exhibit even a shadow or an outline of that description, in which Isaiah depicts the Messiah as coming to vengeance ?13

"Who is this that cometh from Edom?

"With garments deeply died from Botsra?
"This that is magnificent in his apparel ;
"Marching on in the greatness of his strength?

12 This will be more fully explained in Lect. XII.

13. See Isai. Ixiii. 1-3. Our author, in his excellent commentary on Isaiah, has a very long note, proving against some learned interpreters (I suppose Jewish) that Judas Maccabeus could not be the subject of this 'prophecy. He asserts very properly that the glorious, but fruitless, effort of the Maccabees, was not an event adequate to so lofty a prediction: <and he adds another very material circumstance, which he presumes entirely excludes Judas Maccabeus, and even the Idumeans properly so called; for "the Idumea of the prophet's time was quite a different country from that which Judas conquered. To the question, "to whom does it then apply?" he answers, to no event that he knows of in history, unless perhaps the destruction of Jerusalem and the Jewish polity, which in the gospel is called the coming of Christ, and the days of vengeance. He adds, however, that there are prophecies, which intimate a great slaughter of the enemies of God and his people, which remain to be fulfilled: these in Ezekiel and in the Revelation are called Gog and Magog, and possibly this prophecy may refer to the same or the like event. T.

both to the Hebrews and the Romans; a
recollect that the latter have borrowed a
etical imagery from this occupation. It
ever, to remark, that this image was ob
iar to the Hebrews in a high degree,
what is said of the threshing-floor of Or
which was situated in an open place (a
in Jerusalem itself, and in the highe
in the very place, indeed, where the
was afterwards erected.

Homer, who was uncommonly fo
of rural life, esteemed that under
beautiful and significant, that, in
draws his comparisons from the th
he was fearful of the boldness of
of a metaphor.) Two of these
duces to illustrate light subjects
of the Hebrews; but the third
ject truly magnificent, and this,
degree the sublimity of the H
proper to recite:

"As with autumnal harvests
"And thick bestrown, lies C
"When round and round, w
"The trampling steers beat
"So the fierce coursers, as
"Tread down whole ranks

This comparison, howeve
ed one of the grandest an
ty has transmitted to us,
Hebrew boldness and
would have compared t
ment, and not his horse

9 2 CHRON. iii. 1.
10 See Iliad v. & xiii. 588.

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might be quot

ers and customs

however, may at from one simhaving prevailed hat in their poetry by, of meanness or

when we consider listance of the scene, ivacity of their rhetof the boldest imagery

and the most comtest dignity, is a come sacred poets. I shall ple of this kind, in which lly equalled by the plainpression; and yet such is opriety of its application, nounce it sublime. The nate destruction of Jerusa

salem,

ash:

neth it upside down."1

wwd stands, "the Announcer of righteous

No en Isaiah,

the answer of some prophet as related by

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