it was written, or even as the writers themselves; he must not attend to the ideas which on a cursory reading certain words would obtrude upon his mind; he is to feel them as a Hebrew, hearing or delivering the same words, at the same time, and in the same country. As far as he is able to pursue this plan, so far he will comprehend their force and excellence. This indeed in many cases it will not be easy to do; in some it will be impossible; in all, however, it ought to be regarded, and in those passages particularly in which the figurative style is found to prevail.

In the metaphor for instance (and what I remark concerning it may be applied to all the rest of the figures, since they are all naturally allied to each other) two circumstances are to be especially regarded, on which its whole force and elegance will depend: first, that resemblance which is the ground-work of the figurative and parabolic style, and which will perhaps be sufficiently apparent, even from a common and indistinct knowledge of the objects; and secondly, the beauty or dignity of the idea which is substituted for another; and this is a circumstance of unusual nicety. An opinion of grace and dignity results frequently, not so much from the objects themselves, in which these qualities are supposed to exist, as from the disposition of the spectator; or from some slight and obscure relation or connexion which they have with some other things. Thus it sometimes happens, that the external form and lineaments may be sufficiently apparent, though the original and intrinsic beauty and elegance be totally erased by time.

For these reasons, it will perhaps not be an useless undertaking, when we treat of the metaphors of the sacred poets, to enter more fully into the nature of their poetical imagery in general, of which the metaphor con

stitutes so principal a part. By this mode of proceeding, we shall be enabled not only to discern the general beauty and elegance of this figure in the Hebrew poetry, but the peculiar elegance, which it frequently possesses, if we only consider how forcible it must have appeared to those for whom it was originally intended; and what a connexion and agreement these figurative expressions must have had with their circumstances, feelings, and opinions. Thus many expressions and allusions, which even now appear beautiful, must, when considered in this manner, shine with redoubled lustre; and many, which now strike the superficial reader as coarse, mean, or deformed, must appear graceful, elegant, and sublime.

The whole course of nature, this immense universe of things, offers itself to human contemplation, and affords an infinite variety, a confused assemblage, a wilderness, as it were, of images, which, being collected as the materials of poetry, are selected and produced as occasion dictates. The mind of mair is that mirror of Plato," which as he turns about at pleasure, and directs to a different point of view, he creates another sun, other stars, planets, animals, and even another self. In this shadow or image of himself, which man beholds when the mirror is turned inward towards himself, he is enabled in some degree to contemplate the souls of other men for, from what he feels and perceives in himself, he forms conjectures concerning others; and apprehends and describes the manners, affections, conceptions of others from his own. Of this assemblage of images, which the human mind collects from all nature, and even from itself, that is, from its own emotions and operations, the least clear and evident are those which are explored by reason and argument; the more evident and

5 De Rep. Lib. X. sub init.

distinct are those which are formed from the impressions made by external objects on the senses; and of these, the clearest and most vivid are those which are perceived by the eye. Hence poetry abounds most in those images which are furnished by the senses, and chiefly those of the sight; in order to depict the obscure by the more manifest, the subtile by the more substantial; and, as far as simplicity is its object, it pursues those ideas which are most familiar and most evident; of which there is such an abundance, that they serve as well the purpose of ornament and variety, as that of illustration.

Those images or pictures of external objects, which like lights adorn and distinguish the poetic diction, are indeed infinite in number. In an immensity of matter, however, that we may be enabled to pursue some kind of order, and not wander in uncertainty and doubt, we may venture to fix upon four sources of these ideas, whither all that occur may be commodiously referred. Thus, poetical imagery may be derived first, from natural objects; secondly, from the manners, arts, and circumstances of common life; thirdly, from things sacred; and lastly, from the more remarkable facts recorded in sacred history. From each of these topics a few cases will be selected, and illustrated by examples, which though chiefly of the metaphorical kind, will yet be in a great measure applicable to the other figures which have been specified; these we shall afterwards take an opportunity to explain, when not only the figures themselves will be noticed, but also the different forms and rules for their introduction and embellish ment,

LECTURE VI.

OF POETIC IMAGERY FROM THE OBJECTS OF NATURE.

The frequent use of the metaphor renders a style magnificent, but often obscure the Hebrew poets have accomplished the sublime without losing perspicuity-Three causes assigned for this singular fact: first, the imagery which they introduce is in general derived from familiar objects again, in the use and accommodation of it they pursue a certain custom and analogy: lastly, they make the most free use of that which is most familiar, and the nature and extent of which is most generally known-These observations confirmed by examples (1.) from natural objects: such as are common to mankind in general; such as are more familiar to the Hebrews than to others; and such as are peculiar to them.

"THE HE great excellence of the poetic dialect," as Aristotle most judiciously remarks, "consists in perspicui"ty without meanness. Familiar terms and words in

common use form a clear and perspicuous, but fre"quently 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,

1 Poet. c. 22. Modern writers are hardly aware of the ill consequence of what is called far-fetched imagery, or that which is taken from objects not generally known. This was the great error of Cowley, and the metaphysical poets of the last century; an error for which no beauties can compensate, which always gives a harshness, often a prosaic appearance to poetry, and never fails to be attended with some degree of obscurity. T:

"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 dar. ingly introduced, sometimes rushing in with imminent hazard of propriety. 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 are to 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 the Hebrew poetry; which I trust will be sufficiently clear to those who pe

2 lb. & QUINT. viii. 6.