important things, of all the principles of moral action, all the offices of life, yet laying aside the severity of the preceptor, adduces at once all the decorations of elegance, and all the attractions of amusement; displaying, as in a picture, the actions, the manners, the pursuits and passions of men; and by the force of imitation and fancy, by the harmony of numbers, by the taste and variety of imagery, captivate the affections of the reader, and imperceptibly, or perhaps, reluctantlyTM impel him to the pursuit of virtue. She softens the wax with her peculiar ardour, and renders it more plastic to the artist's hand.

But after all, we shall think more humbly of poetry than it deserves, unless we direct our attention to that quarter where its importance is most eminently conspicuous; unless we contemplate it as employed on sacred subjects, and in subservience to religion. This, indeed, appears to have been the original office and destination of poetry; and this it still so happily performs, that in all other cases it seems out of character, as if intended for this purpose alone. In other instances, poetry appears to want the assistance of art, but in this to shine forth with all its natural splendour, or rather to be animated by that inspiration, which, on other occasions, is spoken of without being felt. Here we may contemplate poetry in its first 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 incence at the shrine of vanity, but the priestess of divine truth, the internunciate between earth and heaven.

These observations are remarkably exemplified in the Hebrew Poetry, than which the human mind can conceive nothing more elevated, more beautiful, or more elegant, in which the almost ineffable sublimity of the subject is fully equalled by the energy of the language and the dignity of the style. And it is worthy of observation, that as some of these writings exceed in antiquity the fabulous ages of Greece, they are in sublmity superior to the most finished productions of that polished people.

Thus, if the actual origin of poetry be inquired after, it must,

of necessity, be referred to Religion. It appears an art derived from nature alone, peculiar to no age or nation, and only at an advanced period of society subjected to rule and method. It must therefore be attributed to the vehement affections of the mind, the nature of which is to express themselves in an animated and lofty tone, with a vehemence of expression far remote from vulgar use. They burst forth in sentences earnest, tremulous and rapid, in a style and expression directly prompted by nature itself, and exhibiting the true and express image of a mind violently agitated; when, as it were, the secret avenues, the interior recesses of the soul are thrown open; when the inmost conceptions are displayed, rushing together in one turbid stream, without order or connection. Hence sudden exclamations, frequent interrogations, apostrophes even to inanimate objects; for to those who are violently agitated themselves, the universal nature of things seems under a necessity of being affected with similar emotions. This is particularly the case in admiration and delight; and what passions are so likely to be excited by religious contemplations as these? What ideas could so powerfully affect a newly-created mind, undepraved by habit or opinion, as the goodness, the wisdom, and the greatness of the Almighty? Is it not probable, that the first effort of rude and unpolished verse would display itself in the praise of the Creator, and flow almost involuntarily from the enraptured mind? Thus far, at least is certain, that Poetry has been nurtured in those sacred places where she seems to have been first called into existence, and that her original occupation was in the temple and at the altar. This was the first and peculiar office of Poetry. 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 Muse. On the one hand to commend to the Almighty the prayers and thanksgivings of his creatures; and on the other, to display to mankind the mysteries of the divine will and the prediction of future events: the best and noblest of all employments. For it is obvious, from the general tenour of scripture that the indica

tions of future events have been, without exception, revealed in numbers and in verse; and that the same spirit was accustomed to impart, 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 correspond with sentiments so infinitely surpassing all human conception. Of this origin, poetry even yet exhibits no obscure indications, since she ever embraces a divine and sacred subject with a kind of filial tenderness and affection. To the sacred haunts of religion she delights to resort as to her native soil; there she most willingly inhabits, and there she flourishes in all her pristine beauty and vigour.

When considered 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 that its bitterest adversaries have objected against it, which is not refuted by simply contemplating the nature and design of 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 and trifling in itself, to accuse it as profane and 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 examples in his most august administrations.

However ages and nations may have differed in their religious sentiments and opinions, in this at least we find them all agreed, that the mysteries of their devotion were celebrated in verse. "The most ancient poetry, as well as music," says Plato," was that which was addressed to the Deity, under the appellation of hymns." And so excellent was it deemed, that whatever deserved to be generally known and accurately remembered, was by those men (who on this very account were denominated wise*) adorn

Ecclus. xliv. 4. So Pind. Ist. v. 36.

"-Sung by the wise,

And honoured by the will of Jove."

ed with jocund and captivating style, illuminated with the varied and splendid colouring of language, and moulded into sentences comprehensive, pointed, and harmonious. It became the peculiar province of Poetry to depict the grand, the beautiful, the becoming, the virtuous; to embellish and recommend the precepts of religion and virtue, to transmit to posterity excellent `and sublime actions and sayings; to celebrate the works of the Deity, his beneficence and wisdom; to record the memorial of the past and the predictions of the future. It is evident that Greece, for several ages, was possessed of no records but the poetic. The laws themselves were poetical and adapted to music; such were the laws of Charondas, sung at the banquets of the Athenians and those also delivered to the Cretans. So among the Spaniards, according to Strabo, and among the Germans, as asserted possitively by Tacitus. In the same manner, and on the same account, the Persians and Arabs, and most Eastern Nations, preserved in verse their history and politics, as well as the principles of religion and morals.

And that this was the case among the Hebrews is evident from the writings of Moses, particularly Gen. iv. 23, 24. ix. 25-27. xxi. 6, 7. xxiv. 60. xxv. 23. xxviii. 16, 17. It was always accounted the highest commendation of science, "to understand, a proverb and the interpretation; the words of the wise and their dark sayings," under which titles two species of poetry seem to be particularly indicated.* 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, devoted themselves entirely to the exercise and study of religion. And though the sacred history affords us but little information concerning their institute and discipline, it is evident from 1 Sam. x. 5-10. xix. 20–24. that a principal part of their employment consisted in celebrating the praises of Jehovah, 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 height. For the service

* See Lowth, Lectures i. ii. iii, iv.

of the tabernacle he appointed four thousand Levites, divided into twenty-four courses and marshalled under several leaders, whose sole business was to sing hymns and to perform the instrųmental music in the public worship. Asaph, Heman, and Jeduthun, were the chief directors of the music; and from the titles of several of the Psalms, we may infer, they were excellent composers of sacred hymns or poems. In the first book of Chronicles (chap, xxv.) we have an account of David's institution, relative to the sacred music and poetry: which were certainly more costly, splendid and magnificent than ever obtained in the public service of any other nation.*

Having shewn the importantnce of the subject, and that specimens of primeval and genuine poetry are to be found only in the sacred writings, the investigation of the nature of these writings surely merits our most earnest attention, and promises the most delightful employment. We propose therefore to direct the attention of our readers, in future numbers, to the characteristics, style, and different kinds of Hebrew poetry, including that of the New Testament.

Critical and Historical Notices

INTRODUCTORY TO THE STUDY OF THE SCRIPTURES.

OF THE PENTATEUCH.

THE Pentateuch, under which title the five books of Moses are comprised, is a name derived from the Greek words TT (five) and ruxos (books.) It was probably first prefixed to the Septuagint version, and was designed to include Genesis, Exodus, Leviticus, Numbers, and Deuteronomy, which were written by Moses, probably in his own hand, and in the order in which they now stand, in our Bibles, though not distributed by their author

* See Lowth, Lecture xviii.