Companion to the Bible

by E. P. Barrows

(A.) CHARACTERISTICS OF HEBREW POETRY.

2. As it respects the spirit of Hebrew poetry, we notice, first of all, its perfect harmony with the spirit of the Theocracy. It is, in truth, an outgrowth of the Theocracy in the souls of holy men educated under its influence and thoroughly imbued with its spirit. The God of Moses and Aaron is also the God of David, Asaph, and Solomon; of Hosea, Isaiah, and Habakkuk. In his boldest flights the Hebrew poet always remains loyal to the institutions of Moses, not in their letter alone, but much more in their spirit, of which he is the inspired interpreter. The same Jehovah who thundered from Sinai and spake to the people by Moses, speaks also by the sweet psalmist of Israel, by the wisdom of Solomon, and by the whole succession of the prophets. Hence the poetry of the Hebrews is radiant throughout with the pure monotheism of the Theocracy. It exhibits God in his infinite perfections, as the Creator and sovereign Ruler of the world, without a single taint of pantheism or polytheism, and that in an age when pantheism and polytheism were the reigning forms of religion without the pale of the covenant people.

Another distinguishing mark of Hebrew poetry is the vivid consciousness of God's presence by which it is pervaded. In this respect it runs entirely parallel with Hebrew history. It has already been remarked (Ch. 20, No. 1) that Hebrew history differs widely from all other historical writings in its habit of looking at the course of human events from the Divine side, rather than the human; that while secular history is mainly occupied with the endless details of human combinations and alliances, and the progress of material civilization, the historical books of the Old Testament unfold to us with wonderful clearness God's presence and power as shaping the course of human events in the interest of his great plan of redemption. Take, for example, that small section of Hebrew history comprehended under the title, Affinity with Ahab. No Christian can read it without feelings of holy awe, for it is radiant throughout with the presence of that righteous God who renders to every man according to his works, and visits the iniquity of the fathers upon the children to the third and fourth generation. In it the retributive justice of God shines forth, like the lightning, from one end of heaven to the other. Just so is Hebrew poetry also filled with the presence and glory of God. When the Hebrew bard sweeps his lyre, all nature gives signs of her Maker's presence. The heavens rejoice before him, the earth is glad, the sea roars, the mountains and hills break forth into singing, and all the trees of the field clap their hands. He looks on the earth, and it trembles; he touches the hills, and they smoke. Nor less conspicuous is his presence in providence and in the human soul. He is seen in awful majesty high above the tumult of the nations, directing their movements to the accomplishment of his own infinitely wise purposes; making the wrath of man to praise him, and restraining the remainder of it. Meanwhile his presence shines in the believer's soul, like the sun in his strength, filling it with strength, light, and gladness. In a word, over the whole domain of Hebrew poesy, whether its theme be God or nature or human society or the human spirit, is heard continually the solemn cry of the seraphim: "Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory."

Originality is another feature of Hebrew poetry. It cannot indeed be said that this quality belongs to all the Hebrew poets. With such divinely perfect models as the later writers had before them, models with which they had been familiar from childhood, it was natural that they should imitate them. The spirit of inspiration did not prevent this, for it was not necessary to the ends of revelation that it should be prevented. Set even among the later poets we have some striking examples of originality; and Hebrew poetry, taken as a whole, is original in the fullest sense of the word, borrowing nothing that we know of from any other nation. Not to anticipate the question of the age to which the book of Job belongs, and passing by some gems of poetry contained in the book of Genesis, we may say that the oldest recorded song of certain date which the world possesses is that of the Israelites upon their deliverance at the Red sea. Exod., ch. 15. Next in order (to pass by the poetic effusions of Balaam, and some other fragments, Numb., chaps. 21-24) come the song which Moses wrote for the children of Israel just before his death (Deut., ch. 32), and (according to the title, the genuineness of which there is no valid reason for doubting) "the prayer of Moses the man of God," contained in the ninetieth psalm. In the period of the judges we have only the song of Deborah and Barak. The perfect originality of all these primitive songs is acknowledged by all. It constitutes indeed one of their chief charms. With "the sweet psalmist of Israel" began the era of lyric song; with Solomon that of didactic, and with Hosea, Joel, Isaiah, and their contemporaries, that of prophetic poetry. The poets to whom, under the illumination of the Holy Ghost, these different forms of Hebrew poetry owe their origin, are all distinguished for their originality. So is also the book of Job, that great didactic song so perfectly unique in its character.

The wonderful freshness and simplicity of thought in Hebrew poetry is inseparably connected with its originality. A thought is fresh when it bursts forth directly from the inner fountain of the soul just as it was conceived there. But the moment the man pauses to remould it and shape it to some artificial standard of propriety, it loses its originality and its freshness together. It is no longer the living, glowing conception as it existed in his bosom, but rather what he thinks it ought to have been. In the process of working it over he has killed, if not its life, at least its power. But the Hebrew poet opens, so to speak, the floodgates of his heart, and pours forth the stream of his thoughts and emotions just as they have sprung into being there. Because he is under the sanctifying and illuminating influence of the divine Spirit, they are high and holy thoughts. Because they come forth in their primitive form, they are natural and fresh; and for this reason the lapse of ages does not diminish their power over the human spirit.

Intimately connected also with the originality of Hebrew poetry is its charming variety. The Hebrew poets are exceedingly unlike each other in native character, in training, in surrounding circumstances, and in the nature of the work laid upon them by the Spirit of inspiration. And as they all write in a natural and appropriate way, it follows that their writings must exhibit great diversities. No two writers can well be more unlike each other than Isaiah and the author of the book of Job. With Isaiah the central object of thought is always Zion, in whose interest he sees God governing the world, and whose future glory is revealed to him in prophetic vision. But Zion is not an individual. She is a divine organization which God has destined to universal victory, and around which revolve, under his almighty guidance, the great movements of the heathen nations. The prophet, accordingly, has to do not so much with particular persons, as with the destiny of society, which is involved in that of Zion. He describes her present conflicts and her future triumphs in his own peculiar and gorgeous imagery. But the problem before the author of the book of Job is God's providence towards individuals, as viewed from the position of the Old Testament before the fuller revelations of the New. He is occupied with the destiny of particular persons, rather than of nations or of human society at large. To the solution of the question of God's justice towards individual man he directs all his energy, and he discusses this great theme in a manner as effective as it is original. His imagery is as forcible as that of Isaiah, but how different, and how powerfully adapted to his end! A few passages from each of these great poets, set side by side, will exhibit the contrast between them in a striking manner.

JOB.	ISAIAH
THE PROSPERITY OF THE RIGHTEOUS.	THE PROSPERITY OF ZION.
He shall deliver thee in six troubles: yea, in seven there shall no evil touch thee. In famine he shall redeem thee from death: and in war from the power of the sword. Thou shalt be hid from the scourge of the tongue: neither shalt thou be afraid of destruction when it cometh. At destruction and famine thou shalt laugh: neither shalt thou be afraid of the beasts of the earth. For thou shalt be in league with the stones of the field: and the beasts of the field shall be at peace with thee. And thou shalt know that thy tabernacle shall be in peace; and thou shalt visit thy habitation, and shalt not sin. Thou shalt know also that thy seed shall be great, and thine offspring as the grass of the earth. Thou shalt come to thy grave in a full age, like as a shock of corn cometh in in his season. Ch. 5:19-26.	Violence shall no more be heard in thy land, wasting nor destruction within thy borders, but thou shalt call thy walls Salvation, and thy gates Praise. The sun shall be no more thy light by day; neither for brightness shall the moon give light unto thee; but the Lord shall be unto thee an everlasting light, and thy God thy glory. Thy sun shall no more go down; neither shall thy moon withdraw itself: for the Lord shall be thine everlasting light, and the days of thy mourning shall be ended. Thy people also shall be all righteous: they shall inherit the land forever, the branch of my planting, the work of my hands, that I may be A little one shall become a thousand, and a small one a strong nation: I the Lord will hasten it in his time. Ch. 60:18-22.
JOB.	ISAIAH.
THE OVERTHROW OF THE WICKED.	THE OVERTHROW OF ZION'S ENEMIES.
He shall flee from the iron weapon, and the bow of steel shall strike him through. It is drawn, and cometh out of the body; yea, the glittering sword cometh out of his gall: terrors are upon him. All darkness shall be hid in his secret places: a fire not blown shall consume him; it shall go ill with him that is left in his tabernacle. The heaven shall reveal his iniquity; and the earth shall rise up against him. The increase of his house shall depart, and his goods shall flow away in the day of his wrath. Ch. 20:24-28.	For he bringeth down them that dwell on high; the lofty city, he layeth it low; he layeth it low, even to the ground; he bringeth it even to the dust. The foot shall tread it down, even the feet of the poor, and the steps of the needy. Ch. 26:5, 6. For I will contend with him that contendeth with thee, and I will save thy children. And I will feed them that oppress thee with their own flesh; and they shall be drunken with their own blood, as with sweet wine: and all flesh shall know that I the Lord am thy Saviour and thy Redeemer, the mighty one of Jacob. Ch. 49:25, 26

If now we open the book of Psalms, we find ourselves in a new world of poetry, as different from that of Isaiah as it is from that of the book of Job. David was anointed by God to be the head and leader of Israel. As such he had a perpetual outward conflict with powerful, crafty, and malicious foes, who sought his life and his kingdom. This brought to him a perpetual inward conflict with doubts and fears. Under the pressure of this double conflict he penned those wonderful psalms, which are the embodiment of his whole religious life. And since heart answers to heart, as face to face in water, they are the embodiment of religious life in all ages. The songs of David and his illustrious collaborators, Asaph and the sons of Korah, are emphatically the poetry of religious experience. As such they can never grow old. They are as fresh to-day as when they were written. God has given them to his church as a rich treasury for "the service of song in the house of the Lord," in the family, and in the closet. If we turn from the book of Psalms to the book of Proverbs, we have still another type of poetry, unlike any one of the forms hitherto considered. It is the poetry of reflection on the course of human life, as seen in the light of God's law and God's providence. It is, therefore, didactic in the highest sense of the word—the poetry of practical life. The maxims of heavenly wisdom embodied in the book of Proverbs will make all who study them, believe them, and obey them, prosperous in this life and happy in the life to come. This contrast between the great Hebrew poets might be carried through the whole galaxy, but the above hints must suffice.

Diversity of themes often coincides with difference in the character of the poets. Where the theme is the same, each writer will still pursue his own peculiar method. If that theme be the vengeance of God on the wicked, the style will naturally be rugged and abrupt. Yet the ruggedness and abruptness of David will not be that of Hosea or Nahum. But where both the theme and the character of the poet differ, there the diversity of style becomes very striking. To illustrate this, take the two following passages:

DAVID.	NAHUM.
GOD'S FAVOR TO THE RIGHTEOUS.	GOD'S VENGEANCE ON THE WICKED.
The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures: he leadeth me beside the still waters. He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life; and I will dwell in the house of the Lord for ever. Psa. 23.	The mountains quake at him, and the hills melt, and the earth is burned at his presence, yea, the world, and all that dwell therein. Who can stand before his indignation? and who can abide in the fierceness of his anger? his fury is poured out like fire, and the rocks are thrown down by him. The Lord is good, a strong hold in the day of trouble; and he knoweth them that trust in him. But with an overrunning flood he will make an utter end of the place thereof, and darkness shall pursue his enemies. Nahum 1:5-8.

The passage from Nahum is like a pent-up mountain stream leaping from precipice to precipice. The psalm is like the same stream escaped to the plain, and winding its way gently and placidly through green meadows and shady groves vocal with the songs of birds. This subject might be pursued to an indefinite extent. Suffice it to say that Hebrew poetry has the charm of endless variety, always with graceful adaptation to the nature of the theme.

The oriental imagery in which Hebrew poetry abounds imparts to it a peculiar and striking costume. Palestine was, in an emphatic sense, the Hebrew poet's world. It was the land given by God to his fathers for an everlasting possession; about which all his warm affections clustered; with whose peculiar scenery and climate, employments and associations, all his thoughts and feelings had been blended from childhood. It followed of necessity that these must all wear an oriental costume. As soon as he opens his mouth there comes forth a stream of eastern imagery, very natural and appropriate to him, but much of it very strange to us of these western regions. To understand the extent of this characteristic one has only to peruse the Song of Solomon. The bride is black but comely as the tents of Kedar, as the curtains of Solomon. She is a dove in the clefts of the rock; her hair is as a flock of goats, that appear from Mount Gilead; her teeth are like a flock of sheep which come from the washing; her lips are like a thread of scarlet; her temples are like a piece of a pomegranate; her stature is like a palm tree, and her breasts like clusters of grapes—all thoroughly oriental. So also the bridegroom is like a roe or a young hart leaping upon the mountains; his eyes are as the eyes of doves by the rivers of waters; his cheeks are as a bed of spices; his lips like lilies, dropping sweet-smelling myrrh, and his countenance as Lebanon, excellent as the cedars. So also if we open the book of Isaiah, we find the Messiah described as "the shadow of a great rock in a weary land"—a figure which could not well occur to an Englishman or an American, but was perfectly natural in the mouth of a Hebrew familiar with the terrible sun of the Asiatic deserts, where neither tree nor cloud offers a shelter to the thirsty and fainting traveller. Precisely here lies much of the obscurity of which the expounders of Hebrew poetry complain. True, there are other difficulties of a formidable character. The theme is often vast, stretching into the distant and dimly-revealed future; the language rugged with abrupt transitions, the historic allusions obscure, and the meaning of the terms employed doubtful. But aside from all these considerations the western scholar encounters a perpetual difficulty in the fact that he is not of oriental birth, and can enter but imperfectly into the spirit and force of oriental imagery. What costs him days of laborious investigation would open itself like a flash of lightning to his apprehension—all except that which remains dark from the nature of the prophetic themes—could he but have that perfect apprehension of the language, the historic allusions, the imagery employed, and the modes of thought, which was possessed by the contemporaries of the Hebrew poet.

It remains that we notice in the last place what may be called the theocratic imagery of the Hebrew poets; that is, imagery borrowed from the institutions of the Mosaic law. The intense loyalty of the Hebrew poets to the Mosaic law has already been noticed. They were its divinely-appointed expositors and defenders, and their whole religious life was moulded by it. No wonder, then, that their writings abound with allusions to its rites and usages. The sweet psalmist of Israel will abide in God's tabernacle for ever, and trust in the covert of his wings, the literal tabernacle on Zion representing God's spiritual presence here and his beatific presence hereafter (Psa. 61:4 and elsewhere); he will have his prayer set forth before God as incense, and the lifting up of his hands as the evening sacrifice (Psa. 141:2); he will be purged with hyssop that he may be clean, and washed that he may be whiter than snow (Psa. 51: 7); he will offer to God the sacrifice of a broken spirit (Psa. 51:17); the people promise to render to God the calves of their lips (Hosea 14:2); the vengeance of God upon Edom is described as "a sacrifice in Bozrah, and a great slaughter in the land of Idumea," in which the Lord's sword shall be filled with the blood of lambs and goats and the fat of the kidneys of rams (Isa. 34: 6); with allusions to the Levitical sprinklings God promises that he will sprinkle upon his penitent and restored people clean water that they may be clean (Ezek. 36: 25); and with allusion to the sacrificial flocks assembled at Jerusalem on the occasion of her great festivals, that he will increase them with men like a flock—"as the holy flock, as the flock of Jerusalem in her solemn feasts; so shall the waste cities be filled with flocks of men" (Ezek. 36:37, 38). How full the book of Psalms is of allusions to the solemn songs of the sanctuary with their accompaniment of psaltery and harp, trumpet and cornet, every reader understands. This subject might be expanded indefinitely, but the above hints must suffice.

3. We come now to the form of Hebrew poetry. This is distinguished from the classic poetry of Greece and Rome, as well as from all modern poetry by the absence of metrical feet. Its rhythm is that of clauses which correspond to each other in a sort of free parallelism, as was long ago shown by Bishop Lowth in his Prelections on the Sacred Poetry of the Hebrews, the matter of which has been revised and expanded in later treatises. Herein, as elsewhere, Hebrew poetry asserts its originality and independence. Biblical scholars recognize three fundamental forms of parallelism in Hebrew poetry, which will be briefly considered, first separately, and then in their combinations.

The first is the antithetic form, where two parallel members are contrasted in meaning, a form peculiarly adapted to didactic poetry, and therefore occurring most abundantly in the book of Proverbs. The following are examples of it:

The memory of the just is blessed:

But the name of the wicked shall rot (Prov. 10:7);

where, in the original Hebrew, each clause consists of three words. In such an antithetic parallelism the words of one couplet, at least, must correspond in meaning, as here memory and name; while the others are in contrast—just and wicked, is blessed and shall rot. Sometimes the two clauses are to be mutually supplied from each other, thus:

A wise son maketh a glad father:

But a foolish son is the heaviness of his mother (Prov. 10:1);

where the reader understands that a wise son is the joy, and a foolish son the grief of both father and mother.

The second form is the synonymous, where the same general thought is repeated in two or more clauses. It is found abundantly in the whole range of Hebrew poetry, but is peculiarly adapted to that which is of a placid and contemplative character. Sometimes the parallel clauses simply repeat the same thought in different words; in other cases there is only a general resemblance. Examples are the following:

He that sitteth in the heavens shall laugh:

The Lord shall have them in derision. Psa. 2:4.

For thou, Lord, wilt bless the righteous:

With favor wilt thou compass him as with a shield. Psa. 5:12.

Perish the day wherein I was born;

And the night in which it was said, There is a man child conceived.

Job 3:3.

Hear the word of the Lord, ye rulers of Sodom:

Give ear unto the law of our God, ye people of Gomorrah. Isa. 1:10.

In the following example we have a compound synonymous couplet:

Give them according to their deeds,

According to the wickedness of their endeavors:

Give them after the work of their hands,

Render to them their desert. Psa. 28:4

Sometimes three or more parallel clauses occur, thus:

When your fear cometh as desolation,

And your destruction cometh as a whirlwind;

When distress and anguish cometh upon you. Prov. 1:27.

Who forgiveth all thine iniquities;

Who healeth all thy diseases;

Who redeemeth thy life from destruction;

Who crowneth thee with loving-kindness and tender mercies;

Who satisfieth thy mouth with good things;

Thy youth is renewed like the eagle's. Psa. 103:3-5.

In the preceding example, synonymous parallelism passes into simple enumeration. So often with a succession of short clauses, or shorter and longer clauses, where the poetry of the Hebrews assumes the freedom of prose, thus:

Who hath woe?

Who hath sorrow?

Who hath contentions?

Who hath babbling?

Who hath wounds without cause?

Who hath redness of eyes? Prov. 23:39.

A sinful nation;

A people laden with iniquity;

A seed of evil-doers;

Corrupt children:

They have forsaken the Lord;

They have despised the Holy One of Israel;

They have gone away backward. Isa. 1:4.

The parallel clauses are frequently introduced or followed by a single clause, thus:

Blessed is the man

Who walketh not in the counsel of the ungodly;

And standeth not in the way of sinners;

And sitteth not in the seat of scorners. Psa. 1:1.

Hear, O heavens;

Give ear, O earth;

For the Lord hath spoken. Isa. 1:2.

The third form of parallelism is called synthetic (Greek synthesis, a putting together), where one clause is necessary to complete the sense of the other, as in the following examples:

Better is a dinner of herbs where love is,

Than a stalled ox and hatred therewith. Prov. 15:16.

Every way of a man is right in his own eyes;

But the Lord pondereth the hearts. Prov. 21:2.

Whoso curseth his father and his mother,

His lamp shall be put out in obscure darkness. Prov. 20:20.

The connection between the two clauses may be that of comparison, cause, effect, etc. Sometimes it is not expressed, but simply implied, as in the following:

A whip for the horse,

A bridle for the ass,

And a rod for the fool's back. Prov. 26:3.

The combinations of the above forms in Hebrew poetry are exceedingly varied and graceful. Here are examples of two synonymous couplets that are antithetic to each other:

The ox knoweth his owner,

And the ass his master's crib:

Israel doth not know,

My people doth not consider. Isa. 1:3.

The Lord bringeth the counsel of the heathen to naught;

He maketh the devices of the people of none effect.

The counsel of the Lord standeth for ever;

The thoughts of his heart to all generations. Psa. 33:10, 11.

In the following example, two synonymous couplets constitute together a synthetic parallelism:

Because they regard not the works of the Lord,

Nor the operation of his hands,

He shall destroy them,

And not build them up. Psa. 28:5.

In the following, three synthetic parallelisms make a synonymous triplet:

For as the heaven is high above the earth,

So great is his mercy toward them that fear him:

As far as the east is from the west,

So far hath he removed our transgressions from us:

Like as a father pitieth his children,

So the Lord pitieth them that fear him. Psa. 103:11-13.

But our limits will not allow us to pursue this subject farther. The freedom of the Hebrew poet is one of his high prerogatives. He is not a slave to form, but uses form as it suits his purposes. He blends together the different kinds of parallelism as he pleases. Often he breaks through all parallelism to the freedom of prose. But he soon returns again, because this measured rhythm of clauses is to him the natural costume of poetic thought, which always seeks to embody itself in some form of rhythm.

To the form of Hebrew poetry belongs also its peculiar diction. To one who reads the Hebrew poets in the original, this is a striking characteristic. He meets with words, and sometimes with grammatical forms, that do not occur in the prose writers. Many of these peculiar words are Aramean; that is, they are words current in the Aramean branch of the Shemitic languages. Chap. 14, No. 1. They are to be regarded as archaisms—old words that were once common alike to the Hebrew and the kindred Aramean, but which have been dropped out of prose usage in Hebrew. They must not be confounded, as has too often been done, with true Aramaisms, that is, Aramean words and forms borrowed by later Hebrew writers from their intercourse with those who spoke Aramean.

4. As it respects the office of Hebrew poetry, it is throughout subservient to the interests of revealed religion. This is implied in what has been already said of the loyalty of the Hebrew poets to the institutions of the Theocracy. It follows that the poetry of the Bible is all sacred in its character. It contains no examples of purely secular poetry except here and there a short passage which comes in as a part of history; for example, the words of "those that speak in proverbs," Numb. 21:27-30; perhaps also the lament of David over Saul and Jonathan. 2 Sam. 1:19-27. It is certain that the song contained in the forty-fifth psalm and that of the Canticles were received into the canon solely on the ground that they celebrate the mutual love between God and the covenant people, considered as his bride; or, in New Testament language, between Christ and "the bride, the Lamb's wife."

But sacred poetry has various uses. One of its earliest offices was to celebrate the praises of God for his interposition in behalf of his covenant people, as in the song of the Israelites at the Red sea, and that of Deborah and Barak. But when David was raised to the throne of Israel, the time had now come for introducing lyric poetry as a permanent part of the sanctuary service. God accordingly bestowed upon this monarch the needful inward gifts, and placed him in the appropriate outward circumstances; when at once there gushed forth from his bosom, smit by the spirit of inspiration, that noble stream of lyric song, which the congregation of the faithful immediately consecrated to the public service of the sanctuary, and which, augmented by the contributions of Asaph, the sons of Korah, and other inspired poets, has been the rich inheritance of the church ever since. In the book of Job, sacred poetry occupies itself with the mighty problem of the justice of God's providential government over men. It is, therefore, essentially didactic in its character. In the Proverbs of Solomon, it becomes didactic in the fullest sense; for here it moves in the sphere of practical life and morals. The book of Ecclesiastes has for its theme the vanity of this world, considered as a satisfying portion of the soul; and this it discusses in a poetic form. Finally, the prophets of the Old Testament exhaust all the wealth of Hebrew poetry in rebuking the sins of the present time, foretelling the mighty judgments of God upon the wicked, lamenting the present sorrows of Zion, and portraying her future glories in connection with the advent of the promised Messiah. The Hebrew harp—whoever sweeps it, and whether its strains be jubilant or sad, didactic or emotional, is ever consecrated to God and the cause of righteousness.