PARALLELISM OF THE HEBREW POETRY.
The prominent characteristic of the Hebrew poetry is what Bishop Lowth entitles Parallelism, that is, a certain equality, resemblance, or relationship, between the members of each period; so that in two lines, or members of the same period, things shall answer to things, and words to words, as if fitted to each other by a kind of rule or measure. The Psalms, Proverbs, Solomon’s Song, Job, and all the Prophets, except Daniel and Jonah, abound with instances.
It is in a great measure owing to this form of composition that our admirable authorized version, though executed in prose, retains so much of a poetical cast; for, being strictly word for word after the original, the form and order of the original sentences are preserved; which, by this artificial structure, this regular alternation and correspondence of parts, makes the ear sensible of a departure from the common style and tone of prose.
The different kinds of parallels are illustrated in the following examples:—
Parallels Antithetic.—Prov. x. 1, 7.
A wise son maketh a glad father;
But a foolish son is the heaviness of his mother.
The memory of the just is blessed;
But the name of the wicked shall rot.
Parallels Synthetic.—Prov. vi. 16–19.
These six things doth the Lord hate;
Yea, seven are an abomination unto him:
A proud look, a lying tongue,
And hands that shed innocent blood,
A heart that deviseth wicked imaginations,
Feet that be swift in running to mischief,
A false witness that speaketh lies,
And he that soweth discord among brethren.
Constructive.—Psalm xix. 7–9.
The law of the Lord is perfect, converting the soul;
The testimony of the Lord is sure, making wise the simple;
The statutes of the Lord are right, rejoicing the heart;
The commandment of the Lord is pure, enlightening the eyes;
The fear of the Lord is clean, enduring forever;
The judgments of the Lord are true, and righteous altogether.
Parallels Synonymous.—Psalm xx. 1–4.
The Lord hear thee in the day of trouble;
The name of the God of Jacob defend thee;
Send thee help from the sanctuary,
And strengthen thee out of Zion;
Remember all thine offerings,
And accept thy burnt sacrifice;
Grant thee according to thine own heart,
And fulfil all thy counsel.
Gradational.—Psalm i. 1.
Blessed is the man
That walketh not in the counsel of the ungodly,
Nor standeth in the way of sinners,
Nor sitteth in the seat of the scornful.
Parallels Introverted.—Prov. xxiii. 15, 16.
My son, if thy heart be wise,
My heart shall rejoice, even mine;
Yea, my reins shall rejoice
When thy lips speak right things.
It may be objected to Hebrew poetry, says Gilfillan, that it has no regular rhythm except a rude parallelism. What then? Must it be, therefore, altogether destitute of music? Has not the rain a rhythm of its own, as it patters on the pane, or sinks on the bosom of its kindred pool? Has not the wind a harmony, as it bows the groaning woods, or howls over the mansions of the dead? Have not the waves of ocean their wild bass? Has not the thunder its own deep and dreadful organ-pipe? Do they speak in rhyme? Do they murmur in blank verse? Who taught them to begin in Iambics, or to close in Alexandrines? And shall not God’s own speech have a peculiar note, no more barbarous than is the voice of the old woods or the older cataracts?
Besides, to call parallelism a coarse or uncouth rhythm, betrays an ignorance of its nature. Without entering at large on the subject of Hebrew versification, we may ask any one who has paid even a slight attention to the subject, if the effect of parallels such as the foregoing examples, perpetually intermingled as they are, be not to enliven the composition, often to give distinctness and precision to the train of thought, to impress the sentiments upon the memory, and to give out a harmony which, if inferior to rhyme in the compression produced by the difficulty (surmounted) of uniting varied sense with recurring sound, and in the pleasure of surprise; and to blank verse, in freedom, in the effects produced by the variety of pause, and in the force of long and linked passages, as well as of insulated lines, is less slavish than the one, and less arbitrary than the other? Unlike rhyme, its point is more that of thought than of language; unlike blank verse, it never can, however managed, degenerate into heavy prose. Such is parallelism, which generally forms the differential quality of the poetry of Scripture, although there are many passages in it destitute of this aid, and which yet, in the spirit they breathe, and the metaphors by which they are garnished, are genuine and high poetry. And there can be little question that in the parallelism of the Hebrew tongue we can trace many of the peculiarities of modern writing, and in it find the fountain of the rhythm, the pomp and antithesis, which lend often such grace, and always such energy, to the style of Johnson, of Junius, of Burke, of Hall, of Chalmers,—indeed, of most writers who rise to the grand swells of prose-poetry.