If it be asked now why John, in the account which he has given of the heavenly state, adopted this figurative and emblematic mode of representation, and why it did not please God to reveal any more respecting the nature of the employments and enjoyments of the heavenly world, it may be replied, (a) That this method is eminently in accordancewith the general character of the book, as a book of symbols and emblems. (b) He has stated enough to give us a general and a most attractive view of that blessed state. (c) It is not certain that we would have appreciated it, or could have comprehended it, if a more minute and literal description had been given. That state may be so unlike this that it is doubtful whether we could have comprehended any literal description that could have been given. How little of the future and the unseen can ever be known by a mere description; how faint and imperfect a view can we ever obtain of anything by the mere use of words, and especially of objects which have no resemblance to anything which we have seen! Who ever obtained any adequate idea of Niagara by a mere description? To what Greek or Roman mind, however cultivated, could there have been conveyed the idea of a printing-press, of a locomotive engine, of the magnetic telegraph, by mere description? Who can convey to one born blind an idea of the prismatic colours; or to the deaf an idea of sounds? If we may imagine the world of insect tribes to be endowed with the power of language and thought, how could the gay and gilded butterfly that to-day plays in the sunbeam impart to its companions of yesterday—low and grovelling worms—any adequate idea of that new condition of being into which it had emerged? And how do we know that we could comprehend any description of that world where the righteous dwell, or of employments and enjoyments so unlike our own?
I cannot more appropriately close this brief notice of the revelations of the heavenly state than by introducing an ancient poem, which seems to be founded on this portion of the Apocalypse, and which is the original of one of the most touching and beautiful hymns now used in Protestant places of worship—the well-known hymn which begins, “Jerusalem! my happy home!” This hymn is deservedly a great favourite, and is an eminently beautiful composition. It is, however, of Roman Catholic origin. It is found in a small volume of miscellaneous poetry, sold at Mr. Bright’s sale of manuscripts in 1844, which has been placed in the British Museum, and now forms the additional MS. 15,225. It is referred, by the lettering on the book, to the age of Elizabeth, but it is supposed to belong to the subsequent reign. The volume seems to have been formed by or for some Roman Catholic, and contains many devotional songs or hymns, interspersed with others of a more general character. See Littell’s Living Age, vol. xxviii. pp. 333–336. The hymn is as follows:—
A SONG MADE BY F. B. P.
To the tune of “Diana.”
Jerusalem! my happy home!
When shall I come to thee?
When shall my sorrows have an end—
Thy joys when shall I see?
O happy harbour of the saints—