prophets was no different from that of any great poet with a message of modern times. Moses Maimonides in his Guide to the Perplexed analyzes the ecstatic state of prophecy and his analysis may be applied to any high form of poetic inspiration.
Prophecy was, according to Maimonides, an emanation sent forth to man's rational faculty and then to his imaginative faculty; it consisted in the most perfect development of the imaginative faculty; the logical and imaginative faculties had to be balanced in the prophet; he overflowed with the frenzy of ecstasy to help his fellow-men and could not rest even at risk of personal suffering; he had courage and intuition; he reserved his message in a dream or a vision.
The psychology of the prophetic inspiration has been studied by many of the higher critics of the Bible. One of the best books on the subject is The Psychology of Prophecy by Dr. Jacob H. Kaplan, Philadelphia 1908, (Julius H. Greenstone) who says:
The ecstasy of the wild and mad kind was seen only in the early days of Hebrew prophecy, when wine and dance and music and other external means were used for bringing about this state, but the subdued elevated ecstasy due to religious temperament and patriotic fervor, due to constant and profound contemplation, was certainly the characteristic of the later prophets. . . . Ecstasy is usually the spring whence all the other prophetic streams flow.
While the Greeks mingled reason with inspiration to produce poetry, the prophets went further, and interpenetrated their ecstasy with a high sense of social justice. An ecstatic state, with a keen intellect, a high moral outlook, and a noble social ideal characterized the prophet. His state of ecstasy was due to this highly developed
social conscience. He was not so much concerned with religious rites as with the decline of the nation's ideals of justice. The prophet of that day fulminated against the economic evils of society. He was possessed of an exalted type of aesthetic soul, the ecstasy to social justice. No literature gives us such types of men who rebuke unjust kings as we find in the stories of Nathan and David, Elijah and Ahab, Jeremiah and Hezekiah. No literature shows us such courageous types as Amos and Isaiah. They were not flatterers, these men who risked their lives in shouting back to eastern autocratic monarchs their iniquities. They did not say what society or public opinion wanted them to say but what they felt was their duty. They overflowed not with the immoral and insane ecstasy of the rites of Dionysius, but the ecstasy of the man who loves his neighbor as himself, of the man who would not have the rich crush the poor, of the man who sought kindness for the stranger, the oppressed, the widow, the fatherless.
And the prophets, in spite of their virulency, produced the highest forms of artistic beauty. Not all the revolutions of opinions and changes in religious beliefs have made them obsolete. Shaw once said, substitute the word ideals for the word idols, in the Bible, and you have messages that are still true.
So the prophets instead of being miracle performers, foretellers of the future, preachers of theology, are really poets of ecstasy, with a social message revealed in a dream. The old word of God, in the form of a high social ideal, to-day is still making prophets. Shelley, Ibsen and Ruskin have done work that is akin to the prophets of old; they have given us works of art inspired by a state of ecstasy springing from the possession of social ideals. Santayana rightly regards the prophet, one who portrays the ideals
of experience and destiny, as the greatest poet. (See Poetry and Religion.)
Nor did the prophets of old sing their messages in artificial form. They did not count their syllables and give us metre, though they indulged in parallelisms. They wrote in rhythmical prose.[39-A]