Companion to the Bible

by E. P. Barrows

The Hebrew system of accentuation is very subtle and complicated, and there is nothing corresponding to it in our western languages. These so-called accents are quite numerous, one of them resting, as a general rule, upon each word. Certain of them are peculiar to the poetical books, and are called poetical accents. They serve a threefold office. (1.) They guide the modulated flow of the voice in cantillation, thus serving, in a certain sense, as musical notes. Some think that this was their primary office. (2.) They indicate the logical relation to each other of the words and clauses, thus performing the office of marks of interpunction. (3.) They rest, with certain exceptions, on the tone syllable, and thus serve as accents in our restricted sense of the word.

In the first division of the present chapter, the characteristics of Hebrew poetry will be briefly considered in respect to its spirit, its form, and its offices. Then will follow, in the second division, a notice of the contents of the several books.

(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.