Cicero, likewise, speaking of himself, in Pison. c. 9, tom. vi, p. 187, uses this allegorical language: “Nor was I so timorous, that, after I had steered the ship of the state through the greatest storms and waves, and brought her safe into port, I should fear the cloud of your forehead, or your colleague’s pestilential breath. I saw other winds, I perceived other storms, I did not withdraw from other impending tempests; but I exposed myself singly to them for the common safety.” Here the state is compared to a ship, and all the things said of it under that image, are expressed in metaphors made use of to denote the dangers with which it had been threatened. We have also a very fine example of an allegory in Psalm lxxx; in which the people of Israel are represented under the image of a vine, and the figure is supported throughout with great correctness and beauty. Whereas, if, instead of describing the vine as wasted by the boar from the wood, and devoured by the wild beasts of the field, the Psalmist had said, it was afflicted by Heathens, or overcome by enemies, which is the real meaning, the figurative and the literal meaning would have been blended, and the allegory ruined. The learned Bishop Lowth, De Sacrâ Poesi Hebræorum, Præl. 10, 11, has specified three forms of allegory that occur in sacred poetry. The first is that which rhetoricians call a continued metaphor. When several metaphors succeed each other, they alter the form of the composition; and this succession has very properly, in reference to the etymology of the word, been denominated by the Greeks αλληγορια, an allegory; although Aristotle, instead of considering it as a new species of figure, has referred it to the class of metaphors. The principle of allegory in this sense of the term, and of the simple metaphor, is the same; nor is it an easy matter to restrict each to its proper limit, and to mark the precise termination of the one, and the commencement of the other. This eminently judicious critic observes, that when the Hebrew poets use the congenial figures of metaphor, allegory, and comparison, particularly in the prophetic poetry, they adopt a peculiar mode of doing it, and seldom regulate the imagery which they introduce by any fixed principle or standard. Not satisfied with a simple metaphor, they often run it into an allegory, or blend with it a direct comparison. The allegory sometimes follows, and sometimes precedes the simile: to this is added a frequent change of imagery, as well as of persons and tenses; and thus are displayed an energy and boldness, both of expression and meaning, which are unconfined by any stated rules, and which mark the discriminating genius of the Hebrew poetry. Thus, in Gen. xlix, 9, “Judah is a lion’s whelp;” this metaphor is immediately drawn out into an allegory, with a change of person: “From the prey, my son, thou art gone up,” that is, to the mountains, which is understood; and in the succeeding sentences the person is again changed, the image is gradually advanced, and the metaphor is joined with a comparison that is repeated.
“He stoopeth down, he coucheth as a lion;
And as a lioness; who shall rouse him?”
A similar instance occurs in the prophecy, recorded in Psalm cx, 3, which explicitly foretels the abundant increase of the Gospel on its first promulgation. This kind of allegory, however, sometimes assumes a more regular and perfect form, and then occupies the whole subject and compass of the discourse. An example of this kind occurs in Solomon’s well known allegory, Eccles. xii, 2–6, in which old age is so admirably depicted. There is also, in Isaiah xxviii, 24–29, an allegory, which, with no less elegance of imagery, is more simple and regular, as well as more just and complete, both in the form and the method of treating it. Another kind of allegory is that which, in the proper and more restricted sense, may be called a parable; and consists of a continued narration of some fictitious event, accommodated, by way of similitude, to the illustration of some important truth. The Greeks call these allegories αινοι or apologues, and the Latins fabulæ, or fables. (See [Parable].) The third species of allegory, which often occurs in the prophetic poetry, is that in which a double meaning is couched under the same words, or when the same discourse, differently interpreted, designates different events, dissimilar in their nature, and remote as to time. These different relations are denominated the literal and mystical senses. This kind of allegory, which the learned prelate calls mystical, seems to derive its origin from the principles of the Jewish religion; and it differs from the two former species in a variety of respects. In these allegories the writer may adopt any imagery that is most suitable to his fancy or inclination; but the only proper materials for this allegory must be supplied from the sacred rites of the Hebrews themselves; and it can only be introduced in relation to such things as are immediately connected with the Jewish religion, or their immediate opposites. The former kinds partake of the common privileges of poetry; but the mystical allegory has its foundation in the nature of the Jewish economy, and is adapted solely to the poetry of the Hebrews. Besides, in the other forms of allegory, the exterior or ostensible imagery is mere fiction, and the truth lies altogether in the interior or remote sense; but in this allegory each idea is equally agreeable to truth. The exterior or ostensible image is itself a reality; and although it sustains another character, it does not wholly lay aside its own. There is also a great variety in the use and conduct of the mystical allegory; in the modes in which the corresponding images are arranged, and in which they are obscured or eclipsed by one another. Sometimes the obvious or literal sense is so prominent and conspicuous, both in the words and sentiments, that the remote or figurative sense is scarcely permitted to glimmer through it. On the other hand, the figurative sense is more frequently found to beam forth with so much perspicuity and lustre, that the literal sense is quite cast into the shade, or becomes indiscernible. Sometimes the principal or figurative idea is exhibited to the attentive eye with a constant and equal light; and sometimes it unexpectedly glares upon us, and breaks forth with sudden and astonishing coruscations, like a flash of lightning bursting from the clouds. But the mode or form of this figure which possesses the chief beauty and elegance, is, when the two images, equally conspicuous, run, as it were, parallel throughout the whole poem, mutually illustrating and correspondent to each other. The learned author has illustrated these observations by instances selected from Psalms ii, and lxxii. He adds, that the mystical allegory is, on account of the obscurity resulting from the nature of the figure, and the style of the composition, so agreeable to the nature of the prophecy, that it is the form which it generally, and indeed lawfully, assumes, as best adapted to the prediction of future events. It describes events in a manner exactly conformable to the intention of prophecy; that is, in a dark, disguised, and intricate manner, sketching out, in a general way, their form and outline; and seldom descending to a minuteness of description and exactness of detail.
ALLELUIA, or Hallelu-jah, הללו־יה, praise the Lord; or, praise to the Lord: compounded of הללו, praise ye, and יה, the Lord. This word occurs at the beginning, or at the end, of many Psalms. Alleluia was sung on solemn days of rejoicing: “And all her streets shall sing Alleluia,” says Tobit, speaking of the rebuilding of Jerusalem, Tob. xiii, 18. St. John, in the Revelation, xix, 1, 3, 4, 6, says, “I heard a great voice of much people in heaven, who cried, Alleluia; and the four living creatures fell down, and worshipped God, saying, Alleluia.” This expression of joy and praise was transferred from the synagogue to the church. At the funeral of Fabiola, “several psalms were sung with loud alleluias,” says Jerom, in Epitaphio Paulæ, “The monks of Palestine were awaked at their midnight watchings, with the singing of alleluias.” It is still occasionally used in devotional psalmody.
ALMAH, עלמה, a Hebrew word signifying properly a virgin, a young woman unacquainted with man. In this sense it occurs in the famous passage of Isaiah, vii, 14: “Behold a virgin shall conceive and bear a son.” The Hebrew has no term that more properly signifies a virgin than almah. St. Jerom, in his commentary on this passage, observes, that the Prophet declined using the word bethaul which signifies any young woman, or young person, but employed the term almah, which denotes a virgin never seen by man. This is the import of the word almah, which is derived from a root which signifies to conceal. It is very well known, that young women in the east do not appear in public, but are shut up in their houses, and their mothers’ apartments, like nuns. The Chaldee paraphrast and the Septuagint translate almah “a virgin;” and Akiba, the famous rabbin, who was a great enemy to Christ and Christians, and lived in the second century, understands it in the same manner. The Apostles and Evangelists, and the Jews of our Saviour’s time, explained it in the same sense, and expected a Messiah born of a virgin.
The Jews, that they may obscure this plain text, and weaken this proof of the truth of the Christian religion, pretend that the Hebrew word signifies a young woman, and not a virgin. But this corrupt translation is easily confuted. 1. Because this word constantly denotes a virgin in all other passages of Scripture in which it is used. 2. From the intent of the passage, which was to confirm their faith by a strange and wonderful sign. It surely could be no wonder, that a young woman should conceive a child; but it was a very extraordinary circumstance that a virgin should conceive and bear a son.
ALMIGHTY, an attribute of the Deity, Gen. xvii, 1. The Hebrew name, שדי, Shaddai, signifies also all-sufficient, or all-bountiful. See Gen. xxviii, 3; xxxv, 11; xliii, 14; xlix, 25. Of the omnipotence of God, we have a most ample revelation in the Scriptures, expressed in the most sublime language. From the annunciation by Moses of a divine existence who was “in the beginning,” before all things, the very first step is to the display of his almighty power in the creation out of nothing, and the immediate arrangement in order and perfection, of the “heaven and the earth;” by which is meant, not this globe only with its atmosphere, or even with its own celestial system, but the universe itself; for “he made the stars also.” We are thus at once placed in the presence of an agent of unbounded power; for we must all feel that a being which could create such a world as this, must, beyond all comparison, possess a power greater than any which we experience in ourselves, than any which we observe in other visible agents, and to which we are not authorized by our observation or knowledge to assign any limits of space or duration.
2. That the sacred writers should so frequently dwell upon the omnipotence of God, has important reasons which arise out of the very design of the revelation which they were the means of communicating to mankind. Men were to be reminded of their obligations to obedience; and God is therefore constantly exhibited as the Creator, the Preserver, and Lord of all things. His solemn worship and fear were to be enjoined upon them; and, by the manifestation of his works, the veil was withdrawn from his glory and majesty. Idolatry was to be checked and reproved, and the true God was therefore placed in contrast with the limited and powerless gods of the Heathen: “Among the gods of the nations, is there no god like unto thee; neither are there any works like thy works.” Finally, he is exhibited as the object of trust to creatures constantly reminded by experience of their own infirmity and dependence; and to them it is essential to know, that his power is absolute, unlimited, and irresistible, and that, in a word, he is “mighty to save.”
3. In a revelation which was thus designed to awe and control the wicked, and to afford strength of mind and consolation to good men under all circumstances, the omnipotence of God is therefore placed in a great variety of impressive views, and connected with the most striking illustrations.