Professor in the University of Vienna; Member of the Imperial Academy of Sciences, etc.
The Prophets prophesied in a far-off land, many, many hundred years ago. They prophesied to a small nation that dwelt in a small country and established a petty kingdom. The petty kingdom has been crushed under the iron heel of the world’s advance, the nation scattered to every quarter under heaven; but the writings of the prophets remain; they have come down to us in the original text; they have been translated into every language and are read by every nation.
To this day the words of the prophets resound from every pulpit, in admonition and menace, for comfort and salvation. The substance of the prophetic discourses is sufficiently familiar, and these words spoken thousands of years ago do not fail of their effect to-day. From the depths of the heart they welled forth, divine inspiration was their source, they were addressed to men burdened with passions and frailties; and hence they have kept their power through centuries and tens of centuries.
We will not at present concern ourselves with the substance of the prophetic books nor with the development of prophecy; we will consider the form of the prophetic discourses. Men prized the substance so highly that they neglected to examine the form. Are they prose or poetry? Even this question has not been answered. A Greek oration is minutely analysed; we know the rules of rhetoric, and divide each oration into its component parts. A Greek or Latin poem is classed as drama, epic, lyric, etc., and its metre is studied and criticised. What rules govern the composition of the prophetic books?
MAIN CHARACTERISTICS OF STYLE
On the basis and in pursuance of my previous researches I advance the thesis that “the main characteristics of the style of the prophetic writings are strophic composition and responsion.” What a strophe is every one knows; nevertheless I will expressly state that by “strophe” I mean a group of lines or verses, standing in relation to other verses, and yet forming in and by themselves a compact whole.
In Semitic poetry or rhetoric, in so far as we may speak of it, the “responsion” has hitherto been an unknown quantity; but we are familiar with it in classical literature, the best examples being the choruses of the Greek dramas. The strophe and antistrophe correspond in metre, in form, and in the division of the periods; they frequently correspond in substance also; and this correspondence is often marked by verbal consonance or assonance. This peculiarity, which seems to be of infrequent occurrence and trifling importance in Greek literature, has been recognised and named by the exact observation and penetrative criticism of classical philology; in Semitic poetry, where the responsion, combined with the strophic structure, to which it serves as the element of crystallisation, must be regarded as of the very essence of the poem or discourse, it has neither been explained nor named.
AN EXAMPLE FROM AMOS
I will take an example of the responsion from Amos, the first prophet who cast his discourses into literary form, Chaps. vii.-viii.