Now, if, as I have stated, this unusual form of construction be the effect either of some sudden emotion in the speaker, of some new and extraordinary state of mind; or if, on any other account, from the relation of the subject, or the genius of the language, it be possessed of some peculiar force or energy; it will obviously follow, that it must more frequently occur in poetry than in prose, since it is particularly adapted to the nature, the versatility, and variety of the former, and to the expression of any violent passion; and since it has but little affinity to that mildness and temperance of language, which proceeds in one uniform and even tenour. Thus, if we attend diligently to the poetry of the Hebrews, and carefully remark its peculiar characteristics, we shall hardly

comparison would have been equally intelligible to our common people. But I must confess, there is, after all, a most licentious use of the different tenses prevalent in the Hebrew language, which to us, who are unacquainted with the principles of it, creates strange confusion, and obliges us commonly to have recourse to the context, and the apparent design of the passage, Nor do all these very ingenious hypotheses of our Author entirely remove the difficulty, or explain the principles of this form of construction to my satisfaction. T. Z 4

find

find any circumstance, the regular and artificial conformation of the sentences excepted, which more evidently distinguishes it from the style of prose composition, than the singularity which is now under consideration, For, though it be allowed, that this idiom is not so entirely inconsistent with prose, but that a few examples of it might be produced ", on the whole I am convinced, that the free and frequent use of it may be accounted as the certain characteristic of poetry.

That the full force of these and other peculiarities, which serve to distinguish the poetical diction of the Hebrews, and to preserve that sublimity and splendour for which it is so remarkable, should be fully apparent from a few examples, is hardly to be expected; nor did I flatter myself with any such expectation, when I entered upon this part of my subject. My intention was only to produce an instance or two, which were most likely to occur to those who enter upon this

17 Hitherto I have only met with the following: Jud, ii. 1. (see, however, HOUBIGANT in loc.), and xxi. 25. 1 SAM. xxvii. 9, 11. 2 SAM. xii. 31. 1 KINGS, xxi. 6. 1 CHRON. xi. 8. See also PETERS on Joв, p. 202.

Author's Note,

course

course of reading, and which appeared to demand particular attention. The perfect character and genius, the whole form, principles, and nature of the poetical diction and ornaments, can neither be comprehended in any minute or artificial precepts whatever, nor perhaps be reduced altogether to rule and method: the complete knowledge and perception of these are only to be attained by reading and investigation, united with acuteness of judgment and delicacy of taste.

LECTURE XVI.

OF SUBLIMITY OF SENTIMENT.

Sublimity of sentiment arises, either from elevation of mind, or from some vehement passion; in each, it is either natural, or the effect of divine inspiration— Elevation of mind is displayed in the greatness of the subject, the adjuncts, and the imagery-Examples - from the descriptions of the Divine Majesty; of the works and attributes of the Deity; also from the display of the Divine Power in the form of Interrogation and Irony-The Hebrew poets attribute the human passions to the Deity without departing from sublimity; and that frequently when the imagery appears least consistent with the Divine Majesty: the reason of this,

IF

F we consider the very intimate connexion which on all occasions subsists between sentiment and language, it will perhaps appear, that the peculiar quality, of which we have just been treating, under the title of Sublimity of Expression, might ultimately be referred to that of Sentiment. In the strictest sense, however, Sublimity of Sentiment may be accounted a distinct quality, and may be said to proceed, either from a certain elevation of mind, and a happy boldness of con

ception;

ception; or from a strong impulse of the soul, when agitated by the more violent affections. The one is called by Longinus. Grandeur of Conception, the other Vehemence or Enthusiasm of Passion. To each of these we must have recourse in the present disquisition, and, in applying them to the sacred Poets, I shall endeavour to detract nothing from the dignity of that inspiration which proceeds from higher causes, while I allow to the genius of each writer his own peculiar. excellence and accomplishments. I am indeed of opinion, that the Divine Spirit by no means takes such an entire possession of the mind of the Prophet, as to subdue or extinguish the character and genius of the man: the natural powers of the mind are in general elevated and refined, they are neither eradicated nor totally obscured; and though the writings of Moses, of David, and of Isaiah, always bear the marks of a divine and celestial impulse, we may nevertheless plainly discover in them the particular characters of their respective authors.

That species of the Sublime which proceeds from a boldness of spirit and an elevation of the soul, whether inherent in the

author,