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PRmCETON, N. J.

Section
Numbei\

MUSIC

THE BIBLE.

Digitized by the Internet Archive
in 2015

https://archive.org/details/musicofbibleOOhutc

MUSIC OF THE BIBLE;

OB,

EXPLAMTOKY NOTES

XJPON THOSE

PASSAGES U THE SACRED SCRIPTURES WHICH
RELATE TO MUSIC,

INCLUDING A

ENOCH HUTCHINSON.

BOSTON:
GOULD AND LINCOLN,

59 ■WASHINGTON STEKET.

NEW YORK: SHELDON AND COMPANY.
CINCINNATI: GEORGE S. BLANCHAED.
1864.

Entered according to Act of Congress, in the year 1863,

By ENOCH HUTCHINSON,

[n the Clerk's OflBce of the District Court of the United States, for the
Southern District of New York.

PEEFATOEY EEMAEKS.

The music of the ancient Hebrews is yet imperfectly
understood, thougli the subject has been investigated
by Calmet, Taylor, Pfeiffer, Saalchutz, Harenberg, Wi-
ner, Jahn, Eeland, De Wette, Yilloteau, and other dis-
tinguished scholars. Many of the terms, in the Sacred
Scriptures, relating to the art, are obscure, chiefly, no
doubt, from the fact that their antiquity is so great, that
critical and authentic explanations of them have not
reached our times, from a sufficiently early period to
inspire confidence in their accuracy. It is perhaps im-
possible, in the present state of Oriental philology, to
give, in every instance, a satisfactory translation of
them ; still, by a careful examination of their etymol-
ogy, and of the probable resemblance between the in-
struments designated by them, and those found sculp-
tured upon the ruins of ancient temples on the Nile
and Euphrates, we can approximate, we think, nearly
to their true signification.

In the following pages the writer has endeavored to

present a general view of the subject, and yet one

sufficiently critical, to secure, to some extent at least,

the confidence of the learned
(ix)

X PREFATOKY REMARKS.

As the Poetry of the ancient Hebrews has been,
from its earliest existence, intimately connected with
music, it was thought that it would not be inappro-
priate to give, in connection with an account of the
latter, a brief general view of the former, and in so
doing, it seemed best, on the whole, to present copious
extracts from the most interesting poems of the sacred
writers, rather than mere references to them, though
the length of some quotations, which could not be
divided without marring their beauty, has swelled the
pages of this volume more than was originally in-
tended.

That this slight contribution to biblical literature
may aid, in some small degree, to elucidate the sacred
text and advance the glory of our common Lord, is
the earnest desire and prayer of

THE AUTHOK.

New Yoke, Nov, 1863.

CONTENTS.

PlLBFATORT ReMAEKS, ... - . . 9

Iktrodtjction, - - - - - • - 16

Origin of Music, - - - - - - -16

Primeval State of Mankixd, . - . - - 18
Locality of Moltnt Ararat, ----- 18

Settlemext of the Sons of Noah, - - - - 21

Early Settlemext of Babtlox and Babyloxia, - - - 30

Early Settlement of Assyrla., ----- 36

Early Settlement of Chald^, - - - - - 41

Locality of Nineveh, ------ 44

Early Settlemext of Greece, ----- 46

Early Settlement of China, ----- 48

Early Settlement of India, . - ... 50

Music of Modern India, ..... 53

Early Settlement of Egypt, 55

Music of Ancient Egypt, ..... 58

Ruins of the Temple of Dent)Eeah, - - - - 66

Ruins of MEMPms and Thebes, - - - - 65, 67

Pentateuch, ------- - 75

Introductory Remarks, 75

Introductory Remarks to the Book of Genesis, - - 77

Book of Genesis, ------ 78

Jural the In-vektor of the Harp and Organ, - - -78

-Origin of the Harp, ...... 80

Origin of Stringed Instruments of Music, . . - 80

^Origin of Percussion Instruments of Music, - - . 96
Cxi)

xii CONTENTS.

Introductory Remarks to the Book of Exodus, - - -

101

Book of Exodus, -

102

Origin of Dancing, - - - -

106

Origin of the Trumpet, _ _ . . .

Introductory Remarks to the Book of Leviticus,

115

Book of Leviticus, -

115

Introductory Remarks to the Book of Numbers,

119

The Book of Numbers, ------

119

Tabernacle, --------

124

Introductory Remarks to the Book of Deuteronomy,

131

Book of Deuteronomy,

132

Introductory Remarks to the Historical Books of the Old

Testament, . - - _ _ _

135

Introductory Remarks to the Book of Joshua, -

136

Book of Joshua, -------

137

Introductory Remarks to the Book of Judges, -

142

Book of Judges, -

421

Book of Ruth,

152

Introductory Remarks to the Books of Samuel,

153

First Book of Samuel, -

154

Schools of the Prophets, - . . . _

155

Ancient Hebrew Guitar, -

157

Tele Shalishim,

166

Introductory Remarks to the Second Book of Samuel,

171

Second Book of Samuel, -

171

Ancient Hebrew Cornets, ------

174

Ancient Hebrew Cymbals, - - -

175

Introductory Remarks to the Books of Kings, - - -

186

First Book of Kings, ------

186

Ancient Hebrew Flutes, - - - - - -187

Introductory Remarks to the Second Book of Kings, - 190
Second Book of Kings, - - - - - -190

Introductory Remarks to the First and Second Books of

Chronicles, ------- 193

FmsT Book of Chronicles, - - - - - -194

CONTENTS. Xiii

Prophesying with Instruments of Music, . . - 206

Second Book of Chronicles, . . _ . _ 206

Dedication of Solomon's Temple, . _ - - 208

Ancient Hebrew Vocal Music by Females, - - - 218

Book of Ezra, 219

Building of the Second Temple, ----- 221

The Book of Nehemiah, - 224
Introductory remarks on the Poetical Books of the Old

Testament, - 231

Hebrew Poetry, General View of, - - - 232

Prophetic Poetry, 234

Introductory Remarks to the Book of Job, - - - 261

Poetic Character of the Book of Job, - - - - 263

Plot of the Poem Contained in the Book of Job, - - 268

Introductory Remarks to the Book of Psalms, - - - 297

Poetic Character of the Book of Psalms, . - - - 299

The Term Selah, Signification of, - - - - 309

Titles of the Psalms, - - - - . . 312

Penitential Psalms, - - - - - - 316

Alphabetical Psalms, - 336

Songs of Degrees, ------ 391

A Spurious Psalm, ------- 400

Introductory Remarks to the Book of Proverbs, - - 402

Poetry of the Book of Proverbs, - - - - 403

Introductory Remarks to the Book of Ecclesiastes, - 405

Introductory Remarks to the Song of Solomon, - - 409

Introductory Remarks to the Prophecy of Isaiah, - - 413

Prophetic Poetry, - - - - - - -413

Introductory Remarks to the Prophecy of Jeremiah, - 424

Lamentations of Jeremiah, ------ 428

Plaintive, Poetic, and Musical Character of the same, - 428

Introductory Remarks to the Prophecy of Ezekiel, - - 432

The Prophecy of Daniel, ----- 437

Babylonish band of Musicians, ----- 439

Book of Hosea, - - 442

xiv CONTENTS.

Book of Joel, 445

Book of Amos, ------- 449

Book of Habakkuk, ------- 453

Book of Zehpaniah, - - - - - - 456

Book of Zechariah, ------ 458

Poetic and Musical Character of the New Testament Scrip-
tures, 460
Poetic and Musical Character of the Historical Books of the

New Testament, - - - - - -461

The Gospel by Matthew, - - - - - 461

The Gospel by Mark, ------ 463

The Gospel by Luke, ------ 464

Acts of the Apostles, ------ 468

Epistle of Paul to the Romans, . - - - 469

First Epistle of Paul to the Corinthians, - - - 470

Epistle of Paul to the Ephesians, - - - - 473

First Epistle of Paul to the Thessalonians, - - - 474

Epistle of Paul to the Hebrews, - - - - 476

Introductory Remarks to the Apocalypse, - . . 473

Poetic and Musical Character of the Apocalypse, - - 479

ILLUSTRATIONS.

FIGXIKE PAGE

L Grand Musical Extertaen'ment, taken from

THE Ruins of Egypt. 4

n. BouNDAW. OR Bur:hese Dridis

ni. Ta-Taw. or Burmese Violin 55

IV. Ancient Egyptian Dichord Guitar 63

V. Ancient Egyptian Harp 83

VI. Four other Ancient Egyptian Harps 83

Vn. Ancient Theban Harp 84

VIM. Ancient Ornamented Egyptian Harp 85

IX. Another Ornamented Egyptian Harp 85

X Three Ancient Theb.ajs' Boa^--Shaped Harps. . . 85

XI. Ancient Cithara with Three Strings 86

XH. Ancient Cithara with Eight Strings 86

XHI. Ancient Hahf from the Ruins of Hergula-

neum 86

XTV. Two Grant) Egyptian Harps 87

XV. Three Figures supposed to represent Josephs

Brethren, one of whom is playing upon an

Ancient Lyre of Four Strings 88

XVI. Three Ancient Egyptian Lyres 88

XVH. Two Ancient Egyptian Lyres found in the

Leyden Collection 89

XVHI. Ancient Guit.ui. Lute, and Ar-\bian Tan-rur.. 90
XIX. Three Egyptian Stringed Instruments of the

Lute Class, with Xecks 90

XX. Three Ancient Egyptian Stringed Instru-
ments of the Guitar Class 91

XXI. Pipe of Pan 93

(vn)

Viii ILLUSTRATIONS.

FIOTTRK PAGB

XXII. Two Ancient forms of the Organ 94

XXni. Ancient Toph or Tabret, taken from the

Ruins at Herculaneum 98

XXIV. Two Ancient Tambourines, one Angular and

THE OTHER CIRCULAR 98

XXV. Five Ancient Egyptian Sistra op various

FORMS 99

XXVI. Four other Forms of Egyptian Sistra 99

XXVII. Ancient Egyptian Pulsatile Instruments 100

XXVni. Three Forms op Ancient Egyptian Drums 100

XXIX. One Ancient Egyptian, and Three Modern

Oriental Drums 100

XXX. Four Forms op the Ancient Hebrew Shovhar
OR Crooked Trumpet, and one Straight

Trumpet 109

XXXI. Two Hebrew Straight Trumpets. Engraved

ON an Ancient Coin 120

XXXn. Two OTHER Straight Trumpets Engraved on

AN Ancient Coin 131

XXXni. Ancient Guitar (NebheV) op the Hebrews 158

XXXIV. Four Ancient Egyptian Guitars (Mbhels) taken

FROM THE Ruins op Egypt IGO

XXXV. Double Arabian Flute 161

XXXVI. Two Ancient Egyptian Reed Pipes 161

XXXVII. Four Egyptian Pipes or Flutes 161

XXXVin. Two Larger Ancient Egyptian Cymbals 176

MUSIC OF THE BIBLE.

lOTEODUCTIOK

In ancient times tlie signification of the term music
was far more comprehensive than it is at present. It
included dancing, gesture, poetry, and sometimes the
aggregate of all the sciences. Hence philosophers were
accustomed to speak of music human, divine, terrestrial,
celestial, active, contemplative, enunciative, intellectual,
and oratorical. Many passages of the early writers upon
the subject, would be entirely unintelligible, did we not
understand them as including, in the term, these ideas.
Some also in tnodern times have similar conceptions.
The Chinese speak of music as the science of the sciences
— as the means of acquiring, and as lying at the founda-
tion of every other species of knowledge. The union of
Cadmus and Hermione in marriage, would seem to pre-
sent all the sciences as having received their birth by
the combined influence of music and letters.

Rosseau asserts that music is the art of combining
tunable sounds in a manner agreeable to the ear.
Aristides Quintilianus defines it to be the art of finding
the beautiful and decorous in musical tones, and in their
measure. Pfeifi'er, a n^^'^d German writer, remarks

INTEODUCTION.

that those seem to be about rigbt, who think we shall
never arrive at certainty in respect to ancient music in
general, and especially in reference to that of the ancient
Hebrews. Tlie subject is indeed fraught with peculiar
difficulties, still facts and considerations of an interesting
nature may be presented which will throw some light
npon it.

It is possible that music may be the oldest of all the
fine arts. It is supposed by some to have been invented
by the Muses, which opinion would indicate that it
originated in the north of Greece. Kircher derives the
term, indicating the art, from an Egyptian word, believ-
ing that music began to be cultivated first, after the
deluge, upon the Mle. It is thought that vocal must
have preceded instrumental music. In the earliest times,
a difference in the tones of the human voice must have
been discovered, as well as a variety of notes among the
feathered tribe. Many of the ancients attributed the
invention of the art to the Egyptian Mercury. Othei*s
have intimated that the Greeks received it from Cadmus,
when he fled from the court of Phoenicia, carrying with
him Hennione or Harmony. In Plutarch's dialogue on
music, Lysias is made to say that it was invented by
Amphion ; in another place, Soterius informs us that
Apollo invented it, and in a third passage, the honor
seems to be given to Olympus. Following these
supposed inventors were Chiron, Demodocus, Hermes,
Lycnrgus, Thales and Tliamyris, who are said to have
invented something in reference to it. Most of these
musicians lived before the time of Homer.

Kosseau informs us that in none of the numerous
works, which he had consulted on the subject, had the

ORIGIN OF MUSIC.

derivation of ihe term denoting music, or the inventor of
the art, "been settled to satisfaction. He supposed tliat
the cries of nature must have suggested it before lan-
guage was invented.

Tliis is its probable origin, though we have no absolute
proof of the fact ; nor is it very material whether the
cries of birds or of the human voice, or wind blowing
through reeds, first suggested the idea. It certainly
exists, and did exist in very early times, as it is men-
tioned in our most ancient records, and a knowledge of
it has been handed down by tradition from an earlier
period still. AVe know not who uttered the first note of
regular music. We only have e%ddence from the sacred
scriptures that musical instruments were used before
the deluge, and belie^-ing that vocal preceded instru-
mental music, we infer that the former as well as the
latter existed among the Antediluvians, but how long
previously to the deluge, we cannot ascertain.

To learn the signification of the various musical
terms employed by the sacred writers, it is important to
inquire what was the music of the ancient Hebrews, and,
in order to answer that question, we must allude to tlie
history of countries lying adjacent to that of the Hebrews,
as the latter must have been influenced more or less, in
respect to the arts and sciences, by their immediate
neighbors. These were the ancient Babylonians,
Chaldaeans, Assyrians and Egyptians. Some suppose
that it is also necessary to inquire into the state of
ancient and modern music in India, as it is thought that
the Egyptians received many of their ideas of the arts
and sciences from that country.

We cannot, within the limits of this introduction, enter

INTEODUCTION-.

fully upon tlie investigation of these points ; but sliall only
be able to give a general view of the subject.

It is very difficult to find well-authenticated facts in
reference to the state of the arts and sciences in either of
the ancient countries referred to above. There is much
obscurity even in respect to the earlier music of Greece
and Rome. But when we push our inquiries back still
farther to the ancient Hebrews, Egyptians, and especially
to the first inhabitants of the earth after the deluge, the
rays of light which penetrate the darkness, are very faint
and few. Let us, however, ascertain, if possible, what
that light is.

In order to trace the first dawnings of the light of
science and the arts, we must necessarily give a brief
view of the early history of mankind.

A consideration of the primeval state of our race, from
the creation to the deluge and immediately after that
signal event, is fraught with peculiar interest though
clouds of darkness seem to rest upon the subject. True,
mythology, with its fragments of fabulous history, comes
to our aid ; but in many cases it increases the obscurity.
Our only true guide is the sacred volume, and that is
extremely brief. The following is probably the correct
view.

We read in Gen. ix. 20, that Noah planted a vine-
yard soon after he came from the ark. It is probable
that this was in the immediate vicinity of Mount Ararat,*

^ Yarioiis opinions have "been advanced in reference to the
locality of this mountain. In almost every part of the East
where there is a tradition of the deluge, the inhabitants locate
it in their own country. The Afghans believe that it was iden-
tical with their Sufued Koh, or " White Mountain.'^ The inhab-

SETTLEMENT OF THE SONS OF NOAH.

as nothing is said of removing to another land. It seems
that the family first settled there, for IJsoah not only

itants of Ceylon maintain that it was their " Adam's Piak."^
It is a remarkable circumstance that, in the Samaritan Penta-
teuch (Gen. viii. 4), it is called Sarandib, the Arabic name
for Ceylon. The Sibylline verses assert that it was in Phrygia.
Shuckford and Sir AValter Raleigh placed it farther east in the
Caucasian range of mountains. But what say the inspired
writers upon this subject 1 In Gen. viii. 4, the ark is said to
have rested upon the mountains of Ararat. Here the term
Ararat indicates a country on whose mountains the ark rested.
In second Kings, xix. 37, (taken from Isa. xxxvii. 38), Ar-
menia, which is supposed to be the country once called Ararat,
is named as the land whither the sons of Sennacherib, King of
Assyria, fled, after they had murdered their father. In Jer.
li, 27, Ararat is mentioned as a kingdom in connection with
Minni and Ashkenaz, and the three are called upon to arm
themselves against her. In Isa. xiii. 2-4, there seems to be a
reference to the same contest with Babylon, and those who
marched against her are said to have issued from the mountains.
Then if we consider that Minni was probably Minyas in Arme-
nia, (vid. Joseph. Antiq. i. iii. 6), and that Ashkenaz was per-
haps a country on the Euxine sea named after a son of Gomer
(Gen. x. 2, 3), from whom the Cimmerians originated ; we must
conclude that Ararat was a mountainous country north of As-
syria and very probably Armenia. The sons of Sennacherib
seem to have fled to a place beyond the limits of Assyria. It
may, however, have been near and was probably Armenia. There
is a tradition that Sennacherib's sons were cordially received
by king Paroyr, who assigned them lands bordering on iVssyria.
(vid. Avdall's Trans, of Chamich's Hist, of Armenia. Vol. i. pp.
33, 34). In Eze. xxxviii. 6, Togarmah, a part of Armenia, is
mentioned in connection with Gomer. Moses of Chorene has
preserved a tradition that the name of Ararat was derived
from Arai, the eighth of the native princes who was killed in a
battle with the Babylonians B. C. 1750. From these consid-
erations it is very probable, as is generally believed, that
Ararat was in Armenia. Still we cannot determine with
certainty on what mountain of Armenia the ark rested. It is
maintained by some eminent scholars that it did not rest upon

INTEODUCTION.

planted a vineyard but drank of its wine, and his three
sons are mentioned as living together after he drank.

the mountain itself ; but was in a quiet state on the waters
over the mountains of Ararat. This obviates some difficulties ;
still, the natural import of the sacred text seems to be that the
ark rested upon the top of a mountain. The Hebrew
proposition (^37, al) translated upon (Gen. viii. 4), sometimes
means over ; but its native and usual signification is upon. Dur-
ing the deluge, the masses of ice, which generally render Mount
Ararat almost inaccessible, were doubtless melted away, and
the objection, that the animals leaving the ark, could not have
passed down the sides of the mountain in safety, is obviated,
at least, to a great extent. The earliest tradition indicates a
peak of the chain which separates Armenia on the south from
Mesopotamia, as the one on which the ark rested. As that
chain incloses Kurdistan, it took the name of the Kardu or
Carduchian range, corrupted into Gordiaean. Josephus
informs us (Antiq. i. iii. 6) that Berosus advocated the same
view. He calls the mountain range that of the Cordyaeans, and
remarks that some parts of the ark were said to have been
found there. Reference is made to the same tradition by
Abydenus (Euseb. Praep. Evang. ix. 4). The Chaldee para-
phrasts as well as the Syriac translators and churches, adopted
it. A monastery in honor of the ark was built upon the spot
indicated by that tradition and destroyed by lightning A. D.
776. The Koran calls the mountain on which the ark rested
Al-Judi, a corruption of Giordi or Gordiaean. The name was
first given to the whole range and afterwards to a peak a little
to the east of Jezirah ibu Omar (the ancient Eezabde) on the
river Tigris. After the destruction of the monastery on Mount
Judi, the Mohammedans still maintained that the ark rested
on that mountain ; but the Christians of the West gradually
embraced the idea that a mountain in the north of iVrmenia
was the one on which it rested, and finally it took the name of
Ararat , though the Armenians called it Macis, and the Turks
Aghur-dagh, meaning the heavy or great mountain. The
mountain is mentioned by the early Persian writers, who
call it Kihi Nuch, Noah's Mountain. It is mentioned by
Josephus and Ptolemy under a name of similar import. It is
impossible to determine beyond a doubt which mountain was

SETTLE^fENT OF THE SONS OF NOAH.

(Gen. ix. 21 — 23). Subsequently, Koah's descendants
became so numerous that it was necessary to extend
their limits, and they began to explore other regions.

In Gen. xi. 2, we are informed that the posterity of
JToah journeyed to the east, or from the east. The
original will bear either rendering.* We are to under-
stand tliat, before this time, they had doubtless wandered
in differeat directions, but how far from Ararat we do
not know. It seems that the great body of them were
not separated far from each other, else how could such
wandering hordes have been collected together on the
plains of Shinar to build the tower of Babel ?f They
must have proceeded some distance from Ararat, for
that is m a northerly direction from Babylon. If they
had remained in the vicinity of that mountain it would
have been said of them that they traveled south in going
to Shinar, and not east, nov from the east. It is probable
that they had traveled a considerable distance from
Ararat, either south-east or south-west, and when they
moved towards Sliinar, they went either east or west — it
is impossible to tell which, nor is it of much importance
to decide that point. Still it should be considered that
the preposition )2 {jnem) more usually means from, and
it is more natural to regard it here as having that signi-

indicated. But it is pretty evident that the spot was in some
part of Armenia as we have shown, and as the mountain in the
north of that country is much more elevated than any other
peak it seems to accord more nearly with the scripture account
to suppose that its summit, as is now generally believed, was
the spot where the ark rested.

The Hebrew word is Cnj^TS-

t It is not probable that all of Shem's posterity returned to
Shinar, though doubtless most of them did.

INTRODUCTIOTT.

fication, than as signifying to. If it means from in tliis
place, it is very probable that the posterity of Noah had
wandered to the south-east of Ararat, before they set out
for Babylon.

The erection of Babel was next commenced, whose
object seems to have been to prevent being separated
from each other. They wished to have some great cen-
tral point around which they could permanently dwell
(Gen.xi. 4) ; but their vain desire was not gratified. The
lightnings of heaven demolished their lofty towe?', their
language was confounded and they were scattered abroad
upon the face of all the earth (Gen. xi. 8). It is pro-
bable that from the commencement of the journeyings
from Ararat they did not intend to be separated. They
extended their limits when they found it necessary, still
the largest portion of them probably continued together,
and finally, before they had wandered a great distance
from the place where the ark rested, they formed the
plan of building a city of sufficient magnitude and
splendor to furnish them a permanent residence, and
central point of attraction.

Ths description of the deluge, and of the first settle-
ment of mankind, was written by Moses more than 1450
years B. C, and the lawgiver must have either compiled
the history of that and other events from records and
monuments kept in the family of JSToah ; or from tradi-
tion, which must have been very correct in those early
times, in reference to important events, as life was very
long, and the circumstances of those occurrences would
have to be handed down to Moses by few persons, and
those relatives to each other ; or finally, he must have
received the facts which he presents, wholly from the

SETTLEMENT OF THE SONS OF NOAH.

immediate inspiration of God. In either case, it is very
certain that he presented a true account, and the customs
of his ancestors, to which he refers, are undoubtedly
delineated with accuracy.

After the confusion of tongues the posterity of IS^oah
dispersed in difterent directions, and in the tenth chapter
of Genesis, we have an account of the lands which they
occupied.

Japhetli and his posterity were to inhabit the Isles of
the Gentiles (Gen. x. 5). The Hebrew of this expression
is iD'ii^n 'iyy^y haggSyim^ and must refer, it would

seem, to places where Gentiles or Heathen resided. But
it may with propriety be asked, what islands, so soon
after the deluge, had such inhabitants? Between the
time of the occurrence of that event and that of the con-
fusion of tongues, according to the usual computation,
only 113, though according to Dr. Hales, 600 years inter-
vened. During six centuries, and even during one^ the
descendants of ^^^oah must have multiplied to a consider-
able extent, and may have extended their migrations to
some of the islands of the Great Sea ; but Moses is speak-
ing (Gen. x) of these very descendants of Noah (i. e.,
Japheth's posterity) as going to occupy the Isles of the
Heathen. This seems entirely to exclude the idea that
Japheth's posterity may have already settled there and
become Heathen or Gentiles. Farther, the terms Hea-
then and Gentiles are of later origin tlian that early
period, and we think that the translators of the Scriptures
might have employed less ambiguous terms. There may
have been, in those early times, and probably were^ per-
sons who rejected the religion of Xoah, their progenitor,
and may have been called, in one sense, Heathen j but

INTRODUCTION.

tliej could not properly have been designated, as in our
English Bible, by tlie term Gentiles^ for there were then
neither Jews nor Gentiles. Xor can we believe that the
sacred historian intended to indicate the Antediluvians
by the term translated Gentiles — that Japhetli's descend-
ants were to inhabit the Isles occupied, before the deluge,
by the Heathen. There were then, with a few individual
exceptions, none but haters of God, wdio might properly
enough be called heathen. There w^ere, indeed. Isles of
the Heathen at the time when Moses wrote this account ;
but is it not as reasonable to suppose that he intended to
designate them as the residence of Japhetli's posterity, as
to suppose that his object was to give the appellation
which those places, intended as the residence of Japhetli's
posterity, bore at the time that the division of the earth
among the sons of Noah, was made ?

Tlie term translated Isles is often used in a general
sense to denote islands, coasts, or maritime regions, espe-
cially of the Mediterranean, as in Fs. Ixxii. 10. The He-
brew word translated Gentiles is the general term denot-
ing nations^ and especially such as did not belong to the
jurisdiction of the Jews. May it not also denote not only
Gentile nations^ but i^laces — any thing not Jewish ? At
the early period when the division of lands was made —
when there were no such distinctions as Jews and Gen-
tiles, the term, judging from its present signification, may
have referred to places not in the possession of N'oah's
posterity — foreign regions, and both terms together may
have been used as a general expression to indicate that
Japheth w^as to occupy a region of sea-coast and islands
which he did not then possess. Whether JS'oali and his
posterity were near Mount Ararat, or in the vicinity of

SETTLEMENT OF THE SONS OF NOAH. 25

Babylon, or in some other place, it is certain that the
nearest maritime region, where there were many islands,
was the Mediterranean, and it is natural to suppose the
numerous islands of that sea to have been the region to
which reference is made. Strong confirmatory evidence
of the correctness of this supposition, is furnished by the
name of one of Japheth's posterity. It is Kittim^ his
grandson, after whom the place where he subsequently
resided, was undoubtedly called. When the division of
lands was made, perhaps different localities took the
names of the individuals who were to occupy them. It
has been a general custom in all ages to name places after
distinguished individuals. Kosenmiiller asserts that most
of the proper names in the tenth chapter of Genesis, are
names of places as well as of persons (Alterth. ii. p. 94 ;
cf. Joseph. Ant. i. vi. 1). The Hebrew term for Kittim
or Chittim is tD^vl3 or hitUm or hittiyyim. It

sometimes occurs in connection with n^i^j^ ^yy^y-) trans-
lated isles of Chittim^ (Jer. ii. 10; Eze. xxvii. 6), some-
times in connection with y**]^^ erds^ earthy and is trans-
lated land of Chittim^ (Isa. xxiii. 1,) and sometimes sim-
ply the term t]'^Jl3 'kittim is used and merely anglicized
in our translation (Isa. xxiii. 12). Josephus, (Ant. i. vi.
1), Gesenius, (Heb. Lex. under d'liTiS), and others, sup-
pose the term to refer to the Island of Cyprus. The He-
brew word being in the plural, should be translated
Cypriaris or Citienses. As reference is made to more
than one island, it would be natural to suppose that the
islands in the vicinity were intended, i.e., the islands and
coasts of Greece and of the ^gean sea. Indeed the term
Kittim, in its wider sense, comprehended the islands and
2

IXTRODIJCnON.

coasts of tlie Mediterranean sea, especially tlie nortliern
parts, and perhaps indicated the same region as Isles of
the Gentiles, which we have considered above (vid.
Gesen. Heb. Lex. under Mttiiii). According to

this view, then, Japhetli and his posterity inhabited
the islands and coasts of Greece and of the .^gean sea.
At length they extended their dominion to other nor-
thern and western parts of the Mediterranean,

Tarshish was another grandson of Japheth (Gen.
X. 3, 4). Ancient Tarshish was doubtless named
after him, and inhabited by his posterity (vid. Eosenm.
Alterth. ii. p. 94). Winer, Gesenius and others sup-
pose that Tarshish was the ancient Tartessus in the
west of Spain. There was a large district, including
modern Cadiz and other cities, called by that
name.

It is probable that the nearest islands were first in-
habited. Cyprus, being in the eastern part of the ]Med-
iterranean, would be likely to be first occupied, or at
least soon after the confusion of languages, as it is not a
great distance from the land of Sliinar. It is about 76
miles west of Latagieh in Syria and 44 miles south of
Cape Anamoor in Anatolia, Asia Minor. In ancient
times, its distance from the main land was probably
much less. Some think that it was once united to the
continent. It is probable that means were found very
early to pass to that island and make a settlement. The
posterity of Japheth gradually formed colonies along the
Mediterranean, until they reached the western extremity,
and then moved towards the north of Europe. It is
difficult now to ascertain how long a time elapsed before
they reached the Great Sea, and the exact period when

SETTLEMENT OF THE SONS OF NOAH.

they settled in varioiis parts of Europe. Their original
knowledge of music and the arts and sciences in general,
must have been considerable, and they doubtless gradu-
ally made advancement in that direction.

The Greeks and Romans were the most distinguished
ancient descendants of Japheth. Greece was settled in
very early times (For a farther description of Greece,
vid. p. 46, infra). It is possible indeed that some of the
descendants of Japheth proceeded into that country im-
mediately after the dispersion, and there first commenced
a settlement, or it may be that they first visited some of
the islands bordering upon the country on the east, in
the ^gean sea, and afterwards proceeded to the main
land. Josephus informs us that some of the posterity of
j^oah passed over the sea in ships and inhabited the
islands (Josephus, i. v. 1).

We learn from Gen. x. 6 — 20, that Ham's posterity
founded and inhabited (for a short time at least) Babylo-
nia and a part or all of what is now called Palestine, and
other places more distant. Kimrod, the son of Gush,
founded the Babylonian monarchy and its celebrated
cities. It is difficult to define the precise limits of Baby-
lon its splendid capital. It is supposed to have stood
upon the Euphrates, a little above the union of that river
with the Tigris. Its site was probably where the town
of Hillah now stands, about sixty miles south of Bagdad.

According to Gen. x. 11, Nimrod went out into Assy-
ria, or Ashur went out, and built Nineveh and other
cities. The Hebrew will bear either rendering. The
former is in accordance with the opinion of Gesenius, T.
H. Home, and others. Nineveh was the capital of As-
syria, and probably stood upon the eastern bank of the

INTEODUCTION.

Tigris, opposite the present Mosul.* From Gen. x. 19, we
perceive that the Canaanites occupied the region extending
from " Sidon unto Gaza even unto Lashah." Sidon, now
called Said a or Saide, is upon the coast of the Mediter-
ranean, in the northern extremity of Palestine. Gaza is
near the southern part of the same country. Lashah, ac-
cording to Jerome (in Quaest.), was upon the north-eastern
shore of the Dead Sea, where Callirhoe stands. Others sup-
pose, with less reason w^e think, that Lashah is identical
with Dan Laish, or Leshem, now called Tell-el-kady near
Csesarea Pliilippi towards the northern part of Palestine.
Following the former view, which is adopted by Gesen-
ius, these places bounded Palestine nearly on three
sides.f

Mizraim was the grandson of Noah, and his posterity
are supposed to have directed their course towards Egypt.
That country was, no doubt, named after him, as the
same Hebrew word is used for both. From the land of
Shinar to the nearest part of Egypt was several hundred
miles.

Two other countries were probably named after Gush,
another grandson of Noah. Professor Stuart has proved
conclusively, in the notes to his Hebrew Chrestomathy,
that there was, anciently, a Gush Oriental as well as a

* Cf. Plin. H. N. 5, 6.

t The inhabitants of Babylonia and Assyria, in the most an-
cient times, seem from their languages, to have been of Shem-
itish origin, and though Babylon and Nineveh were founded by
a descendant of Ham before the dispersion, probably Babylonia
and Assyria after that event, were mostly inhabited by Shem's
posterity.

SETTLEMENT OF THE SONS OF NOAH.

Casli Soiitliern. Cusli Oriental extended east of tlie
Tigris, and comprehended the country between the Cas-
pian Sea and Persian Gulf. It is probable that the des-
cendants of Cush first inhabited this country, and gradu-
ally extended their borders through Arabia to the Red
Sea, then crossing over to Africa, occupied its eastern
coast, and finally penetrated into the interior of Ethiopia.
Tlie term Cush seems to be equivalent to Southern
Country. It must have been several years before the
posterity of Ham wandered into the more central parts
of Africa, as the distance from the land of Shinar is very
great.

The posterity of Shem were to inhabit the region
" from Mesha to Sephar (Gen. x. 30), a mount of the
east." For the last clause, Gesenius translates : (" and
beyond even imto) the mountains of ArahiaP He sup-
poses Mesha to have been w^hat was subsequently called
Mousa or Monza, a city and harbor on the western coast
of Arabia, not far from Mocha, where Maushid now
stands. Thus Mesha would constitute the western bor-
der of Joktan's place of residence. J. Pye Smith remarks
that Mesha is what is now called Maishon, or Mesene, at
the northwest head of the Persian Gulf. Gesenius sup-
poses Sephar to have been the chief city of the region
called Shehr in Arabia, between the Provinces of Hadra-
maut and Oman. Smith thinks that it was upon the
southwest coast of Arabia, on what is now called Mount
Sabber. The mountains to which reference is made, be-
yond Sephar must have been the chain running across
the middle of Arabia from the vicinity of Mecca and Me-
dina to the Persian Gulf. According to this view, Jok-
tan's posterity resided in the southern part of Arabia,

INTEODrCTlON.

the nearest point of wliicli was not very far sontli of the
land of Shinar.

The descendants of Aram doubtless resided in tlie re-
gion whicli received the name of their progenitor. It is
impossible to determine with certainty, the exact extent
of that region ; but it probably comprehended Syria, and
in its widest sense extended from Mount Taurus south as
far as Damascus, and from the Mediterranean east beyond
the Tigris into Assyria.

It is generally believed that the posterity of Shem oc-
cupied Western Asia. The Persians, Assyrians, Ara-
mseans (at least in the restricted signification of the term),
Hebrews and apart of the Arabians, are believed to have
descended from him.

From this general view of the three sons of l^oah, it
seems that Japheth, after the confusion of tongues, pro-
ceeded towards the west, and settled the coasts of Asia
Minor and Europe, and finally moved on to the extreme
north and west ; Ham went south, and finally reached
the central regions of Africa ; Shem turned his face east-
ward, and eventually his posterity reached India and tlie
other eastern and northern countries of Asia.

It may be interesting now to inquire what countries
were first settled, and whether any attention was bestowed
by their inhabitants upon music.

Babylon was evidently the first city which was built
after the confusion of tongues, having been commenced
simultaneously with the tower of Babel. Politz supposes
that Nimrod was the leader of an Arabian horde, that he
rushed into Babylonia and conquered the country, and
that after his time, it was called Shmar, The Hebrew
term'n3?5';p (Shmar) is sometimes rendered Shinai' and

BABYLONIA.

81:

sometimes Babylonia. The origin of tlie word is un-
known ; but it is evident that Babylonia and Sliinar re-
fer to the same region of country surrounding Babylon.*

The displeasure of the Almightj^, at the time of the
confusion of languages, caused the building of Babylon
to cease ; but it was subsequently commenced again,
though the exact time when and the person hy whom,
cannot with certainty be determined. We know that the
Babylonian language was of Shemitish origin, though we
are by no means to suppose that those who spoke
languages thus derived, were all descended from Shem.
Still this is evidence that most of the inhabitants were
thus descended, especially as there is no proof that the
ancient language of Babylonia was, from the remotest
antiquity, changed in its essential features. The Hebrew
is supposed by some to be the original of all the Shemit-
ish stock, and is thought to bear strong marks of being
the most ancient of all tongues, and to have been the
general language spoken before the dispersion. Later
critics, liowever, maintain with much reason, we think,
that all of the Shemitish dialects are derived from the
primitive tongue, and that fragments of the latter are
found in each of those dialects.f

Moses informs us that " the whole earth Was of one
language.-' It is possible that Shem and his descendants
continued to speak the original language used before the

*P6litz Welt Geschichte i. 19; cf. Gen. x. 10; xi. 2;
xiv. 1 ; Isa. xi. 11 ; Dan i. 2. ; Zech. v. 11.

t The Jewish Rabbis, Jonathan, author of the Chalclee Para-
phrase, Solomon Jarchi and Aben Ezra, also Origen, Augustine
and others, believe the Hebrew to have been the language
spoken in Paradise,

INTRODTJCTION-.

dispersion, as tliej occupied lands in the immediate vi-
cinity of Sliinar, and even that country was probably, to
a great extent, inhabited by them. Though at the de-
struction of Babel, there was a confusion of tongues, it is
highly probable that it was of short duration, and that we
must look to something else as the principal cause of the
diversity of languages in various parts of the world. The
Chinese, for instance, are probably the descendants of
Shem ; but their language and the Shemitish are radical-
ly different, and it would seem, could not have had the
same origin. The most probable supposition is, that, as
the people extended their borders and were more distant
from the land of Shinar, various circumstances, such as
climate, government,, subjection to other nations, con-
quest and the physical power of enunciation, gradually
changed their language so that it became, in some cases,
entirely different from its original (vid. p. 48 infra).
This, to us, is the most probable supposition, though it
must be acknowledged that great obscurity rests upon
the whole subject of the origin of languages.*

Dr. Jahn maintains that Nimrod's Babylon should not
be regarded as the germ of that universal monarchy
which took its rise in a later age and among a different
people (Jahri's Heb. Commonwealth, Yol. I. p. 6). The
tower of Belus mentioned by Herodotus is probably the
tower of Babel repaired by Belus 11, king of Babylon,
who is frequently, by the ancient historians, confounded
with Belus I, or ]^imrod. In Gen. xiv. 1, Amraphel,
king of Shinar is mentioned who must have ruled the

* Cf. Prof. Stuart's Notes to his Hebrew Chrestomathy, also Dr.
Gr. Sharpe's Dissertations on the origin of languages, p. 22 — .

BABYLONIA.

same or nearly the same region of coimtrj as did Nim-
rod, for in both cases it was called by the same name.
Amraphel was doubtless king of Babylonia,* in the time
of Abram (Gen. xiv. 1, 9, 12). The battle to which ref-
erence is made in the passage to which we have just
referred, and in which Amraphel took part, seems to
have occurred between the seventy-fifth and eighty-sixth
years of the life of Abram (Gen. xii. 4; xvi. 16).
According to Usher, Abram was born B. C. 1996.
Reckoning from that period, we shall have the years
1921 and 1910 B. C. between which the above named
battle occurred, leaving a difference of eleven years.
From Gen. xvi. 3, we learn that Abram had already
been ten years in Canaan when he took Hagar for his
wife, and, supposing it to be one year after that time
when Ishmael was born, we have eleven years for the
time of Abram's sojourn in Canaan at the birth of Ish-
mael. True, Abram visited Egypt, but subsequently to
his first arrival in Canaan, and he could not have tarried
long, as he had offended Pharaoh and was obliged hastily
to leave (Gen. xii. 20). At first he proceeded immedi-
ately from Haran into Canaan according to Gen. xii. 5, 6.
From Gen. xvi. 3, we are to imderstand that it had been
ten years since he first came into Canaan. The battle
abovementioned must have occurred between the years
428 and 439 after the deluge. "We cannot decide the
exact year, though it was probably not long after the year
428. Amraphel is called a King (Gen. xiv. 1). "Whether
his was the first kingdom formed after the dispersion, we

* Vid. Gesen. Heb. Lex. under 5s*^^jj^ Amraphel, where
the same opinion is expressed. v t : -

INTEODirCnON.

are not able to decide with certainty. During more than
400 years there was certainly time for the formation and
overthrow of several kingdoms upon the same spot. In
those early times monarchies were of short duration. It
is possible that Ximrod was still living in the time of
Amraphel, as the cotemporaries of the former, Salah,
Eber, Peleg and others lived to the age of about 400
years, and the above named battle must have occurred,
according to the usual computation, 313 years after the
dispersion. However that may have been, the country
was not then imder the rule of Nimrod. Much the most
probable supposition is that the Hunter'^ s monarchy was
of short duration — that soon after the dispersion, a leader
of some horde formed another monarchy. Perhaps sev-
eral were thus formed and overthrown, and perhaps each
had raised to the supreme command and dethroned more
than one sovereign. Porphyry declares that Calisthenes
brought an acquaintance with astronomical observations
from Babylon to Greece more than nineteen hundred
years before the time of Alexander the Great, pointing
us back to a period only a few years after the dispersion
of mankind. Little reliance, however, is to be placed
upon this testimony as there is nothing extant in the
Chaldaean astrology more ancient than the era of Kabon-
assar, which begins according to the usual computation,
747 B. 0. From the occurrence of the abovenamed con-
test until the time when the later Babylonian empire
flourished under [N'abonassar, Nebuchadnezzar and other
sovereigns, embracing a period of more than twelve cen-
turies, we find very few historical facts in reference to
Babylonia, upon which we can rely. In Micah v. 6, the

ASSYRIA.

land of Nimrod is mentioned ; but the reference is
merely to the later empire.

Assyria was an ancient country, having doubtless
received its name from Ashshur a son of Sliem (Gen. x.
22 ; 1 Chron. i. 17). The Hebrew term is 1^t3i<
shur. The feminine form of the word refers to the coun-
try of Assyria and the masculine form to the empire.
Nineveh, its capital was built, according to the usual
computation, at about the time of the dispersion. We
know not with certainty its fate, when Kimrod's Baby-
lonian monarchy was destroyed ; but it is probable that
its power as well as that of cities adjacent to it, was over-
thrown. Whether Assyria was at first, a separate mon-
archy or united with Babylonia and under the authority
of Nimrod for a length of time, cannot now be deter
mined with certainty. However that may have been,
we find nothing authoritative in history concerning
Assyria, until a considerable time after the dispersion.
In Gen, x. 11, we read in our translation, " out of that
land went forth Asshur andhuilded Nineveh^'' HID^'O "

-ntriii: i^mn f-lii:n"'))2. in the margin of the
polyglot bible we read " out of that land, he (i. e. Nirrb-
Tod), went out into Assyria and luilded Nineveh. The
most natural rendering of the passage is as it appears in
the text of our bible. Still there are serious and perhaps
fatal objections to that translation of it. Moses is speak-
ing of the posterity of Ham, and does not mention that
of Shem till in the twenty-first verse. It is not reason-
able to suppose that the writer would thus introduce
Shem's posterity in the eleventh verse before he was pre-
pared fully to describe them. It is objected that if
Moses intended to say that Nimrod went to Assyria, a

INTRODUCTION.

preposition or locale would have been used ; but it is
often the case that verbs signifying to go to a place are
construed with the noun in the accusative without the
preposition. Also n locale is sometimes omitted.*
According to this view, which certainly seems the most
probable and is supported by the Targums of Onkelos,
Jerusalem, and of Jerome, also by Bochart, Hyde,
Marsham, Wells, Faber, Hales and others, E^imrod, a
powerful monarch, advanced northward, seized Babylonia
and then rushed into Assyria, where the Ashshurites had
already formed a colony, conquered them and built Nin-
eveh and other cities. If this be correct Babylonia and
Assyria were both under the authority of IS^imrod.
What is properly called the Assyrian empire, was of
later origin, and, according to Gesenius (cf. Isa. x. 5, 9,
10 ; vii. 20,) comprehended Babylonia, and Mesopotamia.
Assyria is mentioned in Gen. xxv. 18, in connection with
the death of Ishmael. His death occurred at the age of 137
years, and Abram was 86 years of age when Ishmael was
born (Gen. xvi. 16), and the latter was born according to our
tables of chronology, 324 years after the dispersion of man-
kind. The death of Ishmael occurred 137 years afterwards,
which, added to the preceding 324, make 461 years after
the dispersion or 1773 B. C. when Assyria was mentioned
by Moses as existing. This would be about 148 years
after the battle occurred in which Amraphel was engaged
(Gen. xiv. 1). The Assyrian monarchy, considering JSTin-
eveh as its capital, was first established not far from Baby-
lon, though not in the land of Shinar (Gen. x. 10, 11).

^ Cf.IISam.x.2,withIChron.xiii. 13; xix.2; (vid. Noldius'
Concordance of Hebrew Particles, quoted by N. Morren, M. A.
in his article on Assyria in Kitto's Cyclopaedia of Bib. Lit.).

ASSTKIA.

At different times its limits varied, still its centre of
power probably contimied to remain at Xineveli. Before
the 148 years above mentioned and during that period,
it is probable that different monarchies were formed in
the land of Shinar and vicinity. Undoubtedly at differ-
ent periods various adjacent regions were included
under the name of Shinar or Babylonia. At the com-
mencement of the 148 years Amraphel was monarch of
the country, and dming those years perhaps his kingdom
continued to exist for a considerable length of time.
"Wliether it was called the Assyrian, Babylonian, Baby-
lon i- Assyrian monarchy or the kingdom of Shinar makes
but little difference. That region of country was undoubt-
edly called by different names during the same period,
and doubtless at times several kingdoms existed in the
land of Shinar and vicinity at the same time. Subse-
quently to the 148 years alluded to above, the term As-
syria seems to have been used to designate about the
same region of country as was before indicated by Baby-
lonia or Shinar.

Some other kings are mentioned in the fourteenth chap-
ter of Genesis who ruled in countries adjacent to the land
of Shinar. One is Arioch king of EUasar, whose name
Gesenius supposes to be of Assyro-Chaldaic origin, and
thence infers that the land of Ellasar which he governed,
was probably some province of Persia or Assyria (vid.
Gesen. Heb. Lex. under iC^Ji< Ellasar). That monarch

T T

seems to have been an ally of Amraphel. Josephus con-
siders these four kings (mentioned in Gen. xiv. 1) as
merely commanders in the Assyi'ian army. As they
were cotemporaries of Amraphel, it will not be necessary
to consider their history fartlier.

ESTTEODFCTION.

In Gen. ii. 14^ there is a reference to Assyria in describ-
ing the location of the Garden of Eden, showing that
such an empire existed when Moses wrote the account.
Bj ascertaining the antiquity of the writings we may
learn that of the reference.

The Pentateuch was compiled in very ancient times.
Daniel mentions it during his captivity in Babylon (Dan.
ix. 11-13), and, from the first verse of the chapter, we
perceive, that he uttered the prayer therein contained,
during the first year of the reign of Darius, " of the seed
of the Medes." This Darius was undoubtedly Cyaxares
II, son and successor of Astyages and uncle of Cyrus.
According to Gesenius, Darius governed in Media be-
tween the reigns of Astyages and Cyrus, 569-536 B. C.
(vid. Ges. Heb. Lex. under l^^^l^i), for Josephus as-
serts that Darius the Mede was the son of Astyages and
called, among the Greeks, by another name (Joseph.
Ant. X. xi. 4). The Pentateuch was existing in tlie time
of Josiali (11 Chron. xxxiv. 15), in the time of Hoshea,
King of Israel (11 Kings, xvii. 27 ; xviii. 1), and in the
time of Jehoshaphat, King of Judah, (11 Chron. xvii. 1, 9).
The above named Kings of J udah and Israel lived before
the captivity. Farther, the whole temple service and
worship were regulated by Solomon according to the law
contained in the Pentateuch. The same was true of his
father David. There are various references to the Penta-
teuch in the Psalms (Ps. i. 2 ; xix. 7 — 11 ; xl. 7, 8 ; cxix.
etc.). It is evident that it was written even before the
book of Joshua from numerous references to its pages
there found (Josh. i. 7, 8 ; xxiii. 6 ; xxiv. 26 ; viii. 30-34),
and it is quite certain that that book was originally com-
posed by Joshua himself, soon after the death of Moses,

ASSYEIA.

though it was reduced to its present form in later times
(Josh. xxiv. 25, 26 ; xviii. etc.). Moses died at the age
of 120 years (Dent, xxxiv. T). This was about forty
years after he and Aaron, in accordance with the divine
command, called upon Pharaoh and urged him to permit
the children of Israel to leave Egypt. The same year
the permission was given and they departed. Moses then
was 80 years old (Ex. vii. 7), forty years, the difference
between 120 and 80, being added to 2513, the year when
the Hebrews left Egypt, we have A. M. 2553 or B. C.
1151, the year when Moses died. These forty years be- •
ing after the institution of the Passover should be
reckoned as solar years.*

About that time then there was a country called As-
syria. It was about 322 years after the death of Ishmael,
named in Gen. xxv. 18, in connection with the mention
of that country. There is not that difference in the time
when these passages (Gen. ii. 11. and xxv. 18) were writ-
ten ; but the fact that Assyria is mentioned in the latter
passage in connection with the death of Ishmael, shows
that the country existed at that early period. The Pen-
tateuch was written a long time after most of the events
there described occurred. So it was with the two passages
named above. Moses, the author of the Pentateuch, was
not born when Ishmael died (Gen. xxv. 18). In Gen. ii.
14, we have no historical circumstances to assist us,
therefore the reference to Assyria in that passage simply
furnishes evidence that such a country existed when the
Pentateuch was written. About 320 years after this
period, we have accounts of Assyria from profane histo-

* Before that feast was instituted, time was reckoned by lu-
nar or luni-solar years, which are not as long as solar ones.

rNTRODUCTION.

rians, whicli, though doubted by some, are tliouglit to be
reliable. Ninus is represented as the reigning sovereign
at the time when Deborah and Barak judged Israel about
1535 B. C. Ninus was succeeded by his Queen Semi-
ramis, w^ho reigned 42 years. Fifty-two years after
wards her son Ninyas ascended the throne. Ctesias sup-
poses that the founder of the Assyrian monarchy and the
builder of Nineveh were the same person, viz : Ninus,
and that Nineveh derived its name from him. Accord-
ing to this view, Nimrod, signifying rebels was not properly
the name of the founder of the Assyrian capital, but a
term of reproach given him by his enemies. Syncellus,
and following him. Hales, think that Ninus succeeded
Esarhaddon as sovereign of Assyria B. C. 667, and had
as his successor, Nebuchodonosor B. C. 658. Herodotus
and Ctesias are the leading profane authorities upon this
subject, and their accounts are extremely contradictory,
60 that little reliance can be placed on them, and we are
obliged to go back to the Scriptures for the fragmentary
history of Assyria. It must be acknowledged, however,
that with the Scriptures and all other accessible helps
before us, there is great obscurity in reference to this
subject.

The Scriptures are silent in respect to the history of
that country for several centuries, until the time of the
prophet Jonah, who flourished about Y05 B. C. Then it
is mentioned, but the name of its sovereign does not ap-
pear. About fifty years later Pul is named as King of
the country (II Kings xv. 19 ; I Chrou. v. 26). It is
thought that he was the father of Sardanapalus, the last
King. The kingdom was destroyed about 627 B. C. and

CHALDjEA,

from its ruins were formed the kingdoms of Nineveh,
Babylon and Mediai

Chaldcea, in the earliest times, was included between
the Euphrates and Tigris. It is mentioned in Gen. xi.
28, 31, in connection with Terah and Abram. Terah, the
father of Abram resided in Ur of the Chaldees. He was
born about 223 years after the deluge, A. M. 1878, or
B. C. 2126, and 108 years after the dispersion of man-
kind. Perhaps Ur had existed before Terah resided
there. It is difficult to ascertain whether there was ever
a Chaldsean empire distinct from the Babylonian. It is
thought by many that Chaldsea in the earliest times, was
another name for Babylonia. It is evident, however, that
in remote antiquity there were Astrologers in Babylon
called Chaldaeans. It should be remarked that the terms
Chaldaea and Chaldieans (tJ^'Tiu^ kasdwi)^ seem to have
been derived from Kesedh^ a nephew of Abram (ibD

kesedh^ vid. Gen. xxii. 22), or which is perhaps more
probable, Kesedh was named after the country, as the
term Chaldjeans is mentioned at an earlier period in con-
nection with Terah the father of Abram. It was custom-
ary in those early times to name countries from individu-
als and vice versa / but the former practice seems to have
been more common, and it may have been so with Kesedh.
His place of residence may have been designated by
another name, though it was doubtless within the limits
of Babylonia. Before he settled there the country may
even have received no special designation excepting that
it was a part of Babylonia. Kesedh doubtless was ac-
companied into the country by other persons, and became
the leader of a tribe. It is very natural to suppose that

INTKODUCTION.

the district wliicli they occupied was named after their lead-
er. Subsequently the term Chaldgeans specially designated
astrologers^ probably from the fact that individuals of the
original tribe were addicted to necromantic arts. Balaam
is supposed to have been a Chaldsean priest and astrolo-
ger, who lived during the closing period of the life of
Moses. The latter died about A. M. 2553, or B. C. 1451
(N"um. xxii — xxvii. 13). All who were acquainted with
the mysterious science of astrology were called Chal-
dseans. The same term has been applied by Asiatic and
European nations to all of the astronomers and astrolo-
gers of Bab^don. The Chaldseans mentioned by Daniel
were of comparatively late origin (Dan. i. 1 — 7). The
later Babylonian empire evidently included Chaldsea. It
was established by Belesis, called by Isaiah, Baladan,
(Isa. xxxix. 1), and by profane historians, Nabonassar.
About 627 B. C. that Babylonian monarch conspired with
Arbaces the Mede and destroyed the Assyrian empire,
then governed by Sardanapalus, and thus the later Baby-
lonian or Chaldsean empire was formed.

The three ancient monarchies which we have considered,
viz: Babylonia, Assyria, and Chaldsea, were situated
either between or very near the Euphrates and Tigris,
and near each other, if not at times united into one em-
pire. Those countries seem to have been first settled at
about the same period. Their inhabitants were probably
descendants of Shem, Ham and Japlieth, as it was in the
land of Shinar or Babylonia that the dispersion took place,
and some of the posterity of each of the sons of J^oah
would be likely to remain in that region. From the
languages there prevailing however, we infer that the
original inhabitants were mostly descendants of Shem.

GEN. XT XT. 27.

They were doubtless acquainted with those arts and scien-
ces which Shem received from his father. Undoubtedly a
knowledge of antediluvian music was transmitted through
JS'oah to his posterity, and additions %ere gradually made
to that information.

There is a reference to music in connection with a cir-
cumstance in the life of Jacob and Esau (Gen. xxxi. 27),
which must have occurred according to the usual com-
putation about 195 years after the dispersion (vid. Gen.
xi. IS — 26 ; xxi. 5 ; xxv. 26 ; xxvi. 34 ; xxxi. 27, 41),
about A. IE. 2250, or B. C. 1754. The Assyrian monar-
chy was then in a flourishing condition, and as it was
situated near Syria, where Lab an, to whom reference
is made above, and who speaks of musical instruments,
resided, it is highly probable that the Assyrians used the
same kinds of instruments wliich are mentioned by him.
Indeed parts of Assyria and Syria were, during some
periods, at least, identical. Tiie word Syria is supposed
by some to be merely a contraction of Assyria^ and that
both terms indicated, in ancient times, the same district of
country ; but this opinion is evidently erroneous. Laban
was the son of Bethuel, and the latter was the nephew of
Abram, and Abram resided during the early part of his
life in Ur, near the great capital of the Assyrian empire.
It is very natural to suppose that Shem handed down the
knowledge of music, which existed before the deluge, to
his cotemporary Abram, aud the latter to his nephew
Bethuel, the Syrian, and Bethuel to his son Laban. Tlie
same kinds of musical instruments essentially, which were
used before the deluge, and those used by Laban, doubt-
less continued to be used, with some improvements, by the
posterity of Abraham, and of course by the Hebrews.

INTRODUCTION.

Both the Babylonian and Cbaldaean music must have
been received chiefly from Noah and his posterity, and
consequently must have been essentially the same in
both countries. The old Babylonian monarchy was
commenced before the Assyrian and perhaps may have
received a knowledge of music first, though the two capi-
tals J^ineveh and Babylon were built nearly at the same
period, and the inhabitants of each had about the same
opportunity to become acquainted with tlie music of the
antediluvian world. It is probable that those cities con-
tinued to be inhabited untir comparatively modern times,
by some of the posterity of Shem, who doubtless made
improvements in music and handed down their knowledge
of the art to future generations. The exact spot on which
the proud city of Nineveh stood, has not, until recently
been identified. Only four mounds were to be seen
where, as was supposed, that city once reared its lofty tur-
rets. One of these mounds was called Jonah, whose tomb
it was supposed to contain, (vid, Buckingham's Travels
in Mesopotamia, vol. ii. p. 49-50, 60). Numerous in-
scriptions were found but could not be deciphered. It
remained for the nineteenth century to unfold the mys-
teries contained in Egyptian, Assyrian, and Babylonian
inscriptions. The indefatigable Layard and Botta have
done more than any other persons to give us a knowledge
of the manners, customs, arts, and sciences of the ancient
Assyrians by actually exhuming the palaces of the
ancient capital. lu describing a war scene, sculptured
in bas-relief, on the walls of a chamber exhumed at
Nimrond, Layard remarks : " two musicians are playing
with a plectrum, on stringed instruments, or harps
similar to those on slabs Nos. 19 and 20 of the same

NINEVEH.

chamber" (vid. Layards Nineveli, P. i. c. x). He re-
marks again : " it is probable that the Assyrians, like
the Egyptians, had various musical instruments ; only
one kind, however, is represented in the sculptures. It
is in the shape of a triangle, is held between the left
arm and the side, and appears to have been suspended
from the neck. The strings, nine or ten in number, are
stretched between a flat board and an upright bar through
which they pass. Tassels are appended to the ends of
the strings, and the bar itself is generally surmounted
by a small hand, probably of metal or ivory. The
instrument was struck with a plectrum held in the right
hand ; the left appears to have been used either to pull
the strings, or to produce notes by pressure. Like the
Egyptian harp, it had no crosspiece between the upright
bar and the flat board or base ; it is diflicult, therefore,
to understand how the strings could have been suffic-
iently tightened to produce notes" (vid. Layard's Nine-
veh, P. ii. c. vi). The writer then remarks in a note that
this same instrument is represented in the bas-relief of
the king standing over the crouching lion, also in many
other places. He farther remarks that the god wliich
Mr. Birch supposes to be Baal is represented at Talmis
playing on a triangular lyre. The music and instruments
there indicated must have been quite ancient, for I^ine-
veh was destroyed about 606 B. C, still the ten-stringed
harp is far from being the most ancient form of that
instrument.

Immense ruins are found where ancient Babylon stood.
Bricks are to be seen, which have been fire-baked and
cemented together by zepht or bitumen. Between each
layer are oziers. Some of the bricks are large, thick and

INTRODUCTION.

imprinted witli cuneiform cliaracters. Their composition
corresponds exactly with the account given by the sacred
historian, of the bricks used in building the tower of
Babel. Specimens of them are deposited in the British
Museum, in the Museum of the East India Company, and
in other rej^ositories of antiquities. Some important
facts have been made known in respect to the manners
and customs of the Babylonians, from the inscriptions
which have been deciphered ; but it is doubtful whether
any discoveries will be made in those ruins which will
throw much light upon the arts and sciences among the
antediluvians and especially during the time which
elapsed between the deluge and dispersion of mankind.

Greece was inhabited in early times and was one of
the first regions settled by the posterity of Japheth (vid.
p. 27. sui^TO). Josephus informs us that Gomer, one of
sons of Japheth was founder of the Gomerites, called by
the Greeks, in the time of Josephus, Galatians (Galls)
(Josep. Ant. B. i. vi. 1). He mentions the seven sons of
Japheth and the places in Asia Minor where most of them
settled ; but " from Javan," he remarks " Jonia (Ionia),
and all of the Grecians are derived." It is j)robable that
several places were occupied by the descendants of Japh-
eth at about the same time ; but we have more authentic
information in reference to Greece than in respect to
other places of their abode. In the Scriptures, Greece
often signifies all of those countries inhabited by the pos-
terity of Javan. In the Old Testament, Greece and the
Greeks are indicated by the term Javan (*jv) (vid. Isa.
Ixvi. 19 ; Eze.' xxvii. 13, 19 ; Dan. x. 20 ; " xi. 2). It
is supposed by some historians that Greece was first settled
as early as 1800 years B. C. by the Pelasgi who seem to

GREECE.

Tiave emigrated from Egypt. Others place tlie settlement
still earlier, while another class think that the credible
history of the country does not extend so far mto antiquity.

Little is known of the Pelasgi excepting that they
lived in caves and were cannibals. They were much
degraded, being almost entirely ignorant of the arts and
sciences. History informs us that about 1514 B. C. (some
say 200 years later), the Hellenes migrated into the coun-
try from Asia and either expelled or civilized the Pelasgi.
The former were probably descendants of either Shem or
Japheth. Subsequently Phoenician and Egyptian colon-
ies settled in Greece and imparted some additional know-
ledge of the arts and sciences. It was about sixty years
after the settlement of the Hellenes in the country when
Cadmus, a Phoenician, introduced a knowledge of the
Alphabet. The inhabitants of Argos and indeed of all
Greece were distinguished for their love of music ; but
the art was cultivated on the plains of Shinar at a mucli
earlier period. It is probable that the inhabitants of an-
cient Greece obtained their knowledge of the arts and
sciences mostly from the Phoenicians, and perhaps, to
some extent, from the Egyptians. Of course their music
must have been formed after the Phoenician and Egyptian
models, with the improvements which their own skill and
taste may have suggested.

The Egyptian music, we shall consider hereafter. That
of the Phccnicians^ w^as probably about the same as that
which tlie sons of Xoah practised, as the earliest inhabi-
tants of Phoenicia are believed to have been nomad tribes
that wandered from the borders of the Arabian Sea and
Persian Galf. Hamaker, in his Miscellanea Phoenicia^
asserts that the Phoenicians came from the borders of the

INTRODUCTION.

Arabian Sea. Tlieir language is believed to bave be-
longed to tbe Canaanitisli brancli of tlie Shemitisli family,
and is imperfectly understood, as no Plioenician writings
are extant excepting a few fragments, found in Hebrew
and ancient classical writers. During tlie time of Josh-
ua, tlie Phoenician city of Tyre existed and was strongly
fortified (Josh. xix. 29). That must have been as early
as 1444 B. C. or about 790 years after the dispersion.
Hengstenberg supposes that the Phoenicians commenced
their colony immediately after that event (vid. De Kebus,
Tyriorum, Berdini 1832. p. 93). They doubtless made
improvements upon the music received through Noah
and his posterity, though it is probable that they did not
devote much attention to the subject, as we are informed
by historians that they did not cultivate 'poetry^ which in
all ages, has been intimately connected with music. Not-
withstanding this testimony of ancient history we cannot
divest ourselves of the belief that effusions of poetry were
frequent even among the Phoenicians, though it may not
have been cultivated as an art.

China was inhabited in veiy early times. Politz in-
forms us that several small kingdoms and States existed
in that country 2000 years B. C. ; but that its credible
history began a little before the Christian era (Politz
"Welt Gesch. P. i. c. 11). About two hundred years B.
C. the Emperor Xi Hoam Ti caused a general destruction
of the ancient books. He ordered upon pain of death all
monuments of antiquity to be destroyed, and executed
many of the learned men of the empire. Since his time
a few fragments only of ancient history can be found, so
that we can learn little with certainty in respect to the
antiquity of the country, before the reign of that tyrant.

CHDsA.

Siipposinsr, as was probably the fact, that tlie country
was settled by some rude hordes 2000 years B. C. or
about 234 vears after the disj)ersioii5 we shall reach a
period when the Assyrian empire was in a flourishing
condition. It is very difficult if not impossible to ascer-
tain the orii^in of the earliest inhabitants of China. Their
features and skulls indicate that they originated from the
Mongols. Sir William Jones, who investigated the sub-
ject, makes them of Indian descent (vid. Asiat. Resear.
vol. II. mem. 21). This is, perliaps, the most probable
suppo^itio!!, though the Chinese language is entirely dif-
ferent fn.m that of the Hindoos. Jones farther supposes
that before they left India, they were of the military
caste, and very much degraded, that they had probably
lost a knowledge of the Indian tongue, and gradually, as
they advanced in cultivation, formed a language which,
by improvements, became what it now is, (vid. p.
supra). The origin of the Hindoos we shall consider
hereafier, (vid. p. 50 infra). Assuming the Indian origin
of the Chinese, their music must have been similar to
that of India, unless they had entirely lost a knowledge
of it, as they are supposed to have done of their language.
Sir George Stanton, who accompanied the Earl of Mac-
artney, in 1792 on an embassy to the Emperor of China,
informs us that he witnessed the ceremonies of worship-
ping the Einperor at the palace of Zhe-hal in Tartary. —
The principal officers of state were introduced into a vast
hall and thence into a temple, fui-nished with great in-
struments of music, among which were cylindrical bells,
suspended in a line from ornamented frames of wood,
and gradually diminishing in size from one end to the
other. There were also triangular pieces of metal ar-
3

INTR0DUCTI02T.

ranged in the same order as tlie bells. To tlie sound of
these instruments a slow and solemn hymn was sung by
eunuchs. The performers, in gliding from one tone to
anotlier, were directed by the striking of a shrill and
sonorous cymbal. The whole, says Stanton, had a grand
effect. These instruments were of simple construction,
of tlie percussion class, and probably the same, essentially,
which had been used for centuries, as the Chinese are
extremely slow to cliange any of their customs or habits,
or to make improvements in their knowledge of the arts
and sciences.

India was evidently settled in very early times, and
some of the learned believe it to have been the most
ancient country inhabited by man. The name India is
derived from the Greeks, who seem to have borrowed it
from the Persians as it is unknown to the natives. The
term was used by the Greeks to denote an indelinite ex-
tent of country reaching beyond the Indus ; the historian
Politz intimates that, possibly, it was the most anciently
inhabited country (Politz AYelt Gescli. P. i. c. 6). Some
modern historians are of tlie opinion that a portion of the
sacred writings of the Hindoos is worthy of credit.
Their most ancient epoch (called Caliyng) commences
B. C. 3101, and there is a tradition among them indica-
ting that they were not a colon}^ from any other tribe.
Their astronomical knowledge, existing before the period
to which history extends, the antiquity ascribed to their
alphabet, language and religious tradition, handed down
by means of pictures and writings, are thought by many
to point to a development of the human intellect from its
first germ. The fact is well authenticated that a tender
and imaginative poetry existed among them 1000 years

INDIA.

B. C, and the immense rock upon wliich tlieir mythology-
is sculptured is a work, in comparison with which, the
pyramids of Egypt appear young. A native tradition
fixes the origin of the Yedas (being revehitioiis from
Brahma) at 4900 B. C. This, of course, is extravagant ;
but the Oupnek-hat (consisting of explanations of sacred
mysteries), according to Darashaku. a distinguished prince
in Cashmere, who ti-anslated the work into the Persian
language, that the four Yedas must have been written at
least 2000 years before Christ. AVhen the Greeks trav-
eled in India, they found their Bacchus and Hercules
engaged in the same deeds as in their own country.
They found a mythology similar to their own, hence
they concluded that Pythagoras had traveled in that
coiintrv, and there obtained much of the kn.-^iwledore
which he imparted to his own countrymen. It is thought
that the deities of Greece were not originally of Greek
nor Egyptian extraction ; but that they had their origin
in India, their names only being changed. Yishnu and
Bhavani, Xared and Sereswatti gave place to Jupiter,
Yenus, Mercury and Ceres. T!ie deities did not hold
their court on Mount Meru, but on Mount Ida, at the
head of the Scamander, and not on the Ganges. Tlie
same animals marked their shrines and gave occasion for
the worship of brutes, ])lants and insects. The Greek
historians regarded the. traditions which they obtained
from that country as remnants of its high antiquity. It
seems clear that the Hindoos, in very early times, were
engaged in commerce and acquainted with several of the
arts and sciences, and probably with music. Some of
their most ancient writings were in verse, and it is gen-
erally believed that, in ancient times, poetry and music

INTRODUCTION.

were in constant coalescence. It is probable that the
Lidians had some kind of music to accompany the recital
of tlieir poems.

The country is mentioned in the sacred scriptures. In

the book of Estlier, i. 1, and viii. 9 (Heb. ^I'^n ho<Jdio

for ^'^^n Jionrlii^ Syr. o^Jcti hawlu). The vrriter remarks
that Ahasuerns reigned from India to ^Ethiopia. The
events described in that book occurred about 900 years
B. C. and it was probably written soon after.

The exact time when a government was first estab-
lished in India seems to be lost amid fragmentary,
contradictory, imaginary, and foolish traditions and
histories. The most probable supposition is that the
country was settled by the descendants of Shem at a
period not far from the dispersion of mankind. This
opinion is corroborated from the fact to which we have
already alluded, viz: that there is no authentic account
that the first inhabitants were a colony from any other
country ; also from the fact that the posterity of Shem
evidentlv moved eastward and must soon have reached
India. It is worthy of remark that the principal
language of that country which is the Sanscrit, seems to
be of Shemitish orimn.

It is possible that India was the first civilized country
after the dispersion. There are strong reasons for believ-
ing, that Babylonia, Ethiopia, and Egypt received their
earliest knowledge of the arts and sciences from that
country. Still there is so much obscurity and such a
want of well authenticated fiicts upon the subject that it
is now impossible to arrive at the truth.

Several countries were settled in very ancient times;
but probably it is not possible now to determine with

INDIA.

certainty wliicli was first inhabited after Babylonia. It
is pretty evident from the information now accessible
that that was the lirst. It is also impossible to ascertain
beyond a doubt which of the ancient countries, not
excepting Babylonia, first cultivated the arts and sciences
to any considerable extent. Politz asserts that Canda-
har, in the earliest times, was the most cultivated spot in
India. It is now a city in Afghanistan a considerable
distance east of ancient Babylon, where the dispersion
occurred. It was not probably long after that event, as
"we have already intimated, when some of the nomad
tribes of Shem's posterity reached the borders of India.
The knowledge of music which the first inhabitants
possessed, was probably derived chiefly from Shem and
his immediate descendants. How ra})idly they improved
in the art we cannot now ascertain ; but all of the facts
which we have with regard to their cultivation of the
arts and sciences, indicate a slow progress in improve-
ments of every kind. It is probable that, in every
country, modern vocal music and especially modern
musical instruments bear much resemblance to ancient
music and musical instruments in those countries. In
the modern instrumerds at least we shall find the elements
or outlines of the ancient ones, but much improved and
adorned. It must be so especially in India, a country,
the religious notions and peculiarities of whose inhabit-
ants, forbid that they should make changes in their
customs, and especially in those which pertain to religion.
Their castes have no doubt handed down, century after
century, nearly the same customs and the same music
and musical instruments as were used in the earliest
times. Musical instruments have not perhaps been

lOTEODUCTION.

iiiaterlally changed for ages. The three grand classes
exist at the present time in that country wliich were
found among the ancient Hebrews and Egyptians, viz:
Percussion, Stringed and AVind instruments. Rev. Dr.
Malcom, in his book of travels in South Eastern Asia,
gives drawings and desci'iptions of musical instruments
wliich are now used in Burmah, a province of Farther
India. We will present descriptions of two of them with
drawings (vid. Malcom's Travels in S. E. Asia. Yol. i.
pp. 20i, 205).

" The Tseing^ S^hing or Boundaw, is a collection of
small drums," says Malcom, " suspended around the

inside of a richly-carved
fj'ame of wood, about three
feet high. They regularly
diminish in size from that
of a two-gallon measure to
that of a pint. The player
sits within the circle and
with his hands produces a
rude tune or accompaniment.
Drumsticks are not often
used. In the full band the Boundaw is never omit-
ted."

Otherf< of the percussion kind, Dr. Malcom informs us,
are the Ifoung or Gong/ Pan-ma-gyee or Dnimj the
Kyay-wyng^ or sixteen Gongs in a square or circular
form ; the Kyay-Tiouk^ similar to the last, and the Paio-
lah^ constructed by placing pieces of bamboo on strings
wliich are struck by a stick.

FIG. II.

BOUNDAW OK BCKMESE DKUMS.

IXDIAX irusic.

The Stringed Instruments are the Tey-au or Ta-yaio^
FIG. in. a v'lolhi, with two or three
string's, phiyecl with a bow.

Jl^ ^^^^^^•^^ ' "^''^ belly is sometimes carved

lJ \ I out of a solid piece. The tone

TA-TAw OK BUBMESE VIOLIN. f.^j. fj-Qm bciiig pleasaiit.

The Soling or Harp^ tlie Menourn, or 2fe^kyoung^ a
Guitar^ are also stringed instruments. Their TTzW
Instrtiiatnts are the Pay-looay^ a kind of hautloy ^ and
the Ilnch or claHonet witliout keys.

Sir William Jones informs iis that the musical scale of
the Hindoos is divided into minute intervals, like that of
the Arabs — twenty two quarters and thirds of a tone be-
ins: unanimouslv reckoned in their octave. It would
seem, however, that this enharmonic genus among them
is rather scientific than practical, for Jones says that he
had tried in vaiu to discover any difference in practice
between the Indian and European musical scale. A
thorough examination of the music, and especially the
musical instruments of India, might throw light upon
Egyptian music, if indeed, as some suppose, the Egyp-
tians received their first cultivation from India.

Egypt was among the earliest inhabited countries. It
is a fact pretty well established, that the Egyptian mon-
archy was formed by a colony from Ethiopia (the pre-
sent Xubia and Abyssinia), in Upper Egypt, then inhab-
ited by pastoral tribes. The languages and customs of
the Egyptians and Ethiopians were very similar, and it
is highly probable that the former received their first
civilized inhabitants from the latter. Tliere is a tradi-
tion, authenticated by an ancient astronomical observa-
tion, that, very early, the Babylonian Hermes (Thoth)

INTRODUCTION.

went to Ethiopia and founded tlie state. This would in-
dicate that the Egyptian monarchy was established after
the -Ethiopian, and the latter after the Babylonian. The
monarchy of Egypt is supposed to have been founded by
Menes, according to Usher's chronology, 2222 B. C, only
about twelve years after the dispersion of mankind.
Others have placed that event a few years later, and
others many centuries later still. Hieroglyphics found
upon ancient monuments have been deciphered and
explained by Champollion, Young, Spolm, Akerblad,
Zoega, Seyffarth, Kosegarten and others, still it is ex-
tremely doubtful whether it can be exactlj^ ascertained
when Menes commenced his reign. The statements of
historians and chronologists are so various and contradic-
tory that w^e are forced back to the insj^ired volume as
the only reliable source of information in respect to the
earliest history of that country. The Hebrew term
"iniUrdyim) translated Egypt, is the name of a

grandson of IS'oah, and refers us directly back to a period
soon after the deluge (Gen. x. 1 — 6). We are informed
in the twelfth chapter of Genesis, that Abraham, in con-
secpience of a famhie which was prevailing in the land
of Canaan, went down into Egypt. This, according to
our usual computation, was 1920 years B. C., or 314
after the dispersion. There tlie patriarch found a sover-
eign, a court, and princes. About 1720 B. C. Joseph was
carried into Egypt, as described in Gen. xxxix.

Some suppose that the Egyptians were a colony from
India, as the pyramids are very similar in their construc-
tion to the pagodas of that country, and contain sacred
relics, and not the bones of kings, indicating tliat they
may have been originally intended for Buddhist temples.

EGYPT.

It has been said that India could not have received her
religion from the Egyptians, Persians, Greeks or Homans,
as that would have been in utter violation of her most
sacred tenets. It is possible that Egypt, in very early
times, received some knowledge of the arts and sciences
and of religious customs from India ; but there are so
few well authenticated facts upon the subject it is diffi-
cult to decide.

The ancient Jews undoubtedly adopted many customs
of the people among whom they dwelt. When in Egypt,
they worshipped Egyptian deities, when in the wilder-
ness, they did homage to the gods of the Canaanites,
Egyptians, Ammonites and Moabites, and when in Ju-
d^a to those of tlie Phoenicians, S^^rians and others.
Jacob induced his family to adore the God of the He-
brews, but soon after his death, they forgot the instruc-
tions of a kind father and bowed down to Egyptian
deities.

After the return of the Jews from captivity, however,
they seem to have adhered more generally to the wor-
ship of Jehovah, as we do not hnd that they were
rebuked for idolatry. With the exception of a few under
Antiochus Epiphaiies (Mac. i. 12, etc.) they preserved
the worship of God in its purity. To imitate their
heathen neighbors in religious matters was regarded as
idolatry, and the severest denunciations were uttered
against it.

It was diiferent, however, in respect to music, which
was innocent in itself and might be useful as well
as pleasant for recreation, and very beneficial in re-
ligious worship. The Hebrews undoubtedly retained
much of the knowledge of music and many of the forms

INTRODUCTION.

of musical instruments with whicli tliey became ac-
quainted while in Egypt. If thej copied other things
from the natives, it is reasonable to suppose that so
attractive an art as music would be imitated.

Shall we then present a brief view of the art in ancient
Egypt? There are strong reasons to believe that the
Egyptians cultivated music nearly from the time of their
existence as a nation, though within certain limits, as not
all were permitted to practise it. So in the East at the
present day, there are particular classes who may be mu-
sicians, such as the Almeh, Gasie, Tschingane, etc. Nie-
buhr informs us that "it is deemed improper for a
respectable Turk or Arab to understand music. The
people of rank, therefore, among the Orientals, being
themselves, by no means, great connoisseurs of the art of
music, and those who apply tliemselves to it being not so
well paid as they are with us, it is not at all strange that
this art has not advanced to such a degree in this part of
the world as it has in Europe." It is probable that the
Egyptians were acquainted with a rude kind of music,
even in their nomadic state. The assertion of Diodorus
Siculns, that they prohibited the cultivation of the art, is
contradicted by Plato, who resided in Egypt, attending
to literary pursuits, for thirteen years. Strabo informs
us that the Egyptians taught their children letters, songs,
and a certain species of music, which was establislied by
government. Instruments of music must have been
known by that people in very early times, as they are
found sculptured on the ruins of their most ancient monu-
ments. Distinguished travelers have visited the country
at difierent periods, and abundantly proved the fact that
the early inhabitants were acquainted with the three

ANCIENT EGYPTIAN MUSIC.

grand classes, viz : percussion, stringed, and wind instru-
ments. It is possible, and perhaps probable, that the
same kinds of instruments which were used before the
delnge, were employed after that event, and perhaps in
ancient Egvpt. Indeed, N^oah may have preserved some
of them, and it is possible that antediluvian instruments
or parts of them may have been found after that event.
However this may have been, I^oah, as we have before
intimated (vid. pp. 43, 52, supra), doubtless was ac-
quainted with the antediluvian music, and transmitted
that knowledge of the art to his posterity. It is evident
that there were instruments after the deluge havino: the
same names as those which were employed by Jubal.

Music is mentioned in the sacred Scriptures as existing
about 600 years after the flood, or a little more than 1700
years B. C. About 1500 J3. C. the lyrical effusions of
Moses appear. From Gen. xxxi. 27, we perceive that
both, vocal and instrumental music w^as practised, and
probably common at tlie time to which reference is made
in that passage. The event there described occurred in
Haran, where Laban resided, a little more than 600 years
after the deluge. That town was on the way from C.'hal-
dsea to Canaan (Gen. xi. 31), and not a great distance
from Egypt. But long before that time, as we have
already intimated, music was cultivated on the Nile.

We find instruments of music sculptured on tlie most
ancient monuments, Champollion informs us that the
sculptures on the monument El Asaffif are ascertained to
be more than 3500 years old, having been Avrought about
1645 B. C, or, according to Usher, about 577 yeurs after
the monarchy of Egypt Avas established. The first coast-
ing trade in Egypt is supposed to have commenced with

INTRODUCTION.

Plioenician smugglers, and with Inaclius, who led an
Egyptian colony to Greece in Phoenician vessels about
1836 B. C. The Scripture account of foreign states,
names Shishak as the Pharaoh of Egypt and ally of Jero-
boam about 975 B. C. (vid. 1 Kings xi. 40 ; xiv. 25 ; II
Chron. xii. 2, 5, 7, 9). Psammeticus established a monarchy
which continued from 636 to 525 B. C. The nation was
then highly civilized, and music and the various arts and
sciences were in a flourishiug state. Egypt next became
subject to Cambyses, and was incorporated into the Per-
sian empire. Alexander conquered the country B. C.
832. After the division of the Macedonian empii-e, the
reign of the Ptolemies began.

From very early times, improvements were doubtless
made in music and the tine arts. The numerous sculp-
tures and inscriptions on Egyptian monuments are full of
interest, and richly repay tlie labor of investigation. Dr.
Shaw traveled in several parts of Barbary and the Le-
vant, and collected materials upon the subject for publi-
cation, between 1720 and 1733. He presents important
information in reference to the music of those countries
which he visited. In respect to ancient Egypt, he testi-
fies, as many had done before him, that representations
of musical instruments, and especially the sistrum, may
be found sculptured on various ruins upon the 'Nile (vid.
Yol. I., p. 202 sq. ; Yol. II., p. 350 sq., ed. 1757). Dr.
Alexander Pussell, in his Natural History of Aleppo,
published in 1751: and 1794, has given important informa-
tion in respect to the present state of music and musical
instruments in a part of the East ; but he says very little
about ancient music, and especially that of ancient Egypt
(Yol. I., pp. 142, 145, 147, 150-156, with plate iv. and

AXCIEXT EGYPTIAN MUSIC.

'Note xxxix. p. 3S6). In 1737 and 173S Captain Xordeii
and Dr. R. Pococke traveled in Egypt, and gave an inter-
esting account of their discoveries; but said little con-
cernino' ancient music. Pococke brouo'ht a seal from
that country upon which was engraved a kind of hai'p,
but not of much authority. He also found a statue of
Isis, upon which was sculptured a sistrum (Deer, of the
East, Vol. I., p. 21-i, plate Ixv). Sistra are described by
Jablonski and Bernardo de Montfaugon, in tlieir works
on Egyptian antiquities. Dr. Pococke, on p. 1S6, de-
scribes the jVaJcous, a kind of castauet (plate Ivii. tig. iv).
Calmet informs us that Ca[*tain Xorden fou:;d the guitar
in use among the modern Egyptians. Pieiffer investi-
gated this subject in 1779 ; but there was thci compara-
tively a small amount of information accessible to the
scholar upon Egyptian antiquities, the only sources being
occasional references to the subject contained in the sa-
cred Scriptures, a little light from the Greeks, Komans,
and Phoenicians, some sculptures from dilapidated ruins,*
a small number of coins, and the Isiac Table. This last
was discovered at Rome in 1525, but is now lost, though
correct drawings of it are extant. It contained, among
other sculptures, that of a harp and si&trum. Its origin
is doubtful, some supposing it to be really Egyptian,
while others believe it to have been made for the Egyp-
tians at Rome.f PfeifFer was only acquainted with tliese
rather uncertain sources and what other information was

* Vid. Calmet, Vol. III., p. 250, Xo. 203, ed. Charlestown,
1813.

t Rees' Cyclop. Art. Isiac ; Burner's Hist. Music, Vol. I., p.
205, 520 ; Montfangon Antiq. Com. Red., p. 174, and Jablon-
skii Opuscula, Tres. Dis., Tom. XI., pp. 227-273.

INTRODUCTION.

then knowu in respect to music in the East. He, indeed,
presents many interesting considerations; but since his
day many important discoveries in respect to Egyptian
antiquities have been made. The tomb of Ismonides or
Osymandyas, particularl}^ described by Diodorus Sicuhis
(Lib. i., c. 47), is supposed to have been built 2000 years
B. C. Pococke informs us that the walls of its rooms
were adorDcd with sculptures consisting, among other
things, of instruments of music. If Diodorus' testimony
is to be credited, the tomb must have been built about
200 years after the monarchy of Egypt was founded, and
about 350 years after the deluge, indicating the very
earl 3^ cultivation of music in that land. Erom a broken
pillar of great antiquity in the Campus Martins at Kome,
Dr. Burney obtained the di-awing of an instrument — a
kind of Dichord Guitar, corresponding, as nearly as can
be ascertained from an imperfect sculpture, to the fol-
lowing cut, Eig, iv.

The globe or rounding part of the instrument, at the
lower end, approaches nearer to a parallelogram with
rounded corners, than the drawing would indicate.
The j)illar or obelisk from which this representation was
taken, with another pillar, was brought to Rome by the
comnumd of Augustus after he had reduced Egypt to a
Eoman province. It is supposed to have been erected at
Heliopolis by Sesostris, perhaps in commemoration of the
invention of the Egyptian guitar nearly 400 years before
the Trojan war. It was placed in the Campus Martius at-
Rome, and when the city was sacked and burned by the
Duke of Bourbon, general to the Emperor Charles Y. in
1727, this ancient obelisk was thrown down and broken.

Subsequently, Kiebuhr traveled in Egypt and present-

INTEODTJCTION.

ed a more full and accurate account of modern music,
and especially of musical instruments in that country than
any one preceding him. Abbe de St. Non of Paris, a
short time before his death in 1791, published his views
in which are sketched from the walls of the Royal sepul-
chres west of Thebes and from the temple of Tentyra or
Denderah, seven figures of musical instruments with their
performers. There is found the ancient ibrm of the harp
with, four strings. The information which he furnished
was of much more importance than any thing which had
previously been published. It was left for the Savans of
jSapoleon to lay open the true state of the arts and sci-
ences in ancient Egypt. In some cases, they as w^ell as
other writers, have added in their drawings, modern dra-
pery ; for instance the priest described by Bruce as play-
ing upon the harp, is clad in a deep black robe striped
with white, instead of a white one spotted with red ac-
cording to the Egyptian costume. The man, who is re-
presented as sitting in a chair at a short distance listen-
ing to the music, appears in blue pantaloons and Avaist-
coat and a cap resejnbling the cap of liberty, which are
not Egyptian. The Savans have been criticised by Dr.
Russell a,nd others on that account ; but they have given
a far more reliable and full view than any of their pre-
decessors.

The great work of tlie Savans, entitled ^' Description
deV Egijpte'''''^ is an important lielp upon this subject, as

* We would here present our acknowledgments to the libra-
rians of Harvard University, and of the Astor Tiibrary in
this city, in furnishing every requisite facility for the examin-
ation of this great work and others upon Egyptian antiquities.
Several of onr engravings of instruments were copied from the
work of the Savans.

THE STJINS OF MEMPHIS AND THEBES.

it treats extensively of modern as well as ancient Egyp-
tian music. In respect to the latter, Yilloteau, who had
charge of the department relating to music, takes Jablon-
ski chiefly, as his philological guide. He first made
himself thoroughly acquainted with modern Egyptian
music in all of its branches, then uniting his own obser-
vations with the learned investigations of Jablonski, he
was enabled to present a very accurate and full view of
the whole subject. In his plates we find elegant engravings
of the three grand classes into which the musical instru-
ments are usually divided, and under such circumstances
as to fully authenticate their high antiquity. They were
taken from ruins on the island of Philce^ at Elethyia^
now called El Kab ; Tentyra ov Denderah ; in the tombs of
the Pyramids of Mcmjyhis ; and the copious ruins of sep-
ulchres and temples in and around Thebes. The exact
antiquity of these splendid mins cannot be ascertained.
Of the island of Philee, Belzoni remarks, " the prospect
of the island and its ruins is truly magnificent, particu-
larly at some distance, thougli it is extremely barren."
* ^ ^ " Tlie style of the hieroglyphics, proves that the
edifice on it, which consists of two temples nearly united
together, is of the last era of the Egyptian nation, in my
opinion of the Ptolemies."

Elethyia (E/X7)&u<aff PoXi?, Latin, LuGi7ia\ is situated on
the east side of the Xile between fifty and sixty miles
north of Syene, and not as far south of Thebes. The
ruins are quite extensive, lying in the modern village
called El Kab, which is supposed to be near the place
where the ancient city stood. These ruins have every
appearance of being very ancient. Belzoni found the
place surrounded by a high wall of unburned brick, also

INTRODUCTION.

the ruins of tliree or four temples, and otlier ancient
"buildings. There are grottos, about a mile from the
river, in the mountains, which are really sepulchres, and
the sculptures and paintings on the walls are more im-
portant, in some respects, than those at Thebes, as the or-
naments of the latter are principally conj&ned to the high-
er ceremonies of religion, while those of the former refer
to the pursuits and habits of the Egyptians in private
life."^ In the largest of the grottos is a wall upon which
is represented a feast, enlivened by musicians and dancers.
One female is playing on a harp, another on a double
flute and three others are dancing in the same manner as
do the Almeh at Cairo. Those who amuse the rich are
a different class from those who exhibit to the multitude.
The latter are probably the Gasie of whom Xiebuhr
speaks.

The temple of Tentyra now called Denderah is on the
left bank of the Xile, eighteen miles north of Thebes.
Belzoni supposes it to have been erected in the time of
the first Ptolemy. There are strong reasons for believing
that this temple and those of Philge and Edfou were built
by the Ptolemies, though some, as Dupuis and JoUois,
maintain that they are much more ancient. The archi-
tects probably followed the ancient manner of building.
Deuon and Belzoni speak in the most enthusiastic terms
of the elegance apparent in the temple of Denderah.

The pyramids of Ilemjyhis^ as far as we can learn from

^ Yid. Kussell's Yiew, p. 190, as quoted by 0. A. Taylor, in
an article on musical instruments of the ancient Egyptians, in
the Biblical Repository, vol. ix, No. 26, from which we have
derived much valuable information in the preparation of that
part of this Introduction which relates to Egyptian music.

THE KDTNS OF MEMPHIS AXD THEBES. 67

history and tradition, were very ancient, though their exact
antiquity is not known. The Mausoleums or tombs near
the pyramids also, are supposed to be of equal or even
greater antiquity than the pyramids. Both are so ancient
that we may safely regard their representations to a cer-
tain extent, as a true exhibition of the state of the arts
and sciences in the earliest ages. The inscriptions on
these tombs are numerous. Abdallotipli informs ns that
he saw as many as would fill ten thousand volumes, and
others have nsed equally strong language. Some of the
sculptures represent musical instruments. On the ruins
of one of the tombs, there is a representation of a band
of musicians, playing on the flute, harp, and a kind of
clarionet, accompanied by dancing women, tinged with
yellow.

The celebrated ruins of Tliehes include those of Luxor
and Carnac on the eastern bank of the JSTile, Gornou, Bi-
ban el-Molauk, Medinet-Abu, and the Memnonium on
the west, extending about nine miles in length along the
Kile, and back to the mountains on the east and west,
about eight miles in breadth. Dr. Pococke remarks con-
cerning Thebes, that " the date of its destruction is older
than foundation of other cities. The N"ecropolis (city
of the dead) called by the Savans, Thebes Hypogees
(^^^a» 'T^ro/siai, the subterranean Thebes), stands not far
distant and contains splendid ruins which are probably
as ancient as those of Thebes proper. From them many
of the most important sketches of musical instruments
have been taken. The three grand classes are painted
and sculptured both on the ruins of Thebes and tlie Ne-
cropolis, under such circumstances as to induce scholars
who have examined them to feel confident that they are

INTRODrCTION.

of the highest antiquity, and that the forms^ which the
musical instruments of the Egyptians had during a space
of several thousand years, have been in their essential
characteristics handed down to the present time. They
painted in fadeless colors and sculptured in solid granite
or marble in and around their tombs in such a manner
that it was impossible to erase the inscri2)tions. Thus
the historical achievements, arts, sciences, habits and man-
ners of the people were accurately handed down to mod-
ern times. This fact has doubtless, contributed much to-
wards making oriental society so uniform and unchange-
able as it is. If what we have said be correct, the forms
of musical instruments painted and sculptured on the
more modern temples of Egypt, may be sately considered
as substantially the ancient ones. M. Yilloteau presents
numerous drawings of percussion and wind instruments,
such as sistra, adufes or tambourines, and cymbals or casta-
nets, trumpets and pipes. In carefully examining the
numerous engravings of that Savan we did not discover
the pipe of Pan. Mr. Taylor informs us that he did not find
that ancient instrument. The adufe, cymbals or castanets
and trumpets are the same in respect to variety and form as
those which have always been used in the East. There
are different sizes of the sistrum and it is variously orna-
mented. The flutes or pipes are single or double, straight
or crooked. Yilloteau represents some drawings in which
all of the above mentioned and stringed instruments are
found in concert. In his fictitious entertainments, the
Egyptian guitar, and in most of the plates, the harp, may
be seen. Stringed instruments are so numerous and va-
ried in their construction, that passages in which there
are references to them, are difficult to be explained.

ANCIENT EGYPTIAN MUSIC.

Yilloteau thinks it necessary to suppose that the many
names of aiicient instruments indicated those differino; in
their grand characteristics, and that very few of them
were exactly alike. It is altogether probable that several
names often denoted the same instrument, a little varied
in the number of strings, in the form, or in some other
way, from others of the same kind, like our different va-
rieties of the flute, viol, etc. The same was doubtless
true in respect to the Hebrews. Accordingly in some
instances, several Hebrew words probably refer to the
same general instrument a little varied in some peculi-
arity. They must be reduced to their respective classes,
such as pipe, flute, viol, etc. Hie f on/is of a great vari-
ety of instruments are sculptured on Egyptian ruins ; but
we can learn verv little concernino- them from the ancieut
la7iguajge of that country, as we have but a few fragments
of it preserved.

From this brief general view of music among the an-
cient Egyptians, we think that they must have cul-
tivated the art nearly 2000 years B. C. and perhaps ear-
lier. The Hebrews, as we have already intimated, were
doubtless much influenced, while in captivity, by the
Egyptians, in respect to music as well as in reference to
the arts and sciences generally.

"We must next inquire whetlier the Hebrews were prob-
ably acquainted with music to any considerable extent be-
fore they were led into captivity in Egypt. That event oc-
curred about 1921 B. C. Abram is considered as the father
of the Israelites, being the son of Terah a resident of Ur
in Chaldsea. From Gen. xi. 27 — 32, we learn that Ab-
ram, with his father and others set out to go into the
xand of Canaan ; but they tarried at Haran in Mesopota-

ESTTEODUCTION.

mia. This must liave been wlien Abram was quite
youDg. He was born about 1996 B. C, or 353 after the
deluge, and a few years afterwards, perhaps 25 or 30, he
went to Haran. At the age of Y5 (Gen. xii. 4) or 428
years after the deluge, he left Haran and entered the land
of Canaan. We learn from Gen. xv. 18, that the land of
Canaan which God gave to Abram and his posterity, ex-
tended from the river of Egypt to the Euphrates. Those
possessions must have reached at least to the borders of
Chaldsea and Babylonia. Thus the patriarch had an op-
portunity to become acquainted with music, and the other
arts and sciences of those ancient monarchies. It is prob-
able even that, through the descendants of Noah, he ob-
tained some knowledge, as we have before intimated, of
antediluvian music. After he had viewed the land of
Canaan, he went down into Egypt, and there, doubtless,
learned much more in respect to music, as the Egyptians
had then probably cultivated the art for a long time.
Subsequently Abram returned again to Canaan. About
1728 years B. C. or 621 after the deluge, Joseph was sold
into Egypt. That must have been 300 or 400 years after the
first monarchy was established in Egypt, and the Egyp-
tians undoubtedly had cultivated the art of music during
several centuries. Joseph was favored by Pharaoh, and
finally the Israelites removed from Canaan and fixed their
abode in Egypt ; but they were soon reduced to bondage
and remained in servitude 430 years (Ex. xii. 40). After
wandering forty years in the wilderness, they returned
again to Canaan about 1451 B. C* They remained there
about 864 years until 587 B. C. when they were carried

* It was in Egypt that the Hebrews, while in the midst of
another people, first really grew up into a nation.

EGYPTiAK ivnrsic.

captive into Babylon by ^Nebuchadnezzar. They were
there in bondage TO years, at the end of which they re-
turned again to the land of Canaan, which was then called
Palestine.

From these considerations, it is reasonable to conclude
that the Jews obtained much of their knowledge of mu-
sic from the Egyptians, having resided so many years
among them, though doubtless Abram had a knowledge
of not only the antedihivian, but Babylonian and Chal-
dsean music before he visited Egypt. How far he adop-
ted the views of the Egyptians in respect to music, before
he imparted his knowledge to the Jewish nation, cannot
now be ascertained ; but it is reasonable to suppose that
the knowledge which he obtained among that people, and
that which those, who were in bondage, obtained, much
influenced the Hebrews in respect to music and the va-
rious arts and sciences.

Concerning Musical Notation among the Egyptians
and Hebrews we have no certain knowledge. Judging
from their acquaintance with instrumental music, how-
ever, Ave think it highly probable that symbolic repre-
sentations of musical sounds were known among them.
The Greeks possess the most ancient system of musical
notation which has reached our times, and our informa-
tion even with regard to that is very limited and uncertain.
The relics which have been preserved, show that that
people must have been acquainted with a higher degree
of cultivation in respect to practical and theoretical
music than is generally supposed. Marpurg, Bottrigari,
Galilei and others speak of hymns to Nemesis, Apollo
and Calliope, and attempt an explanation of the notation
of the music set to them ; but there is so much contra-

73 INTEODTJCTION.

idictioii and confusion in tlie acconnt tliat it is hardly
reliable. The same is true in respect to other writers
who have endeavored to ascertain the musical notation
of the ancient Greeks from the fragmentary historical
remains upon the subject which have reached our times.
All of their investigations are unsuccessful and unsatis-
factory. When we go still farther back into antiquity
to the Hebrews and Egyptians, an impenetrable darkness
universally prevails. Some Jewish Rabbins have pre-
tended that they have discovered the true system of mu-
sical notation among the ancient Hebrews ; but they dif-
fer materially from each other in respect to its character.
The Spanish, Eoman, Prussian and Dutch Jews all have
different systems of musical notation, and yet each, in
the estimation of its advocates, is believed to be the true
system of the ancient Hebrews, thus showing that no re-
liance can be placed upon any of them.

The Romans obtained their knowledge of musical no-
tation from the Greeks, and we are informed by historians
that they simplified the system of the latter by employing
the Roman alphabet to indicate different sounds. We
have authentic history informing us that Greek musical
characters were used in the fourth century after Christ.
In the fifth century they are mentioned by Boethius and
Martianus Capella (vid. fragments of their writings by
Meibomius, vols, i and ii). Ambrose, one of the Fathers, in
the latter part of the fourth century, improved the rhythm
of church chants. In the sixth century Pope Gregory I.
established a singing school at Rome, and essentially im-
proved musical notation by substituting Roman instead
of Greek letters. The Roman or Gregorian chant was
introduced into England about A. D. 596 (vid. Introd. to

EGYPTIAN MUSIC.

the Art. Music in the Enciclo. Brittan. by G. F. Graham).

Thus the j^resent system of musical notation was gradu-
ally introduced.

We have remarked that the Egyptians had three classes
of musical instruments, viz : wind, stringed and percus-
sion. The Hebrews had the same, containing a consider-
able variety in each class, and especially in the first two ;
but these we shall examine in om- remarks on particular
passages of Scripture.
4

MUSIC OF THE BIBLE.

THE PENTATEUCH, OR FIVE BOOKS OF MOSES.

IXTRODUCTORY REMARKS.

The term in Hebrew for Pentateucli is ip>r,p; rir'^^H
nn'il' signifying, the five fifths of the law ; but the more usual
term is H^liTlj ihora., the law. Single books were called

tDTa^iMj hhummashj a fifth part. The Greek term is Hevrd-
revxog, Pentateuchos^ Pentateuch^ from nivre, pente, five, and
revxog, teuchos, an implement. After the Alexandrine period
it signified a hook. Many scholars, such as B. Spinoza, R.
Simon, J. Clericus, J. G. Ease, F. C. Fulda, J. C. jSTachti-
gal, J. S. Yater, G. M. L. De Wette, L. Bertholdt, C. F.
Yolney and Rosenmiiller have maintained that the Penta-
teuch was not written by Moses. Within a few years the
original documents from which it was taken have been
critically examined, and the opinion advanced, that they
were not composed nor arranged since the time of Moses
(with the exception of what was done in Ezra's revision) ;
but that they existed before his time, and were combined,
arranged, and some of them perhaps translated by him and
preserved in the families of Shem, Abraham and the He-
brew patriarchs. This view is, however, contested by a

PENTATEUCH — INTRODUCTOEY REMARKS.

large number of the ablest biblical scholars, and the Mosaic
origin of the Pentateuch strenuously advocated, which view
is sustained by many irrefragable evidences, and is undoubt-
edly the correct one.

The object of Moses in writing the Pentateuch seems to
have been the preservation of the Israelites from the con-
tamination of surrounding idolatry. Indeed, throughout
the Old Testament Scriptures^ the two grand objects which the
inspired writers seem to have kept continually in view, were
to turn men from idolatry in all its forms of vice and error,
and, by the gradual development of the scheme of prophecy
to direct their attention to the future Messiah. When the
Pentateuch was prepared, the world was absorbed in the
grossest forms of Pagan superstition, originating principally
in neglect, perversion or misapprehension of certain truths,
once universally known. Hence, Moses commences his
narrative by an allusion to those alarming considerations.
Little is related which will enable us to judge of the man-
ners and customs of the antediluvians. It is shown, how-
ever, that there were godly and wicked men, and that the
latter so prevailed over the former that they were reduced
to one family, and that the remainder of the human race
were destroyed in order that holiness might not be entirely
effaced from the earth.

There are but few allusions to music in the Pentateuch,
still there are sufficient to show that the art was cultivated,
to some extent, even before the deluge.

GENESIS — INTKODUCTOKY REMARKS.

GENESIS, OR THE FIRST BOOK OF MOSES.

INTRODUCTORY REMARKS.

This book in Hebrew is called ^n^tp^t^^S' h'resh'ith, signi-
fying, in the beginning ; but in the Greek Teveaig Genesis,
signifying, generation^ production. Thus the Hebrews de-
rived the name of the book from its initiatory expression
and the Greeks from its contents. Its object seems to have
been to present a view of the origin of all things. It gives
an account of the creation, primeval state and fall^ of man,
the history of Adam and his descendants, the progress of
religion and origin of the arts, the genealogies, age and
death of the patriarchs, until the time of Noah, the general
defection and corruption of mankind, the deluge, preserva-
tion of IS'oah and his family in the ark, his history and that
of his descendants after the deluge, resettlement and divi-
sion of the earth among his sons, the building of Babel, the
confusion of tongues and dispersion of mankind, and the lives
of Abraham, Isaac, Jacob and Joseph. It was probably
written by Moses after the departure of the Israelites from
Egypt and the promulgation of the law, though opposite
views have been advocated. The narrative embraces, ac-
cording to the usual chronology, 2369 years from the crea-
tion to the death of Joseph, which occurred about 1635
years before the Christian era, and 714 after the deluge.
This is the lowest computation. Dr. Hales makes the book
comprehend a much longer period.

Genesis contains a few passages which refer to music,
showing that the art was understood in very early times.
There are references to vocal as well as instrumental music ;
but it was probably rude like those who practised it.

ORIGIN OF MUSIC — JUBAL.

Genesis, iv. 21.

And his brother's name was Jubsil: he was the.
father of all such as handle the harp and organ.

JuiBAL was the first musician of whom we have any credible
account, and he is only mentioned in the sacred Scriptures, as re-
liable profane history does not extend so far back into antiquity.
He lived very soon after the earth first began to be inhabited.
Adam was only 130 years old when Seth, his third son, was born,
and it seems to have been before this time that Jubal appeared
(Gen. V. 3 ; iv. 1-25). We know not his age when he began to cul-
tivate music ; but, supposing it to have been 30 years, that would
be about 160 years after Adam appeared on the earth, and
nearly 1500 years before the deluge. This carries us back to a
period so early that we need not look farther for the inventor of
the first instruments of music. Only twelve individuals are men-
tioned as having lived before Jubal, though there may have been
others. Dr. Jahn, in his Archaeology, observes that J ubal was
the first person who noticed that strings of different lengths or
sizes, when stretched, will produce various sounds, and thus in-
vented stringed instruments ; that he first caused the pipe or fife
to emit a pleasant sound, and the horn, perhaps, to utter sweet
and various music. It is generally believed that vocal preceded
instrumental music, and we may, with a sufficient degree of cer-
tainty, conclude that Jubal was the first musician, as he must
have been, in all probability, the first who practised both. Moses
informs us that "he was the father of all such as handle the harp
and organ," intimating that he was the inventor of these two in-
struments, and that others handled, or performed upon them,
having been, perhaps, instructed by him.

In Gen. iv. 21, Jubal is said to be the father of all such as handle
the harp and organ. It would seem by the expression, all suchj
that, at that remote period, many played on those instruments.
During Jubal's life, supposing it to have been as long as that of

GENESIS, IV. 21.

his cotemporaries, the number of the human family must have
largely increased, and he may have instructed many to perform
on the instruments which he had invented.

That Jubal was the inventor of those instruments is farther
confirmed by the common opinion of the oriental nations. Char-
din (Voyages en Perse T. v. p. 69) informs us that the Persians
and Arabians call musicians and singers Kayne^ descendants of
Cain. Plato pretends that all traces of ancient music were lost
by the deluge, and that, after that event, the art was again culti-
vated by the instrumentality of Marsyas, Olympus and Am-
phion (Lib. iii. de Legibus, p. 584) ; but he felt obliged to write
thus in accordance with received traditions. In no other way
could he do honor to the authors just named.

It is probable that many of the antediluvian ideas in respect
to music were partially lost, so that the people of each natioB,
after the deluge, were obliged to search anew for the origin of
music. Thus the various inventions and improvements which
may have existed before the deluge would have to be made the
second time. Even searching out what really existed in the
most ancient times, would, among the first nations after the
deluge, have the honor, in many cases, of being new discoveries.
Sulzer asserts, that every nation may lay claim to have discov-
ered its own kind of music (Theorie, B. ii. p. 791).

place where the art was first cultivated was probably not far
from the Garden of Eden, and that sacred place is generally sup-
posed to have been near where Bassora now stands — a little be-
low the junction of the river Tigris with the Euphrates in Turkey
in Asia, and very near Arabia. Cain resided in the land of Nod
east of Eden (Gen. iv. IG). Jubal was his sixth descendant,
and probably lived in the same place, or not far distant, though
Moses does not mention the fact. In the time of Jubal, prob-
ably, the human race had not extended very far around Eden.

It is quite evident, from ancient inscriptions upon monuments,
that music was cultivated in Egypt, as we have intimated in the
introduction, about 350 years after the deluge, making, between
the time of Jubal's and the first Egyptian music, about 1850

MUSIC OF THE BIBLE — JUBAL.

years. The places (Egypt and that part of Turkey in Asia
where stood the Garden of Eden) have Arabia between them.
Or, if music was cultivated in India and Babylonia about fifty
years after the deluge, as is quite probable, there would inter-
vene, between Jubal's and the first Indian and Babylonian music,
about 1600 years, and Babylonia included the Garden of Eden.
A part of India, considered in its widest extent, was not for dis-
tant. Between the time of Jubal's music and that of Haran
(Gen. xxxi. 27) there is an interval of about 2150 years, and the
places were not distant from each other.

Jubal is said to be "the father of all such as handle the harp
and organ." The Hebrew word for handle is 'j^Sjri, tophes^ a
participle of the verb fcS^, tajjhas, to lay hold of^ to handle.
The signification of the participle is handling or playing upon.
TTie Septuagint uses naradei^ag, kaiadeixas, showing, teaching.
This seems to indicate that the LXX regarded Jubal as the father
of all who taught to play on the harp and organ, as well as the
father of those who performed upon those instruments. We have
shown that it could not have been, in all probability, more than
about 160 years after Adam's creation when Jubal practised
music. If, then, there was teaching of music, as the LXX seem
to have thought, Jubal must have become acquainted with the
art when very young, as he must have been the teacher of those
instructors.

This idea suggested by the Septuagint would only have a ten-
dency to carry the origin of the art back a little farther into an-
tiquity.

Harp. — The Hebrew word is '^iSS? ^'innor, which evidently
represents a stringed instrument; but before considering that
term, it will be necessary to present a brief general view of the
whole class to which the instrument here indicated belongs.

The general term in Hebrew denoting stringed instruments is
N'g'inoth. It is found in the superscription to several

of the Psalms, and signifies a stringed instrument of music, music
on a stringed instrument, or a song for a stringed instrument.

GENESIS, IV. 21.

It is derived from ^^i^ nagan^ to lAay on a stringed instrument.

The Hebrews had, according to Dr. Jahn, four kinds, viz. : the
cithara, nebliel, sambuke, and psaltery. There were some varia-
tions from these, but none sufficient, in his view, to constitute a
distinct instrument.

Villoteau informs us, as we have already intimated, that upon
the ruins of Egypt are to be found sculptured three principal
kinds of stringed instruments, viz. : harj^s, lyres, and guitars.
There are many other kinds, but they appear to be improvements
upon, or modifications of these three. The general name for
stringed instruments, among the Egyptians, was tebouni (re
Qovvl). Jablonski, who is Villoteau's authority, remarks that
the term denotes a musical instrument of the ancient Egyptians,
which was mentioned by one Joseppus or Josephus, a writer of
uncertain age, by some supposed to be of the fifth century, but
by others of a much later date. Josephus quotes from Porphyry,
and has, for the term, to (ivvL, to buni (Por. Lib. v. c. 144).
Thomas Gale found the same orthography in a Cambridge manu-
script ; but he maintains that it should be written re [Sovvl, te
houni. Fabricius, who first brought Josephus' works to light,
has for this term in the Greek text to (3ovt, to boni ; but in the
Latin bu?ii. Jablonski remarks that the term should form
but one word, thus : TefiovvL, tebouni. He thinks it probable,
from Josephus' quotation, that the term is of Egyptian origin,
and should be referred to the Coptic dialect. There it is writ-
ten thus : "^"D^CUSnS . ^^^i- ^"^j the Septuagint has
Ki-&apag, kitharas, and the Coptic translator D^tUSnS , and,
in Rev. xiv. 2, a harper is called p^lJ^Fp TOUl^HS . From

the fact that the Greek letters v, u, and ov, on, are often inter-
changed with (3, b, as in the word Remoboth, perhaps the
writer was authorized to employ the Greek term re (3ovvc for

^TOtUSSl5. Remoboth was used by Jerome to express
Egyptian monks, which in Coptic is p'EJUL'D^CUT, Jablonski

EGYPTIAN STEIXGED IXSTRUMENTS.

had conversation at Paris with Montfaugon, -vvho agreed with
him in respect to the orthography of the word. La Croze, in a
letter to Jablonski, also approves of this view. The latter says
of the former, " who informed me by letter in the year 1735,
that he very much approved of my observation respecting
J ^^^^ considered it one to which nothing could be
opposed." The musical instrument denoted by that term is
similarly described by Jablonski and Villoteau, excepting what
the former says of the plectrum. Jablonski ranks the instru-
ment with the oajijivnr]^ sambulce of Suidas, the Tpiyc^vov, tri-
gonon^ described by Hesychius, and the izavdovpa, 2^'^f^^(^oura,
mentioned by Martianus Capella, in his work Denuptiis Philolog.
et Mercur. ed. Grot. p. 313, where Harmonia is made to say:
" Panduram ^Egyptios attentare permisi."

All these terms seem to indicate instruments of the same gen-
eral form and somewhat triangular. Most instruments of the
harp kind described by Villoteau, in his Antiquities of Egypt,
are of a similar form. From these considerations, Te/3oi;vt, te-
houni is considered as a general term to indicate Egyptian
stringed instruments of the harp kind, and particularly those of
the triangular form. It is probable that the term had as exten-
sive a signification as the Greek cithara, or perhaps as the He-
brew kinnor. The plectrum, indicating the particular manner
of playing on the instrument, does not affect the question. We
find in the drawings upon the ruins of Egypt by the savans of
Napoleon and others, as we have already intimated, tehouni of
three kinds or species, in accordance with what Villoteau re-
marks upon the subject, though it is possible that he may haye
given a meaning to the term rather too extensive, and we might
expect to find other general terms for instruments of music in
the ancient Egyptian language.

I. Stringed instruments of the harp kind are far the most nu-
merous in the drawings of the savans, exhibiting a great variety
of forms^ though evidently derived originally from the same pat-
tern. In its most simple form, the harp was a plain unorna-
mented section of a circle, varying more or less in curvature.

GENESIS, IV. 21.

Finally it took nearly the form of a triangle, like the modern
harp, with the front-piece wanting. It is probable that this was
the grand original of all stringed instruments, the lyre and guitar,
with all their varieties, having originated from it, though some
suppose the lyre and others the guitar to have been the most an-
cient. The strings of the harp number from two or three to more
than thirty, which appear to be fastened near the top by pegs in
the sides. Sometimes the instrument was so large as to be high-
er than the head of the performer, and sometimes not more than
half or two-thirds as high as an adult. In the drawings of the
savans it usually stands nearly in front of the performer, or
against the right or left shoulder, and is played with the fingers.
A plectrum, according to Yilloteau, is nowhere to be found in
the ruins of Egypt. In the Antiquities, Plane. Tom. i. pi. 70,
No. 2, El Kab, or Elethyia, there is a representation of a mu-
sical entertainment in connection with a
double flute.

Here is a harp, taken from Villoteau, of
an oblong, circular form, leaving an ellipti-
cal bend in the centre, gradually swelling
from the top to the bottom, has ten strings,
and no ornaments. It is pretty accurately
represented in the accompanying cut (Fig.
V), and is played on by a female standing
erect, having the harp nearly opposite her

Fig. VI.

Ancient Egyptian Harp.

Ancient Egyptian Harps:

ANCIENT EGYPTIAN HARPS.

Fig. VII.

left shoulder and extending from the ground to some distance above
her head. No. 1, of the group Fig. VI. on p. 83 is a similar one.

The following (Fig. VII.) is another, which is somewhat simi-
lar, taken from the Anti. Plane. Tom. ii. pi. 44, No. 6, Thebes
Hypogees. It is, however, much more highly finished, and
represents an instrument of later origin. It is carved, is much
larger towards the lower part, and rests on a foot ornamented
with a hawk's head. The instrument resembles that usually put
into the hands of David excepting that the front piece is wanting. It

has twenty-one strings. Some of
the instruments are nearly com-
posed of the two sides of a trian-
gle, and sometimes the segment
of an ellipse. In both cases the
back part is gradually swelled
and curved as it descends to form
the belly or chest, and the base.
It is rather triangular than cir-
cular and the performer kneels.
Harps resembling the above are.
found in (I) Ant. Plane. Tom. V.
pi. 17, etc. Number 1 contains
something like a musical con-
cert. The harp, in that case, is
a segment of a circle, all the
way of a size, and has six
strings. It was taken from the
tomb east of the second of the
Pyramids of Memphis. The
The harp stands on the ground,

Ancient Thehan Harp.

female who is playing kneels,
and leans against her shoulder.

No's 1, 2, 3 and 4 of the group Fig. VI, are similar instruments.

In the fictitious musical concert named above there are three
harps. Each is formed of an arc of a circle, has four strings,
and is carried with the end in the left hand, supported against
the shoulder, and played with the right hand.

GENESIS, IV. 21.

Fig. YIII.

The following, (Fig. VIII) is fancifully
ornamented, being composed of a serpent
with his head at the top, while his tail
rests upon a hare with his long ears turned
back. The top is ornamented by a human
head. A drawing of it is found in Rees'
Cyclopedia, also in the Comprehensive
Com. under Gen. iv. 21, as well as in
Villoteau. It was first taken, with other
instruments, by M. St. Non,

The following (Fig. IX) is found in Vil-
loteau, also in Rees, pi. 3. Fig. 10.

It is semi-circular, stands on a pedestal
is played by a female standing erect. It
is plain, and has but eight strings. The
female's head is ornamented with stocks ^Vi/i>-
and flowers of the lotus.

In Fig. X. are represented three
similar ones.

Fig. IX.

Fig. X.

Ancient Harp and the manner
of performing upon it.

Tlieban bow-shaped Harps.

There are many other harps pre-
sented by Villoteau of essentially
the same form, their number of strings
varying from three to more than
thirty. Some of the most simple
are extremely ancient, and probably
the most ancient of all stringed instru-
ments. Such are those with three

ANCIENT EGYPTIAN HARPS.

Fig. xr.

strings, a drawing of one of which (Fig. XI) we will now pre-
sent from Dr. Jahn's Archa3ology. It is taken from Analibus
Syrioe^ sports pictured on two coins of the Makkabees. Tab.
xviii. Nor. XIX, and of Jahn's V. Kupfertafel Nro. VI.

The strings are tightened
upon a sounding board, which is
perhaps oval, as is now the case,
with most instruments of this
class in the East (Niebuhr
Reisel. i. s. 177).

Cithara vnth three Strings. Tile following (Fig. XII), Is

another from the same source with eight strings.

Jahn would
have each of these
represent the He-
brew kinnor, and
Greek cithara.
Figs. XI and XII
seem to be quite
similar in form to
the lyre, and some

suppose them to belong to that class of instruments.

Fig. XIII is a harp with sixteen
strings found at Herculaneum, which
has laid buried beneath the ruins since
A. D. 79.

We will close our illustrations of
this class of stringed instruments by
presenting the two following grand
Egyptian Harps (Fig. XIV) highly
ornamented. One has ten and the
other twenty-one strings.

II. The Tehouni, or stringed instru-
ments of the second class, according
to Villoteau, are in the form of the
lyre. Says he, " we have discovered

Cithara with eight Strings.

Fig. XIII

Ancient Harp from the rwins of
Herculaneum.

GENESIS, IV. 21.

instruments of this kind in but two places in the temple
of Denderah." The first, he informs us, had four strings
and the second three, and that they resembled the con-

stellation of the same name. He remarks that it is the instru-
ment which Diodorus Siculus described in his Universal History,
and Homer in his hymn to Mercury, and that it is now common
in x\frica and called Kussir.

Diodorus Siculus inakes Hermes (one of the councillors of
Osiris in Egypt), the inventor of the Lyre, furnishing it with
three strings which produce three sounds, the grave, mean and
acute, representing the seasons. The grave sound indicated
winter, the mean, spring, and the acute, summer. It is a well
authenticated fact, that not only the Egyptians, but the ancient
Greeks divided their year into no more than three seasons,
spring, summer, and winter, which, according to Hesiod, were
called cjpat, horai, hours.

The same instrument is found pictured on maps and globes of
the heavens. It has been found copiously sculptured on the
monuments of Greece. Passow informs us that it had a deeper
sounding board or chest than the cithara, and that, according to
Lucian, horns proceeded out of it as out of a goat's skull.

What Villoteau says upon the subject is correct, though not
new. Many have testified to the same fiicts before him. Nu-
merous traditions preserved in fable, indicate that this was one
of the earliest instruments of Egypt, though not so much used
as in Greece. It is undoubtedly very ancient, and perhaps was

Grand Egyptian Harps.

ANCIENT EGYPTIAN LYRES.

Fig. XV.

invented in Babylon or possibly in India. A verv ancient
painting at Beni Hassan in Egypt represents the arrival of some
foreigners in that country who are supposed to have been
Joseph's brethren. The following engraving (Fig. XV) exhibits

the variety of costume
of the individuals indi-
cated. No. 1 represents
a person holding in his
hands a lyre with four
strings. From the sup-
posed ancient character
of the person holding the
lyre, some suppose that
instrument to have been
Jofsepics Brethren. mom ancient than the

harp ; but it is not certain that these individuals were Joseph's
brethren, nor that they were persons as ancient as they. Again,
future discoveries may reveal the fact that the harp was as
anciently used, and until we have more substantial evidence to
the contrary, we incline to the opinion that the harp ivas the most
ancient stringed instru-

-, , . Fig. XVI.

ment, and that it repre- i
sents the Hebrew kinnor.
The five following forms
of the lyre are taken from
the ruins in Egypt, viz. :
No's 1, 2 and 3 of Fig.
XVI, and No's 1 and 2 of
Fig. XVII.

III. The third class of
Teboiini had the form of
the Guitar. This instru-
ment resembled the Turk-
ish Tamburo. Niebuhr
asserts that it was called

by the Greeks at Kahi- Ancient Egyptian Lyres.

GENESIS, IV. 21.

Fig. XYII.

ra (Cairo), Beglama and Tamhura. ' The first is probably the
Grecian, and the last the Arabian general term indicating Gre-
cian stringed instruments.
Villoteau writes the word
tombour or tanbour, and in-
forms us that it was much
more rare and less im-
portant than those men-
tioned above. " We have
seen none of them " he
remarks, " except in one
place." This must have
been a very ancient instru-
ment. Bumev found it

Egyptian Lyres of the Leyden Collection.

sculptured on a broken pillar. Villoteau gives a specimen of
it (Ant. Plane. Tom. ii. pi. 44, Thebes Hypogees No. 6), and
describes it as a kind of mandoline or tanbour, as the instru-
ment is now called in Turkey. It has been frequently seen by
travelers sculptured or painted in grottos and other places in
Egypt. Belzoni saw it in a mummy-pit which he opened at
Gornou. The guitar is now common in Europe and this coun-
try, but is evidently of Spanish origin, it being a national instru-
ment in that country, originally derived from the Moors, and
through them from the Eastern nations. The Spaniards be-
lieve it to be as ancient as the harp or lyre.

Judging from the similarity between the kussir or tanibiira*
and the harp and guitar^ Mr. Taylor supposes the latter to be an
improvement upon the lyre in the Egyptian shape, or hand form.
Villoteau found hand shaped harps.

The guitar is seldom found sculptured on the monuments of
Greece and Rome. It would seem that it has been common
there from its close resemblance to the modern tambura. The
fact that it was not considered as a dignified instrument, may
account for its not appearing on the ruins of those proud

♦The tanibura is. thought by Niebuhr and Pfeiffer to be the ancient Nebli^

90 ANCIENT LUTES AND GUITARS.

cities. The circumstance that the instrument was small and
had but few strings, would indicate that it was not much used,
as the Grecians and Romans did not appreciate the means it
furnished of diminishing the number of strings. It was, un-
doubtedly, one of the most ancient musical instruments of Egypt.

We here present in No. 1, of Fig. XVIII, a specimen of an
Egyptian guitar; in No.
2, an ancient lute, and in
No. 3, an Arabian tanhur.
Numbers 1, 2 and 3 of
Fig. XIX, represent Egyp-
tian instruments of the lute
class. Numbers 1, 2 and
3 of Eig. XX, represent

Egyptian stringed instru- Ancient Guitar, Lute and Aralian Tanbur.

ments of the guitar class with necks.*

The three classes of stringed instruments which we have brief-
ly considered, were certainly very ancient. In the earliest ages
of Egypt, instruments having the same general form as the harp,

lyre and guitar of mo-
dern times, were com-
mon, as the discoveries
by various travelers in
that country have clear-
ly proved. The ancients
had many other stringed
instruments, but these
three classes were the
principal and contain
the grand characteristics
of the several classes
at the head of which
they stand. Having

* It will be noticed that, in the groups of musical instruments which we have
presented, we have, in several cases, followed the arrangement of Dr. Kitto,
iu his Cyclopeedia of Biblical Literature.

Egyptian Lutes with Kecks.

GENESIS, IV. 21.

Fig. XX.

made these general remarks, we will now return to the particu-
lar consideration of the Hebrew term Jcinnor (vid. p. 68,

supra). The usual Greek word for this instrument is KLvvpa,
kinitra, or KLvvvpa, kinnura. In the Septuagint ipaXrripLov, psal-
terion, psaUenj, is used and in Gen. xxxi. 27, the LXX have em-
ployed KiOdpag, kiiharas, cithara for the same Hebrew term, in-
dicating that they did not understand accurately what the Hebrew

kianor was, although it is very
probable that they were native
Egyptians who understood the
Hebrew and Greek languages
(vid. Plorne's Introd. P. i. c, iii.
Sect. iii. § 2. 2-vol. i. p. 265).
Possibly they did not know what
kind of an instrument it was,
but believed it to be one with
strings and accordingly represent-
ed it sometimes by a term signify-
in(T one kind of a Greek string-
ed instrument and sometimes by
another. What is more probable
Ancient Egyptian Guitars. IS, that, in ancient times, and
even at the time when the Sep-
tuagint translation was made, there was not much difference in
this class of instruments. They resembled each other in their
general characteristics, and the LXX perhaps thought that
'tpaXr7]pcov, psalterion^ psaltenj, and laddpa, Jcithara^ cithara
would both very well represent the general characteristics of the
Hebrew Jcinnor. Dr. Jahn supposes that the term is properly rep-
resented by the Greek cithara (vid. p. 86, siqyra, where cuts
of two citharas are given), and that the Hebrew Jcinnor and
Chaldee Ol~lil*'p qaytJiros have nearly the same signification.

From qaythros was probably derived the Greek Kiddpa, JciiJiara,
cithara. This last word, or Kivvpa, kim/ra, would best represent
Jcinnor^ although there was a difference between those two Greek

OEIGIN OF THE ORGAN".

instruments. Strabo (p. 471) affirms that cithara is an Asiatic
term, and differs from kinura. The former was undoubtedly
derived from the Chaldee language, and kinura from the He-
brew k'lnnor. The cithara^ or harp with three strings, may be
considered as near an approximation to the Hebrew kinnor as
we can attain with our present knowledge. It is a species of
harp. Horne considers it as a harp, somewhat similar to the
modern instrument by that name.

We are not to suppose that every Hebrew or Greek name of
a musical instrument indicated one essentially different from others
of the same class, but often, merely the same instrument a little
varied. There were classes and then individuals under them,
differing very little from each other. With us the Jiute is at
the head of a class of instruments differing in a small degree
from each other, as the German, English, octave flute, flageolet-
te, etc. Of the viol kind, we have the violin, violoncello, viola da
gamba, guitar, etc. So we suppose kinnor in Hebrew to have
been a general term, and that many instruments differing a lit-
tle from each other were probably included under it. The Gre-
cian cithara^ in like manner had an extensive signification. The
harp, answering to the Hebrew kinnor was. doubtless the instru-
ment on which David performed so skilfully.

In the passage (Gen. iv. 21) under consideration, we find the
term translated Organ (Heb. tfgabk). It is derived from

the verb 13^5? ({9<^f>h, to bloio, clearly indicating that it represent-
ed a wind instrument. The simplest form of this class of in-
struments was, doubtless, a reed, forming a rude fife or flute.
Subsequently it was made of other materials.

Flutes and pipes are found among all nations, even the most
uncivilized. The New Zealanders and inhabitants of other
South Sea Islands had them when first discovered.

The pipe of Pan, or Hebrew ngabh, here presented, perhaps,
originally consisted of one and subsequently several pipes joined
together as in the accompanying engraving (Fig XXI).

GENESIS, IV. 21.

Fig. XXI.

Mill

Pipe of Pan, or
Hebrew Ugahh.

The Alexandrine translators represent the
term vgahh by KiOdpav, kitharan, citkara, as
though it were a stringed instrument ; but they
must have been mistaken, as the origin of the
word shows. Jerome rendered it by organon,
organ, a double or manifold pipe, an instrument
consisting of many pipes. Horne affirms that it
cannot have been like our modern organ. He
supposes it to have been a kind of flute, at first
composed of one or two and afterwards of
about seven pipes, made of reeds of unequal
length and thickness, which were joined together.

It most nearly corresponds, he thinks, with the dvpLy^, syrinx,
or pipe of Pan among the Greeks. Dr. Jahn also supposes
that it was this instrument which the ancients represent as of
very high antiquity. Niebuhr saw it in the hands of a Boor at
Cairo (Reiseb. i. 181). Kampfer found it in common use among
the shepherds in Persia. It is still a pastoral instrument in Syr-
ia (vid. Alex. Russell's Nat. Hist, of Alleppo). It is so ancient
that the early writers knew not the inventor of it. Virgil (Eel. ii)
ascribed it to Pan ; Pindar (Od. xii. de Pallade) to Mercury ; Athe-
nseus (iv. 182) to Marsyas and Silenus, It must be considered
as among the most ancient Oriental instruments. Russell in his
Nat. Hist, of Alleppo (i. 15.5, 156) informs us that " the higher
notes are clear and pleasing, but that the longer reeds are apt, like
the dervise flute, to make a hissing sound, though blown by a
good player. The number of reeds in the syrinx varies in
different instruments from five to twenty-three.

The following, No's 1 and 2, Fig. XXII, are two other forms of
this instrument approaching to the shape of the organ. In No.
1, the pipes are of different size, usually fixed in a box, open at
the top and closed at the bottom by wood covered with skin.
Wind is conveyed into the box from the lips of the performer,
through a tube fitted into it. The pipes vary in length, and by
stopping or unstopping them at the top, the melody is varied

THE LEYITES.

as desired. No. 2 is a mo-
dification of No. 1. These
forms bear a high antiquity
though it is not absolutely-
certain that they were
known to tiie ancient He-
brews.

We are then to regard
Jubal as the inventor of
stringed and wind instru-
ments. All stringed instru-
ments, probably, originated
from the k'lnnor^ harp^
and all wind instruments
from the ngnhh^ organ-)
which Jubal invented.

Gekesis, xxix. 34.

And slie conceived again, and bare a son; and
said, Now tliis time will my husband be joined un-
to me, because I have borne him three sons: there-
fore was his name called Levi.

We have inserted this passage in order to make some remarks
upon the term Levi^ which refers to a class of persons who were
engaged in the music of the temple service.

Lev'i^ Levi., is derived from the verb ^j-j^ lava to join.,

' " T T

which has no reference to music. Levi was the third son of Ja-
cob by Leah (Gen. xxix. 34 ; xxxiv. 25 ; xxxv. 23), and stood
at the head of the tribe bearing his name. The Levites were
solemnly set apart to conduct the services of the temple at Je-
lusalem. Some were employed as singers and accustomed to

Fig. XXII

Ancient Organ.

GENESIS, XXXI. 27.

stand in the courts of the temple, rendering thanksgiving md
praise to God every morning and evening (1 Chron xxiii. 30).
In the time of David four thousand were engaged in this service
and some performed upon instruments of music (1 Chron.
xxiii. 5). Asaph, Heman and Jeduthun were the grand-masters
of song in the tabernacle under David, and in the temple under
Solomon. Asaph had four sons, Jeduthun six and Heman
iburteen, making in all twenty -four. These were at the head of
twenty-four bands of musicians, who served in the temple by
turns. The number of performers on all occasions was large
and especially at the chief solemnities. Their position was
around the altar of burnt sacrifice, the family of Gershon stand-
ing on the right, that of Merari on the left and that of Kohath
between the other two. The whole business of their lives was
to learn and practice music and they were required to be good
vocal or instrumental performers. Asaph was the chief master
of music under David. During the performance of religious exer-
cises in the temple, female^ as well as male singers, were allow-
ed to aid in the music. It will not be necessary to insert the
numerous passages in which there are references to tlie Levites,
unless some circumstance, worthy of remark, is named in con-
nection with them.

Genesis, xxxi. 27.

Wherefore didst thou flee away secretly, and
steal away from me ; and didst not tell me, that I
might have sent thee away with mirth, and with
songs, with tabret, and with harp ?

These are the words of Laban, the Syrian, who pursued Ja-
cob as he fled from him with his wives, who were Laban's daugh-
ters. It appears that the Syrian had improperly detained Jacob
in his service and the latter, feeling, under the circumstances,

HEBREW TABRET.

that his determination was justifiable, left his employer with
his wives and property. Laban was highly displeased and pur-
sued the fugitives in a rage. But being warned of God in a
dream, not to lay his hand upon them, he merely reproved Ja-
cob and expressed his regret that he did not know the time of
his departure, that he might have escorted him and his compan-
ions with a band of musicians. As it was the custom for the
bridegroom, attended by the nuptial guests, to conduct the
bride to his house at night, accompanied by her virgin train of
attendants with torches and music, so Laban wished to have
it understood that he desired to make such a demonstration at
Jacob's departure.

Mirth, Heb. f^pj^StlJ ^^'^^^ "^^^^ s^jnahk, to

rejoice. This term here means simply, /oy, rejoicing. The He-
brews used it to express joy^ especially on important occasions
(vid. Neh. xli. 48 ; 11 Chron. xxiii. 18). The term employed by
the. Alexandrine translators is ev(ppoGvv7]g, eirphrosvnes^ and was
used particularly by the Greeks to indicate yoy onpuhlic occasions^

Songs. Heb. t3^"^it25 shir'im. This is a general term, signifying

music or song. It is expressed in the Septuagint by the general
terms fjLovainojv mousikon.

Tabret. toph. This is one of the third class or percussion
kind of instruments. These, according to T. H. Horne, were
three, viz. : the Tabret, Cymbal and Sistrum. Dr. Jahn suppo-
ses that there were four kinds, viz. : the Tabret, Castanet, Sis-
trum and an instrument in the form of a triangle, w^hich he
could not accurately describe, found in the Hebrew term
t]'^tri"'i>'© shal'ish'im. Villoteau found sistra, tambourines and

■ T

cymbals. The Hebrews often employed toph to indicate all
kinds of drums and percussion instruments. It was also fre-
quently used to designate one particular instrument of the per-
cussion kind. Gesenius informs us, that it consisted of a thin
wooden rim covered with membrane and hung around with brass
bells or rattles. It was, probably, held in the left hand and
beaten to notes of music with the right, accompanied, generally,

GENESIS, XXXI. 27.

with dancing. It is common at the present day in the East and
in Spain, where it is called addujf. Jahn asserts that it is not our
kettle-drum, as the word is generally rendered, but a wooden or
metal ring, a little wider than a hand-ring, with a hide drawn
over it and usually having thin, round metallic plates, rings or
bells hung on the edges, jVow, as in ancient times, the perform-
ers upon this instrument are females, who dance and keep time
with the music. Kampfer remarks that the tabret when set
with rings, is called, in Persia, Daireh. This is, probably, the
same instrument which is called in Barbary, Carr (vid. Amoen.
Exot. p. 740. sq). It has been found engraved upon ancient
monuments and on precious stones, in the hands of Bachanals
and the Cybils and their priests. It was not used in war, but at
festivals and public rejoicings. The LXX represented this in-
strument by rviirrdvcjv^ iianpanon, tympanum. The terms, tabret,
tabor, timbrel and tambourine indicate the same, or nearly the
same instrument. The Masnades, a rude tribe, inhabiting the
Thracian mountains, in their bachanalian songs, make use of ket-
tle drums and tambourines. The Arabians call this instrument
deff, and it was, probably, carried into Spain by the Moors.
Durino; the middle a^xes it was in use and called tambour or clo-
quette. It appeared in almost every concert throughout the East.
The larger tambourine is called tambour de basque, from the fict
that it is used in Biscay, to accompany all of the national songs
and dances. It appears from Gen. xxxi. 27, that the Hebrews
were acquainted with the tabret before they left Syria, and it is
the first instrument mentioned after their exode from Egypt
(Ex. XV. "20). It seems to have been a fovorite instrument both
on sacred and joyful occasions. There were three kinds, varying
in form and, probably, in sound. One kind was round, another
square or oblong and the third consisted of two squares with a
bar separating them.

The following are some of the pulsatile instruments of the
ancient Egyptians, midoubtedly representing those of the He-
brews.

EGYPTIAN PULSATILE IXSTRUMEXTS.

Ancient Toph or Tahret
from the ?-uins of Iler-
culaneum.

This is an imperfect specimen taken
from the ruins of Ilerculaneum. It Avas
carried in the hand aud beaten with the
fingers. The bells are an appendage and
perhaps, constituted a tahret or timbrel.

The following (Fig. XXIV) represents
two ancient Egyptian tambourines. No.
1, is of an angular form, and No. 2, of a
circular form.

We present on p. 99, five forms of anci-
ent Egyptian Sistra (Fig. XXV). They are
found in Kitto's Encyclopjedia of Biblical
Literature, vol. ii. p. 380, and other works.

The four in Fig. XXVI, are other forms of Egyptian Sistra.
In Fig. XXVII, we have different forms of pulsatile in-
struments. No. 1 represents castanets, or smaller Egyptian
cymbals, placed upon the fin-
gers of each hand and struck
together. No. 2 represents
a tabret-drum struck by balls
suspended from it. No. 3 a
kettle drum, and No. 4 two
forms of drums upon a sup-
posed ancient Hebrew coin.

In Fig. XXVIII, there are
three forms of ancient Egypt-
ian drums.

In Fig. XXIX, there are
three modern Oriental drums
and one from the ruins of an-
cient Egypt. No. 5 represents the sticks for No. 3.

Some other forms of percussion instruments will be given, as
we proceed in the examination of Hebrew musical terms.

Fig. XXIV.

Two Ancient Egyptian Tambourines.

GENESIS, XXXI. 27.

Fig. XXV.

Ancient Sistra of various /orTm.

EGYPTIAN PULSATILE INSTRUMENTS.

Eight Ancient Egyptian Pulsatile Instruments.

Fig. XXVIII.

Three forms of Ancient Egyptian Brtuns,

Fig. XXIX.

One Ancient Egyptian and three Modern Oriental Drums.

EXODUS, INTRODUCTOEY REMARKS. 101

EXODUS, OR THE SECOND BOOK OF MOSES.

INTRODUCTORY REMARKS.

The name of this book, adopted from the Septuagint,
indicates the principal transaction recorded in its pages,
viz. : the departure of the Israelites from their captivity in
Egypt. Exodus contains a history of the events which
occurred during the space of 145 years from 1635 to 1490
B. C, or from the death of Joseph to the erection of the
Tabernacle. It was undoubtedly composed by Moses, and
probably soon after he wrote the book of Genesis. It
must have been after the giving of the law on Sinai and
the erection of the Tabernacle as they are described in its
pages. It was probably designed not only to chronicle the
departure of the Israelites from Egyptian bondage, but the
wonderful preservation of the Church of God from destruc-
tion, though passing through the deepest afflictions and
persecutions. The book records the intense sufferings of
the Jews in Egypt, under Pharaoh Eameses II — the birth,
exposure and preservation of Moses — his subsequent flight
into Midian, his call and admission to Pharaoh Amenophis
II — the miracles performed by him and Aaron — the ten
plagues inflicted upon the Egyptians by the divine dis-
pleasure— the institution of the Passover — the miraculous
passage of the Israelites through the Red Sea, and the de-
struction of their enemies — their journeyings in the wilder-
ness— their idolatry and murmurings against God — the
promulgation of the law on Sinai and the erection of the
tabernacle.

There are several allusions to music in this book, which
we shall proceed to consider.

102

SONG OF MOSES.

Exodus, xv. 1-18.

Then sano^ Moses and the children of Israel this
song unto the Lord, and spake, saying,

I will sing unto the Lord, for he hath triumphed glori-
ously :

The horse and his rider hath he thrown into the sea.
2 The Lord is my strength and song.

And be is become my salvation :

He is my God, and I will prepare him an habitation ;

My father's God, and I will exalt him.
8 The Lord is a man of war :

The Lord is his name.

4 Pharaoh's chariots and his host hath he cast into the sea :
His chosen captains also are drowned in the Eed Sea.

5 The depths have covered them :
They sank into the bottom as a stone.

6 Thy right hand, 0 Lord, is become glorious in power :
Thy right hand, 0 Lord, hath dashed in pieces the enemy.

7 And in the greatness of thine excellency

Thou hast overthrown them that rose up against thee :
Thou sentest forth thy wrath,
Which consumed them as stubble.

8 And with the blast of thy nostrils
The waters were gathered together.
The floods stood upright as an heap,

And the depths were congealed in the heart of the sea.

9 The enemy said, I will pursue, I will overtake,
I will divide the spoil ;

My lust shall be satisfied upon them ;

I will draw my sword,

My hand shall destroy them.

EXODUS, XY. 1-18.

103

10 Thou didst blow with thy wind,
The sea covered them :

They sank as lead in the mighty waters.

11 Who is like unto thee, 0 Lord, among the gods?
Who is like thee, glorious in holiness,

Fearful in praises, doing wonders ?

12 Thou stretchedst out thy right hand.
The earth swallowed them.

13 Thou in thy mercy hast led forth the people
Which thou hast redeemed :

Thou hast guided them in thy strength.
Unto thy holy habitation.

14 The people shall hear, and be afraid :

Sorrow shall take hold on the inhabitants of Palestina.

15 Then the dukes of Edom shall be amazed;

The mighty men of Moab, trembling shall take hold
upon them ;

All the inhabitants of Canaan shall melt away.

16 Fear and dread shall fall upon them ;

By the greatness of thine arm they shall be as still as a
stone ;

Till thy people pass over, 0 Lord, till the people pass
over, which thou hast purchased.

17 Thou shalt bring them in.

And plant them in the mountain of thine inheritance,
In the place, 0 Lord, which thou hast made for thee to
dwell in,

In the Sanctuary, 0 Lord, which thy hands have estab-
lished.

18 The Lord shall reign for ever and ever !

This is a song of Moses and the Israelites in view of their
miraculous passage through the Red Sea, and deliverance from
their enemies, while the latter were overwhelmed by the return-

104:

HEBREW TOPH.

ing waters. Bishop Lowth informs us that the Hebrews were
accustomed to sing or chant their sacred hymns, accompanied by
instrumental music, while answering choirs alternately uttered
their songs of praise. Sometimes one choir performed the
hymn while the other sung a particular distich, regularly inter-
posed at stated intervals. The responsive method was undoubt-
edly employed on this joyful occasion (Exod. xv. 20, 21).
Moses and the male Israelites sung one part while Miriam and
the other female performers uttered the answering strains of this
lyric poem. (For a description of Ileb. poetry vid. p. 232 infra,)

Verse 1. — Sang. In the Hebrew the general term is used sig-
nifying to sing (vid. Remarks on Gen. xxxi. 27. supra).

Song. — The noun is here used having the same derivation as
sang, above. The verb of the same signification is employed in
the original of the expression " / will sing,'''' in the same verse.

V. 2. — Song. The original term zimrath signifies song,

T ! •

though that is not the most usual expression. It is derived from
"l^^T to prune. In the Peal conjugation it signifies to cut

off discourse at regular periods, to utter in rhjthmica l numbers, to
sing. In the Syriac and Arabic it has the same signification.
The LXX translate it by GKenaorrig, sl-epastes, meaning protec-
tor. This signification, of course, has no allusion to music, and
we cannot perceive how it could be derived from the Plebrew
term.

Exodus, xv. 20.

And Miriam the prophetess, the sister of Aaron,
took a timbrel in her hand ; and all the women
went out after her with timbrels and dances.

Timbrel. — Heb. toph. This is the same term as that used
in Gen. xxxi. 27, and probably indicates the same instrument^
viz. : the timbrel, tabret or tambourine. The LXX also employ

EXODUS, XV. 20.

105

the same word, as they do m Gen. xxxi. 27. This was about
250 years after the time -when Jacob left Laban, and it is proba-
ble that the tabret was, essentially, the same at both periods
(for a description of this instrument, vid. Rem. on Gen. xxvi.
27. supra).

Timbrels. — The plural form of toph is here used in the origi-
nal. There may have been several kinds of tophs. At least the
term seems often to have been used in a very general sense. It
is supposed by some as we have already intimated, that toph in-
cluded all of the percussion instruments of the Hebrews.

Dances. — The disposition to make use of rhythm or meas-
ured language and motion, is deeply implanted in human nature.
As far back into antiquity as history extends, it reveals to us
the fact that even the rudest nations have expressed their feelings,
when elevated, by measured movements or the dance. This ex-
ercise was practised, in early times, as a religious ceremony,
and as we pass, we shall take notice of allusions to it by the sacred
writers. As the people advanced in civilization and refinement,
and restrained the full expression of their emotions, dancing was
cultivated as an elegant amusement, though often leading the un-
wary into scenes of vice. The mild, calm and chastened charac-
ter of the Christian religion soon excluded this exercise from its
sacred services. Among the Jews, dancing was generally an ac-
companiment to mAisic. It was common at their feasts, public
triumphs and during all seasons of mirth and rejoicing. At the
present day, in the East, girls exhibit voluptuous performances
in dancing.* In our own country among a sect, called Shakers^
this exercise constitutes a part of their religious services.

In the passage under consideration, the dancing mentioned, was,
undoubtedly, considered by the Hebrews as an important part of
the celebration of their victory and as a fit accompaniment of
their triumphant song of praise to God.

The Hebrew word for dancing is fi5n)2 rti^hJtoloth^ derived
from hhul or hh'il^ signifying literally to turn^ to

♦Vid. Games' Letters from the East p, 165. Pareau; Antiq. Heb. p. 431.

106 Miriam's song.

twist, to turn around. The Arabic word is hhala to he

turned. The Septuagint designates it by ;\;op65v, chdron, often
signifying a dance accompanied by singing.

It is probable that the Hebrews were not very precise or ac-
complished in their movements. They had a higher object than
celerity and gracefulness in the exercise and especially after their
victory over the Egyptians at the Red Sea, for their vocal and in-
strumental music and dancing on that occasion were all employ-
ed as an expression of their gratitude to God in view of their
miraculous deliverance from their enemies.

Exodus, xv. 21.

And Miriam answered them :

Sing ye to the Lord for be hath tri urn plied gloriously ;
The horse and his rider hath he thrown into the sea.

Miriam answered them. It seems from this that a part of the
performers had been singing, but had now ceased, and Miriam
with the female Israelites uttered the answering strains in beau-
tiful lyric poetry (vid. Remarks on Ex. xv. 1. 18, supra).

Sing. — The general term is here used in the original (vid.
Remarks on Gen. xxxi. 27).

Exodus, xix. 13.

There shall not an hand touch it, but he shall
surely be stoned, or shot through ; whether it he
beast or man, it shall not live : when the trumpet
soundeth long, they shall come up to the mount.

The inspired writer is here narrating the circumstances of

EXODUS, XIX. 13.

107

an angnst scene, viz. : the giving of the law on Monnt Sinai.
Jehovah, through his servant Moses, commanded the Israelites
to sanctify themselves and be prepared for the great event which
was to transpire at the end of three days, when the Divine pow-
er and goodness would be manifested. Moses was directed to
set bounds, beyond which none could pass, and to inform his
people that whoever should touch the Mount, would be instantly
destroyed. When all things should be ready, a long blast of
the trumpet was to be the signal for the people to approach the
Mount and hear the message of Jehovah.

Trumpet. — Here i;3 an instrument not before mentioned by
the inspired writers. Its use in this instance was about 250
years after that of the timbrel mentioned in Gen. xxxi. 27, and
about 2353 years after the use of the harp and organ mentioned
in Gen. iv. 21. From the Scriptures we learn that the harp and
organ were played about 1495 years before the deluge, the tim-
brel about 610, and the horn 851 years after that catastrophe.

The Hebrew word here translated trumpet^ is yobhel^ gen-
erally ^ii"^ yobhel^ signifying 2l joy fill shout, the clangor of trum-
pets, trumpet-signal, alarm.. The Chaldee paraphrasts and rabbins
supposed that it signified a ram, and that i^l'^^ T*^.]?.' ^^^VV^-
hhel signified a ram' s-liorn ; but this is a mere conjecture. Rabbi
Levi and Akiba assert that it has the same meaning in Arabic ;
but this must be a mistake, as such a definition does not appear
in Arabic lexicons (vid. Bocharti Hieroz. p. i. lib. ii. c. 43).
'J'D]? ^-^^'^-i ^^'^"'^1 generally precedes, yobhel or i^'^H? ^^^VV^-

bhel, though here it does not. When used together, the two
words signify horn of jubilee, horn of alarm, i. e., a horn with
which a signal or alarm is sounded. Sometimes it is written, as,
probably in this case, elliptically, 'j']^? qeren, horn, being implied.
Yobhel, then, signifies here, jubilee or jubel horn. Jahn supposes
that 'j'lj!^? qt^en was one of the most ancient instruments of music
and was originally nothing more than the horn of an ox with an
opening made in the top. Subsequently, a ram's horn was made
hollow and used for a wind instrument, and finally, the qeren was

108

HEBREW TRUMPETS.

made of brass.* The same learned author thinks it not unlikely
that Jubal invented this instrument. lie may have first used
the horn ; but it is probable that the jubilee horn received its
name from the fact that it was used to proclaim the commence-
ment of the jubilee among the J ews (vid. Lev. xxxv. 9, 10). It
was also employed to announce the beginning of the civil and
sabbatical year (Lev. xxiii. 24; Num. xxix. 1) ; but as the jubilee
was the most important event, it doubtless gave its name to the
instrument. Being subsequently improved, it was probably
called by different names. Josephus informs us that the tube or
pipe of the trumpet was of the thickness of the common flute.
The mouth was barely wide enough to admit the breath of the
performer, and the end bell-shaped like that of the modern
trumpet (Joseph. Ant. iii. xii. G). The instrument had then be-
come much improved. At first, the Israelites had but two in the
camp, though subsequently they had more. In Joshua's time,
there were at least seven (vid. Josh. vi. 4), and at the dedication
of Solomon's temple 120 priests sounded with trumpets (II
Chron. v. 12). The Hebrew generals also used them in war.
Originally, they were horns or crooked trumpets, and subse-
quently, straight tubes like those described by Josephus, to
which reference is made above. Of this latter. kind, probably,
were those mentioned in Num. x. 8, 10; I Chron. xv. 24; II
Chron. vii. 6 and xxix. 26. In time of peace when the rulers of
people were to be called together, these trumpets were blown
softly ; but when the camps were to move forward, or the people
to rush to battle, they were sounded with a deeper tone. Moses
caused two silver trumpets to be made for the priests ; but in the
time of David, these and other musical instruments were much
more numerous, ornamented and varied in form. T. H. Horne
maintains that the horn and trumpet were two distinct instru-
ments. When made of a cow's or ram's horn, he calls it horn
or crooked trumpet^ and when straight, and perhaps made of

* Cf. Varro de lingua Lat. lY. p. 35, where he says, " Cornua, quod ea,
quae nunc sunt exajre, tunc fiebant ex bubulo cornu."

EXODUS, XIX. 16.

109

other materials, he calls it trxnnj)ei or straight trurapet. This
distinction is perhaps proper, as the horn or crooked trumpet is
much more ancient than the straight one. That mentioned in
Ex. xix. 13, was doubtless a crooked one, made, perhaps, of the
horn of an ox.

We here present some ^ig-
specimens of the ancient
trumpet. The following
(Fig. XXX) represents
four (Xos. 1,2, 3 and 4)
crooked trumpets, and
one straight one. Sound-
eth long (Ex. xix. 13).
The occasion was a very
solemn one, and the
trumpet was sounded
longer and louder than
usual in time of peace.
The LXX employ the
term oaXmyyeg, sal-
pinges, trumpets. The word Tjii/p? '^^^^shok,

Four forms of the ancient Bebreic Shophnr or
crooked Trwjnpet, and one straight Ti'umpet.

soundeth is from
/ /

'JJ'QJ^, mnshdk, to seize, to draw (xlrabic dlX-w^ masaka), to
draw the trumpet^ i. e. to sovnd it.

Exodus, xix. 16.

And it came to pass on the third day in the
morning, that there were thunders and lightnings,
and a thick cloud upon the mount, and the voice
of the trumpet exceeding loud ; so that all the peo-
ple that was in the camp trembled.

This is a striking instance of the effect which the sound of

110

HEBREW TRUMPETS.

the trnmpet sometimes produced on the minds of the Israelites.
At this time, the effect was much greater than usual in conse-
quence of the solemn circumstances under Avhich the bhist was
made ; but the sound of the trumpet always produced a thrilling
effect upon the mind of an Israelite, as it was a sacred instrument
and only blown on important occasions. They trembled in their
camps.

Trumint. "^^^iJ, shdphcn\ usually 'nSi''^^', shdphai\a trumpet^ a

T " T

horn. Jerome remarks on Hos. v. 8 ; " Buccina pastoralis est et
cornu recurso efhcitur, unde et propria Hebraice sophar Grtece
neparivT] appellatur." " The pastoral trumpet is made of a
crooked horn, hence it is properly called in Hebrew shophar and
in Greek KeparLVT], keraii?ie,''^ signifying made of horn. The
shop)har was, doubtless, the same instrument as the yohhel,

the jubilee horn or crooked trumpet. Gesenius remarks, that
there seems to have been no difference between i)2'="n "p!^: qc_rm

hayyobhel and ^^''in "nSiui^ shophar hayyobhel^ both designat-
ing the horn or crooked trumpet. It is evident that the instrument
was made of horn or in the shape of a horn, as it is frequently
interchanged with "pJD: q^^'cn, horn (vid. Josh. vi. 5 ; cf. verses 4,

6, 8 and 13 of same chap. ; also, Job, xxxix. 25). The Septuagint
has odXTTLyyog, salpinr/os, trumpet^ the same word which is used
for J^K, yobhel (vid. Remarks on Ex. xix. 13 supra). Dr. Jahn

thinks that the shophar was very similar, if not the same instru-
ment as the qejen., since both words are often exchanged with
each other, and both instruments were used in war. It is now
customary in crusades to blow horns. The ancient Thracians
used these instruments to give necessary signals in war, and the
Persian armies blew upon the same as a signal to march (vid.
Exped. Cyr. viii. 4. 15; Cyr. y. 3; xix. 19). Aquila, Sym-
machus and the Alexandrine translators often render the word
by KEparLvr], keratine (from Kepag, keras, a horn). Josephus as-
serts that the instruments blown by Gideon's warriors were
shophars. In course of time, they were made of metal. The

EXODUS, XIX. 10 ; XX. 18.

Ill

horn is now retained among the Persians. Those used by the
Hebrews must have been more like the crooked liiuus (employed
in war) than the straight tuba of the Romans. The Greek
oaXTTiy^^ salpinx^ by which the x\lexandrine translators often rep-
resent the sliophar and hatsotsera (vid. Rem. on Num. x. 2,
infra)^ had six different forms, and it would, perhaps, have been
better if they had expressed the former by salj)inx, meaning the
Egyptian saljyinx, which the Greeks usually call x^oi;?/, chnoK?.
The Egyptians, and, subsequently, the Hebrews, were called to-
gether by this instrument (which was evidently the crooked
trumpet), for sacrifices and other purposes. The LXX translate
qeren by salpinx (vid. Josh. vi. 4, verse 5 in our translation).
The former, however, and the shophar^ were not only used in war,
but also on joyful occasions (vid. II Sam. vi. 15 ; I Sam. xiii. 3 ;
Judges, iii. 27; Isa. xviii. 3; Jer. iv. 5; Ez. xxx. 6). The
sound of the trumpet, and especially of the horn, was, at least,
in the minds of the people, solemn and awful, like heavy thun-
der (vid. Matt. xxiv. 31; I Cor. xv. 52; Heb. xii. 19; cf. Ex.
xix. 16, 19; XX. 18; Ps. xlvii. 5; Isa. xxvii. 13; Zech. ix. 14;
Rev. i. 10; iv. 1 ; viii. 2, 6, 13; ix. 14).

Exodus, xix. 19.

And wlien tlie voice of tlie trumpet sounded
long, and waxed louder and louder, Moses spake,
and God answered him by a voice.

Reference is here made to the same event as in Ex. xix. 16,
and the same words are used in the Hebrew and Septuagint for
trumpet as in that passage.

Exodus, xx. 18.
And all the people saw the thundei-ings, and the

112

HEBREW TRUMPETS.

lightnings, and the noise of the trumpet, and the
mountain smoking : and when the people saw it,
they removed, and stood afiir off.

The scene here described was exceedingly thrilling and terrific.
The thunders were roaring, the lightnings flashing, the trumpet
sounding, the mountain smoking, and the Almighty speaking to
Moses on the Mount. It is not strange that the people feared
and trembled, and withdrew from those terrors. The original
words here are the same as in Ex. xix. 19.

Exodus, xxxii. 17.

And when Joshua heard the noise of the people
as they shouted, he said unto Moses, There is a
noise of war in the camp.

It seems that the children of Israel had waited for Moses to
return from the Mount, until their impatience had induced them
to forsake the God of their fathers. They constructed a golden
calf, and had already commenced to worship it. As Moses came
down, he saw the people with astonishment, sporting and shout-
ing in the midst of their idolatrous services.

Shouted. — reo^ from ruah or r'iah, to cry aloud.
This word is sometimes used in warlike shouts^ as in Josh. vi.
16, and in 1 Sam. xvii. 20 ; sometimes as a shout of joy, in
triumph, as in Judges, xv. 14, and sometimes it signifies to sound
a trumpet^ Num. x. 9. Here it indicates a shout of joy. The
LXX have tcpa^ovroyv kradzqntdn, to croak, to cry out ivith a
great clamor. The Israelites were evidently making an unusual
disturbance, and the outcry may have been really a war shout as
Joshua supposed. Some were for God, and some for the golden
calf The idolaters may have been about to make an attack
upon their brethren who opposed them.

EXODUS, XXXII. 18.

113

Exodus, xxxli. 18.

And lie said, It is not the voice of tliem that
shout for mastery, neither is it the voice of them
that cry for being overcome : but the noise of them
that sin 2: do I hear.

The cause of the shouting among the Israelites to which ref-
erence is made in Ex. xxxii. 17, is here explained. It was " the
noise of them that sing."

Shout. — A word different from that in verse 17, translated
" shouted^'' is here used. It is ^"j^^, ^nbtli^ from XV^^Ji

T T " "

sincf^ to chant., to sing of any one., to celebrate by song, to cry
aloud like soldiers in battle, to shout in triumph. The last is
probably the true definition here. The worshippers of the
golden calf were probably triumphing over the Levites who
seem to have adhered to the worship of the true God. It was
probably a shout of exultation over Jehovah and all of his true
worshippers. It may also have been a kind of war shout or
signal of attack upon the friends of God, as in the preceding
verse.

Cry. — The original of this both in the Ileb. and Septuagint is
the same as that of shout, above ; but signifies here a cry of
fear when one is overcome by an enemy.

Sing. — The same original words are used here as in the two
cases above, though translated differently. "The noise of them
that sing." This was probably a noisy shout of triumph, con-
nected w^ith vociferous singing. It was customary among the
Israelites as well as among other nations in the times of which
we are speaking, to shout before making an attack upon an
enemy (vid. I Sam. xvii. 20, 52; II Chron. xiii. 15; Jer. i. 42).
The same custom prevails at this day among the Cossacks, Tar-
tars, Turks, and our own Indians. Sometimes the Hebrews ad-
vanced to battle singing hymns (II Chron. xx. 21, 22), and the
priests gave the signal by sounding their silver trumpets.

114

HEBEEW DANCING.

Exodus, xxxii. 19.

And it came to pass, as soon as lie came nigh
unto the camp, that he saw the calf, and the danc-
ing : and Moses' anger waxed hot, and he cast the
tables out of his hands, and brake them beneath
the mount.

Dancing. — It appears that there was not only shouting and
singing on the occasion to which reference is here made, but
dancing. This was usually an accompaniment of triumphant
shouting and singing (vid. Rem. on Ex. xv. 20, supra). The
same words are used in the original as in Ex. xv. 20.

LEVITICUS, IX. 24.

115

LEVITICUS, OR THE THIRD BOOK OF MOSES.

IXTRODUCTOEY EEMARKS.

This book is called by the LXX AevtrLKov Leuitihon^
Leviticus^ because it presents a description of the religious
ceremonies, laws, and especially the sacrifices of the He-
brews, the superintendence of which was committed to
Aaron the Levite and his sons, who alone held the priestly
office in the tribe of Levi. The Babjdonish Talmud, fol-
lowed by the Arabic and Syriac versions of the Scriptures,
calls this book the Law of the Priests.

Leviticus was evidently written by Moses, and contains
the history of one month, from the erection of the taber-
nacle to the numbering of the people, who were fit for
war, or from the beginning of the second year after Israel's
departure from Egypt to the commencement of the second
month of the same' year, B. C. 14-90 (cf. Ex. xl. 17, with
Xum. i. 1). AVe cannot ascertain when the laws not re-
lating to sacrifices were promulgated, as the Hebrews have
no chronological works.

The ol)ject of the book is to direct the minds of the
Israelites to the Messiah, by describing the Levitical laws,
sacrifices, and ordinances as " shadows of good things to
come."

Leviticus, ix. 24.

And there came a fire out from before the Lord,
and consumed upon the altar the burnt-offering

116

JEWISH FESTIVALS.

and tlie fat : wliicli wlien all the 23eople saw, they
shouted, and fell on their faces.

It appears that Aaron and those Israelites who were not de-
stroyed on account of their idohatry in worshipping the golden
calf, offered burnt-offerings to appease the Divine displeasure.
!Moses and Aaron went into the tabernacle of the congregation,
and returning, blessed the people. A fire issued from before the
Lord and consumed the burnt-offering upon the altar. When
the people s.iw this wonderful display of the power and glory
of God, they shouted and fell upon their faces in astonishment.

Shouted. — ^'"yU^P'^^\':i fi'om ^y^i fcinun, to give forth a

tremulovs soinid, to shake or trill the voice, hence, to utter inar-
ticulate cries of jcKj, to shout. In this instance, the Israelites
probably shouted for joy, because the Lord had again appeared
merciful to them — ready to forgive their iniquities.

Leviticus, xxlii. 24.

Speak unto the children of Israel, saying, in the
seventh m'.>nth. in the first day of. the month, shall
ye have a saljoath, a memorial of blowing of trum-
pets, an holy convocation.

This passage refers to one of the annual festivals of the Jews.
There were three, viz. : the Passover, the feast of Pentecost, and
that of the Tohernacles. To these ]\Ioses added two others
which were celebrated with great solemnity, though all of the
Israelites wore not required to be present. The first of those
added by Moses, was the Feast of Trun-ipets, and the second,
that of Expiation or Atonement.

In the passage before us, reference is made to the Feast of
Trumpets, which vras celebrated on the first and second days of
the month Tisri (a part of our September and October), which

LEVITICUS, XXV. 9.

117

■was the commencement of the civil year of the Jews. Trum-
pets were blown in the temple with more than usual solemnity,
and from this circumstance the feast took its name (Num. xxix.
1). On this occasion, the people abstained from all labor
(Lev. xxiii. 2.3), and offered special sacrifices to God, as described
in Num. xxix. 1-6.

Blowing of trumpets. — The original word here, is n>"iiri
i^ruah^ from 3?r-| riiah^ the same as that from which the
■word translated" " shouted," in Ex. xxxii. 17, is derived. It
means to cry aloud, and sometimes, to sound a irumjjei, as
in this place. Its literal signification is blowing (trumpets
being implied). In Num. x. 9, the word for trumpets is ex-
pressed (vid. Rem. on Ex. xxxii. 17, supra). It is probable
that the trumpets were blown much of the time during this
feast as it received its name from that circumstance, and as may
be inferred from Num. xxix. 1. Reference is, doubtless, here
made to the straight trumpet. The silver ones constructed by
the command of Closes, were, undoubtedly of the same kind,
and made between the fourteenth day of the first month and the
twentieth day of the second month (Num. ix. 1, 5; x. 11), in
the second year after the Israelites left the land of Egypt, or
about 1489 B. C. Before the twentieth day of the second month
Moses was commanded to make the two silver trumpets and the
probability is that he immediately commenced the work, so as
to have them ready before the Israelites should proceed on their
journey from the wilderness of Sinai (Num. x. 1-12).

The passage under consideration (Lev. xxiii. 24.), refers to a
feast which was to be celebrated the seventh month of the same
year. The trumpets were undoubtedly ready before that time,
so that the reference must have been to the straight trumpets.

LEviTicrs, XXV. 9.

Tlien shalt tliou cause tlie trumpet of the jubilee
to sound, oil the tenth clay of the seventh month, in

118

YEAR OF JUBILEE.

tlie day of atonement sliall ye make tlie trumpet
sound tlirougliout all your land.

This passage refers to a special festival of the Jews. Besides
their annual feasts they had two extraordinary ones, viz : the
Sabbatical year and the year of jubilee. Every seventh year was
considered as a sabbatical one and was carefully observed as
such. Every seventh sabbatical year was the year of jubilee.
This was kept as a Sabbath and considered more solemn and im-
portant than the sabbatical year. It is the year of jubilee to
which reference is made in the passage before us. At the com-
mencement of the year the jubilee trumpet was sounded through-
out the land.

Trumpet. — '^gV^^) shophdr, the same word which is used in
< -

Ex. xix. 16, and evidently referring to the crooked trumpet^ made
of the horn of an ox or ram. It was first made of the former and
afterwards of the latter (vid. Rem. on. Ex. xix. 16). In the latter
part of the verse reference is made to the same instrument.

NUMBERS, X. 2.

119

NUMBERS, OR THE FOURTH BOOK OF MOSES.

INTRODUCTORY REMARKS.

The Alexandrine translators call tliis book API0MO1
ai^ithmoi^ numbers^ and the Latin translators, Numeric num-
hers. This term is adopted in our English version. It was
probably written by Moses on the plains of ^foab (xxxvi.
13), just before his death, about 1451 B. C. The last event
narrated in the book occurred during the time which
elapsed between 1152 and 1151 B. C, and it must, of
course, have been after the occurrence of the events de-
scribed that their history was written. But the death of
Moses is supposed to have occurred near the close of the
year 1451 B. C. Therefore it is very probable that the
lawgiver composed this book some time during that year.
It contains a history of the Israelites from the beginning
of the second month of the second year after the departure
from Egypt to the commencement of the eleventh month
of the fortieth year of their journeyings, which was a period
of thirty eight years and nine or ten months (cf Num. i.,
and xxxvi. 13 with Deut. i. 3). Most of the events re-
corded, occurred in the second and thirty-eighth years of
that peroid. The dates of the events described in the
middle of the book, cannot with certainty, be determined.

Numbers, x. 2.

Make thee two trumpets of silver ; of a whole
piece shalt thou make them ; that thou may est use

120

HEBREW SILVER TRUMPETS.

tliem for tlie calling of tlie assembly, and for the
journeying of tlie camps.

Trumpets. — There seems to have been a great improvement in
the trumpets here mentioned. God commanded that two should
be made of silver. They are designated by a Hebrew term dif-
ferent from any which we have previously considered. It is
til!^i^n hli^Ubh^i-oth^ a verbal noun from *i^n l^hatsdr^ the

: - : - T "

same as the Arabic hh^tsdr^ to be 2^resent. In the Hebrew

Pael conjugation, it signifies, to call together^ which was done
by a trumpet. Hence, it was subsequently used to signify the
instrument itself The sound of the word in pronunciation was
doubtless intended to imitate the sound of the instrument, like
the Latin taratantara and the German trarora. It appears that
this instrument was used particularly for calling together an as-
sembly, and as a signal for the moving of the camps of Israel,
as in the case before us.

The silver trumpet was to be blown only by the priests
(Num. X. 8 ; 1 Chron. xv. 24). T. H. Home believes this to be
the straight trumpet. Jahn remarks that it was decidedly differ-
ent from the shophqr and was made of metal. Josephus asserts
that it w^as straight, about an ell {cubitus) in length and a little
thicker than a flute. In this form are four hatsotseras in the
sports (Annal. Syr. Table xviii) engraved on two coins. The
following cut (Fig. XXXI) is a representation of two of them
(vid. p. 109, supra). The opening at the top is sufficiently large
for blowing conveniently with the mouth ; but at the bottom it is

Fig. XXXI.

larger and bell shaped like our
trumpet.

Two Hebrew Hntmtseraa, or Straight
Trumpets engraved on an ancient coin.

The following cut (Fig.
XXXII) represents another an-
cient coin, just mentioned, ta-
ken from the " sports,'' contain-
ing two more trumpets similar
to those given above.

NUMBERS X. 4.

121

Jahn does not doubt that

Fig. XXXII.

Two other ITatsotneras, or Straight Trurti-
pets engraved on another ancient coin.

silver trumpets of Moses were
of this kind. Josephus in-
forms us that Solomon in-
creased the number of these
instruments to 200,000 (Ant.
viii. iii. 8). They seem to
have been constructed of one
piece of silver, and without
holes for the fingers as in
modern trumpets,

Numbers, x. 3.

And when they shall blow with them, all the as-
sembly shall assemble themselves to thee at the
door of the tabernacle of the congregation.

Blow. — :i3?pfl ictq^H, from 5?pJ^ io strike^ to strike the trum-

pet^ i. e., to give a blast. A different word in the original was
used when an alarm was to be sounded. Gesenius thinks that
there was but one blast when the people were to be called to-
gether, as in this place.

Numbers, x. 4.

And if they blow but with one trumpet, then the
princes, which are heads of the thousands of Israel,
shall gather themselves unto thee.

Blow. — The same original word is here used as in the pre-
ceding verse, indicating according to Gerenius, that there was
but one blast. Trumpet is supplied in the translation and does
not appear in the Hebrew. Reference is made to the same
species of trumpet as in the previous verse. It appears that the
6

122

TRUMPET BLASTS OF ALARM.

Israelites gave various signals \yith these instruments. One blast
of the trumpets called the assembly together as we have inti-
mated— one blast of one trumpet called together the princes of
thousands, and other signals indicated the time for marching and
for alarms.

NUMBEES, X. 5,

When ye blow an alarm, tlien the camps tliat lie
on the east parts shall go forward.

Here was another signal given by the trumpet for a ^;a?7 of
the people to move forward.

Bloiv an alarm. — The original of " hloiv^'"^ is derived from the
same Hebrew word as that of " blow,'^'' in the two preceding
verses. The original of the word " alarm'"' is n^^UTl

at:

which in Ex. xxxii. 17, means a shout of joy (vid. Rem. on xxxii.
17), and in Lev. xxiii. 24, the hloiving or sounding of trumpets (vid.
Rem. on that passage). Here it seems to mean a sounding of
trumpets in a peculiar manner, perhaps louder and more suddenly
than usual, something like .a war-sound, so as to raise an alarm.
The Septuagint has (37]\iaoiav seemasian^ signal^ alarm.

NUMBEES, X. 6.

"When ye blow an alarm the second time, then
the camps tliat lie on the south side sliall take
their jom^ney: they shall blow an alarm for their
journeys.

Blow an alarm. — The same original words are used here as
in the preceding verse, and it is reasonable to conclude that the
same kind of signal was given ; but it was distinguished from
the other, in that it was the second blast of alarm. A similar

NUMBERS X. 6.

123

expression occurs in the last p.irt of the verse, the original
word being the same excepting that the person is changed.

" They shall blow an alarm.''' — The Alexandrine translators sup-
plied what they supposed to be the ellipsis, and instead of say-
ing, " They shall blow an alarm for their journeys ;" rendered the
phrase as follows : " Ye shall blow an alarm the third time,
then the camps that lie on the west side shall take their journey,
and ye shall blow an alarm the fourth time, then the camps that
lie on the north side shall take their journey : they shall blow
an alarm for their journey." It is probable that there was a
special sound of alarm for each division that moved forward.
While the Israelites were in the wilderness the form of their
camp according to Num. ii,, seems to have been quadrangular,
having three tribes on each side, under one general standard, but
so arranged as to inclose the tabernacle, which stood in the centre.
The priests and Levites pitched four smaller camps between the
four principal ones and the tabernacle. Moses, Aaron, and his sons,
who were the ministering priests and had charge of the sanctuary,
pitched their camp on the east side of the tabernacle, near its en-
trance. Every family and household had their particular en-
signs, under which they marched or encamped. The Eabbins
inform us that the standard of Judah was a lion, that of Reuben
the figure of a man, of Ephraim an ox, and of Dan an eagle with
a serpent in his talons, but this is mere conjecture. It is far
more probable that they had standards with the names of their
respective tribes embroidered in large letters upon them. The
Jewish encampment was arranged in excellent order. The fol-
lowing diagram from Dr. A. Clarke gives a tolerably correct
view of it. It will be observed that the Tabernacle is in the
centre; Moses, Aaron, and the Priests are encamped immedi-
ately east of the sacred enclosure ; the Merarites on the north,
the Gershonites on the west, and the Kohathites on the south.
A little farther distant on the east stand the hosts of Judah, on
the north Dan, on the west Ephraim, and on the south Reuben.
Farthest from the Tabernacle, in the same order, stand the
Grand Divisions.

124

PLAN OF THE JEWISH ENCAMPMENT.

EAST.

186,400 men,
First Grand Division.

JUDAH,

74,600.
IssACHAR, and Zebulon,
54,400. 57,400.

p. oi rt

Moses, Aaron,
and the Priests,

'029 S

'saxixoiisa^jc)

•oo^'Qg 'oor/ss

'OOQ'Of'

' 'ugra 00I'80I

The order of march was somewhat similar to that of cara-
vans or assemblages of oriental travelers at the present day. It
was arrranged as follows (vid. Num. x.) : when they were to
remove (the rising of the cloud from the tabernacle being the
miraculous signal) the trumpets were sounded by the sons of
Aaron, and at the first alarm, the standard of Judah was raised
and its three tribes moved forward. Then the Levites took
down the tabernacle, the Gershonites and Merarites (two fami-
lies of the Levites) attending the wagons with the boards, staves,
and other implements. After all of these had commenced
their march a second alarm was sounded by the trumpets and
the standard of Reuben advanced with the three tribes under

NUMBERS X. 7.

125

it. Then the Kohathites (the third family of the Levites) bear-
ing the Sanctuary or Holy of Holies and its utensils, moved on.
This sacred treasure, being regarded as more holy than other
parts of the tabernacle, was not placed in wagons, but carried
upon the shoulders of persons designated for the service. Next,
the standard of Ephraim was raised and the accompanying tribes
advanced. Finally, the three tribes of Dan formed the rear of
the imposing procession. !Moses and Aaron supermteuded the
whole and were careful that everv thinn; was arran"[ed in accord-
ance with the Divine command. Before the silver trumpets
were made, probably the crooked ones were sounded, and as but
two silver ones were at first constructed, perhaps others of the
more ancient kind were used at the same time, until the number
of the straight trumpets was sufficiently augmented. There
must have been something peculiarly grand and terrific in the
march of the Israelites as they moved off, the cloud passing be-
fore them by day and a pillar of fire by night. As the cloud
arose from the tabernacle when they were departing, as the trum-
pets sounded the alarm and as that vast army of more than three
millions marched onward with their banners floating in the
breeze, their appearance must have impressed the beholder with
feelings of awe and admiration.

NUMBEES, X. 7.

But when the cons^reofation is to be feathered to-
gether, }'e shall blow, but ye shall not sound an
alarm.

This is similar to the third verse of this chapter, intimating
that when the congregation was to be assembled, the trumpets
were to be blown, but no alarm sounded.

126

JEWISH TEUMPETERS.

Numbers, x. 8.

And the sons of Aaron, tlie priests, shall blow
with the trumpets ; and they shall be to you for an
ordinance for ever throughout your generations.

Here is evidence of the fact that the sons of Aaron were the
individuals designated to blow the trumpets. The same orig-
inal word is used as in verse second, referring to the straight
instrument.

Numbers, x. 9.

And if ye go to war in your land against the
enemy that oppresseth you, then ye shall blow an
alarm with the trumpets ; and ye shall be remem-
bered before the Lord your God, and ye shall be
saved from your enemies.

It seems that in all cases of calamity and danger from their
enemies the Israelites were to blow the trumpets — blow an alarm
— and Jehovah promised assistance. This was a positive com-
mand, from the observance of which there could not be the
slightest departure without incurring the Divine displeasure.

In the preceding verse it is said that the blowing of the trum
pets should be for an ordinance for ever throughout their gener-
ations, thus intimating that future generations were to observe
the same directions, i. e., that they were to blow the trumpets as
a signal for God to interpose in their behalf.

Numbers, x. 10.
Also in the day of your gladness, and in your

NUMBERS XXI. 17, 18.

127

solemn clays, and in the beginnings of your months,
ye shall blow with the trumpets over your burnt-
offerings, and over the sacrifices of your peace-of-
ferings ; that they may be to you for a memorial
before your God : I am the Lord your God.

There seems to be a reference here to the festivals of the Jews,
The trumpets were to be blown " as a memorial" or to remind
the Israelites that God had promised to bless them provided they
were careful to observe his commandments.

NuMBEKS, xxi. 17, 18.

Then Israel sang this song.

Spring up, 0 well ; sing ye unto it :

The princes digged the well,

The nobles of the people digged it,

By the direction of the Lawgiver, with their staves.

This lyric poetry was sung by the , Israelites, when, during
their journeyings in the wilderness, they had reached Beer or the
Well. It seems to have been a song of joy, in view of the fact
that water had been found. On their way to the promised land
they passed through several dry and sandy deserts where travel-
ers oflen suffer exceedingly from thirst. When the Israelites
were in the desert of Zin (Num. xx) they experienced great dis-
tress from thirst and Moses smote the rock and waters gushed
forth. The desert of Arabia extends from the Red Sea, an arm
of which the children of Israel crossed, to the land of Canaan,
whither they were bound. Moses calls it a " waste, howling
wilderness" (Deut. xxxii. 11. 10). Also, " that great and terrible
wilderness, wherein w^ere fiery serpents, and scorpions, and
drought, where there was no water" (Deut. viii. 15). Jeremiah
calls it " a land of deserts and of pits, a land of drought, and of

128

TERROKS OF AN" EASTERN DESERT.

the shadow of death, a land that no man passed through, and
where no man dwelt" (Jer. ii. 6). The distinguished traveler,
M. Belzoni, after having passed through a desert in Upper Egypt,
on the western side of the Eed Sea, remarks : " Generally speak-
ing, in a desert there are few springs of water, some of them at
the distance of four, six and eight days' journey from one another
and not all of sweet water ; on the contrary, it is generally salt
or bitter ; so that, if the weary traveler drinks of it, his thirst is
augmented, and he suffers more than before. But, when the ca-
lamity happens, that the next well, which is so anxiously sought
for is found dry, the misery of such a situation cannot be well
described. The camels, w^hich afford the only means of escape,
are so thirsty, that they cannot proceed to another well, and if
the travelers kill them to extract the little liquid which remains
in their stomachs, they themselves cannot advance any farther.
The situation must be dreadful and admits of no resource.
Many perish vicii?ns of the most horrible thirsty*

The Israelites were in the great Arabian desert when they ar-
rived at Beer, having suffered many times from thirst and other
causes. Just before they reached this place they had probably
been distressed for want of water, but at last they came to the
favored spot where they could quench their parching thirst. Of
course, the occasion must have been a joyful one, and worthy to
be celebrated with songs of joy. The subject of their rejoicing
seems to have been the discovery of a well, indicating that their
approach to water was the grand cause of their joy.

NuMBEES, xxiii. 21.

He hatli not beheld iniquity in Jacob, neither
hath he seen perverseness in Israel : the Lord his

* Belzoni's Narrative of his Operations and Researches in Egypt, etc.,
pp. 341-3.

NUMBERS XXIX. 1.

129

God is with liirn, and the shout of a king is among
them.

These are the words of Balaam while uttering to Balak what
the Lord had revealed to him concerning Israel. Although Ba-
lak desired Balaam to curse Israel, the latter informed him that
he could not comply with his wishes without Divine permission.
On the contrary, he spoke in the highest terms of the Israelites,
declaring that the Lord was with them and that the shout of a
king was among them.

Shout. — The original word here has the same derivation as
that in Ex. xxxii. 17, translated shouted. It probably means
here a warlike-shout, as in Josh. vi. 16 and I Sam. xvii. 20.

!N"UMBERS, Xxix. 1.

And in the seventh month, on the first day of
the month, ye shall have an holy convocation ; ye
shall do no ser\dle work : it is a .day of blowing the
trumpets unto you.

This refers to an annual festival of the Jews, called the Feast
of the Trumpets.

Blowing the trumpets. — The Hebrew term is Hj^^^STI t^^^f^t

IT :

blowing, the word for trumpets being implied, as in Lev. xxiii.
24 (vid. Rem. on that passage).

NlDIBEES, XXxi. 6.

And Moses sent them to the war, a thousand of
every tribe, them and Phinehas the son of Eleazar
the priest, to the war, with the holy instruments,
and the trumpets to blow in his hand.

130

HEBREW TRUMPETS.

It appears that God directed Moses to take a thousand men
from each tribe of the Israelites and march against the hosts of
Midian. He did accordingly, and sent Phinehas the son of
Eleazar the priest, with the holy instruments to accompany them.

The trum'pets mentioned are doubtless the same as those
named in the tenth chapter of Numbers, as the same original
word is used m both places. They were undoubtedly the straight
trumpets.

DEUTEROXOMY, OR THE FIFTH BOOK OF MOSES.

IXTRODUCTORY RElNrARKS.

The term Deuteronomy is taken from the Greek AETTE-
PONOMION, deuteronomioii, signifying the second law. It
was thus called because it contains a second statement of
the laws which Moses had formerly promulgated to the Is-
raelites. By comparing Deut. i. 1, 5, with Deut. xxxiv. 1,
5, it appears that the Lawgiver wrote the book just before
his death, while on the plains of Moab. From the fact that
his death is recorded in the last chapter and that some ex-
planatory words are inserted in other parts of the book, it
has been maintained by some that Moses could not have
composed it, as he could not have recorded his own death.
But it should be observed that his narration evidently con-
cludes with the thirty-third chapter, and the thirty-fourth
was undoubtedly added to complete the history. The first
eight verses of it were probably written by his successor,
Joshua, immediately after Moses' death, and the last four
by some later historian, probably Samuel, Ezra, or some
prophet who succeeded Samuel. It should also be noticed
that, what is now the last chapter of Deuteronomy, was
formerly the first chapter of Joshua. It was placed at the
end of the former as a kind of supplement to the book.

Deuteronomy comprises the transactions in reference to
the Israelites daring five lunar weeks, or, according to some
chronologists, two months, from the first day of the elev-
enth month of the fortieth year after their departure from
Egypt, to the eleventh day of the twelfth month of the
same year, or B. C. 1451.

132

EASTERN" POETRY AND MUSIC.

The object of tlie book seems to have been to repeat to
the Israelites, before their great Lawgiver should leave
them, the principal enactments which God had commanded
them to observe. Moses, with great solicitude, speaks to
his brethren, and endeavors to furnish them with such in-
structions as would best prepare them for the promisee
land to which they were journeying.

■ Deuteeot^omy, xxxi. 19.

NoTV therefore write ye tliis song for you, and
teach it the children of Israel: put it in their
mouths, that this song may be a witness for me
against the children of Israel.

In this book there are no references to musical instruments
and few allusions to music.

Song. — The original word is l^^i'^tl) ^ong, the same as

that used in Num. xxi. 17 and translated song. Here it refers
to Moses' directions to the Israelites just before his death, in re-
spect to the regulations of their lives. These instructions were
probably sung and their recital accompanied by instrumental
music. "VVe learn from history, that in the early ages of Greece,
poetry and music always accompanied each other. Prophecies
and even speculative dogmas were sung.* It was so to some
extent among the ancient Hebrews. David's poetry contains
many moral precepts and laws for the direction of the Israelites.
The same was true in respect to Moses. Song^ in the latter part
of the verse as in the first part, refers to Moses' farewell address.

* Athenseus, a distinguished Greek historian, informs us that anciently all
laws Divine and human, exhortations to virtue, a knowledge of what concerned
the gods and heroes, the lives and actions of illustrious men, were written iu
verse, and sung publicly in chorus to the sound of instruments.

DEUTERONOMY XXXI. 21, 22, 80.

133

Deuteroxomy, xxxi. 21, 22, 30.

And it shall come to pass, wlien many evils and
troubles are befallen them, that this song shall tes-
tify against them as a witness ; for it shall not be
forgotten OHt of the mouths of their seed: for I
know their imagination which they go about, even
now, before I have brought them into the land
which I sware.

Moses therefore wrote this song the same day,
and taught it the children of Israel.

And Moses spake in the ears of all the congrega-
tion of Israel the words of this song, until they were
ended.

The term song^ found in each of these verses, refers to Moses'
last song and address, and needs no firther exphmation.

Deuteeoxomy, xxxii. 44.

And Moses came and spake all the words of this
song in the ears of the people, he, and Iloshea the
son of Xun.

This again refers to the Lawgiver's farewell address, which
immediately precedes. That discourse or prophetic ode (con-
tained m Deut. xxxii. 1-43), as we have already intimated, is
evidently lyric poetry and was probably accompanied in its de-
livery by instrumental music.

Deuteronomy is the closing book of the Pentateuch, and con-
tains a history of the grand events which occurred upon the earth
during the first 2500 years of its existence. We have also, in

134 CLOSE OF THE PENTATEUCH.

these writings, an imperfect and fragmentary history of mUvSic
and musical instruments during the period which ehipsed be-
tween 2844 B. C. and the latter part of the year 1451 or begin-
ning of 1450 B. C. We find that during this time, various mu-
sical instruments were used by the Hebrews. They seem to
have been familiar with the harp^ organ or pipe of Pan (vid. Ex,
XV. 20), iahret or tambourine^ horn or crooked trumpet made of
cows' or rams' horns, and the straight trumpet — five instruments,
contained in the three grand classes, viz : stringed^ wind, and
percussion instruments. It is probable that there were varieties
under these general classes, which are not mentioned in the sa-
cred text. ^Yhen Miriam the prophetess and all the females
among the Israelites went out with timbrels in their hands (Ex.
XV. 20), it is probable that they had varieties of that instrument
differing more or less from each other. They had at least two
kinds of trumpets, viz., crooked, including two varieties (cows'
and rams' horns), and straight trumpets.

There are also in the Pentateuch various allusions to vocal
music sho\\ing that the children of Israel were familiar with that
as well as with instrumental music. Tliere are, in those remark-
able w ritings about thirty passages which relate to vocal or in-
strumental or both vocal and instrmental music. There are also
a few references to religious dances.

HISTORICAL BOOKS.

135

HISTORICAL BOOKS OF THE OLD TESTAMEXT.

IXTEODUCTORY REMARKS.

The twelve historical books, including Joshua, Judges,
Ruth, First and Second Samuel, First and Second Kings,
First and Second Chronicles, Ezra, Xehemiah, and Esther,
immediately follow the Pentateuch, and contain a record
of the events which occurred during about one thousand
years, from the death of Moses, in the latter part of the
year B. C. 1451, to the time of the great national reform
effected by Xehemiah after the Jews had returned from
captivity, about -120 years B. C.

These books are important to aid in understanding
other parts of the sacred volume. Many references in the
prophecies and psalms are here explained. There are
also various incidental notices in these histories, in refer-
ence to the state of surrounding nations, which is a matter
of great importance, from the fact that, before the time of
Ezra and Xehemiah (the latest Jewish historians), little, if
any dependence can be placed upon the narratives of
heathen writers. The two earliest profiine histories extant
are those of Herodotus and Thucydides, whose authors
were contemporary with Ezra and Xehemiah, and could
not with any certainty describe events which occurred
long before their time. . The historical books of the Old
Testament should not be considered merely as containing
an account of the Jews, but also as clearly iUustrating the
dealings of God with the whole human fi\mily. They
furnish a melancholy but impartial view of the depravity
of the human heart, as well as of the faithfulness of God

136

THE BOOK OF JOSHUA.

in fulfilling his promises to his people, and his willingness
to extend mercy to the returning penitent. They exem-
plify the excellence of the Christian religion, and its ten-
dency to promote the happiness of those who confide in
it, both in this life and that which is to come.

They have occasional references to music, both vocal
and instrumental. Several new instruments are mentioned
showing that the art of music continued to be cultivated,
and that improvements were gradually made in it.

THE BOOK OF JOSHUA.

IKTEODUCTORY REMARKS.

This book takes its name from Joshua, the son of
Nun, whose achievements it narrates. That Israelitish
chieftain had been the prime minister of Moses, and suc-
ceeded him in the command of the Hebrews. Gerhard,
Diodati, Huet, Aller, Bishops Patrick, Tomline, and Gray,
and Dr. A. Clarke, suppose that the book of Joshua is
very ancient, and was originally composed by him whose
name it bears.

Dr. Lightfoot ascribes it to Phineas, Calvin to the high
priest Eleazar, Henry to Jeremiah, and Moldenhawer
and Yan Till, to Samuel. It is somewhat uncertain who
was its author ; still it appears to have been written before
the seventh year of David's reign (B. C, 1212 ; cf Josh.
XV. 63, with ii, Sam. v. 5-8), showing that Ezra could
not have been its author, as some suppose, for he lived
long after that time.

It comprises the history of about seventeen, or, as some

JOSHUA VI. 4.

137

tliink, twenty-seven or thirty years. It should always be
connected with the Pentateuch, as it seems to be a con-
tinuation and completion of those writings. The latter
presents a history of the acts of the great Hebrew legisla-
tor and the laws upon which the commonwealth was
established. The book under consideration contains the
history of Israel under the command and government of
Joshua ; the conquest of Canaan, and its division subse-
quently among the Israelites, and the provision made for
the settlement and establishing of the Jewish congregation
in Canaan.

The design of the writer seems to have been to exhibit
the faithfulness of God in the fulfilment of his promise to
the patriarchs, that the children of Israel should possCvSS
the land of Canaan ; also, to show forth the divine power
and mercy as displayed in cherishing, protecting, and de-
fending his people amid all of the afflictions which they
were called to endure. There are several references to
music in the book, which we shall consider in their
proper places. Most of the events here recorded occurred
after Moses' death ; but some of them probably transpired
during the year 1450 B. C.

Joshua vi. 4.

And seven priests shall bear before the ark seven
trumpets of rams' horns : and the seventh day ye
shall compass the city seven times, and the priests
shall blow with the trumpets.

Trumpets of rams^ horns. — The Heb. is t^blZll'^rT rillSltl'

shopheroih hdyyohhH'im^ trumpets of rams'' horns, jubel horns,
or trumpets ; i. e., the same kind of trumpets as those used at

138

JUBILEE TRUMPET.

the jubilee. Sometimes "^Sl'tlJ shophar alone means crooJced

trumpet (Ex. xix. 16). Also some form of Q^bill'^in hdyyoh-
hH'im^ is used to denote the crooTced trumpet^ without the help
of any other word (Ex. xix. 13), but usually "^X^^ qeren, horn^
precedes it. Here both words are employed and may properly
be rendered trumpets of rams' liorns^ as above. The expression
t]"^blIli*^Jl tlllSllli shophhoih hdyyobhHtm^ is evidently used
in the same sense as Q^i^nl'^n 'J^lp' hayyohhHlm ;^ i. e.,

horn of the Jubilee^ or Jubilee trumpet. The manner in which
the Israelites marched around Jericho, preceded by seven priests
bearing seven trumpets before the ark, must have been pecu-
liarly solemn and imposing. They were to pass around the
city once a day for seven days in succession, and on the seventh
to encircle it seven times, and the priests were to blow with
their trumpets. The Hebrew word, translated trumpets in the
latter part of the verse, is shoph^roth, evidently referring to the
same instruments as those mentioned in the first part of the
verse.

Joshua vi. 5, 6, 8, 9, 10, 13, 16, 20.

5 And it shall come to pass, that when they make
a long hlast with the ram's horn, and when ye hear
the sound of the trumpet, all the people shall shout
with a great shout ; and the wall of the city shall
fall down flat, and the people shall ascend up every
man straight before him.

6 And Joshua, the son of Nun, called the priests,
and said unto them. Take up the ark of the cove-
nant, and let seven priests bear seven trumpets of
rams' horns before the ark of the Lord.

* Comp, the original of Joshua vi. 6 with this passage. Vid. also Ge-
senius' opinion, p. 110 swpra.

JOSHUA VI. 5, 6, 8, 9, 10, 13, 16, 20. 139

8 And it came to pass, when Joshua had spoken
unto the people, that the seven priests bearing the
seven trumpets of rams' horns passed on before
the Lord, and blew with the tninipets: and the
ark of the covenant of the Lord followed them.
9 And the armed men went before the priests that
blew with the trumpets, and the rere-ward came
after the ark, the priests going on, and blowing
with the trumpets. 10 And Joshua had commanded
the people, saying. Ye shall not shout, nor make
any noise with your voice, neither shall any word
proceed out of your mouth, until the day I bid
you shout ; then shall ye shout.

13 And seven priests bearing seven trumpets of
rams' horns before the ark of the Lord went on
continually, and blew with the trumpets : and the
armed men went before them ; but the rere-ward
came after the ark of the Lord, tlie priests going
on, and blowing with the trumpets.

16 And it came to pass at the seventh time, when
the priests blew with the trumpets, Joshua said
unto the people. Shout ; for the Lord hath given
you the city.

20 So the people shouted when the priests blew
with the trumpets : and it came to pass, when the
people heard the sound of the trumpet, and the peo-
ple shouted with a great shout, that the wall fell
down flat, so that the people went up into the city,
every man straight before him, and they took the
city.

140

TEUMPET BLAST.

These verses refer to the same event ^vhich is mentioned in
Joshua vi. 4.

This is a remarkable instance in which the power of God was
manifested by the instrumentality of feeble means. The Is-
raelites marched around Jericho thirteen times, blowing their
rams' horns, and finally shouted, when the walls of the city im-
mediately fell to the ground, thus strikingly exhibiting to the
enemies of Jehovah his irresistible power and willingness to
bless his people Israel.

Verse 5. Long blast. — This is similar to the expression
soundeth long!!'' in Ex. xix. 13. The occasions upon which
both were uttered were very solemn. In the former, Jehovah
was about to descend upon Mount Sinai and deliver, through
his servant Moses, to the children of Israel, his holy law. When
the trum'pet sounded long^ the people were to draw near to the
Mount. The sounding of the trumpet in a peculiar manner was
a signal, indicating that the Lord was about to perform some
memorable achievement. In the case before us, after all other
preliminary arrangements had been made, the seven priests
were to sound a long blast with their trumpets, as a signal for
the people to shov.t^ for the walls to fall, and for the city to sur-
render— a signal indicating that Jehovah was about to make
some striking manifestation of his power.

Yobhel is here used (verse 5), and a little further on, in the
same verse, shophar for the same instrument, showing that they
were often interchanged with each other.

Shout with a great shout. — This evidently refers to a war
shout. When the trumpets should sound a long blast, the peo-
ple were to utter the war shout and rush on to victory. Prob-
ably the trumpets continued sounding after the Israelites shout-
ed, as it Avas customary in those early times for armies, when
they were about to attack their enemies, to make as much noise
as possible by shouting and sounding instruments of music
(vid. Rem. on Ex. xxxii. 17). Shout has the same signification
in verses 10, 16, and 20. The term translated trumpets, oc-
curring in verses 6, 8, 9, 13, 16, and 20, is either yobhel or

JOSHUA VI. 5, 6, 8, 9, 10. 13, 16, 20.

141

sJioph'-'r^ and the connection shows that they were the same in-
struments as those mentioned in verse 4, viz., the crooked trum-
pets. There are no more references to music in the book of
Joshua. All of the allusions to it are to the crooked trumpet,
although silver straight ones had been made before that time.
The latter, however, were considered as sacred, and were used in
the temple and on religious occasions, while the former were
employed principally in war.

142

JUDGES III. 27.

THE BOOK OF JUDGES.

IXTRODUCTORY RE:MAIIKS.

This book contains the history of the Israelites from
the death of Joshua, 1M3 B. C, to the time of Eli, about
1146 B. C, comprising a history of nearly 300 years (some
make it a few years longer) under the administration of
thirteen judges, whom God raised up on special occasions
to deliver his people from their enemies, and to direct
their civil and ecclesiastical polity. The Judges frequently
acted by divine suggestions, and were endowed with pre-
ternatural strength and fortitude (cf Judg. ii. 18 ; vi. 14,
34; xi. 29; xiv. 6, 19), though they sometimes abused those
endowments. The preternatural gifts of God we believe
are as liable to abuse as those w^hich he bestows in the
ordinary course of nature. There is some difference of
opinion in reference to the time when this book was writ-
ten ; but it was evidently composed before David captured
Jerusalem (cf II Sam. v. 6, with Judges i. 21).

The prophet Samuel, the last of the judges, was prob-
ably the author. There are in tbe book several allusions
to music, though no new instruments are mentioned.

Judges iii. 27.

And it came to pass when he was come, that he
blew a trumpet in the mountain of Ephraim, and
the children of Israel went down with him from
the mount, and he before them.

JUDGES V. 1-31.

143

It appears that Ehud, of the tribe of Benjamin, had delivered
the Israelites from the tyranny of Eglon, king of the Moabites,
by taking the life of that haughty monarch. Ehud then fled to
Seirath, and blew a trumpet in the mountain of Ephraim. It
seems that the blowing of that instrument was a signal for the
Israelites to revolt. They immediately assembled, and deter-
mined to follow their leader. They did so, and conquered the
Moabites. The trumpet which that revolutionary chieftain blew
was doubtless the crooked^ war-trumpet.

Judges y. 1-31.

1 Then sang Deborah, and Barak, the son of Abi-

noam, on that day saying,

2 Praise ye the Lord for the avenging of Israel,
When the people willingly offered themselves.

3 Hear, O ye kings ;
Give ear, O ye princes :

I, even I, will sing unto the Lord ;

I will sing praise to the Lord God of Israel.

4 Lord, when thou wentest out of Seir,

When thou marchedst out of the field of Edom,
The earth trembled, and the heavens dropped,
The clouds also dropped water.

5 The mountains melted from before the Lord,
J^veii that Sinai from before the Lord God of

Israel.

6 In the days of Shamgar, the son of Anath,
In the days of Jael,

The highways were unoccupied.

And the travelers walked through by-ways.

7 The inhabitants of the villages ceased,

144

SONG OF DEBORAH AND BARAK.

They ceased in Israel,
Until that I, Deborah, arose,
That I arose a mother in Israel,

8 They chose new gods ;
Then was war in the gates :

Was there a shield or s]3ear seen among forty
thousand in Israel ?

9 My heart is toward the governors of Israel,
That offered themselves willingly among the

people.
Bless ye the Lord.

10 Speak, ye that ride on white asses,

Ye that sit in judgment, and walk by the way.

11 They that are delivered from the noise of arch-

ers

In the places of drawing water,
There shall they rehearse the righteous acts of
the Lord.

Even the righteous acts toward the inhabitants

of his villages in Israel :
Then shall the j)eople of the Lord go down to

the gates.

12 Awake, awake, Deborah :
Awake, awake, utter a song :

Arise, Barak, and lead thy captivity captive,
Thou son of Abinoam.

13 Then he made him that remaineth have domin-

ion over the nobles among the peo]3le :
The Lord made me have dominion over the
mighty.

JUDGES V. 1-31.

145

14 Out of Ephraini loas there a root of them against

Amalek ;

After thee, Benjarain, among thy people;
Out of Machir came down governors,
And out of Zebulun they that handle the pen
of the writer.

15 And the princes of Issachar were with Deborah ;
Even Issachar, and also Barak:

He was sent on foot into the valley.
For the divisions of Beuben there were great
thoughts of heart.

16 Why abodest thou among the sheep-folds,
To hear the bleatings of the llocks ?

For the divisions of Reuben tliere were great
searchini2f3 of heart.

17 Gilead abode beyond Jordan :
And why did Dan remain in ships ?
Asher continued on the sea-shore,
And abode in his breaches.

18 Zebulun and Xaphtali loere a people that jeop-

arded their lives unto the death
In the high places of the field.

19 The kings came and fought,

Then fought the kings of Canaan in Taamach

by the waters of Megiddo ;
They took no gain of money.

20 They fought from heaven ;

The stars in their courses fought against Sisera.

21 The river of Kishon swept them away,

That ancient river, the river Kishon.
7

146

SONG OF DEBORAH AND BARAK.

O my soul, thou liast trodden down streugtli.

22 Tlien were the liorse-lioofs broken by the means

of the prancings,
The prancings of their mighty ones.
Curse ye Meroz, said the angel of the Lord,

23 Curse ye bitterly the inhabitants thereof;
Because they came not to the help of the Lord,
To the help of the Lord against the mighty.

24 Blessed above women shall Jael the wife of
Heber the Kenite be,

Blessed shall she be above women in the tent.

25 He asked water, and she gave hi?n milk:
She brought forth butter in a lordly dish.

26 She put her hand to the nail.

And her right hand to the workman's hammer ;
And with the hammer she smote Sisera,
She smote off his head,

When she had pierced and stricken through his
temples.

27 At her feet he bowed, he fell, he lay down :
At her feet he bowed, he fell :

Where he bowed, there he fell down dead.

28 The mother of Sisera looked out at a window.
And cried through the lattice.

Why is his chariot so long in coming ?
Why tarry the wheels of his chariots ?

29 Her wise ladies answered her,
Yea, she returned answer to herself,

30 Have they not sjDed ?

Have they 7iot divided the prey ;

JUDGES y. 1-31.

147

To every man a damsel or two ;
To Sisera a prey of divers colors,
A prey of divers colors of uee die-work,
Of divers colors of needle-work on both sides,
Meet for the necks of tlieni tliat tcike the spoil ?
31 So let all thine enemies perish, O Lord :
But let them that love him he as the sun
"When he o^oeth forth in his mio'ht.

This is a song of triumph by Deborah, a judge of Israel
(the only female ^\-ho was ever elevated to that office), and
Barak, her general, who had delivered her people from the
Canaanites (Judges iv. 5). The children of Israel had been
oppressed twenty years by Jabin, king of Canaan, whose cap-
tain was the notorious Sisera. Being thus remarkably deliv-
ered from their enemies, it was a suitable occasion on which to
triumph and celebrate their victory by song. Deborah was a
prophetess, and doubtless received intimations from Jehovah
that she must march against Jabin (Judges iv. (»). She seems
to have been divinely inspired in the utterance of this tri-
umphal ode. Bishop Lowth considers it as an admirable speci-
men of the sublime. The remarkable display of the divine
majesty which had been witnessed by the Israelites on Mount
Sinai, is described in verses fourth and fifth, in beautifully
poetic language, and is impressively contrasted with the divine
interposition in behalf of Israel. K\\ nature had been con-
vulsed by the presence of the Most High. The thunders
roared, the lightnings flashed, the torrents rushed from the
clouds, the mountain quaked and melted from before the
Loijd.

This ode is a specimen of lyric poetry. It was mng^ ac-
companied, probably, by musical instruments.

In the first, third and twelfth verses the Hebrew word usually
translated to sing is employed. In the third verse the expres-

148

SONG OF DEBOEAH AND BARAK.

sion I luill sing ''^ occurs twice and is expressed by different
Hebrew words. First, the common Hebrew term denoting
song ^^^^^^'(!)? employed, but in the other case '^TSfi^

T • T " " .. - -:

^zartimer. This is from *|)2T ^^f^*^^ whose secondary significa-
tion is to sing. Sometimes it refers to instrumental music
(vid. Ps. xxxiii. 2 ; Ixxi. 22 ; Dan. iii. 5, 7, 10, 15) ; but it is
not certain that it does here (cf Rem. on Ex. xv. 2 supra),
though the Alexandrine translators express the term by i/jaAw
psalo, from if)aXX(o psallo, to touch, to cause to move (the strings
of a musical instrument). It is possible that the word here re-
fers to playing on the harp or some other stringed instrument.
Such, undoubtedly, were employed at that time, and must have
accompanied this song, whatever may be the meaning of
zamar.

Judges, vi. 34.

But the spirit of the Lord came upon Gideon,
and he blew a trumpet ; and Abiezer was gathered
after him.

It appears that Gideon was directed by Jehovah to deliver
the children of Israel from the Midianites, by whom they had
been oppressed during seven years. Accordingly, he called to-
gether his army for the purpose, by the sound of the trumpet.
This was the war-trumpet, or shophar.

Judges, vii. 8, 16, 18, 19, 20, 22.

8 So the people took victuals in their hand, and
their trumpets : and he sent all tJie rest of Israel
every man unto his tent, and retained those three
hundred men: and the host of Midian was be-
neath him in the valley.

JUDGES VII. 8, 16, 18, 19, 20, 22. 149

16 And lie divided the three hundred men into
three companies, and he put a trumpet in every
man's hand, with empty pitchers, and lamps within
the pitchers.

18 When I blow with a trumpet, I and all that
are with me, then blow ye the trumpets also on
every side of all the camp, and say. The sword of
the Lord, and of Gideon. 19 So Gideon, and the
hundred men that loere with him, came unto the
outside of the camp in the beginning of the middle
watch ; and they had but newly set the watch :
and they blew the trumpets, and brake the pitch-
ers that were in their hands. 20 And the three
companies blew the trumpets, and brake the pitch-
ers, and held the lamps in their left hands, and the
trumpets in their right hands to blow withal 'j
and they cried, The sword of the Lord, and of
Gideon.

22 And the three hundred blew the trumpets;
and the Lord set every man's sword against his fel-
low, even throughout all the host : and the host
fled to Beth-shittah in Zererath, and to the bor-
der of Abel-meholah, unto Tabbath.

This is a striking instance of divine interposition in behalf of
the children of Israel. Gideon's army consisted of only three
hundred men who were to contend with the multitudes of
Midian (vid. Judges, vi. 5).

Gideon's host were directed each to take a trumpet, and a
pitcher containing a lamp, in his hands. They moved towards
the camp of the enemy at the middle watch of the night, and as

150

jephthah's daughtek.

they approached, blew their trumpets, brake their pitchers,
rushed upon the Midianites, and speedil}^ subdued them. The
usual war-shout was uttered. They cried, " The sword of the
Lord and of Gideon.'^'' In each of the verses quoted above,
there is reference to the same instrument of music, viz., the
shophar^ or crooked trumjpet.

Judges, xi. 34.

And Jeplitliali came to Mizpeli unto his house,
and, behold, his daughter came out to meet him
with timbrels and with dances : and she was Ms
only child ; beside her he had neither son nor
daughter.

Jephthah had led a victorious army against the Ammonites,
and was returning in triumph to Mizpeh, the place of his resi-
dence, when his only daughter came out with timbrels and
dances, to welcome him home. The toph is the instrument
here mentioned. Probably there was a company of musicians
with Jephthah's daughter, as there were timbrels and dances^
the plural number being employed. This music seems to have
been similar to that mentioned in Ex. xv. 20 (vid. Rem. on
this passage svj^^ra). Miriam and the female Israelites cele-
brated their victory over Pharaoh at the Red Sea with timbrels
and dances. The same original w^ords are used for those in-
struments as in the case before us. Females generally per-
formed upon timbrels, dancing as they played. In Gen. xxxi.
27, the tabret is mentioned in connection with the harp. La-
ban reproved J acob because he went away privately and did
not give him an opportunity to escort him with songs and in-
strumental music. The same original word for tabret appears
in Gen. xxxi. 27 as in Judg. xi. 34 and Ex. xv. 20, excepting
that in Genesis the singular number is used. It is very possi-
ble that those who accompanied Jephthah's daughter had differ-

JUDGES XXI. 21, 23.

151

ent kinds of instruments, as was usual on such occasions,
l^or further remarks on timbrels and dances, vid. notes on Gen.
xxxi. 27 and Ex. xv. 20.

Judges, xxi. 21, 23.

21 And see, and behold, if tlie daughters of Shiloh
come out to dance in dances, then come ye out of
the vineyards, and catch you every man his wife
of the daughters of Shiloh, and go to the land of
Benjamin.

23 And the children of Benjamin did so, and took
tliem wives, according to their number, of them
that danced, whom they caught : and they went
and returned unto their inheritance, and repaired
the cities, and dwelt in them.

Reference is here made to the custom of dancing at the Jew-
ish festivals. The one to which there is special reference here,
was an annual feast, about to be celebrated at Shiloh (v. 19).
It was usual at those festivals to have dancing, vocal and instru-
mental music. On this occasion, probably, the female dancers
sung and played on timhrels and harps and perhaps other in-
struments.

158

RUTH.

THE BOOK OF RUTH.

IXTRODUCTORY REMAEKS.

This book is generally considered as an appendix to
that of Judges, and an introduction to those of Samuel.
In the ancient Jewish canon Ruth and Judo'es formed but
one book. The events which are here described probably
occurred about 124:1 B. C. It is evident from the gene-
alogy in Ruth iv. 17-22, that the narrative could not have
been reduced to its present form until the time of Samuel ;
and the most probable supposition is, that it was com-
posed by that prophet.

Its object is partly to give the descent of David through
the line of Ruth, a heathen proselyte to the Jewish re-
ligion, and wife of Boaz, whose adoption into the line of
Christ has generally been considered as a preintimation of
the admission of the Gentiles into the Christian church.
The further design of the book is to exhibit the care of
Jehovah over those who fear and sincerely love him, by
elevating pious Ruth from a state of great adversity to
that of the highest prosperity.

There are no allusions here to music vocal or instru-
mental ; but as the history is in realit}^ an appendix to
the book of Judges, this brief notice of it is not perhaps
inappropriate.

SAMUEL.

153

THE TWO BOOKS OF SAMUEL

IXTRODUCTORY REMARKS.

In the Jewish canon the two books of Samuel are both
in one. In the Septuagint they are called the first and
second book of Kings, or of the kingdoms, being two of
the four narratives in which is written the history of the
kings of Israel and Judah. They seem to have been com-
posed by more than one person. The most probable opinion
is, that the first twenty-four chapters of the first book of
Samuel were written by the prophet whose name they
bear, and that the remainder of the first and all of the
second book were prepared by the prophets Gad and ISTa-
than. It is probable that the latter wrote all of the second
book after the fifth chapter. The prophets were accus-
tomed to write memoirs of the transactions of their re-
spective times. Reference is made to such documents in
1 Chron. xxix. 29, as separate books; but it would be
natural to suppose that Ezra, who completed the canon of
Jewish scripture, would throw all the contents of those
memoirs into the two books of Samuel.

The first book contains the history and polity of the
Jewish church from the birth of Samuel 1135 B. C, or,
according to Archbishop Usher, 1271 B. C, to the death
of Saul, 1055 B. C, or, according to Usher, 1219 B. C, a
period of about SO or 52 years. This book is a continu-
ation of the history of the Israelites under Eli and Sam-
uel, the last two judges, and Saul their first monarch, and
gives the reason why their form of government was
changed from an aristocracy to a m^onarchy. It also ex-

154:

SHOUT OF JOY.

bibits the preservation of God's people amid all of their
trials and dangers, and cites remarkable instances of mercy
towards those who have trusted in Jehovah.

1 Samuel, iv. 5, 6.

5 And wlien the ark of the covenant of the Lord
came into the camp, all Israel shouted with a great
shout, so that the earth rans: ao^ain.

6 And when the Philistines heard the noise of the
shout, they said. What meanetli the noise of this
great shout in the camp of the Hebrews ? And
they understood that the ark of the Lord was
come into the camp.

It seems that the Israelites had sinned against God and conse-
quently did not receive divine assistance as they led on their
armies against the Philistines. The latter were victorious, and
succeeded in seizing the ark of the covenant and conveying it to
their own camp. They, however, found it to be a troublesome
and dangerous treasure, and hastened to return it to the Israel-
ites, for the curse of God rested upon them in consequence of
their sacrilege. Many of those who laid their hands upon it
were miserably destroyed.

The children of Israel had been mourning the loss of many
of their number, and especially of the ark of the covenant ; but
when they saw the sacred treasure again returning into the
camp, they were exceedingly rejoiced at this evident token of
the divine favor, and shouted with a great shout. It is probable
that they not only shouted for joy, but accompanied their songs
of praise by instrumental music, in accordance with the custom
on such occasions. In both verses the term shout is expressed
by the same original word.

i samuel x. 5. 155

1 Samuel, x. 5.

After that thou slialt come to tlie hill of God,
where is the garrison of the Philistines : and it
shall come to pass, when thou art come thither to
the city, that thou shalt meet a company of proph-
ets coming down from the high place, with a psal-
tery, and a tabret, and a pipe, and a harp, before
them ; and they shall prophesy.

Reference is here made to Saul whom Samuel had anointed
king. After that ceremony had been completed, Saul was
directed by the prophet to go to Zelzah and Tabor, and then
to the hill of God, where the garrison of the Philistines was
encamped. He was further informed that when he should ap-
proach the city, he would meet a company of prophets coming
down from the high place, with various instruments of music.
When he met them, in accordance with the prediction, he
caught the flame of inspiration and began to prophesy.

This company of seers, probably, came from the schools of
the iiroioliets. Such institutions seem to have been established
by Samuel while he was a judge and prophet in Israel. At
least they are not mentioned before that time. Under the
ministry of Eli, the degeneracy of the priesthood was alarm-
ing, and the spirit of prophesy had become almost entirely
extinct.

These, it is thought, were the leading causes which resulted
in the first establishment of those seminaries, in which there
was ample provision made for the education of those who were
to enter the prophetic office.

These schools were first established in the cities of the Le-
vites, being dispersed through the several tribes of Israel for
the more convenient instruction of the people (vid. 1 Sam. x.

156

SCHOOLS OF THE PROPHETS.

5, 10; xix. 20; 1 Kings ii. 5; xxii. 14). Suitable edifices
were erected for the residences of the prophets, and their dis-
ciples, who were called sons of the prophets. Some venerable
and divinely inspired prophet presided over them, who was
called their father (2 Kings ii. 12). It is probable that Samuel
was the first of those fathers (1 Sam. xix. 20), Elijah an-
other (2 Kings ii. 12), and Elisha the next (2 Kings vi. 1).
The sons of the prophets lived together in a community or
society (2 Kings iv. 38), and were instructed in the principles
of the Hebrew religion, in the knowledge of the law, and in
the sacred art of psalmody. This last is called prophesying
with psalteries, harps, and cymbals (1 Sam. x. 5 ; 1 Chron. xxv.
1, 7). Calmet supposes that these schools continued until the
Babylonish captivity. It is probable that God selected from
them those who were suitable to exercise the prophetic
office and make known to the people his will. The students
or young prophets were frequently dispatched by their instruc-
tors to carry prophetic messages (2 Kings ix. 1). It is a fact
which should be more frequently remembered, that in ancient
times the greatest and best men acquired a knowledge of music,
both vocal and instrumental. It seems that it was an indis-
pensable requisite for the prophets, who were the holiest and
generally the most learned men of their age, to be thoroughly
trained in this sacred art. It was so important that even their
pri3pheeies must be uttered in poetry, and attended by instru-
mental if not vocal music. It is probable that they made great
proficiency in the art, as they spent much time in its study
and practice. David's great masters of music, Asaph, Heman,
and Jeduthun, and his four thousand Levitical performers of
vocal and instrumental music, were doubtless instructed in these
colleges, and must have been very skillful performers, as they
devoted a great part of their lives to the study of the art.
Music and poetry reached a higher state of cultivation under
the reign of David than ever before, and he commenced his
reign soon after the occurrence mentioned in the passage under
consideration.

I SAMUEL X. 5.

157

When those seers prophesied, they probably uttered their
poetic effusions in a chant accompanied by some musical instru-
ments. Hence it is said that they prophesied with " psalteries,
cymbals, and harps" (1 Chron, xxv. 1). Probably some per-
formed on musical instruments while a prophecy was being
uttered. A 'pipe was one of the instruments mentioned in the
passage before us, and the one who performed on it could not
have uttered poetry, as the pipe is a wind instrument blown
with the mouth.

Psaltery. — This is an instrument which does not occur in any
previous passage. The Hebrew term is 5)25 nebhel, originally

signifying a Lottie^ i. e., a leathern bag. It had the form of a pyra-
mid or cone. A secondary meaning of the word is a musical
instriimenf, and, like a bottle, its shape is supposed to have
been that of an inverted cone or delta (y). Its form, it is be-
lieved, suggested its name. The Greek term is vd^?^a nabla_
or vavka naiila, and the Latin, ?iablium. Na/3Aa jiabla, appears
in the Septuagint. Gesenius supposes that it was a species of
harp or If/re. Josephus (Ant. vii. xii. 3) describes it as a
species of harp or lyre, having twelve strings, and played with
the fingers and not with a key. ^y^j^ nehhel asor, a ten

{stringed ) nebhel, in Ps. xxxiii. 2 ; cxliv. 9, would seem to in.
dicate that it was an instrument with ten strings. Jerome in-
forms us that its figure was triangular, resembling an inverted
delta, which also was the form of the harp or sa?nbuca (Vit-
ruv. vi. 1). Dr. Jahn asserts that the Greeks acknowledored
the name of this instrument [nabla) to have been derived from
the Phoenicians. The same learned author remarks, that in the
time of Josephus it had twelve strings. At an earlier period,
however, according to Ps. xxxiii. 2 ; cxliv. 9, it had only ten.
This view is probably the correct one, for the )iebheL like other
stringed instruments, at first had a small number of strings,
and subsequently their number was increased. From the de-
rivation of the name one might suppose that the sounding-
board was in the form of a leathern bag or bottle ; but nebhel

lo8 ANCIENT HEBREW GUITAR.

Fig. XXXIII.

very early signified a vessel of any kind, like doliinn of the
Romans, and the sounding-board was probably a round wooden
dish. Niebuhr saw, in Egypt, an instrument of this kind in
the Nubias (Reis. 1. Th. S. 179). Jahn has given an engraved
profile of it (Kupfertaftel Nro. 1), which we here present.

The belly of this instrument pro-
jects from a round wooden dish, hav-
ing a small aperture beneath. A hide
is drawn over the top of the dish, or,
according to Wansleb. in P. Samml.
iii. 36, " a piece of red leather is
drawn tightly over, which is higher in
the middle than where the strings are
tied." Through this skin or red leath-
er tw^o sticks pass in such a manner*
that, with a third, which is fastened
above to the end of the two in an
oblique direction, they form an in-
verted delta. The strings pass across
the hide on a narrow bridge, and are
made fast to the cross-stick above.
This specimen has but five strings.
Perhaps at first this was the usual
number. Afterwards they were in-
creased to ten and twelve. The He-

Ancient Guitar {\^^ nehhel) i ..i • • ^ . - i

^'^rtf. - ' brews made this instrument not only
of the, Hahrews. ^-j^^ fir-tree, but sometimes of costly

red sandal-wood, or the abnug (2 Sam. vi. 5 ; 1 Kings x. 12).
Josephus and Gesenius, as we have intimated, called the nebhel a
species of harp or lijre. Pfeiffer considers it as properly rep-
resented by the modern guitar. It is difficult to decide pre-
cisely what it was and what modern instrument it most nearly
resembled ; but as the three great classes, viz., harps, lyres, and
guitars, have been discovered among the ruins of Egypt, and
as they must, in all probability, have been, in their general
characteristics, the • representatives of Hebrew musical instru-

I SAMUEL X. 5.

159

mcnts, and as both generally correspond with the three similar
classes of modern stringed instruments, it must follow that
those instruments sculptured on the Egyptian ruins may prop-
erly bear the names of the modern instruments which they
most nearly resemble.

Then let us compare the specimen presented from Jahn,
above, with the three classes of modern stringed instruments,
and ascertain if possible what it should be called. In our Eng-
lish translation it is termed psaltery. Modern instruments of
this kind are flat, in the form of a trapezium or triangle trun-
cated at the top. They are strung with thirteen wire cords,
tuned in unisons or octaves, mounted on two bridges, and
played with a plectrum. The guitar is a stringed instrument,
the body of which is of an oval-like form, and the neck similar
to that of a violin. The strings are distended in parallel lines
from the head to the lower end, passing over the sounding-hole
and bridge. The modern harp consists of a triangular frame,
with cords running parallel from the top to one of the sides.
It stands erect at the feet of the performer, and is played
with the thumb ar^d fingers. This instrument had only three
strings at first, but their number was afterwards increased
to more than thirty. The lyre is considerably like the harp ;
but anciently, according to Passow, it had a deeper sounding-
board or chest.

From these descriptions it is probable that the neljliel more
nearly resembled the ancient and modern guitar than any other
instrument. The harp has no bridge, the psaltery has two, and
the lyre has none ; but the ancient and modern guitar has a
bridge, and but one. It is probable that the ancient guitar and
psaltery, and even the lyre, were improvements upon the harp,
and might be called, without much impropriety, in the language
of Josephus and Gesenius, " a species of harp or lyre." As
Jahn's drawing is like the guitar, he must have considered the
nebhel as best represented by that instrument. It had various
forms, more or less resembling the inverted Greek delta.

160 ANCIENT EGYPTIAN GUITARS.

The following, Fig. xxxiv, are four taken from the ruins of
Egypt.

Fig. XXXIV.

Four Ancient Guitars {nebheU) taken from tlie Ruins of Egypt.

Tahret. — This is probably the timbrel, and the same instru-
ment which is mentioned in Judges xi. 34. It is in the singular
number as in Gen. xxxi. 27, where it evidently indicates more
than one instrument. In the case before us it is probable that
there was more than one timbrel or tabret, as was usually the
case in concerts, though it is possible that there was but one in-
strument . of each kind (for a description of the tabret vid.
Rem. on Gen. xxxi. 27 supra).

Pipe. — The Hebrew of this term is ^^in hhaUl^ a verbal

from i)in ^i^^'fj^f-^, to pierce^ to bore through (Arabic J^),

hence, a pierced or bored instrument, a Jlute^ a pipe. The Sep-
tuagint has avXog aulos, a flute. It was evidently a wind in-
strument. Dr. Jahn supposes tliat it was made out of reed,
horn, bone, or wood, and was used on joyous as well as mourn-
ful occasions. It is probable that the Hebrews, as well as the
ancient Greeks, Romans, and modern Arabians, had several
kinds of this instrument. Niebuhr (vid. Rcis. I Ch. S. 180.
tab. 26) found in Arabia no^ only single but double flutes, both
tubes of which were blown at once, one giving the bass.
Jahn, in table v. and Nr. 11 of his Archa3ulogy, has copied

I SAMUEL X. 5.

161

Fig. XXXV. Niebiilir three specimens of tlic Arabian flute,

the first of which has a mouth-piece ; but the second
has only an opening above, which, according to the
testimony of Niebuhr, is difficult to blow. Perhaps
this last was the 'Z'p>'^_ neqebh, found in Eze. xxviii. 13,
and the others the jiin ^^{'Ji^- The plural ^1*^1
(Ps. V. Tit.) yi^h'iloth, he thinks was used to indicate
the double flute, which was knowTi to the Romans
(Adam's Roman Ant. ii. 633 f). The following, Fig.
XXXV, is a specimen taken from Niebuhr.

The halil was probably different from the vgabh
\ though some suppose them to have been iden-

<^> tical. Villoteau found various kinds of pipes and
flutes sculptured on the ruins of Egypt. The flute
as well as the pipe of Pan was undoubtedly used by
the ancient Hebrews. The following. Fig. xxxvi, are
specimens taken from Egyptian ruins.

These forms of the instrument were, no
doubt, of later origin than that of the ygubh.
The event described in the passage under con-
sideration probably occurred about 1095
B. C, or 2749 years after the ng hh was em-
ployed as mentioned in Gen. iv. 21.

The following, Fig. xxxvii, represents sev-
eral Egyptian flutes, with the performers :

Fig. XXXVII, ^

Fig.
XXXVI.

Four Egyptian Pipes or Flutes.

162

THE WAR-TRUMPET.

Harp. — This is the Manor ^ I'^g^^^V translated Imrj).

The event here described probably occurred about 644 years
after the mention of the same instrument in Gen. xxxi.27. During
so long a period there was ample time for the harp to reach a
high degree of improvement, and it was doubtless far superior
to that mentioned in Genesis iv. 21, or even to the one named in
Gen. xxxi. 27.

1 Samuel xiii. 3.

And Jonatlian smote tlie garrison of tlie Philis-
tines that was in Geba, and the Philistines heard
of it. And Saul blew the trumpet throughout all
the land, saying, Let the Hebrews hear.

Saul had reigned over Israel two years when he commenced
a war with the Philistines. He summoned the Hebrews to the
battle by blowing the crooked or war trumiM. It is said that
Saul blew the trumpet all over the land ; probably indicating
not only that he sounded this instrument himself, but commis-
sioned others to blow and summon the people generally to war.

1 Samuel xvi. 16, 18, 23.

1 6 Let our lord nov/ command thy servants, ivliicli
are before thee, to seek out a man who is a cun-
ning player on an harp : and it shall come to pass,
when the evil spirit from God is upon thee, that
he shall play with his hand, and thou shalt be
well.

18 Then answered one of the servants, and said,
Behold, I have seen a son of Jesse the Bethlehem-
ite, that is cunning in playing, and a mighty valiant

I SAMUEL, XVI. 16, 18, 23.

163

man, and a man of war, and prudent in matters,
and a comely person, and tlie Lord is with him.

23 And it came to pass, when the evil spirit from
God was upon Saul, that David took an harp,
and played with his hand : so Saul was refreshed,
and was well, and the evil spirit departed from
him.

Here is a remarkable instance of the singular effect of music
upon one possessed of an evil spirit. It appears that Saul,
after he had reigned over Israel about thirty -eight years, was
deserted by the Lord and hurled from his throne because he
interfered with the priestly office, did not obey the command
of Jehovah in reference to the destruction of the Amalekites,
and patronized necromancy. David was anointed king, and be-
came Saul's successor. The prophet informs us (1 Sam. xvi.
14) that the spirit of the Lord departed from Saul, and that an
evil spirit from the Lord troubled him. This seems to indicate
that whatever Saul's disease may have been the Lord sent it
upon him on account of his sins. Horne thinks that it was in-
sanity of the melancholic or atrabilarious kind, as it was
termed by the ancient physicians. The fits of madness re-
turned at uncertain periods, as is frequently the case in this
kind of malady (vid. Home's Intro. P. iv. Ch. ix. Sec. 1, 4, Vol.
ii. p. 196, Phil. ed.). In the judgment of experienced physicians,
the remedy which was applied, viz., playing upon the harp, was
a good one. The character of the oriental music was expres-
sive rather than scientific. The unstudied and artless strains
of David certainly calmed the perturbed imagination of Saul.
On one occasion, when messengers, who were sent by the latter
to capture David, heard the sound of musical instruments in
the hands of the prophets, they were influenced by a divine en-
thusiasm and began to prophesy. Saul dispatched persons the
second and third time, and they were similarly affected by the
music. Finally the king himself went, and when he approached

164

POWER OF MUSIC.

the seers, and heard them prophesying, and, doubtless, per
forming on instruments of music, he also joined, and began to
prophesy (1 Sam. xix. 20-24). The prophet Elisha, once be-
ing agitated, caused a minstrel to play, in order to calm his
mind and prepare it for the reception of the divine influence
(2 Kings iii. 15).

These remarkable effects of music would seem to imply great
skill in the performers. The natural effect of sweet and har-
monious sounds is to calm the spirits and elevate the soul.
The pious feelings of the Christian are aroused by music, and
he rejoices to unite in singing spiritual songs. David seems to
have been very skillful in performing upon the harp, being able
to excite the most varied emotions by his joyous and plaintive
strains. Some musicians of modern times, by devoting their
lives to performing upon a single instrument, have been able to
produce astonishing effects. The celebrated Nicolo Paganini, of
Genoa, who is supposed to have been the most skillful perform-
er upon the violin who ever lived, inspired wonder and admira-
tion in all who heard him. He visited Berlin, Paris, London, and
many other great cities in Europe, and all who witnessed his
performances agree in declaring that the violin in his hands be-
came an instrument entirely diff*erent from what they had ever
supposed it could be, and most who heard him agreed in con-
sidering his performances as perfection itself The music of
David's harp, and that of other musical instruments in his time,
seemed wonderfully to calm the mind and prepare it for the re-
ception of the divine afllatus, and for prophesying (vid. Rem.
on 1 Sam. x. 5, supra).

Player on a harp. — Literally, one playwg on a harp. It
appears that Saul sent for David because he was said to be
skilled in performing upon that instrument. This was before
his anger had been kindled against David. When the son of
Jesse came and played (v. 23) Saul's disease entirely left him.
The harp to which reference is here made was the Jcinnor (vid.
Rem. on Gen. iv. 21, supra). Josephus (Ant. B. vii. Ch. xii.
Sec. 3) informs us that it had ten strings, and was struck with

I SAMUEL XVIII. 6, 7, 10.

1G5

a plectrum or key ; but this must be a mistake, as in I Sam.
xvi. 23 ; xviii. 10, and xix. 9, David is said to have played
with his hand.

I Samuel xviii. 6, 7, 10.

6 And it came to pass as they came, when David
was retm^ned from the slaughter of the Philistine,
that the women came out of all the cities of Israel,
singing and dancing, to meet king Saul, with tab-
rets, with joy, and with instruments of music.
7 And the women answered one another as they
played, and said, Saul hath slain his thousands, and
David his ten thousands.

10 And it came to pass on the morrow, that the
evil spirit from God came upon Saul, and he
prophesied in the midst of the house : and David
played with his hand, as at other times : and there
luas a javelin in Saul's hand.

It seems by verses 6 and 7 that an allusion is here made to
the combat between David and Goliath. The latter was the
champion of the Philistines, whom David slew, and was thus
instrumental in discomfiting the enemies of Israel. When
David and Saul returned from their victory, females came out
to meet them, from various cities, singing and dancing, and per-
forming upon various instruments of music. It was customary
among the Hebrews to give their victorious chieftains a public
triumph. On such occasions, females, with instruments of
music, preceded the males. They played, sung, danced, and
made every possible demonstration of joy. Thus Jephthah
was hailed by his daughter and other female musicians on his
return, after having conquered the Ammonites (vid. Jud. xi. 34).
The victorious army of Jehoshaphat triumphantly entered Je-

166

PULSATILE INSTRU^IEXTS OF MUSIC.

rusalem, being led on by the king in person, accompanied by-
musicians, with psalteries, harps, and trumpets (vid. II Chron.
XX. 27, 28). The same custom now prevails in India and Tur-
key. In the instance under consideration, the females preceded
the males, and repeated with each other answering strains of
music.

Tabrets. — These were tophs (^'^STi tuppim). On such occa-
sions of joy as this, it is probable that not only the toph, but
other pulsatile as well as wind and stringed instruments were
employed (vid. Rem. on Gen. xxxi. 27, and the accompanying
engraving).

Instruments of music. — The term in Hebrew for this expres- .
sion is '□"I'^'^'jj) s/i«Zis7im, from '^"ij'©' shalish, or 'j^Jtli ^^^^^-^A.

It signifies a third, i. e., a measure for grain. In the plural, as
in this case, it signifies, according to Gesenius, a triangle, i. e.,
a triangular instrument of music, struck in concert with drums,
as in modern military music. When it refers to a measure, it
indicates one w^hich is hollow, and consequently some have sup-
posed that the musical instrument sometimes indicated by it,
was similar in form. Others believe that, as it means third, it
refers to a stringed instrument of three strings. Dr. Jahn
thinks it probable that it was a triangle, from the signification
of the word, which Athenseus (Deipnos op. iv. 23) proves to
be of Syriac origin. JHorne maintains that there is no ground
to consider it, with some ancient translators, as the castanet.
The LXX express it by Kv^i^iaXoL^ kumbalois, which may be
rendered cymbals or castanets. Jerome translated the word by
sistris. The sistrum consisted of a rod of iron bent into an
oval or oblong shape, or square at two corners and curved at
the others. Upon the rod were a number of movable rings.
They w^ere shaken or struck by another rod of iron. En-
gravings of sistra may be seen on pages 98-100 above. Villo-
teau found this instrument sculptured on the most ancient ruins
of Egypt. He discovered different sizes of it, and variously
ornamented. It is not certain that the shalishim were sistra ;

I SAML'EL XIX. 9.

167

but as their original signification seems to refer to a three-sided
or triangular instrument, and as the term occurs in connection
with tabrets, it is probable that it was a pulsatile instrument,
and had one of the many forms of the sistrum. As shaUsh'im
is in the plural, probably several sistra were used, perhaps of
different forms.

In verse 10 it appears that David performed again on his
harp before Saul, but with less effect than before, for Saul was
enraged at him, and, regardless of the sweet and pious strains
of the minstrel, thrust his javelin at him, though he did not
succeed in his murderous attempt.

I Samuel xix. 9.

And tlie evil spirit from the Lord was upon
Saul, as lie sat in his house with his javelin in his
hand : and David played with his hand.

David, by the intercession of Jonathan, had been restored to
the favor of Saul ; but no sooner did the former contend with
the Philistines and deliver Israel from their hands, than the
king was again incensed against him, and made an attempt
upon his life with a javelin while he was playing sweetly upon
his harp. It would seem that a part of Saul's disease, at least,
was malicious envy, from the fact that he always seemed to be
enraged at David when he performed some achievement which
caused the people to think more of the minstrel than of him-
self.

I Samuel xix. 20, 21, 23, 24.

20 And Saul sent messengers to take David :
and when they saw the company of the prophets
prophesying, and Samuel standing as appointed
over them, the Spirit of God was upon the mes-

168

SCHOOLS OF TKE rROPHETS.

sengers of Saul, and they also prophesied. 21
And when it was told Saul, he sent other messen-
gers, and they prophesied likewise. And Saul
sent messengers again the third time, and they
prophesied also.

23 And he went thither to ISTaioth in Ramah :
and the Spirit of God was upon him also, and he
w^ent on, and prophesied, until he came to Naioth
in Ramah. 24 And he stripped off his clothes
also, and prophesied before Samuel in like manner,
and lay down naked all that day and all that
night. Wherefore they say, Is Saul also among
the prophets ?

Here is a reference to the school of the projohets (vid. Rem.
on I Sam. x. 5, svpra) over which Samuel presided. It ap-
pears that David was with them, and Saul sent messengers at
three different times, to capture him, and finally made the at-
tempt himself; but when they saw the company of prophets,
with Samuel at their head, prophesying in a solemn manner,
while various instruments of music were pouring forth their
sweet and soothing strains, a divine influence seemed to over-
whelm Saul and his messengers, and they joined the seers
and began to prophesy with them (vid. Rem. on I Sam. xvi.
16, 18, 23 ; I Chron. xxv. 1, 3, 5, 6, 7).

I Saimuel xxi. 11.

And the servants of Achish said unto him. Is
not this David the king of the land ? did they not
sing one to another of him in dances, saying, Saul
hath slain his thousands, and David his ten thou-
sands ?

I SAMUEL XXIX. 5.

1G9

David had fled from the fury of Saul, to the king of Gath,
whose servants suspected the character of their guest, and ut-
tered the language quoted above.

Shig one to another of him in dances. — Here is a reference to
I Sam. xviii. 6, 7, where it is said that women came out of the
cities of Israel to meet Saul and David after the latter had con-
quered the Philistines. They approached with singing, danc-
ing, tabrets, and instruments of music, proclaiming that David
had slain his tens of thousands, while Saul had only slaiu his
thousands.

I Sa^itel xxix. 5. ,

Is not tills David, of Tvliom they sang one to an-
otlier in dances, saying, Sanl slew his thousands,
and David his ten thousands ?

This refers to the same occurrence, and, of course, to the
same kinds of music as the passage last considered.

I S A:\ruEL XXX. 16.

And when he had brought him down, behold,
tliey 10 ere spread abroad upon all the earth, eating
and drinkins: and dancins:, because of all the s^reat
spoil that they had taken out of the land of the
Philistines, and out of the land of Judah.

These words wore spoken in reference to the Amalekites,
who had, in David's absence, captured Ziklag, burned the city,
and led her inhabitants into captivity. When the king returned
and saw what was done, he took the four hundred men, who
were with him, and pursued the enemy. Finding them spread
abroad upon the earth, feasting upon the spoils which they had
taken in other places, he fell upon them and slew them.
8

170

HEBEEW DANCING.

Dancing. — The Amalckites were evidently engaged in re-
joicings and festivities on account of their victories. One of
their sports was dancing^ and they probably, in accordance with
oriental custom, had various musical accompaniments. That
people lived in Arabia Petrasa, inhabiting hamlets, caves, or
dens, like the present Arabs. They were doubtless familiar
with various kinds of musical instruments, as it is certain that
the Arabs were, long before that period. The Amalekites, no
doubt, used instruments similar to those of other tribes around
them, and probably the same, essentially, as those of the Israel-
ites.

The Hebrew term translated dancing is ^I'^^n ^^^iog^g'im,
from y^T] hhagdg, to move around in a circle^ hence, to dance,

~ T

II SAMDEL II. 28.

171

THE SECOjJ^D book OF SAMUEL.

INTEODUCTORY REMARKS.

This book contains tlie history of David, the second
king of Israel, during a period of nearly forty years, from
about 1055 to 1015 B. C. It records an account of the
transferring of the kingdom of Israel from the tribe of
Benjamin to that of Judah. There is a description of
the victories of David, the wise administration of his
government, his exertions to promote true religion, his
sins and repentance, and the grievous judgments which
fell upon him and his subjects. This narrative evidently
bears an intimate relation to the first book of Samuel and
the first book of Kings, forming a connected history. The
two books of Samuel are important from the fact that they
illustrate, and indeed constitute the key, to an explanation
of the Psalms.

II Samuel ii. 28.

So Joab blew a trumpet, and all the people
stood ^till, and pursued after Israel no more,
neither fouglit tbey any more.

It appears that Joab led on the army of David against the
forces of Saul under the direction of Abner. Joab gained the
victory, pursued his foes, and slew large numbers, until Abner,
having been pursued without mercy, inquired if the " sword
should devour forever " (v. 26). Then Joab blew the trumpet.
This was the shophar or crooked trumpet^ blown on this occasion

172

HEBREW INSTRUMENTS OF MUSIC.

to indicate a truce. It was probably sounded in a soft tone, as
when the people were called together in time of peace.

II Sa]\[uel vi. 5.

And David and all the house of Israel played
before the Lord on all manner of instruments made
of fir-wood, even on harps, and on psalteries, and
on timbrels, and on cornets, and on cymbals.

There is an allusion in this passage to a grand concert of the
minstrels of Israel, called together to celebrate an important
event. David, the king of Israel, had assembled thirty thou-
sand of his people, and led them in solemn procession to the
house of Abinadab, a Levite of Kirjath-jearim, whither the ark
of the covenant had been carried by persons sent from that
place to receive it from the Philistines at Beth-shemesh, where
it had been deposited by the latter.

After the Israelites had received the holy treasure and turned
their faces toward the city of David, the king and the multi-
tudes who were with him 'played on all kinds of instruments of
music. This was considered by the children of Israel as an im-
portant event, from the fact that the blessing of God generally
followed the ark unless it was seized contrary to the divine
command. The Philistines had thus carried it away and in-
curred the displeasure of Jehovah, as we have already inti-
mated. David, undoubtedly, selected persons of the greatest
influence in the kingdom — chosen men of Israel, and the most
skillful performers upon instruments of music — to take part in
this grand procession.

Damd and all the house of Israel plaijed. — This general ex-
pression might seem to include all of the Israelites — those who
accompanied David and those who did not ; but it is more
natural to suppose that there is reference only to the former,
for it is not probable that there were instruments of music

IT SAMUEL YI. 5.

173

enough to supply all the thousands of Israel, and it is said
that " all played." Perhaps even all of those who accompanied
David were not supplied with instruments. All, in the scrip-
tures, is frequently used for a part. It is possible, however, m
this case, as the occasion was so important, that every one of
the thirty thousand had an instrument of music and played.
The king, undoubtedly, could have easily supplied such a
number. However this may have been, there can be no
doubt that there was a great number of musicians. Perhaps
all of the four thousand Levite singers employed in the taber-
nacle, and afterwards in the temple, were there. It is probable
that the variety of instruments was considerable. Perhaps a
large proportion, if not all of the kinds, known to the Hebrews,
were used on the occasion. This opinion seems to be confirmed
by the expression, "o/i all manner of Tnstrunienis made of Jir-
wood,'' which is qualified by the following: ^^even on /tarps, and
on psalteries, and on timbrels^ and on cornets^'' apparently inti-
mating that these were the instruments indicated by "all mari-
ner of instruments.'''' The writer, however, may have been
speaking in general terms, and may have intended to name the
principal kinds of instruments, to show that those which were
used on the most solemn and important occasions were em-
ploj^ed here. The king, undoubtedly, formed as complete a
band as was possible in those early times. The sacred writer
mentions five instruments ; but perhaps varieties of each kind
were intended, as the plural number is used in each case. The
LXX supposed that more instruments were employed than are
mentioned. They render the passage thus :

EV dpydvoic ripiioaaEVoic tv loxvl, Kal ev d)6a7g, koI ev KLVvpaic,
Koi EV va^/MLc Kal EV rvfiTdvoLg, Kal ev KVjifSd/.otc, Kal ev avAoJc.
With powerful organs, and with songs, and with hcnps, and
with guitars, and with tabreis, and u'ith cymbals, and with
flutes.

They supposed that there was vocal as well as instrumental
music, which was the fact, as it appears from I Chron. xiii. 8.
On all manner of instruments made of fir -wood. — The He-

IT-i HxVRPS, PSALTERIES, TIMBRELS, AND CORNETS.

brew of this expression is t]^tl)i^i ^"^^ ii!^ h^kol^tse bh-oshim,

literally, on all loood of cypress-trees. We are to understand
by this phrase that the Israelites played on all kinds of instru-
ments made of cypress-wood. The term tD^^tiilin b^>'osh'im^
ajpress-trees, may have included other trees of the pine genus,
though that is uncertain (vid. Gesen. Thesaurus p. 246). We
have no means of ascertaining how many kinds of musical in-
struments were made of cypress-wood. Of course we must
except those which were constructed of metal, horn, and per-
haps others.

Harps. — These are the Kinnors, so often referred to above.

Psalteries. — The Hebrew term is the same as the one which
occurs in 1 Sam. x. 5, and translated psalteries, exccDting that
in this passage the plural form is used, viz., t^^rj;^^ '^^bhaVim,

• T :

clearly indicating that there were more instruments than one
of this kind used on the occasion. These were probably gui-
tars (vid. Rem. on 1 Sam. x. 5, supra).

Timbrels. — The same original word is used as in Judges xi.
34.*

Cornets. — Here we find an instrument which is not mentioned
before. The Hebrew term is Q^i?^^/^^ 7n^nddnim, a participle,

in the Peal conjugation used as a noun in the masculine plural,
from miah.^ to move to and fro, to ivaver. The Greek term
is vev(j) 7ieud, Latin 7iuo, German nicken, all of wdiich mean tj
nod backwards and forwards. Trom the origin of the word we
have reason to believe that the instrument intended w^as one
which was shaken. The Vulgate renders it sistra. It was evi-
dently some kind of timbrel which was shaken when played.
Consequently, the English translation must be incorrect, as
Cornets are wind instruments. It is difficult to ascertain ex-
actly the form of this instrument. Jahn supposes that it must
have been of the pulsatile kind. The Septuagint translators

* For a description of this instrument, vid. Rem. on Gen. xxxi. 27 ;
^i Rem. on Judg. xi. 34, and Ex. xv. 20.

II SAMUEL VI. 0. 175

have rendered it by avXaq aula.s^ Jlutes ; but they were cer-
tainly mistaken in supposing that it was a wind instrument.
Jahn thinks that it probably consisted of an iron rod with two
square corners and rounded at the top, or that it was similar to
an arc in form, with rings hung loosely upon it, making a tink-
ling sound when the instrument was struck or shaken. This
explanation is probably correct, as the sistrum, according to
Jablonski and others, was common in Egypt (Opusc. i. p. 306-
309). Horne maintains the same opinion (Intro. P. iv. c. vii.
Sec. ii). This is the only place in the scriptures in which this
instrument is mentioned. The engraving. Fig. xxvi. No. 2, on
page 99, is supposed to represent the ancient Hebrew menaa-
nim.

Cymhah. — This is also an instrument which is not mentioned
before. The Hebrew term is '□'^ill^b!^ UeluHim^ a plural noun
derived from the verb ^J^ii Ualal^ in the Arabic and in

Syriac . In all, it means to tingle^ to tinkle. The noun sig-
nifies a tinkling, tingling, clinking, ringing, clanging. It may
signify a clanging instrumeat of music. Gesenius (vid. his
Heb. Lex. under this word) thinks that the word here signifies
cymbals, similar to those now used in martial music. Jahn is
sanguine in the belief that the term should be translated casta-
nets, and remarks, that they are used at the present day in the
East. There were anciently, as in modern times, two kinds,
the smaller and larger cymbals. The smaller ones were metal-
lic plates or shells, the size of a large button. Females, when
dancing, had two fiistened to each hand, one on the thumb and
the other on the middle finger, and beat them against each
other, thus keeping time. Josephus* describes the larger kind
as broad, large, and made of brass. The musician held one in
each hand and struck them together, keeping time as is custom-
ary with us ; but the dishes of ours are more shallow than
those in the East. The following are specimens of the larger
kind taken from the ruins of Egypt (vid. Fig. xxxviii).

* Ant. vii., xii. 3. His words are avfiSala -K^urzia koc [xf:va7.a x^'^k-^o,-

176

AXCIEXT EGYPTIAN CYMBALS.

Fig. xxxviii. Specimens of the small kind mfiy

"be fomid in Fig. xxvii, No. 1, on p.
100, supra.

Judging from the etymology of
the word indicating them, they must
have been pulsatile instruments, and
probably those which were struck

Two larger Ancient Egyptian against each other* In Zcch. xiv.

Cymbals. 20, the term is translated bells, re-

ferring to the ancient custom of attaching them to horses.
Camels and horses sometimes wear bells in the East at the pres-
ent day. Probably the Hebrews attached small pieces of
brass to the necks of their horses, which would make a tinkling
noise when they moved. The Romans attached to their war-
horses pieces of metal called j!?Aa /area, to produce terror in their
enemies. These might with some propriety be called a species
of cymbal.

II Samuel vi. 14.

And David danced before the Lord witli all Ms
might ; and David ivas girded with a linen ephod.

Danced. — "^^^^^^ m'*^Tcdrker, part. Palpel from "^^'2) Icqrdr^
to dance, to move in a circle. The corresponding Greek word is
GicalpG) skaird, to leap, to exult. The LXX assert that David
played on instruments of music. This was probably the fact,
while the ark was moving towards Jerusalem. He and his at-
tendants doubtless played as well as danced, though the Hebrew
term only refers to the latter exercise.

II Samuel vi. 15, 16.
15 So David and all the house of Israel brono^ht

* Cf. Sonnerat's Travels in the East Indies and China, p. 3 ; Kiiupfer Amoen.
Exot. Ease; Niebuhr Reis. 1. Th. S. 184. Tab. xxviii. ; Jahn's Bib. Arch. §
96 ; Home's Intro. P. iv. ch. vii. Sec. ii. (vol. ii. p. l8o. Philadelphia ed. 1SS6).

II SAMUEL VI. 21.

177

up the ark of fhe Lord with shouting, and with
the sound of the trumpet. 16 And as the ark of
the Lord came into the city of David, Michal, SauPs
daughter, looked through a window, and saw king
David leaping and dancing before the Lord ; and
she despised him in her heart.

Shouting — Sound of the trumpet. — Every demonstration of
joy seems to have been made, when the procession with the ark
of the covenant solemnly moved towards the city of David.
There was shouting, singing, dancing, imdi playing upon various
instruments of music. It appears that the crooked trumpet or
shophar was one of the instruments used on that august occa-
sion. From the sixteenth verse, we learn that Saul's daughter
despised David when she saw him dancing, rejoicing, and prais-
ing God. She seemed to entertain towards him some of the
enmity of her father.

II Samuel vi. 21.

And David said unto Michal, It tvas before the
Lord, which chose me before thy father, and be-
fore all his house, to appoint me ruler over the
people of the Lord, over Israel : therefore will I
play before the Lord.

I will play (ij^pnip sihhdqtly) — According to Gesenius, this
term here signifies to dance, accompanied with song and instru-
mental music (vid. Gesen. Heb. Lex. under pnilj)-

II Samuel xv. 10.

But Absalom sent spies throughout all the tribes

178

Absalom's treasox.

of Israel, saying, As soon as ye hear the sound of
the trumpet, then ye shall say, Absalom reigneth
in Hebron.

Absalom had wickedly conspired against his flither David,
and was making preparations to take possession of the king-
dom. His plan was, to retire to Hebron apparently for the
purpose of paying a vow, and there, by the sound of the trum-
pet, to proclaim himself king. The instrument which he used
w^as the shophar or tear trumpet.

II Sazsiuel xviii. 16.

And Joab blew the trumpet, and the j)eople re-
turned from pursuing after Israel : for Joab held
back the people.

It appears that Absalom failed in his insurrection, to which
reference is made above, and came to a miserable end. David's
forces subdued the rebels, and finally the ivar trumpet or sho-
phar was sounded as a signal for the army to cease the pursuit.

II S A:\ruEL xix. 35.

I am this day fourscore years old : and can I
discern between good and evil ? can thy servant
taste what I eat or w^hat I drink ? can I hear any
more the voice of singing men and singing women ?
w^herefore then should thy servant be yet a burden
unto my lord the king ?

These are the words of Barzillai the Gileadite, in answer to
David, who desired the former to accompany him to Jerusalem
and there reside.

II SAMUEL XX. 1, 22.

179

Singinrf men and singing women. — Literally 77iale singers and
female singers. Females (generally the daughters of Levites)
as well as males, were admitted into the tabernacle and subse-
quently temple service. Heman had fourteen sons and three
daughters, skilled in music. When Ezra enumerated those
who returned with him from the Babylonish captivity, he reck-
oned two hundred singing men and singing women. In the tab-
ernacle and temple, the Levites, both male and female, w^ere the
legal musicians. It is uncertain whether Barzillai referred to
the temple service or to private music, or both, and it is imma-
terial which. He evidently intended to intimate that, on ac-
count of his age, he had ceased to enjoy the pleasures connected
wdth David's splendid court, and that he was only an obstacle
to the happiness of his friends.

II Samuel xx. 1, 22.

1 And there happened to be there a man of
Belial, whose name tua-s- Sheba, the son of Bichri, a
Benjaminite : and he blew a trumpet, and said, We
have no pai-t in David, neither have we inheritance
in the son of Jesse : every man to his tents, O Is-
rael.

22 Then the woman went unto all the people in
her wisdom. And they cut off the head of Sheba,
the son of Bichri, and cast it out to Joab. And
he blew a trumpet, and they retired from the city,
every man to his tent. And Joab returned to Je-
rusalem unto the king.

Sheba, a Benjaminite, had raised a rebellion against David,
and had blown the war trumpet or shophar as a signal of revolt.
From the twenty-second verse, we perceive that he was taken
and slain by the king's army, and his head thrown over the

180

SONG OF DAVID.

wall to Joab, the commander of David's forces. Then the
shophar or crooked trumpet was blown, as a signal for Joab to
raise the siege and retire from the city of Abel.

II Saotel XXII. 1-51.

1 And David spake unto the Lord the words of
this song, in the day that the Lord had delivered
him out of the hand of all his enemies, and out of
the hand of Saul.

2 The Lord is my rock, and my fortress, and my de-

liverer.

3 The God of my rock ; in him will I trust :

He is my shield, and the horn of my salvation,
My high tower, and my refuge, my Saviour ;
Thou savest me from violence.

4 I will call on the Lord who is worthy to be praised :
So shall I be saved from mine enemies.

5 When the waves of death compassed me.
The floods of ungodly men made me afraid;

6 The sorrows of hell compassed me about ;
The snares of death prevented me ;

7 In my distress I called upon the Lord,
And cried to my God ;

And he did hear my voice out of his temple,
And my cry did enter into his ears.

8 Then the earth shook and trembled ;
The foundations of heaven moved
And shook, because he was wroth.

9 There went np a smoke out of his nostrils,
And fire out of his mouth devoured :
Coals were kindled by it.

10 He bowed the heavens also, and came down ;
And darkness was under his feet.

II SAMUEL XXII. 1-51.

181

11 And lie rode upon a cherub, and did fly :
And he was seen upon the wings of the wind.

12 And he made darkness pavilions round about him,
Dark waters, and thick clouds of the skies.

13 Through the brightness before him
Were coals of fire kindled.

14 The Lord thundered from heaven,
And the Most High uttered his voice.

15 And he sent out arrows, and scattered them ;
Lightning, and discomfited them.

16 And the channels of the sea appeared,

The foundations of the world were discovered,

At the rebuking of the Lord,

At the blast of the breath of his nostrils.

17 He sent from above, he took me ;
He drew me out of many waters ;

18 He delivered me from my strong enemy,
And from them that hated me.

For they were too strong for me.

19 They prevented me in the day of my calamity :
But the Lord was my stay.

20 He brought me forth also into a large place :
He delivered me, because he delighted in me.

21 The Lord rewarded me according to my righteousness :
According to the cleanness of my hands hath he recom-
pensed me.

22 For I have kept the ways of the Lord,

And have not wickedly departed from my God.

23 For all his judgments were before me:

And as for his statutes, I did not depart from them.

24 I was also upright before him,

And have kept myself from mine iniquity.

25 Therefore the Lord hath, recompensed me according to

my righteousness ;

182

SONG OF DAVID.

According to my cleanness in his eye-siglit.

26 With the merciful thou wilt show thyself merciful,
And with the upright man thou wilt show thyself up-
right.

27 With the pure thou wilt show thyself pure ;

And with the froward thou wilt show thyself un-
savory.

28 And the afflicted people thou wilt save :
And thine eyes are upon the haughty,
That thou mayest bring them down.

29 For thou art my lamp, O Lord :

And the Lord will lighten my darkness.

30 For by thee I have run through a troop:
By my God have I leaped over a wall.

81 As for God, his way is perfect ;
The word of the Lord is tried :
He is a buckler to all them that trust in him.

32 For who is God, save the Lord ?
And who is a rock, save our God?

33 God is my strength and power :
And he maketh my way perfect.

34 He maketh my feet like hinds' yee^f;
And setteth me upon my high places.

35 He teach eth my hands to war :

So that a bow of steel is broken by mine arms.

36 Thou hast also given me the shield of thy salvation :
And thy gentleness hath made me great.

37 Thou hast enlarged my steps under me ;
So that my feet did not slip.

38 I have pursued mine enemies, and destroyed them ;
And turned not again until I had consumed them.

39 And I have consumed them,

And wounded them, that they could not arise:
Yea, they are fallen under my feet.

II SAMUEL XXII. 1-51.

183

40 For thou hast girded me with strength to battle:
Them that rose up against me hast thou subdued under

me.

41 Thou hast also given me the necks of mine enemies,
That I might destroy them that hate me.

42 They looked, but there tuas none to save ;
^ven unto the Lord, but he answered them not.

43 Then did I beat them as small as the dust of the earth.
I did stamp them as the mire of the street,

And did spread them abroad.

44 Thou also hast delivered me from the strivings of my

people.

Thou hast kept me to he head of the heathen:
A people icJiich I knew not shall serve me.

45 Strangers shall submit themselves unto me :

As soon as they hear, they shall be obedient unto me

46 Strangers shall fade away,

And they shall be afraid out of their close places.

47 The Lord liveth : and blessed be my rock ;

And exalted be the God of the rock of my salvation.

48 It is God that ave nge th me,

And that bringeth down the people under me,

49 And that bringeth me forth from mine enemies :
Thou also hast lifted me up on high above them that

rose up against me :
Thou hast delivered me from the violent man.

50 Therefore I will give thanks unto thee, 0 Lord, among

the heathen,
And I will sing praises unto th\^ name.

51 He is the tower of salvation for his kinsr :
And show^eth mercy to his anointed.
Unto David, and to his seed for evermore.

184

LAST WOEDS OF DAVID.

The above is a psalm of praise containing a general review
of God's mercies to the king of Israel through life, and the
many wonderful deliverances which he had experienced. This
ode, with a few variations, is found in the book of Psalms (Ps.
xviii). We have it here as originally composed by David for
his own private devotions. In Psalms we have it as amended
and delivered to the chief musician for the services of the tem-
ple. The hymn extends through the chapter, and contains "some
of the finest specimens of oriental imagery extant. The last
words of David, and a kind of supplement to this hymn, are
found in the twenty -third chapter, verses 1-7, as follows :

1 Now these be the last words of David. David,
the son- of Jesse, said, and the man ^vho iva-s raised
up on high, the anointed of the God of Jacob and
the sweet Psalmist of Israel, said :

2 The spirit of the Lord spake by me,
And bis word was in my tongue.

3 The God of Israel said,

The rock of Israel spake to me,

He that ruletb over men must 5e just,

Ruling in tbe fear of God.

4 And he shall be as tbe light of tbe morning,

When tbe sun risetb, eveji a morning without clouds ;
As tbe tender grass springing out of tbe earth,
By clear shining after rain.

5 Although my bouse he not so with God,

Yet be bath made with me an everlasting covenant,
Ordered in all tilings and sure;
For tliis is all my salvation and all my desire.
Although be make it not to grow.

6 But the sons of Belial shall he all of them as thorns

thrust away.
Because they cannot be taken with hands :

II SAMUEL XXII. 1-51.

185

7 But the man that shall touch them

Must be fenced with iron and the staff of a spear ;
And they shall be utterly burned with fire in the same
place.

The two books of Samuel throw much light upon the Psalms,
and may be considered as a key to their explanation. Psalm
iii. is elucidated by II Samuel xv. 14 and onward ; Ps. iv. by I
Sam. xxii., xxiii., and xxvi ; Ps. vii. by II Sam. xvi. 2, 11 ; Ps.
xxiv. by II Sam, vi. 12 and onward ; Ps. xxx. by I Sam. v. 11 ;
Ps. xxxii, and li. by II Sam. xii ; Ps. xxxiv. by II Sam. xxi. 10-
15; Ps. xxxv. by II Sam. xv.-xvii. ; Ps. xlii, and xliii. by II
Sam. xvii. 22-24; Ps. lii. by I Sam. xxii. 9; Ps. liv. by I
Sam. xxiii, 19, and xxvi. I ; Ps. Iv. by II Sam. xvii. 21, 22; Ps.
Ivi. by I Sam. xxi. 11-15; Ps. Ivii. by I Sam. xxii. 1, and
xxiv. 3 ; Ps. lix. by I Sam. xix. 11 ; Ps. Ix. by II Sam viii. 3-
13, and x. 15-19 ; Ps. Ixiii. by I Sam. xxii. 5, and xxiii. 14-
16 ; Ps. Ixviii. by II Sam. vi. 3-12 ; Ps. Ixxxix by II Sara. vii.
12 ; Ps. cxlii. by I Sam. xxii. 1, and xxiv. 1 and onward.

186

TWO BOOKS OF KINGS.

THE TWO BOOKS OF KINGS.

INTRODUCTORY REMARKS.

There is a close connection between the books of
Samuel and those of Kings. In the former the origin
and gradual increase of the united kingdom of Israel
under Saul and David are described ; and in the latter an
account is given of that kingdom in its higher state of
prosperity under Solomon, its division under his son and
successor Eehoboam, the causes of that division, and the
consequent decline of the two kingdoms of Israel and
Judah, until their subversion after Shalmaneser had car-
ried the ten tribes captive into Assyria, and Nebuchad-
nezzar had carried Judah and Benjamin captive into
Babylon.

In the most ancient and correct editions of the Hebrew
Bible, the two books of Kings constitute but one. They
have been divided, at some unknown period, into two
parts for the convenience of the reader.

There is a great diversity of opinion in regard to the
author or authors of these books ; but the most probable
supposition is, that they were arranged in their present
order by Ezra from memoirs written by different persons,
who described the events soon after their occurrence.

FIRST BOOK OF KINGS.

This book embraces a period of one hundred and
twenty-six years from the anointing of Solomon and his
admission as a partner in the throne with David B. C.

I KINGS I. 34, 89.

isr

1015, to the death of Jehoshaphat B. C. 889. Tlie Litter
part of David's life is described, and, in general, the his-
tory of the undivided kingdom of Israel under Solomon
is given, and a history of the divided kingdom under Ee-
hoboam, Jeroboam, and their successors.

I Kings i. 31, 39.

And let Zadok the priest and Katlian tlie pro-
phet anoint liim there king over Israel : and blow
ye with the trumpet, and say, God save king Solo-
mon.

And Zadok the priest took an horn of oil out of
the tabernacle, and anointed Solomon. And they
blew the trumpet ; and all the people said, God
save king Solomon.

The occasion to which reference is made in these verses, was
an important one, viz., the inauguration of Solomon as king of
Israel. The crooked trumpet or sliojjhar was used.

I Kings i. 40.

And all the people came up after him, and the
people piped with pipes, and rejoiced with great
joy, so that the earth rent with the sound of them.

After Solomon had heen anointed king, every po.ssihle de-
monstration of joy was exhibited by the people.

Piped with 2^H^^-^' — Ti^® Hebrew is fibH!!! t]'^55rT)3
m^hhalUllm hahhHil'im^ literally, piping with pipes, or Jiuting
with flutes. These were undoubtedly the Hebrew flutes

188

SOLOMON A MUSICIAN.

{hhalldim), ^vhieh, according to Dr. Jahn, were used on joyful
as well as on mournful occasions, and were appropriate instru-
ments to be employed at the coronation (vid. description of
this instrument in the remarks on I Sam. x. 5, supra).

It is said that the people piped^ indicating that many of these
instruments were used. Perhaps some had the double flute,
and so performed the bass as well as the air.

Rejoiced with great joy. — The original of this denotes a loud
expression of joy^ as songs^ or shouts. There must have been
loud bursts of mirth, for it is said that " the earth rent with
the sound of them."

I Kings i. 41.

And Adonijali and all the guests that ivcre with
"him heard it as they had made an end of eating.
And when Joab heard the sound of the trumpet,
he said, Wherefore is this noise of the city being
in an uproar ?

Adonijah, it seems, had usurped the throne, and was much
surprised when he heard the loud rejoicing and sound of the
shophar or crooked trumpet, announcing the fact that Solomon
was made king instead of himself.

I Kings iv. 32.

And he spake three thousand proverbs : and his
songs were a thousand and five.

Solomon was distinojuished for his wisdom, excellino- all of
his contemporaries in the East and even in renowned Egypt (vid.
I Kings, iv. 30). Like his father David, he was acquainted
with music, and composed more than a thousand songs to be
accompanied in their recital by instrumental music. It seemed
to be an essential part of one's education in those early times, to
be thoroughly mstructed in music.

I KINGS X. 12.

189

I KixGS X. 12.

And tlie king made of the almug trees pillars
for the liouse of the Loixl, and for the king's
house, harps also, and psalteries for singers : there
came no such almug trees, nor were seen unto this
day.

Solomon constructed of the almug tree not only pillars, but
instruments of music for the temple and for his palace.

Harps. — These were the khuiois (iTj'iSO kinnorotk), the in-
struments in which Solomon's father, David, so much delighted
(vid. Rem. on Gen. iv. 21, supra).

Psalteries. — These were the nehhels or guitars (t^'^iii
n^bhalim^ vid. Rem. on I Sam. x. 5, svpra). They were made
of the almug tree. It is supposed by modern interpreters
that this was the red sandal-wood, which now grows in China
and in the Indian Archipelago. It is used in India and Persia,
at the present day, for costly instruments and utensils (vid.
Gesen. Heb. Lex. under C^^'pbi^ almuggini).

Harps and j^salieries for singers. — It seems by this expression
that those instruments were made for singers, implying that
they not only played on instruments, but sung. Ii is probable
that they sung at the same time that they performed on instru-
ments, as is frequently the case at the present day.

190

HEBREW MINSTRELS.

SECOND BOOK OF KINGS.

INTRODUCTORY REMARKS. '

This book contains tlie history of the two kingdoms
of Israel and Judah from the death of Jehoshaphat, B. C.
889, to the destruction of Jerusalem and the temple by
Nebuchadnezzar, B. C. 588, a period of about 300 years.
This history may be divided into two parts. 1st. That of
the two monarchies of Israel and Judah, until the end of
the former. 2d. The history of Judah until its subver-
sion.

II Kings iii. 15.

But now bring me a minstrel. And it came to
pass, when the minstrel played, that the hand of
the Lord came upon him.

Here is a confirmation of the fact, that the ancient seers con-
sidered music as peculiarly adapted to prepare their minds for
prophetic vision. The kings of Israel, Judah, and Edom
asked the prophet Elisha to inquire of the Lord for them, as
they were destitute of water in their expedition against the
Moabites. The seer called for a minstrel to play before him,
and when he heard the enchanting sound of music, the hand of
the Lord came upon him — a divine enthusiasm seemed to take
possession of his mind, and he began to prophesy. It appears
by the fourteenth verse, that the prophet exercised a pious in-
dignation against the king of Israel, and, in order to calm his
feelings, it seemed to be necessary for him to listen to the
sweet, soothing strains of oriental music.

II KINGS IX. 13.

191

Minstrel. — ('jti?''? ^i^noggeii) literally, one i:)laying on an in-
strument of music — a player on an instrument.

The minstrel played. — Literally, tJce jplayer played. The
term minstrel is a word introduced into .England by the Nor-
mans, and included singers, performers on musical instruments,
also jugglers, dancers, and other similar persons whose profes-
sion was to amuse kings, or others who could pay them for
their services. In some periods of history they are represent-
ed as the friends and favorites of princes, and at other periods
they are classed with beggars and vagabonds, and forbidden to
practise their arts. Among the Hebrews, as we think from
the etymology of the word, they were performers on musical
instruments, and perhaps sung an accompaniment at the same
time.

II KlXGS ix. 13.

Then tliey hasted, and took every man his gar-
ment, and put it under him on the top of the
stairs, and blew with trumpets, saying, Jehu is
king.

Elisha directed one of the sons of the prophets to go to Ra-
moth Gilead and anoint Jehu king over Israel. lie did so, and
Jehu's attendants blew the shopltar or crooked trumpet, and
proclaimed him king. In the original the singular number is
used, though reference is made to more than one trumpet.

II KmGS xi. 14.

And when she looked, behold, the kins: stood
by a pillar, as the manner wa-?^ and the princes and
the trumpeters by the king, and all the people of
the land rejoiced, and blew with trumpets: and

192

HEBREW TRUMPETERS.

Atlialiali rent lier clotlies, and cried, Treason, trea-
son !

Athaliah had usurped the throne of Israel, and to secure her
authority had slahi all the seed royal of David that she could
find. It happened, ho\yever, that Joash, the son of Ahaziah,
who had been concealed, was proclaimed king, and it is not
strange that Athaliah cried treason. The occasion was an inir
portant one, and trumpeters were present.

Bleio with trumpets^ i. e., with straight trumpets {hatsotseroth^
vid. Rem. on Num. x. 2, supra).

II KmGS xii. 13.

Howbeit, there were not made for tlie liouse of
tlie Lord bowls of silver, snuffers, basins, trumpets,
any vessels of gold or vessels of silver of the
money that was brought into the house of the
Lord.

Trumpets — {liatsotseroth') straight trumpets. — In repairing
the temple, it seems that the trumpets and other implements,
here named, were not made of the money which was brought
into the house of the Lord, as that was designed to pay the
workmen laboring upon the temple itself. Perhaps some of
these Implements had been previously made, or were con-
structed out of other materials.

THE BOOKS OF CHRONICLES.

193

THE BOOKS OF CHROXICLES.

IXTRODUCTORY REMARKS.

The Jews called these books tn^^^^n ^-,^1 dibhrey liayyct-
mim, i. e., the words of the days or annals, probably be-
cause they were compiled from diaries or annals. The LXX
designate them by IIAPAAEmOMENA Paraleijpomena^
the things left or omitted, supposing them to be a supple-
ment either to Samuel and the book of Kings, or to the
whole Bible. Jerome gave them the name of Chronicles,
because they contain an abstract of sacred history up to
the time in w^hich they were written.

They were undoubtedly compiled from other records,
prepared at different times before and after the Babylonish
captivity, as it is evident that they are not the original
and more copious chronicles to which there are so frequent
references in the books of Kings.

It is uncertain who wrote the Chronicles. It is evident,
however,' that they were compiled by some person who
lived after the captivity, and that he obtained his materials
from the memoirs of writers contemporary with the events
recorded, and who flourished long before his time.

The object of the books of Chronicles is to present ac-
curately the genealogies, dignity, powers, and order of the
priests and Levites, that they might be prepared after the
captivity to assume again their proper rank, and reenter
the sacred office. The author wished further to show how
the lands had been distributed among the families before
the captivit}^, so that the tribes could, upon their return,
obtain the original inheritance of their fathers. Ancient
9

194

EEMOVAL OF THE ARK.

records are quoted, and four rolls or uumberings of the
people are recited.

The Chronicles are an abridgment of sacred history,
but especially during that period which elapsed between the
first establishment of the Jewish nation and their return
from the first captivity.

The^7'5^ hook describes the rise and propagation of the
people of Israel, and subsequently gives a particular ac-
count of the reign and transactions of David. In the
second hooh the narrative is continued. The progress and
dissolution of the kingdom of Judah, up to the year of
the return of the Jews from the Babylonish captivity, are
described. The period embraced in Chronicles is about
3468 years.

I CHROmCLES vi. 31-33.

31 And tbese are tliey whom David set over tlie
service of song in the house of the Lord, after that
the ark had rest. 32 And they ministered before
the dwelling-place of the tabernacle of the con-
gregation with singing, until Solomon had built the
house of the Lord in Jerusalem: and then they
waited on their office according to their order.
33 And these are they that waited, with their
children. Of the sons of the Kohathites ; Heman
a singer, the son of Joel, the son of Shemuel.

These verses refer to the arrangements in the tabernacle,
and first temple built by Solomon. After the ark was re-
moved from the house of Obed-edom (II Sam. vi. 7), and
deposited in the tabernacle erected by David (I Chron. xvi. 1),
the king appointed suitable persons to sing and play upon
musical instruments before that sacred treasure.

I CHROXICLES IX. 33.

195

Wifh singing (v. 3*2). — The Septuagint renders this kv
6fy)'di'oic en organois, on organs, thus indicatiDg that musical in-
struments were used. The Hebrew term is properly trans-
lated in the English version, though it is doubtless true that
those who ministered before the ark not onlv sung, but per-
formed upon instruments of music. David appointed four
thousand of the Levites to be singers before the ark in the
tabernacle, and the arrangement was subsequently confirmed
by Solomon, after the temple was completed (11 Chron. viii. 14).

I CHPwO^^CLES ix. 33.

And these are the singers, chief of the fathers of
the Levites, ivho remaining in the chamhei-s were
free: for they were emploj-ed in that work day and
nicfht.

It appears that there were services in the tabernacle at night
as well as during the dav. We read in I Chron. xxiii. 30, of
the Levites standing every morning and evening in the taber-
nacle to thank and praise the Lord. The lamps of the golden
candlesticks were lighted at evening, and kept burning during
the night. There were morning and evening sacrifices, and the
Levites were in constant attendance, in the temple, day and
night, and ready to perform by turns any required servic-e.
The singers seem to have been persons of influence, as they are
called " chief of the fathers of the Levites."

I CHr.oxiCLES xiii. S.

And David and all Israel played before God
with all their might, and with singing, and with
harps, and with psalteries, and with timbrels, and
with cymbals, and with trumpets.

196

GRAND HEBREW PROCESSION.

This refers to the solemn ceremony of carrying the ark from
Kirjath-jearim to the city of David. Reference is made to the
same circumstance in II Sam. vi. 5, where the musicians are
said to have played upon all manner of instruments made of
fir-wood, even on harps, psalteries, timbrels, cornets, and cym-
bals. The same instruments are mentioned in both places with
two exceptions. In Samuel tD^^^'D^D^^^ bimndahn'im, translated

cornets^ occurs, which is not found in the parallel passage in I
Chronicles. These were undoubtedly a species of timbrels, and
not wind instruments as the erroneous English translation of
"cornets" implies (vid. Rem. on II Sam. vi. 5). The passage
in I Chronicles has trumpets^ not mentioned in II Samuel. The
Hebrew word is Jnil^^n^ hdhlfitsMroth^ the straight trum-
pets so frequently mentioned in previous j^assages.

I Chkokecles XV. 16, 19, 20, 21, 22, 24, 27, 28, 29.

16 And David spake to the chief of the Levitcs,
to appoint their brethren to he the singers with
instruments of music, psalteries, and harps, and
cymbals, sounding, by lifting up the voice with

joy-

19 So the singers, Heman, Asaph, and Ethan,
were appointed to sound with cymbals of brass ;
20 And Zechariah, and Aziel, and Shemiramoth,
and Jehiel, and Unni, and Eliab, and Maaseiah, and
Benaiah, with psalteries on Alamoth; 21 And
Mattathiah, and Elipheleh, and Mikneiah, and
Obed-edom, and Jeiel, and Azaziah, with harps
on the Sheminith to excel. 22 And Chenaniah,
chief of the Levites, was for song : he instructed
about the song, because he loas skillful.

I CHRONICLES XV. 16, 19-22, 24, 27-29.

197

24 And Sliebaniah, and Jeliosliapliat, and Ne-
thanee], and Amasai, and Zecbariali, and Benaiali,
and Eliezer, the priests, did blow with the trum-
pets before the ark of Go'd : and Obed-edom and
Jehiah were door-keepers for the ark.

27 And David loa-s clothed with a robe of fine
linen, and all the Levites that bare the ark, and
the sin2:ers, and Chenaniah the master of the sons^
with the singers: David also had upon him an
ephod of linen. 28 Thus all Israel brought up
the ark of the covenant of the Lord with shouting,
and with sound of the cornet, and with trumpets,
and with cymbals, making a noise with psalteries
and harps. 29 And it came to pass, as the ark of
the covenant of the Lord came to the city of David,
that Michal, the daughter of Saul, looking out at a
window, saw king David dancing and playing ; and
she despised him in her heart.

These passages refer to the grand procession which accom-
panied the ark to Jerusalem. Three months before, David,
with a large number of his people, took this sacred treasure
from Kirjath-jearim, as related in II Sam. vi. 2-11, and I Chron.
xiii. 3-14. While they were moving towards Jerusalem,
Uzza put forth his hand to steady the ark, and was immedi-
ately struck dead by its side. David was offended at this
severity from the hand of the Lord, and feared to receive the
ark into Jerusalem. It was therefore deposited in the house
of Obed-edom, the Gitite. At the end of three months, the
king was desirous to remove it to the Holy City, and proceeded
with singers, musicians, and the high officers of his court, to
perform the ceremony. The passages above cited refer to that
occasion (vid. II Sam. vi. 12-17; I Chron. xv. 25-29). The

198

GRAND HEBREW PROCESSION.

procession was doubtless similar to the one that conveyed the
ark from Kirjath-jearim to the house of Obed-edom three
months before. Probably the instruments of music used on
both occasions were the same, though more are named as used
on the former than on the latter occasion. Those mentioned
in II Sam. vi. 5, and used when the ark was conveyed from
Kirjath-jearim to the house of Obed-edom, are kinnors, 7iebhels^
iophs, meuaanim, and iseltselim, translated harps^ psalteries^
timbrels, cornets, and cymbals, and in I Chron. xiii. 8, kinnors,
nebhels, iophs, meisiltayim, and hatsoiseras, translated harps,
p)salteries, timbrels, cymbals, and trumpets. In I Chron. xv. 28,
the instruments named, and employed when the ark was re-
moved from the house of Obed-edom to the city of David, are
shophars, hatsotseras, metsiltayim, nebhels and kinnors, translated
the cornet, trumpets, cymbals, psalteries, and harps. It will be
perceived that toi^hs, menaan'im, and tseltselim, mentioned in II
Sam. vi. 5, and I Chron. xiii. 8, are not found in I Chron. xv.
28, and shophar, in the latter passage, is not found in the for-
mer verses. It is probable, however, that on both occasions,
the instruments of music did not materially vary in kind or
number. The writer may not have thought it necessary, in
enumerating them, to be so explicit and full in respect to the
latter, as in reference to the former procession.

In our English translation, cornets are named as being used
in both processions; but different Hebrew words are employed,
indicating different instruments in those cases. In II Sam. vi.

d^3^!D3^'5)2i liijnnaan'im is translated on cornets; but it was

evidently a kind of timbrel — an instrument which was shaken
(vid. Rem. on II Sam. vi. 5, siqora), and not a unnd instrument.
In I Chron. xv. 28, the word translated cornet is "i3lt2J shophar,

the crooked trumpet. The cornet is now but little known, as
more than a century ago it gave place to the hautboy. There
were three kinds of these instruments, designed for the treble,
tenor, and bass. The treble and tenor instruments were simple
curvilineal tubes, about three feet in length, gradually increasing

I CHRONICLES XV. 19, 20.

199

in diameter from the mouth-piece towards the lower end. The
bass cornet was a tube of a serpentine form, four or five feet in
length, and increasing in diameter in like manner.

The shophar might be considered as a kind of bass cornet,
and consequently designated by that name; but it is more cor-
rectly called a crooked trumpet. The real cornet was of much
later origin. The expression, ^''instruments of music'''' (v. 16),
signifies, literally, instruments of song ("I'^IU'-'^bD^ b 'lJcley shir).

k^lejj is a noun in the construct state and derived from the verb

nj3 ^'['J'^!.-) completed^ ready. The noun signifies an im-

T T

plement or instrument, and sometimes an instrument of music,
especially when connected with -ji'^j; sliir.

Singers ivith instruments of music. — The expression indicates
that, in this case, vocal was accompanied by instrumental music.

Sounding. — There is probably a reference here to the music
of the whole choir, both vocal and instrum.ental.

Verse 19. Cymbals of brass. — This is indicated in the orig-
inal by one word, signifying cymbals. It is the same word
which is used in verse 28, and translated" cijmbals. These
instruments were made of brass: hence that is added in the
translation of verse 19.

Verse 20. With psalteries on alamoth.

^Icjmoth denotes virgins. — Gescnius supposes that

the expression al Hamoth which occurs here, means, after the
manner of virgins, i. e., with the female voice, referring to the
part usually sung by females, which is our treble. Hengsten-
berg, Tholuck, and others, take a similar view. Calmet sup-
poses that it means a chorus of female voices. The etymology
of the word evidently refers to females, and it very probably
indicates that part of a tune called treble, and may have indica-
ted, in som.e cases, a full choir on that part (vid. Remarks on
Ps. ix, and xlvi, infra). It occurs in connection with the ?iebhel
or psaltery (similar to our guitar), which is an appropriate in-
strument for females.

200

HEBREW MUSICAL SCALE.

In the passage under consideration (v. 20), Zecliariali, Aziel,
Shemiramoth, Jeliiel, Unni, Eliab, Maaseiah, and Benaiab, ^Yere
appointed to perform ^vith psalteries on Alamoil/, i.e., the treble,
according to the above explanation.

Wiik harps on ike S/Vmiinth — This is an ordinal

adjective from Ht't^'ui Sh^moneh, the eighth. The word here

used is in the feminine gender, and signifies octave in music.
It denoted among the Hebrews the lowest and gravest notes of
the scale, sung by males. It is similar to the modern bass, and
is opposed to the term i^i'Oi^ ^hijtibth. The former refers to

the descending, and the latter to the ascending scale; the former
to the octave below, and the latter to the octave above. There
is no philological reason to suppose that either of these terms
referred to an instrument of music as some have maintained
(vid. Rem. on Ps. vi. infra).

I CiiR0]N-iCLE3 xvi. 5-36, 42, 43.

5 Asaph tlie chief, and next to him Zechariah,
Jeiel, and Shemiramoth, and Jehiel, and Matti-
thiah, and EUab, and Benaiah, and Obed-edom :
and Jeiel with psalteries and with harps; bat Asaph
made a sound with cymljals : 6 Benaiah also and
Jahaziel the priests with trumpets continually be-
fore the ark of the covenant of God. 7 Then on
that day David delivered first tills psalm to thank
the Lord into the hand of Asaph and his brethren.

8 Give thanks unto the Lord,
Call upon his name,

Make known his deeds among the people.

9 Sing unto him,

Sing psalms unto him,

Talk ye of all his wondrous works.

I CHRONICLES XVI. 5-36, 42, 43. 201

10 Glory ye in his holy name :

Let the heart of them rejoice that seek the Lord.

11 Seek the Lord and his strength,
Seek his face continually.

12 Eemember his marvellous works that he hath done,
His wonders, and the judgments of his mouth;

13 Q ye seed of Israel his servant,

Ye children of Jacob, his chosen ones.

14 He is the Lord our God ;

His judgments are in all the earth.

15 Be ye mindful al-ways of his covenant ;

The word which he commanded to a thousand genera-
tions ;

16 Even of the covenant^ which he made with Abraham,
And of his oath unto Isaac ;

17 And hath confirmed the same to Jacob for a law,
And to Israel ybr an everlasting covenant,

18 Sa3nng, Unto thee will I give the land of Canaan,
The lot of your inheritance ;

19 When ye were but few.

Even a few, and strangers in it.

20 And y)hen they went from nation to nation,
And from one kingdom to another people ;

21 He suffered no man to do them wrong :
Yea, he reproved kings for their sakes.

22 Saying^ Touch not mine anointed.
And do my prophets no harm.

23 Sing unto the Lord, all the earth ;

Show forth from day to day his salvation.

24 Declare his glory among the heathen ;
His marvellous works among all nations.

25 For great is the Lord and greatly to be praised ;
He also is to be feared above all gods.

26 For all the gods of the people are idols :

202

SONG OF DAVID.

Bat the Lord made the heavens.

27 Glory and honor are in his presence ;
Strength and gladness are in his place.

28 Give unto the Lord, ye kindreds of the people,
Give unto the Lord glory and strength.

29 Give unto the Lord the glory due unto his name :
Bring an offering, and come before him :
Worship the Lord in the beauty of holiness.

30 Fear before him, all the earth ;

The world also shall be stable, that it be not moved.
81 Let the heavens be glad, and let the earth rejoice:
And let men say among the nations, The Lord reigneth.

32 Let the sea roar, and the fulness thereof:
Let the fields rejoice, and all that is therein.

33 Then shall the trees of the wood sing out at the pres-

ence of the Lord,
Because he cometh to judge the earth.

31 0 give thanks unto the Lord, for he is good ;
For his mercy endureth for ever.

35 And say ye. Save us, O God of our salvation,

And gather us together, and deliver us from the heathen,
That we may give thanks to thy holy name, and glory
in thy praise.

36 Blessed he the Lord God of Israel for ever and ever.
And all the people said, Amen, and praised tlie

Lord.

42 And with tliem Heman and Jeduthiin, with
trumpets and cymbals for those that should make
a sound, and with musical instruments of God.
And the sons of Jeduthun were porters. 43 And
all the people departed every man to his house,
and David returned to bless his house.

I CHRONICLES XVI. 5-3G, 42, 43.

203

These passages refer to the solemn ceremonies observed at
Jerusalem, in view of the arrival of the ark from the house of
Obed-edom the Gitite. The sacred treasure was placed in the
midst of the tent which David had prepared for the purpose.
Burnt and peace offerings were then made to Jehovah. The
king blessed the people, and appointed Levites to minister be-
fore the ark and celebrate the praises of the Lord. The ar-
rangements seem to have been made on a grand scale. It was
a solemn yet joyful occasion, and the priests in their sacerdotal
robes, with David at their head, worshipped before God. The
sacred singers were also called upon to sound forth their highest
songs of praise. Asaph, Heman, and Jeduthun, chiefs of the
choir, led off the anthems upon cymbals and trumpets.

Psalteries and Harps (v. 5). — These were the same kinds of
instruments as those mentioned in I Sam. x. 5, and Gen. iv. 21.
In the Septuagint OQyavov^ organ^ is mentioned in addition to the
other instruments ; but we do not perceive by what authority,
as it is not found in the Hebrew text.

Cymbals (verses 5, 42). — The Hebrew word is Q^lnb;;^)^

m^isilidyim, in the dual number from m^lselelh, a differ-

ent word from that used for cymbals in some other passages,
though it has the same derivation, viz., from isaldl^ to tinkle

~ T

(vid. II Sam. vi. 5, siipra, and Rem. on II Chron. xxix. 25, infra).
Trumpets (verses 6, 42). — These were the liatsotseras^ or
straight silver trumpets, the same as those mentioned in Num.
X. 2. It appears that David presented this psalm to Asaph
and his brethren. It contains several references to music,
but nearly similar to those which we have already considered.
The expression " then shall the trees of the wood sing out "
(v. 33), varies a little. The Hebrew term y^rann^nu^

shall sing, is from l]^-) ranan, to give forth a treimilous sound.
The Psalmist probably refers to the musical voice of nature in
the forests as the gentle zephyrs breathe upon the trees.

Musical instruments of God (v. 42). — k^ky shiVj

204

MUSIC OF THE TEMPLE.

literally instruments of song. 'iJd ^^hu ^ general term and

may refer to any kinds of musieal instruments. Of God.
This indicates that the reference is to sacred instruments — those
used in the services of the temple. The LXX. have opyava (xidcjv
organa oddn, instruments of song.

I CHEomcLES xxiii. 5.

Moreover four thousand wej'e porters : and four
thousand praised the Lord with the instruments
which I made, said David^ to praise tlierewitli.

The music for the temple was arranged upon a grand scale.
Such an immense number of performers, and all probably well
trained, must have produced tremendous choruses in the house
of the Lord. The reverberations through the spacious domes
of that sacred edifice must have been solemn and majestic.

Instruments. — There seems to be a reference here, as in
1 Chron. xvi. 42, to all of the sacred instruments used by the
Levites.

Which I made. — We are not to suppose that David con-
structed these instruments with his own hands ; but that they
were manufactured by his direction and under his supervision.

I ChEOXICLES XXV. 1-7.

1 Moreover David and the captains of the host
separated to the service of the sons of Asaph, and
of Heman, and of Jeduthun, who should prophesy
with harps, with psalteries, and with cymbals ; and
the number of the workmen according to their
service was : 2 Of the sons of Asaph ; Zaccur, and
Joseph, and Nethaniah, and Asarelah, the sons of
Asaph under the hands of Asaph, which prophe-

I CHRONICLES XXV. 1-7.

205

sied according to tlie order of tlie king. 3 Of Jedu-
thun : the sons of Jedutlmn ; Gedaliah, and Zeri,
and Jeshaiah, Hasbabiah, and Mattitliiah, six, under
the hands of their father Jeduthun, who prophe-
sied with a harp, to give thanks and to praise the
Lord. 4 Of Heman : the sons of Heman ; Buk-
kiah, Mattaniah, Uzziel, Shebnel, and Jerinioth,
Hananiah, Hanani, Eliathah, Giddalti, and Ro-
mamti-ezer, Joshbekashah, Mallothi, Hothir, and
Mahazioth : 5 All these xoere the sons of Heman the
king's seer in the words of Grod, to lift up the horn.
And God gave to Heman fourteen sons and three
daughters. 6 All these ivere under the hands of their
father for song in the house of the Lord, with
cymbals, psalteries, and harps, for the service of the
house of God, according to the king's order to
Asaph, Jeduthun, and Heman. 7 So the number of
them, with their brethren that were instructed in
the songs of the Lord, even all that were cun-
ning, icas two hundred fourscore and eight.

These verses refer to the arrangeinents made in respect to the
temple service : Harps^ psalteries, cymbals, the horii^ and song,
are mentioned as before ; but we are informed also that the per-
formers were to prophesy with these instruments.

The term in the original is Q'^J^^lSS nibh^im, from jj^;^^

nahha, to hoil vp, to pour oat words with emotion, to prophesy.
A secondary meaning of it is, to chant, to sing sacred songs, to
praise God while under divine influence. The will of God
was made known to the prophets in various ways, but espe-
cially by direct inspiration, \\\i\Q\\ Maimonides, one of the most
learned of the Jewish doctors, explains to be a divine impulse^

206

THE PROPHETS MUSICIANS.

enahlinrj and urging the subject of it to utter psalms, hymns,
important moral precepts or matters, civil, sacred, and divine.
This occurred while the seer was awake. The inspiration or
sacred impulse was of a calm and gentle nature, and not violent
and furious as among the heathen. Such was the inspiration of
Zacharias and Elizabeth (Luke i. 41, 42, 67-79), who are said
to have " been filled with the Holy Gho&t^'' and to have made
some sublime predictions. The hymns uttered by inspired
persons and preserved in our sacred volume, may be classed
under various kinds of verse, one of which is lyric 'poetry^ or
that which is designed to be accompanied with music, vocal or
instrumental, or both. Such, for instance, is the ode of Moses,
uttered after the children of Israel had miraculously passed
through the waters of the Red Sea (Ex. xv), and a prophetic
ode of the same writer recorded in Deut. xxxii, which we have
already considered (vid. Rem. on Ex. xv. 1, and Deut. xxxii.
44, supra). The prophets, and especially David, often uttered
divine songs and played upon instruments of music while under
the influence of inspiration. In the passage before us, we are
informed that the king appointed persons for the temple service,
to prophesy with instruments of music^ indicating, it would
seem, that it w^as commion for those who prophesied to have
musical accompaniments, or even to perform sometimes them-
selves on harps and other musical instruments.

Instructed in the songs of the Lord (v. 7). — It appears that
great attention was paid to instruction in sacred songs, as vocal
and instrumental music constituted an important part of re-
ligious worship. In I Chron. xxv. 7, w^e are informed that two
hundred and eighty-eight wdio had thus been instructed were
employed in the temple service.

II ClIROmCLES V. 12, 13.

12 Also tlie Levites wliich were the singers, all
of them of Asaph, of Heman, of Joduthim, with

II CHROXICLES V. 12, 13. 207

their sons and tlieir brethren, leing arrayed in
white linen, having cymbals and psalteries and
harps, stood at the east end of the altar, and with
them an hundred and twenty priests sounding with
trumpets: 13 It came even to pass, as the trum-
peters and singers loere as one, to make one sound
to be heard in praising and thanking the Lord ;
and when they lifted up tlieir voice with the trum-
pets and cymbals and instruments of music, and
praised the Lord, saying^ For lie is good ; for his
mercy endi.ireth for ever ; that then the house was
filled with a cloud, even the house of the Lord.

These passages refer to the august ceremony of moving the
ark of the covenant from the place where it had been deposited
in the " city of David" to the temple of Solomon. Three
months before, it had been carried from the house of Obed-edom
to Jerusalem, and placed in the tabernacle erected by David
for that purpose. Then, as the temple had been completed by
Solomon, and the sacred utensils and furniture, prepared by his
father, David, had been arranged in their proper places, the
king assembled the elders of Israel, and all the heads of the
tribes and chief men of the nation to bring up the ark and de-
posit it within the inner veil in the Holy of Holies. The
Levites, bearing this treasure, moved forward amid the smok-
ing sacrifices of sheep and oxen " which could not be told or
numbered for multitude." After it had been deposited in
the most holy place, and the priests had come out probably into
the sanctuary where the altar of incense stood, the Levites,
being array ed in white linen, and standing at the east end of
t*he altar with various instruments of music, mingled their har-
monious notes with the blast of a hundred and twenty trum-
pets in the hands of priests. As their songs of joy and praise

208

GRAND HEBREW PROCESSION.

reverberated with solemnity and grandeur through the sacred
edifice, and as the vocal choir raised their exalted strains in
adoration of the great Creator, exclaiming : " For he is good ;
for his mercy endureth forever^'''' the glory of God came down
and a cloud filled the temple, so that the priests could not stand
to minister. It is probable that the priests then came out of
the sanctuary into the inner court of the temple, called the
court of the priests, which encircled the altar of burnt ofiering.
In this court we suppose Solomon stood, upon the brazen scaf-
fold which he had erected, to offer his prayer in dedicating the
temple. He was where he could see all of the people, and yet
near the altar. He blessed them, and, kneeling down before
all the congregation, spread out his hands towards heaven and
uttered fervent supplications to God. As soon as he had ceased,
fire from heaven descended and consumed the sacrificial victims
upon the altar of burnt ofiering. The glory of God so filled
the house that the priests could not again enter. When the
multitudes, standing in the court of the Israelites, beheld the
divine glory, they bowed with their fiices to the ground and
worshipped God, saying, For he is good ; for his mercy endur-
eth forever^ Then the king and the people offered an im-
mense number of sacrifices to the Lord, continuing the ceremo-
nies seven days in succession.

II Chronicles vii. 6.

And the priests waited on their offices : the Le-
yites also with instruments of music of the Lord,
which David the king had made to praise the
Lord, because his mercy enduretli for ever, when
David praised by their ministry; and the priests
sounded trumpets before them, and all Israel stood.

This passage refers to the closing ceremonies at the dedica-
tion of Solomon's temple. The performances of the Levites

II CHRONICLES IX. 11. 209

on instruments of music, constituted an important part of those
imposing ceremonies.

Insii'umeiiis. — The general term ("^'^'©""'b^ k^ley shir) for

musical instruments, is here employed (vid. Rem. on I Chron.
xvi. 5-36 s>fpra). As complete a choir as could be raised,
with a full band of instruments, undoubtedly performed on that
occasion.

Trumpets. — These were the hh^tsots^nm (f^llilSn) sifver

trumpets^ used by the priests only on important occasions (vid.
Rem. on Num. x. 2, supra).

A?id all Israel stood. — None excepting the kings of the house
of David were allowed, however weary they might be, to sit
down in either the priests' or Israelites' court. During the
solemn ceremonies of the dedication, the people stood in the
courts and joined in the hymns of adoration which ascended as
a sweet savor before the Lord.

II Chronicles ix. 11.

And the king made of the algum-trees terraces
to the house of the Lord, and to the king's pal-
ace, and harps and psalteries for singers : and there
were none such seen before in the land of Judah.

Harps and Psalteries. — ^These were the kinnors ("11*5^) and
nehhels iJ^'Z'i)' Septuagint uses cithara^ to denote the

former (vid. Rem. on Gen. iv. 21 ; II Sam. x. 5).

For sixijrrs. — It seems that the instruments were made for
singers., inJieating that those who sung, at the same time often
performed on instruments. That practice was common from
the earliest times. Poets sung their own productions, and
sometimes also played an accompaniment at the same time, on
some instrument of music.

210 GREAT BATTLE BETWEEN JUDAH AND ISRAEL.

And there were none such seen before in the layid of Judah. —
This expression indicates an improvement in the construction
of musical instruments. The king had now made them supe-
rior to any which had been seen in the land. The improve-
ments probably related more to ornaments than to the tone and
capacity of the instruments.

II Chroxicles xiii. 12-15.

12 And, behold, God himself is with us for our
captain, and his priests with sounding trumpets to
cry alarm against you. O children of Israel, fight
ye not against the Lord God of your fathers ; for
ye shall not prosper. 13 But Jeroboam caused an
ambushment to come about behind them : so they
were before Judah, and the ambushment ivas be-
hind them. 14 And Avhen Judah looked back, be-
hold, the battle tvas before and behind : and they
cried unto the Lord, and the priests sounded with
the trumpets. 15 Then the men of Judah gave a
shout : and as the men of Judah shouted, it came
to pass, that God smote Jeroboam and all Israel
before Abijah and Judah.

There is reference in these passages to a battle which occur-
red between Abijah, king of Judah, and Jeroboam, king of
Israel. The latter had been rebellious, mad.e images and wor-
shipped them, forsaking the God of his fathers. He had raised
an army of 800,000 men, and marched against one of 400,000
under Abijah, who warned Jeroboam not to contend against the
Lord, as he would not prosper in so doing. He informed Je-
roboam that God was with Judah, and had directed her captain
and the priests of the Lord, to sound, with trumpets, the alarm

II CHRONICLES XV. 1-4.

211

against him. The contest commenced ; but ended in the over-
throw of Jeroboam and the slaughter of 500,000 of the Israel-
ites.

Trumpets{\s. 12, 14). — These were the h^tsots'^roih (^ii*iji^n)

or straight trumpets. Here is a remarkable instance in which
the sound of the war-trumpet and the shout of Judah struck
the hosts of rebellious Israel with dismay, causing them to flee
before the armies of the Lord.

II Cheoxicles XV. 14.

And they sware unto the Lord with a loud
voice, and with shouting, and with trumpets, and
with cornets.

The music, to which reference is here made, was in confirm-
ation of an oath made by the children of Judah and Benjamin,
that whosoever would not seek the Lord God of Israel, should
be put to death. They had, as a people, departed from the
worship of God, but, when exhorted by the prophet Azariah,
they decided to cast their dumb idols away, and return to the
worship of the God of Israel. Taking this oath of fealty to
Jehovah was of the highest importance, and the people pro-
claimed the event with a loud voice, a shout, with hh^tsots^roth
(x^rc^^'^ti) straigltt trumpets (vid. Num. x. 2, and Rem. on

the same, supra), and shoplKtrs (rri^iSTji) crooked trumpets,

though our English translation has cornets. The cornet was a
wind instrument ; but ditfered from the shophctr. In II Sam.
vi. 5, a pulsatile instrument is translated cornets. The LXX
have KeparLvaig keratinois, trumpets, bugles, cornets.

n Cheoxicles XX. 19-22, 28.

19 And the Levites, of the chiklren of the Ko-
hathites, and the children of the Korhites, stood

VICTORY OF JUDAH.

up to praise tlie Lord God of Israel witli a loud
voice on high. 20 And they rose early in the
morning, and went forth into the wilderness of
Tekoa : and as they went forth, Jehoshaphat stood
and said, Hear Uie, O Jiidah, and ye inhabitants of
Jerusalem ; Believe in the Lord your God, so shall
ye be established ; believe his prophets, so shall ye
prosper. 21 And when he had consulted with the
people, he appointed singers unto the Lord, and
that should praise the beauty of holiness, as they
went out before the army, and to say. Praise the
Lord; for his tuqycj endureth for ever. 22 And
when they began to sing and to praise, the Lord
set ambushments against the children of Ammon,
Moab, and Mount Seir, which were come against
Judah ; and they were smitten.

28 And they came to Jerusalem, with psalteries
and harps and trumpets, unto the house of the
Lord,

These verses refer to the overthrow of the enemies of Judah,
by the special interposition of Providence. The Moabitos,
Ammonites, and other hostile tribes came up in battle array
against Jehoshaphat, king of Judah. The latter proclaimed a
fast, and called upon his people to invoke divine assistance.
While they were assembled and engaged in earnest prayer, the
spirit of the Lord came upon Jahaziel, and he declared to the
oppressed children of Judah that they need not fear the armies,
as the Lord would deliver them into their hands. Then Jehosh-
aphat and the assembly bowed down again in adoration before
their Heavenly Father. The Levites stood up to praise the
Lord God of Israel with a loud voice on high. There may have

II CHRONICLES XXIII. 13, 18.

213

been sinr/ing as well as other forms of worship performed hj
the Levites on that occasion.

Singers. — Persons were appointed to sing as the children of
Judah should go out to meet their enemies. The Hebrew word
is m^ahor^rim a Participle, Pilpel conjugation from

^n'^j ^Ai?*, to sing. Accordingly, as they moved on, they

sung praises to God with a loud voice, and no sooner had they
begun, than Ammon and Moab found that the inhabitants of
Mount Seir had laid in ambush for them, and thus the foes of
Judah were put to flight without the necessity of striking a
blow.

Psalteries.^ Harps^ and Trumpets. — These \yere nebhels, Hn-
nors and hatsotseras or straight trumpets (vid. Rem. on I Sam.
X. 5; Gen. iv. 21; Num. x. 2, supra).

II Cheoisicles xxiii. 13, 18.

13 And she looked, and behold, the king stood
at his pillar at the entering in, and the princes and
the trumpets by the king : and all the people of
the land rejoiced, and sounded with trumpets, also
the singers with instruments of music, and such as
taught to sing praise. Then Athaliah rent her
clothes, and said, Treason ! treason !

18 Also Jehoiada appointed the officers of the
house of the Lord by the hand of the priests the
Levites, whom David had distributed in the house
of the Lord, to offer the burnt-offerings of the Lord,
as it is- written in the law of Moses, with rejoicing
and with singing, as it ivas ordained by David.

After the death of Azariah, king of Judah, Athaliah his
mother ruled in his stead. She was a monster of cruelty, and

214:

JEHOASH CROWNED.

made an attempt to put to death all the seed royal, so that she
might continue, unmolested, to occupy the throne; but Jehoash,
a son of Ahaziah, was concealed, and escaped the violence of that
desperate woman. He was finally escorted to a public place
and anointed king. After the coronation, Athaliah heard the
sound of rejoicing, and cried, Treason! But it was too late.
Her fate was sealed, and she was soon led out of the temple to
the place of execution.

On that important occasion, probably all of the usual instru-
ments of music were employed. At such times, the ceremonies
were performed with great pomp. First, the candidate was
anointed with holy oil (vid. Ps. Ixxxix. 20). If, however, one
of the same fanuly had preceded him in the regal office, as it
was hereditary in the kingdom of Judah, the ceremony of
anointing was dispensed with, excepting when the right to the
throne was disputed. The candidate was next proclaimed king
by the sound of the trumpet (vid. I Kings, i. 34, 39). A crown
was placed upon his head, and a sceptre in his right hand. The
newly elected king then promised to govern according to the
law of Moses. Some other ceremonies were observed, and
then loud acclamations arose from the people, accompanied by
music, and the king entered the holy city. In the case before
us, there were similar observances.

Trumpets — Sounded with trumpets. — Hatsotseras or straight
trumpets were here employed in both cases.

Singers with instruments of music. — The general term
^I'^llj-'^i'D ^^hy 5^^^'^ f'^r musical instruments is used. It
seems that those who sung^ performed also upon instruments,
probably of the stringed or pulsatile kind.

II Chronicles xxix. 25-30.

25 And lie set the Levites in the house of the
Lord, with cymbals, with psalteries, and with harps,
according to the commandraent of David, and of

II CIIROXICLES XXIX. 25-30.

215

Gad the king's seer, and XatLan the prophet: for
so was the commandment of the Lord by his proph-
ets. 26 And the Levites stood with the instru-
ments of David, and the priests with the trumpets.
27 And Hezekiah commanded to offer the burnt-
offering upon the altar. And when the burnt-of-
fering began, the song of the Lord began also with
the trumpets, and with the instruments ordained
by David king of Israel. 28 And all the congre-
gation worshipped, and the singers sang, and the
trumpeters sounded: and all this continued until
the burnt-offering was finished. 29 And when
they had made an end of offering, the king and all
tliat were present with him bowed themselves and
worshipped. 30 Moreover Hezekiah the king and
princes commanded the Levites to sing praise unto
the Lord with the words of David, and of Asaph
the seer. And they sang praises with gladness,
and they bowed their heads and worshipped.

Ahaz, king of Judah, had abandoned the worship of Jehovah,
destroyed the sacred utensils of the temple, and desecrated and
shut up that holy edifice. When Hezekiah, his son, ascended
the throne, he overthrew the idols of gold and silver which
Ahaz had made, repaired the temple of Solomon, and dedicated
it anew to the service of God. The verses under consideration
refer to the ceremonies of that occasion.

Cymbals, psalteries^ and harps (v. 25). — The original words
are derivatives of m^tsiltdyim tlb^"^)' ne_bhel and kinnor.

The first, which is translated cymbals, is supposed by Jahn and
others, not to refer to instruments of music, nor to bells, as the
"word is translated in Zech. xiv. 20, but to concave plates of

216

DEDICATION OF THE TEMPLE.

hras.^i, sometimes attached to horses for the sake of ornament
(vid. Jahn's Biblic. Archajolofry, § 96. II). They were doubt-
less designed to make a tinkling sound, as well as for show.
Those intended for horses were probably of smaller size than
those used as accompaniments to music. In the passage above
mentioned, the word cannot mean any part of the trappings of
a horse, as nothing is said of that animal in the connection.
The reference is evidently to a pulsatile instrument similar to
that mentioned in I Chron. xvi. 5, 42, and may have been of
the same form as that of sieed ornaments (vid. Rem. on I Chron.
xvi. 5, 42, supra).

Instruments of David (v. 26). — KHe^f ("i^^), the general

term for instruments of music (vid. Rem on I Chron. xvi. 42),
probably referring to the various kinds prepared by David and
used by Solomon in the temple service.

Trumpets^ (v. 26). — Ilatsotseras, or straight^ silver trumpets.

Song of the Lord, (v. 27). — When the burnt-offering began
to smoke upon the altar, the song of praise to God commenced.
It seems that the priests first sounded with their silver trumpets,
and then followed the whole choir of instrumental music " or-
dained by David.^^

Singers sang. — Not only was there instrumental, but vocal
music. Probably the full choir of Levites now either sung, or
performed on instruments of music. It is probable also that
the Israelites in their court joined in the song. This oriental
music continued till the victim of the burnt-offering was con-
sumed.

With the words of David and of Asaph the seer (v. 80). —
Asaph, as well as David, composed hymns, and those prepared
by both were sung on this occasion.

II Chronicles xxx. 21.

And the cliildren of Israel that v)ere present at
Jerusalem kept tlie feast of unleavened bread seven

II CHRONICLES XXXIV. 12.

217

days witli great gladness : and the Levites and tlie
priests praised the Lord day by day, singing with
loud instruments unto the Lord.

Loud instruments. — Literally, instruments of strength or in-
struments of praise. At the command of Hezekiah the pass-
over was kept at Jerusalem, and that was a suitable occasion
for special joy and praise. The usual instruments, amd especially
the powerful ones, were probably employed.

II CHRomcLES xxxiv. 12.

And the men did the work faithfully : and the
overseers of them were Jahath and Obadiah, the
Levites, of the sons of Merari : and Zechariah and
Meshullam, of the sons of the Kohathites, to set it
forward; and other of the Levites, all that could
skill of instruments of music.

Under the reign of Manasseh and Ammon the temple had
been desecrated, the altars overthrown, and the worship of the
living God almost abandoned. Josiah repaired the sacred edi-
fice, appointed Levites as musicians, and restored the worship
of Jehovah.

All that could skill of instruments of music. — This is a badly
translated phrase. It signifies, literally, every one skilled in the
instruments of song.

II Chronicles xxxv. 15, 25.

15 And the singers the sons of Asaph we7'e in
their place, according to the commandment of
David, and Asaph, and Heman, and Jeduthun the
10

218

MOURNFUL CHANTS.

king's seer ; and tlie porters waited at every gate ;
they miglit not depart from their service ; for their
brethren the Levites prepared for them.

25 And Jeremiah lamented for Josiah : and all
the singing men and the singing women spake of
Josiah in their lamentations to this day, and made
them an ordinance in Israel : and, behold, they are
written in the lamentations.

Verse 15 has reference to the celebration of the passover by
Josiah the king. The mention of singers indicates that there
was vocal as well as instrumental music on such occasions.

Singing men and singing women spake of Josiah in their
lamentations (v. 25). — This indicates that females as well as
males sometimes took part in musical performances. This was
the case in the tabernacle and temple service. Heman had
fourteen sons and three daughters, who were skilled in music,
and Ezra, when enumerating those who returned from the
Babylonish captivity, names 200 singing men and singing wom-
en (vid. Ezra ii. 65).

EZRA 11. 41, 65, 70.

219

THE BOOK OF EZRA.

IXTEODUCTORY REMARKS.

The books of Ezra and Nehemiali were anciently
called the first and second book of Ezra. As the author
of the former speaks in the first person, it is evident that
he witnessed the events which he describes. The compo-
sition was originally written in the Hebrew language, ex-
cepting from the eighth verse of the fourth chapter to
the eighteenth verse of the sixth chapter, and from the
twelfth to the twenty-sixth verse of the seventh chapter,
which were written in Chaldee. AVe have here a history
of God's chosen people during the time which elapsed from
the edict of Cyrus until the twentieth year of Artaxerxes
Longimanus, about seventy, or, as some suppose, one hun-
dred years. The return of the Jews from Babylon, under
Zerubbabel, and the reformation of religion under Ezra,
are described. There are a few references to music.

EzEA ii. 41, 65, 70.

41 The singers : the children of Asaph, an hun-
dred twenty and eight.

65 Besides their servants and their maids, of
whom tliere were seven thousand three hundred
thirty and seven : and there were among them two
hundred singing men and singing women.

70 So the priests, and the Levites, and some of
the people, and the singers, and the porters, and

220

RETUHN FROM THE CAPTIVITY.

the Netliinims, dwelt in their cities, and all Israel
in their cities.

This chapter narrates the numbering of the Israelites in each
tribe and department, and their return from their captivity in
Babylon.

There were 128 singers, children of Asaph (v. 41), and, in
the whole congregation, 200 singing men and singing women
(v. 65). The captivity occurred, according to the usual compu-
tation, 587 B. C, or A. M. 3416, While the Israelites were in
Egypt (which they left about 1491 B. C, or A. M. 2513) they
undoubtedly became acquainted with Egyptian music, and
adopted it to some extent, as we have shown in the introduc
tion to this work. When they were captives in Babylonia,
their music was probably modified by that of their oppressors,
as they were in bondage seventy years, returning to Jadsea
about 517 B. C. This was about half a century after the flour-
ishing period of Solomon's reign, when the arts had reached a
high degree of improvement for that age. The glory of the
temple, the splendor of its ornaments and services, had passed
away — the favored people of God had worn, for a long time,
the galling chains of slavery, and were emerging from the clouds
of darkness which had so long enshrouded them. They had re-
turned to the land of their fathers, and were preparing to re-
store the worship of God in their deserted temple. In num-
bering their singing men and singing women, instead of having
4000, as in the days of Solomon, they found that they had only
200.

Ezra iii. 10-13. .

10 And when the builders laid the foundation
of the temple of the Lord, they set the priests in
their apparel with trumpets, and the Levites the
sons of Asaph with cymbals to praise the Lord,

EZRA III. 10-13.

221

after the ordinance of David king of Israel. 11
And tliey sung together by course, in praising and
giving thanks unto the Lord ; because he is good,
for his mercy endiiretli for ever toward IsraeL
And all the people shouted with a great shout,
when they praised the Lord, because the founda-
tion of the house of the Lord was laid. 12 But
many of the priests and Levites and chief of the
fathers, ivlio were ancient men, that had seen the
first house, when the foundation of this house was
laid before their eyes, wept with a loud voice ; and
many shouted aloud for joy ; 13 So that the peo-
ple could not discern the noise of the shout of joy
from the noise of the weeping of the people : for
the people shouted with a loud shout, and the noise
was heard afar off.

These verses refer to the ceremony of laying the foimdation
of the second temple. The one built by Solomon was deso-
lated, and finally burned by Nebuchadnezzar, who carried the
Israelites into captivity. By a decree of the Persian monarch,
that oppressed people had been permitted now to return to
Judsea, and commence building another temple under the direc-
tion of Zerubbabel. It was erected upon the site of the first ;
but was inferior to that edifice in splendor. The ark of the
covenant and mercy seat, the Shekinah or manifestation of the
divine presence in the holy of holies, the sacred fire on the altar
kindled from on high, the Urim and Thummim and the spirit of
prophecy, which adorned and made sacred the first, were en-
tirely wanting in this ; still the glory of the latter, in one re-
spect, excelled that of the former. The Saviour graced it with
his presence and holy teachings. The foundations of this new
temple were laid amid great rejoicings. Some shouted in tri-

222 JEWISH TRIUMPH IX THE SECOND TEMPLE.

umph, while the aged, who had in by-gone days entered the
courts of the former temple with thanksgiving, wept with a
loud voice (verses 11, 12, 13). As they reflected upon their
former prosperity, when they worshipped unmolested in that
splendid edifice where Jehovah vouchsafed his presence — while
contemplating its utter desolation, their fearful bondage in
Babylonia, and the cheering prospect now before them of rear-
ing another house of God upon the site of the former one, and
once more entering its gates with praise, — they were over-
whelmed with mingled emotions of grief and joy.

Trumpets (v. 10). — These were straight trumpets.

Cymhals (v, 10) m^tsiltayim. — The same instruments as those
mentioned in I Chron. xvi. 5, 42, and II Chron. xxix. 25.

EzEA vii. 7, 24.

7 And there went np some of tlie children of
Israel, and of the priests, and the Levites, and the
singers, and the porters, and the ]N"ethinims, unto
Jerusalem, in the seventh year of Artaxerxes the
king.

24 Also we certify you, that touching any of
the priests and Levites, singers, porters, IS'ethininis,
or ministers of this house of God, it shall not be
lawful to impose toll, tribute, or custom, upon
them.

Artaxerxes, king of Persia, favored the project of rebuild-
ing the temple at Jerusalem, and addressed a letter to Ezra
upon the subject, assuring him that the priests, Levites, singers,
porters, and Nethinims, should not be required to pay tribute,
toll, or custom.

EZRA X. 21.

223

Ezra x. 24.

Of the singers also ; Eliasliib : and of the por-
ters ; Sliallum, and Telem, and Uri.

Singers. — After the Israelites had returned to the land of
Judsea, they brought down upon themselves the mdignation of
Jehovah, by taking strange wives, and the judgments of heaven
began to descend upon them. The singers were among the
number of transgressors, and at the solicitation of Ezra, they
put away their wives, humbled themselves before God, and
secured again his favor.

224 BUILDING OF THE WALL3 OF JERUSALEM.

THE BOOK OF NEIIEMIAIL

INTRODUCTORY REMARKS.

In some versions this is called the second book of Ezra.
Nehemiah was born at Babylon during the captivity, was
honored b}^ Artaxerxes Longiraanus, king of Persia, and
finally became his cup-bearer. Though elevated to a
high rank, he did not forget his kindred the Hebrews,
and obtained permission of the king to assist them in re-
building the walls of Jerusalem and the temple. He was
appointed governor of the province of Juchea, and entered
the hoi 3^ city about thirteen years after the arrival of Ezra.
The book contains an account of the rebuilding of Jeru-
salem and the temple, the opposition of Sanballat, and the
first and second reformation, in respect to the Jews, accom-
plished by Nehemiah.

Nehemiah iv. 18-20.

18 For the builders, every one bad his sword
girded by his side, and so builded. And be that
sounded the trumpet ivas by me. 19 And I said
unto the nobles, and to the rulers, and to the rest
of the people, The work is great and large, and
we are separated upon the wall, one far from an-
other. 20 In what place tlievefore ye hear the
sound of the trumpet, resort ye thither unto us :
our God shall fight for us.

NEHEMIAH VII. 1, 44, 67, 73.

225

These verses refer to the expected attack of Israel's foes
while the former were building the walls of Jerusalem. They
were obliged to hold their weapon of warfare in one hand and
build with the other.

Trumpet (vs. 18-20). — This was the shophar or crooked
trumpet, used to sound an alarm. These verses in the Hebrew
Bible are numbered 12, 13, and 14. The division into chapters
and verses being of comparatively late origin, and not of divine
authority, translators and revisers have felt at liberty to use
their own judgment in making the divisions, thus causing some
diversity iu different versions and editions.

Nehemiah vii. 1, 44, 67, 73.

1 Now it came to pass, wlien the wall was built,
and I had set up the doors, aud the porters and the
singers and the Levites were appointed.

44 The singers : the children of Asaph, an hun-
dred forty and eight.

67 Beside their man-servants and their maid-
servants, of whom there were seven thousand three
hundred thirty aud seven : and they had two hun-
dred forty and five singing men and singing wom-
en.

73 So the priests, and the Levites, and the por-
ters, and the singers, and some of the people, and
the iSTethinims, and all Israel, dwelt in their cities ;
and when the seventh month came, the children of
Israel id ere in their cities.

SingerR (verses 1, 44, 73). — The children of Asnph were 148
in number. Some of these singers may have been more dis-
tant descendants of that eminent musician, than sons. When

226

MUSICIANS OF THE TEMPLE.

the Israelites first came from Babylon, they had 128 singers ;
and now, having completed the repairs of the temple, they ap-
pointed a larger choir.

Singing men and singing ivomen (v. 67). — Here were forty-
five more than those mentioned in Ezra ii. 65, as having just
come from Babylon.

Nehemiah X. 28.

And the rest of the people, the priests, the Le-
vites, the porters, the singers, the Nethinims, and all
they that had separated themselves from the peo-
ple of the lands unto the law of God, their wives,
their sons, and their daughters, every one having
knowledge, and having understanding.

Singers. — These were a part of the number who took a sol-
emn oath to w^alk in accordance with God's law.

Kehemiah xi. 22, 23.

22 The overseer also of the Levites at Jerusa-
lem iva-s' Uzzi the sou of Bani, the son of Hasha-
biah, the son of Mattaniah, the son of Micha. Of
the sons of Asaph, the singers loere over the busi-
ness of the house of God. 23 For it was the
king's commandment concerning them, that a cer-
tain portion should be for the singers, due for
every day.

Singers. — It seems by verse 23, that a portion of the singers
were appointed to perform each day, and only on the most im-
portant public occasions did they all perform at once.

NEHEMIAH XII. 27-47.

227

Nehemiah xii. 27-47.

27 And at tlie dedication of tlie wall of Jerusa-
lem they sought the Levites out of all their places,
to bring them to Jerusalem, to keep the dedication
with gladness, both with thanksgivings, and with
singijig, ivitli cymbals, psalteries, and with harps.
28 And the sons of the singers gathered them-
selves together, both out of the plain country
round about Jerusalem, and from the villages of
Netophathi ; 29 Also from the house of Gilgal,
and out of the fields of Geba and Azmaveth : for
the singers had builded them villages round about
Jerusalem. 30 And the priests and the Levdtes
purified themselves, and purified the people, and
the gates, and the wall. 31 Then I brought up
the princes of Judah upon the wall, and appointed
two great companies of tJiem tliat gave thanks,
whereof one went on the right hand upon the wall
toward the dung gate : 32 And after them went
Hoshaiah, and half of the princes of Judah, 33
And Azariah, Ezra, and Meshullam, 34 Judah,
and Benjamin, and Shemaiah, and Jeremiah, 35
And certain of the priests' sons with trumpets ;
namely^ Zechariah the son of Jonathan, the son of
Shemaiah, the son of Mattaniah, the son of Mich-
aiah, the son of Zaccur, the son of Asaph : 36
And his brethren, Shemaiah, and Azarael, Milalai,
Gilalai, Maai, Nethaneel, and Judah, Hanani, with
the musical instruments of David the man of God,

228 DEDICATION" OF THE WALLS OF JERUSALEM.

and Ezra the scribe before them. 37 And at the
fountain gate, which was over-against them, they
went up by the stairs of the city of David, at the
going up of the wall, above the house of David,
even unto the water gate eastward. 38 And the
other company of tliem tliat gave thanks went over
against tliem^ and I after them, and the half of the
people upon the wall, from beyond the tower of
the furnaces even unto the broad wall ; 39 And
from above the gate of Ephraim, and above the
old gate, and above the fish gate, and the tower of
Hananeel, and the tower of Meah, even unto the
sheep gate : and they stood still in the prison gate.
40 So stood the two companies of them that gave
thanks in the house of God, and I, and the half of
the rulers with me : and the priests ; 41 Eliakim,
Maaseiah, Miniamin, Michaiah, Elioenai, Zechariah,
and Hananiah, with trumpets ; 42 And Maaseiah,
and Shemaiah, and Eleazar, and Uzzi, and Jehoha-
nan, and Malchijah, and Elam, and Ezer. And the
singers sang loud, with Jezrahiah their overseer.
43 Also that day they offered great sacrifices, and
rejoiced : for God had made them rejoice with
great joy : the wives also and the children re-
joiced : so that the joy of Jerusalem was heard
even afar off.

44 And at that time were some appointed over
the chambers for the treasures, for the offerings,
for the first-fruits, and for the tithes, to gather into
them, out of the fields of the cities, the portions

NEHEMIAH XIII. 5, 10.

229

of the law for the priests and Levites : for Judah
rejoiced for the priests and for the Levites that
waited. 45 And both the singers and the porters
kej)t the ward of their God, and the ward of the
purification, according to the commandment of
David, and of Solomon his son. 46 For in the
days of David and Asaph of old, tliere were chief
of the singers, and songs of praise and thanksgiv-
ing nnto God. 47 And all Israel, in the days of
Zerubbabel, and in the days of Nehemiah, gave
the portions of the singers and the porters, every
day his portion ; and they sanctified lioly things
unto the Levites ; and the Levites sanctified them
unto the children of Aaron.

These verses refer to the dedication of the walls of Jerusa-
lem. Probably all of the different kinds of instruments in use
were employed. Cymbals^ psalteries, and harps are named
(v. 27) — the same as those used on former occasions.

Priests' sons with trumpets (v. 35). — The expression, priests'*
sons, is similar to sons of the prophets, meaning those instructed
by the prophets, and in many cases their natural sons. So it
was undoubtedly in reference to sons of the priests.

Musical instruments of David (v. 30). — The expression indi-
cates those which he had ordained to be used, and it was possi-
ble that some of the very same instruments employed in the
time of that monarch, had been preserved.

Xehemiah xiii. 5, 10.

5 And he had prepared for him a great cham-
ber, where aforetime they laid the meat-offerings,
the frankincense, and the vessels, and the tithes

230

SINGERS m THE TEMPLE.

of the corn, tlie new wine, and tlie oil, whicli was
commanded to he given to tlie Levites, and the
singers, and the porters ; and the offerings of the
priests.

10 And I perceived that the portions of the
Levites had not been given them : for the Levites
and the singers, that did the work, were fled every
one to his field.

Singers. — Ordinary performers in the tenaple service.

POETRY OF THE OLD TESTAMENT.

231

POETICAL BOOKS OF THE OLD TESTAMEXT.

IXTRODUCTORY REMARKS.

The poetical books of the Old Testament are five in
number, viz : Job, Psalms, Proverbs, Ecclesiastes, and
Canticles, or the Song of Solomon. They are almost en-
tirely written in Hebrew rh}' thm, and are therefore usually
classed by themselves, though some of them, in point of
date, are anterior to the historical books. As long ago as
the time of Gregory Xazianzen, they were called by him
the jive metrical books (vid. Greg. Xaz. Carm. xxxiii. v. 16).
They are also mentioned by Amphilochius, Bishop of
Iconium, in an iambic poem which he addressed to Seleu-
cus (Op. Tom. ii., p. 98 ; Paris, 1611). Also Epiphanius
and Cyril of Jerusalem refer to them (Epiph. de Pond, et
Mens., p. 533 ; Suicer's Thesaurus, Tom. ii). In our He-
brew Bibles they are placed in the Hagiographa {holy writ-
ings)^ between Malachi and the book of Esther ; but in
our English version between the historical and prophetic
writings.

These books are important for our present purpose, as
they contain numerous allusions to music, and as they had,
in many cases, at least, during their recital, musical accom-
paniments. We shall therefore consider them rather more
fully than the other books of the sacred volume.

232

ORIENTAL POETRY.

HEBREW POETRY.

GENERAL VIEW OF HEBREW POETRY.

Of all poetry, that of the Hebrews is the most ancient on
record which has reached our times in any language, and to de-
termine its origin we are obliged to go back nearly to the com-
mencement of the human race. Instrumental music was, in all
probability, practised as early as 160 years after the creation
of Adam, and vocal music undoubtedly preceded that. When
the human voice first began to utter musical sounds, or certainly
very soon after, words must have been employed, and expressed
in a kind of poetry, though imperfect and rude. Dr. Jahn in-
forms us that " poetry had its origin in the first ages of the world,
when undisciplined feelings and a lively imagination naturally
supplied strong expressions, giving an expressive modulation to
the voice, and motion to the limbs" (Jahn's Biblical Arch.
§ 90). The word poetry is derived from the Greek term
Hoi7]OL(; 2wiesis, signifying the production or creation of any-
thing, referring undoubtedly to the creative power necessary for
a poet. Although the term which now indicates poetry is of
comparatively modern origin ; yet poetic effusions were uttered
long anterior to the existence of the Greek language or nation,
and even before the national existence of the Hebrews, although,
as we have said, their writings contain the earliest authoritative
record of the art extant. In India, refined poetry existed in the
sacred books of the Hindoos, 1000 years B. C., and probably
rude specimens 3000 years B. C. The Egyptians cultivated
music, and probably poetry, more than 3000 years B. C. Some
other nations cultivated the latter nearly as early ; but we have
a rude specimen in the Jewish scriptures recorded by Moses, and
represented as having been uttered by Lamech, the father of

GENESIS IV. 23, 24.

233

Jubal, to his two wives in reference to a heinous crime of which
he was guilty. In the excited state of his mind he exclaims :

" Adah and Zillah, hear my voice,
Ye wives of Lamech, hearken unto my speech;
For I have slain a man to my wounding,
And a young man to my hurt:
If Cain shall be avenged sevenfold,
Truly Lamecli seventy and sevenfold."

Vid. Gen. iv. 23, 24.

This passage, occurring in immediate connection with the
mention of Jubal, and having been uttered by his father, must
have been spoken as early as 150 or 160 years after the crea-
tion of Adam, and about 1496 or 1506 before the deluge. It
is a remarkable circumstance that we have the mention of
music and a specimen of poetry in immediate connection,
though they are not named as accompanying each other.
The name of Jubal is recorded as the father of instrumental
music, and Lamech, his natural father, presents a specimen of
rude poetry, from the excitement produced by reflecting upon
a revolting crime which he had committed. Here we have
proof positive that poetry was coeval with music. Dr. Jahn
asserts that poetry, music, and dancing were contemporaneous
in origin (Jahn's Biblical Arch. § 90). It is not necessary to
suppose that there was a musical accompaniment to the recital
of Lamech's poetry. It is probable that there was not, though
very often, subsequently, there were such accompaniments.
This specimen of early versification is called by biblical schol-
ars prosaic poetry. It has the imagination, pathos, passion, and
striking expression of poetry, but not faultless versification nor
metaphorical language. It is 7ialural in distinction from arti-
ficial and finished poetry.

Another specimen may be found in Gen. ix. 25, 26, 27,
where the patriarch Noah, awaking from his wine and ascer-
taining the shameful conduct of Ham and Canaan, and the com-

234

HEBREW POETEY.

mendable course of Shem and Japheth, is represented as ex-
claiming, under the excitement of his feelings, in oriental
verse :

" Cursed be Canaan ;

A servant of servants shall he be unto his brethren.
And lie said,

Blessed be the Lord God of Shem ;

And Canaan shall be his servant.

God shall enlarge Japheth, and he shall dwell in the

tents of Shem ;
And Canaan shall be his servant."

This was an important prophecy in reference to the settlement
and government of mankind upon the earth, which has been
terribly fulfilled in respect to the descendants of Ham and Ca-
naan, who are even now in bondage in this and other countries.
The prediction has also been remarkably fulfilled in respect to
the descendants of Shem and Japheth, who have extended their
borders to almost all parts of the globe.

Another instance occurs in Gen. xxvii. 27, 28, 29 :

And lie came near, and kissed liim : and lie
smelled the smell of his raiment, and blessed him,
and said,

" See, the smell of my son is as the smell of a field which
the Lord hath blessed ;
Therefore God give thee of the dew of heaven.
And the fatness of the earth, and plenty of corn and wine :
Let people serve thee, and nations bow down to thee :
Be lord over thy brethren, and let thy mother's sons bow
down to thee:
Cursed be every one that curseth thee, and blessed be
he that blesseth thee."

GENESIS XXVII. 39, 40.

235

Isaac blessed his son Jacob while he supposed he was bless-
ing Esau. This occurred in consequence of the duplicity of
Rebekah, in endeavoring to secure the blessing for her son
Jacob the younger, and to deprive Esau, the elder, of his birth-
risht. When the latter returned with his venison, and found
that his younger brother had taken away his birth-right, he
wept bitterly, and called upon his father to bless him also.
Isaac did so in the following poetic effusion contained in Gen.
xxvii. 39, 40 :

And Isaac his fatlier answered, and said unto
him,

*' Behold, thy dwelling shall be the fatness of the earth,
And of the dew of heaven from above ;
And by the sword shalt thou live, and shalt servx thy
brother :

And it shall come to pass, when thou shalt have the do-
minion,

That thou shalt break his yoke from off thy neck."

These prophecies were remarkably fulfilled in the posterity of
the two brothers.

We find similar specimens of poetry in Ex. xxxii. 18, and
last clause of v. 17 (vid. Rem. on Ex. xxxii. 17, 16, supra).

17 And when Joshua heard the noise of the
people as they shouted, he said unto Moses,

There is a noise of war in the camp.

18 And he said,

It is not the voice of them, that shout for mastery,
Neither is it the voice of them that cry for being over-
come :

But the noise of them that sing do I hear.

236

PROSAIC POETRY.

Tlie specimens which we have presented, it will be readily
perceived, are not the most elevated kind of poetry, and may
properly he called poetic prose. They were uttered about 1800
years B. C.

We have another specimen in Gen. xlix. 2-27 inclusive :

*' Gather yourselves together and hear, ye sons of Jacob ;

And hearken unto Israel your father.

Eeuben, thou art my first-born,

My might, and the beginning of my strength,

The excellency of dignity, and the excellency of power:

Unstable as water, thou shalt not excel ;

Because thou wentest up to thy father's bed ;

Then defiledst thou it : he went up to my couch.

Simeon and Levi are brethren ;

Instruments of cruelty are in their habitations.

0 my soul, come not thou into their secret ;

Unto their assembly, mine honor, be not thou united :
For in their anger they slew a man,
And in their self-will they digged down a wall.
Cursed be their anger, for it was fierce ; ,
And their wrath, for it was cruel :

1 will divide them in Jacob,
And scatter them in Israel.

Judah, thou art he whom thy brethren shall praise ;

Thy hand shall be in the neck of thine enemies:

Thy father's children shall bow down before thee.

Judah is a lion's whelp :

From the prey, my son, thou art gone up :

He stooped down, he couched as a lion,

And as an old lion ; who shall rouse him up?

The sceptre shall not depart from Judah,

'Nor a lawgiver from between his feet,

Until Shiloh come ;

And unto him shall the gathering of the people De ;

GENESIS XLIX. 2-2 T.

237

Binding his foal unto the vine,

And his ass' colt unto the choice vine ;

He washed his garments in wine,

And his clothes in the blood of grapes:

His eyes shall be red with wine.

And his teeth white with milk.

Zebulun shall dwell at the haven of the sea;

And he shall be for an haven of ships,

And his border shall be unto Zidon.

Issachar is a strong ass,

Couching down between two burdens:

And he saw that rest was good.

And the land that it was pleasant;

And bowed his ghoulder to bear,

And became a servant unto tribute.

Dan shall judge his people,

As one of the tribes of Israel.

Dan shall be a serpent hy the way,

An adder in the path,

That biteth the horse-heels,

So that his rider shall fall backward.

I have waited for thy salvation, 0 Lord.

Gad, a troop sludl overcome him;

But he shall overcome at the last.

Out of AshcT his bread shall be fat, .

And he shall yield royal dainties.

Kaphtali is a hind let loose:

He giveth goodly words.

Joseph is a fruitful bough.

Even a fruitful bough by a well ;

Whose branches run over the wall.

The archers have sorely grieved him,

And shot at iiim, and hated him;

But his bow abode in strength,

238

PROPHECY OF JACOB.

And tlie arms of his bands were made strong

By the hands of the mighty Grod of Jacob :

(From thence is the Shepherd, the stone of Israel) :

Even by the God of thy father, who shall help thee ;

And by the Almighty, who shall bless thee

With blessings of heaven above.

Blessings of the deep that lieth under,

Blessings of the breasts, and of the womb :

The blessings of thy father have prevailed

Above the blessings of my progenitors.

Unto the utmost bound of the everlasting hills:

They shall be on the. head of Joseph,

And on the crown of the head of him

That was separate from his brethren.

Benjamin shall raven as a wolf:

In the morning he shall devour the prey,

And at night he shall divide the spoil."

This is a little more elevated than the other passages quoted ;
but it is far from being the highest kind of Hebrew poetry.
Good old Jacob, just before he left the world, called his sons
together, and uttered this remarkable prophecy in respect to
the varied scenes through which they would be called to pass
during their earthly career. In Hebrew poetry there are evi-
dently various kinds of verse, though we have an imperfect
knowledge in respect to the subject. We are ignorant even of
the manner in which the ancient Hebrews pronounced their
most common words. But from the way in which Josephus,
Origen, and Jerome speak of Hebrew poetry, it would seem
that it was well understood in their time. Josephus asserts
that Moses wrote in Hexameter verse, and David in trimeters
and pentameters (Josep. Ant. ii., xvi. 4 ; iv., viii. 44 ; vii., xii.
3). Jerome thought he discovered iambic, alcaic, and sapphic
verses in the Psalms ; hexameters and pentameters in Deuteron-
omy, Isaiah, Job, and the writings of Solomon (Hieron. Praef.

DIFFERENT KINDS OF HEBREW POETRY. 239

in Chron. Epist. 135 ad Paul, et Epist. Urb. ad Paulin. Com-
ment, in Ezek. c. 30). But at this day we cannot determine
with certainty the different kinds of verse in which the Hebrews
wrote, nor is it certain that even Origen, Jerome, Eusebius, or
Josephus fully understood the subject. It is obvious, however,
to a casual observer, that many parts of the sacred volume
were written in verse of different metres. Bishop Lowth, one
of the ablest writers upon this subject, informs us that there
are four characteristics of Hebrew poetry : 1 . The acrostical
or alphabetical commencement of lines or stanzas ; 2. The ad-
mission of foreign words and certain particles which seldom
are found in prose, and thus form a distinct poetical dialect ; 3.
Sententious, figurative, and sublime expressions ; 4. Parallel-
ism. But it has justly been doubted by Bishop Jebb and other
distinguished biblical scholars, whether any of these, considered
as general characteristics, excepting the last (Parallelism), really
exist. By parallelism we mean a certain resemblance or rela-
tionship between two members of a sentence adjusted in such a
manner that, in two lines or members of a period, words shall
answer to words and things to things as though they were fitted
to each other according to some rule or measure. There may
be said to be four kinds of Parallelism, viz., Parallel lines Ora-
dational^ Antithetic^ Synthetic^ arid Introverted.

In Gradational Parallel lines, the responsive clause generally
rises above the preceding one, sometimes by a descending scale
in the value of the related terms and periods, but always with
a distinction in meaning. This is very common in the Psalms
and Isaiah.

In Parallel lines Antithetic^ two correspond with each other
by opposition of terms and sentiments. For instance, the
second line is contrasted with the first, in expression or sense.
This is not of very frequent occurrence, especially in the higher
kinds of poetry. The Proverbs of Solomon receive much of
their force and elegance from this species of parallelism.

In Parallel lines Synthetic^ or Constructive^ the Parallelism
consists only in a resemblance of construction, and such a re-

HEBREW TARALLELIS^r.

semblance that word docs not answer to word, nor sentence to
sentence, as equivalent or opposite. There is. however, a cor-
respondence between the different propositions in reference to
the turn of the whole sentence. For instance, noun answers to
noun, verb to verb, interrogative to interrogative, negative to
negative, member to member. This kind of parallelism is ex-
tensively employed by the sacred writers, though sometimes it
is with difficulty apparent.

In Parallel lines Introverted^ whatever may be their number,
the first is parallel with the last, the second with the next to
the last, and so on. An abundance of these different species of
parallelism may be found in the Old Testament, and Bishop
Jebb has shown that the same characteristics appear in the New
Testament. The latter is supplementary to and perfective of
the Old Testament, having been composed in like manner by-
native Jews, in Hellenistic or Hebraic Greek, under the same
divine influence, and we should naturally expect the same kinds
of parallelism, and other similar indications of poetic effli-
sion.

Jebb remarks, that the poetry of the New Testament con-
sists,— 1. In simple and direct quotations of single passages
from the poetic parts of the Old Testament. 2. In quotations
of a more complex kind when fragments are combined from
different parts of the poetical Scriptures, and formed into one
connected whole. 3. In quotations mingled with original mat-
ter, ill which one passage or more is derived from the Hebrew
Scripture* and so connected with what is original that the
compound forms a homogeneous whole.

The different kinds of original Parallelism in the New Testa-
ment are, according to the same distinguished scholar, — I. Par-
allel couplets; II. Parallel triplets; III. Quatrains, of which
the lines are either directly, alternately, or inversely parallel ;
IV. Stanzas of five lines ; V. Stanzas of six lines : VI. Stanzas
of more than six parallel lines.

Parallel lines gradational, or Cognate Parallelisms are also
found in the New as well as the Old Testament, as in 11 Thess.

NUMBERS XXI. 27-30.

2-il

ii. 8 ; ^fatt. x. 5, 6, etc. Introverted Parallelism is also found,
and the Epanodos^ as Jebb calls it.

We discover in the Sacred Scriptures seven different kinds of
poetic composition, viz : Prophetic^ Elegiac^ Didactic, Lyric^ the
Idyl or short pastoral poem, Dramatic poetry, and the Acrostic
or Alphabetical poems. Oriental poetry is full of strong ex-
pressions, striking metaphors, lively descriptions, and glowing
sentiments, expressed in the most vivid manner.

In addition to the passages already presented, which may be
called poetic prose^ there are a few other specimens of poetry
before coming to the poetic books. We have already noticed
some, and find in them a higher kind of poetry than that which
we have been considering. They are the following : The Song
of Moses and the Israelites, uttered after their deliverance from
the Egyptians at the Red Sea, contained in Ex. xv. 1-18 (vid.
p. 102, supra) ; the Song of Miriam, contained in Ex. xv. 21
(vid. p. 106, svpra) ; also a song of the Israelites, contained in
Num. xxi. 17, 1» (a part of the verse) (vid. p. 127, supra).

These are specimens of Lyric poetry. Another instance is
found in Num. xxi. 27-30. It is a triumphal ode, in which
Israel exults, after a sanguinary battle, in view of her victory
over Sihon, king of the Amorites. We give Herder's trans-
lation of it (Maryh's Ed.) :

A SOXG OF TRIUMPH OVER THE AMORTTES, WHO HAD BEEN
THE CONQUERORS OF MOAB.

27 Come ye into Heshbon,
Build and strengthen Sihon,

28 A fire went out of Heshbon.
A flame from the city Sihon,

Which consumed the mountains of Moab,
The dwellers in the high places of Arnon.

29 Woe unto thee, Moab,

Thou art undone, people of Cbemosh.
Thy sons must be fugitives,
11

242

Balaam's prophecy.

Tliy daughters become captives
To Sihon, king of the Amorites.
80 Their yoke is now broken
From Heshbon unto Dibon.
We laid waste unto Nophah,
We laid them waste unto Medbah.

The Israelites here invite their enemies to come into the cities
which they had just subdued, and extol, in the keenest irony,
the achievements of the conqueror.

We find, also, other instances, as follows :

NuMBEES xxiii. Y-10.

Y And he took up his parable, and said,
Balak the king of Moab hath brought me from Aram,
Out of the mountains of the east, saying^
Come, curse me Jacob,
And come, defy Israel.

8 How shall I curse, whom God hath not cursed?

Or how shall I defy, whom the Lord hath not defied ?

9 For from the top of the rocks I see him,
And from the hills I behold him :

Lo, the people shall dwell alone,
And shall not be reckoned among the nations.
10 Who can count the dust of Jacob,

And the number of the fourth part of Israel ?
Let me die the death of the righteous,
And let my last end be like his !

Numbers xxiii. 18-24.

18 And he took up his parable, and said,
Rise up, Balak, and hear ;
Hearken unto me, thou son of Zippor;

NUMBERS XXIY. 3-9. 243

19 God is not a man, that he should lie ;
ISTeither the son of man, that he should repent :
Hath he said, and shall he not do it f

Or hath he spoken, and shall he not make it good?

20 Behold, I have received commandment to bless :
And he hath blessed ; and I cannot reverse it.

21 He hath not beheld iniquity in Jacob,
Xeither hath he seen perverseness in Israel :
The Lord his God is with him,

And the shout of a King is among them.

22 God brought them out of Egypt ;

He hath as it were the strength of an unicorn.

23 Surely there is no enchantment against Jacob,
Neither is there any divination against Israel :
According to this time it shall be said

Of Jacob and of Israel, What hath God wrought !
2-1 Behold, the people shall rise up as a great lion,
And lift up himself as a young lion :
He shall not lie down until he eat of the prey,
And drink the blood of the slain.

Numbers xxiv^ 3-9.

3 And lie took up his parable, and said,
Balaam the son of Beor hath said.

And the man whose eyes are open hath said :

4 He hath said, which heard the words of God,
"Which saw the vision of the Almighty,
Falling into a trance, but having his eyes open :

From verse 5 to 9 we copy Dr. Hales' beautiful translation,
as follows :

5 How goodly are thy tents, 0 Jacob,
And thy tabernacles, 0 Israel !

6 As streams do they spread forth,

244

HEBRE\Y POETRY,

As gardens bj the river side;

As sandal trees which the Lord hath planted,

As cedar trees beside the waters.

7 There shall come forth a man of his seed,
And shall rule over many nations :

And his king shall be higher than Gog,
And his kingdom shall be exalted.

8 (God brought him forth out of Egypt,
He is to him as the strength of a unicorn).
He shall devour the nations, his enemies,
And shall break their bones.

And pierce them through with arrows.

9 He lieth down as a lion,
He coucheth as a lioness.
Who shall rouse him?
Blessed is he that blesseth thee,
And cursed is he that curseth thee.

Verses 15-24 of the same chapter, refer to other prophecies
of Balaam.

15 And he took up his parable, and said,
Balaam the son of Beor hath said,

And the man whose eyes are open hath said :

16 He hath said, which heard the words of God,
And knew the knowledge of the Most High,
Which saw the vision of the Almighty,
Falling into a trance, but having his eyes open :

17 I shall see him, but not now :

I shall behold him, but not nigh :
There shall come a Star out of Jacob.
And a Sceptre shall rise out of Israel,
And shall smite the corners of Moab,
And destroy all the children of Sheth.

18 And Edom shall be a possession,

NUMBERS XXIV. 15-24.

245

Seir also shall be a possession for Lis enemies ;
And Israel shall do valiantly.

19 Out of Jacob shall come he that shall have dominion,
And shall destroy him that remaineth of the city.

20 And when he looked on Amalek, he took up

liis parable, and said,
Amalek icas the first of the nations;
But his latter end shall he that he perish for ever.

21 And ke looked on the Kenites, and took up

kis parable, and said,
Strong is thy dwelling-place,
And thou puttest thy nest in a rock.

22 Nevertheless the Kenite shall be wasted,
Until Asshur shall carry thee away captive.

23 And he took up his parable, and said,
Alas, who shall live when God doeth this I
And ships shall come from the coast of Chittim,

24 And shall afflict Asshur, and shall afflict Eber,
And he also shall perish forever.

These are remarkable instances of prophetic poetry by an
irreligious man. Balaam, the son of Beor, was called by
Balak, king of Moah, to curse Israel. It is a disputed point
whether he was a true prophet of the Lord, or only a magician.
The most probable supposition is that he was a Chaldasan priest,
magician, and astrologist, and distinguished throughout Asia in
his profession. At the same time, he had a knowledge of the
Supreme Being, and worshipped him, though his religious notions
and services were mingled with superstition and error. It is
evident from the account given of him by Moses, that he was,
occasionally at least, inspired, and uttered prophetic poetry,
though probably a wicked man. It is obvious, from Matt. vii.
22, that those who had the gift of prophecy were not, in all
cases, truly pious persons. It seems that Balaam was desirous
to curse the Israelites ; but dared not do it without authority

246

SONG OF MOSES.

from Jehovah. Thus he blessed them three times, in elevated
Hebrew poetry, with, language abounding in gay and splendid
imagery, drawn directly from nature. The figures are remark-
ably diversified, and the style glowing and elegant.

The next instance ^vhich we shall present, is found in Deu-
teronomy xxxii. 1-43. We give Herder's translation of it
(Marsh's Ed.) :

SONG OF MOSES TO THE ASSEMBLED ISRAELITES BEFORE HIS
DEATH.

1 Give ear, 0 ye heavens, to my speech,
Hear, 0 earth, the words of my mouth.

2 My doctrine shall drop as the rain,
My words shall distil as the dew,
As rain upon the tender herb.
And as showers upon the grass ;

8 For I will publish the name of Jehovah —
Ascribe ye greatness to Jehovah our God.

4 He is a rock, his work is perfect,
And all his dealings are riglit ;

A God of truth, without iniquity,
Sincere and righteous is he.

5 They only are no longer his children,
Their iniquity hath turned them from him,
A faithless and perverse generation.

6 Is this your requital to Jehovah,
O foolish people and unwise ?

Is he not thy father, he that hath bought thee ?
That hath made thee, and established thee?

7 Call to remembrance the ancient days,
The years from generation to generation.
Ask thy flither, and he will shew thee,
The aged men, and they will tell it thee.

8 "When the Almighty gave the nations their lands,
When he separated the children of men,

DEUTERONOMY XXXIII. 1-43.

247

He limited the bounds of the nations,
That the numbers of Israel might have room;
9 For the portion of God is his people,
Jacob, the lot of his inheritance.

10 He found him in a desert land,
In a waste and howling wilderness ;

He took him in his arms and taught him ;
He guarded him as the apple of his eye.

11 As the eagle covers her nest around,
And hovei's over her 3-oung,
Spreads her wings, takes them thereon,
And bears them aloft upon her wings ;

12 So did Jehovah lead him, himself alone,
There was no strange God with him.

13 He bore him to the mountain heights,
And fed him with the fruits of the earth ;
He made him to suck honej from the rock,
And oil out of the flinty rock,

14 Butter of kine, and milk of sheep,

The fat of lambs, and of the rams of Bash an,
The fat kidneys of goats, and bread of wheat,
And thou didst drink the blood of the grape.

15 Then Jeshurun waxed stout, and rebelled,
Thou wast too fat, too satiate, too full.
Thou didst forsake the God that made thee.
And lightly esteem the rock of thy salvation.

They moved his jealousy with strange gods,

16 They provoked his anger with abominations.
They sacrificed to demons, not to God,

17 To idols, of whom they had no knowledge,
To new gods, that were newly invented.
Before whom your fathers trembled not ;

18 Of Him that begat thee — the Rock — thou wast forgetful,
And didst forget the God that formed thee.

248

SONG OF MOSES.

19 This Jehovali saw, and cast away in anger,
Those who were his sons and daughters.

20 He said, " I will tarn my face from them,
I will see to what end they will come.
For they are a perverse generation,
Children of a base and faithless sort.

21 They moved me to jealousy with their no- god.
They provoked me to anger with their idols ;

I also will move their jealousy with a no-people.
With a foolish nation I will provoke their anger.

22 For the fire of my wrath is kindled,
And shall burn even to the deep abyss,
It shall consume the earth and her fruits.
And fire the foundations of the mountains.

23 I will heap up afflictions upon them.
And my arrows will I send upon them,

24 Consumed with hunger, and burned with heat.
Devoured with bitter destruction,

I will send upon them the teeth of wild beasts.
With the poison of serpents from the dust.

25 The sword shall be without, and terror within,
And shall destroy both the young man and virgin,
The suckling, and the man of gray hairs.

26 I had almost said, I will destroy them.
And blot out their name among men ;

27 Had I not feared the pride of the enemy,
That their oppressors would mistake it.
And say, "our own high hand,

And not Jehovah hath done this."

28 For they are a nation void of counsel,
There is no understanding in them.

29 0 that they were wise, to understand this,
That they would consider their latter end.

30 How is it, that one can chase a thousand,

DEUTERONOMY XXXII. 1-43.

2i9

And two of them put ten thousand to flight ?
Is it not, that their rock hath forsaken them,
That Jehovah hath given them for a prey ?

81 Else their rock were not like our rock,
Our enemies themselves being judges.

82 Their vine is from the vine of Sodom,
Their grapes from the fields of Gomorrah,
Grapes of gall, their clusters are bitter,

83 Their juice is the poison of dragons,
The deadly venom of serpents.

84 Have I not already my secret counsel,
Sealed and laid up in my treasures ?

85 " Vengeance is mine and the day of recompense,
Their foot is even now ready to slide.

The day of their calami t}^ is at hand.
Their destiny is soon coming upon them."
36 Jehovah is now the judge of his people.
It repents him that they are his children.
He seeth, that their power is departed.
That nothing is left to them more.

87 He asked them, where are now their gods,
The guardian God, in whom they trusted ?

88 Which did eat the fat of their sacrifices.
And drank the wine of their drink-offerings?
Let them now rise up and help you,

Let them now be your protection.

89 See now, that I, even I am he.
And there are no Gods with me.

I am he, that killeth and maketh alive,
I am he, that woundeth and healeth.
And none can deliver out of my hand.
40 For I lift up my hand to heaven.
And say, I am, the living one
From eternity to eternity.

250

BLESSING OF MOSES.

41 If I whet my glittering sword,

And my hand take hold on judgment,
I will render vengeance to mine enemies,
And will reward them that hate me.

42 I will make mine arrows drunk with blood,
My sword shall satiate itself with flesh,
The blood of the slain, and of the captives,
With the head of the chief of my enemy.

43 Eejoice, ye Gentiles, now his people,

He will avenge the blood of his servants,
And render vengeance to his enemies.
And purify his land and people.

Another instance occurs in

Deuteronomy xxxiii. 1-29.

1 And this is the blessing, wherewith Moses the
man of God blessed the children of Israel before
Ms death. And he said,

2 The Lord came from Sinai,

And rose up from Seir unto them ;

He shined forth from Mount Paran,

And he came with ten thousands of saints :

From his right hand went a fiery law for them.

3 Yea, he loved the people :
All his saints are in thy hand :
And they sat down at thy feet ;
Every one shall receive of thy words.

4 Moses commanded us a law.

Even the inheritance of the congregation of Jacob.

5 And he was king in Jeshurun
When the heads of the people

And the tribes of Israel were gathered together.

6 Let Keuben live, and not die ;

DEUTERONOMY XXXIII. 1-29.

251

And let 7iot his men be few.

7 And this is the Uessing of JudaL : and be said,
Hear, Lord, the voice of Judah,

And bring him unto his people :

Let his hands be sufficient for him ;

And be thou an help to him from his enemies.

8 And of Levi be said,

Let thy Thummim and thy L^rim he with thy holy one,
Whom thou didst prove at Massah,
And with whom thou didst strive at the waters of
^leribah :

9 "Who said unto his father, and to his mother, I have

not seen him :

Neither did he acknowledge his brethren, nor knew
his own children :

For they have observed thy word, and kept thy cove-
nant.

10 They shall teach Jacob thy judgments, and Israel thy

law :

They shall put incense before thee, and whole burnt
sacrifices upon thine altar.

11 Bless, Lord, his substance.

And accept the work of his hands ;

Smite through the loins of them that rise against him,

And of them that hate him, that they rise not again.

12 And of Benjamin he said,

The beloved of the Lord shall dwell in safety by him ;
And the Lord shall cover him all the day long,
And he shall dwell between his shoulders.

13 And of Joseph he said,
Blessed of the Lord he his land,

For the precious things of heaven, for the dew,
And for the deep that coucheth beneath,

252

LAST WORDS OF MOSES.

14 And for tlie precious fruits brought forth b}^ the sun,
And for the precious things put forth by the moon,

15 And for the chief things of the ancient mountains.
And for the precious things of the lasting hills,

16 And for the precious things of the earth and fullness

thereof,

And/br the good-will of him that dwelt in the bush :
Let the hlessiiig come upon the head of Joseph,
And upon the top of the head of him that was sepa-
rated from his brethren.

17 His glory is like the firstling of his bullock,
And his horns are like the horns of unicorns;

With them he shall push the people together to the

ends of the earth :
And they are the ten thousands of Ephraim,
And they are the thousands of Manasseh.

18 And of Zebulun be said,
Eejoice, Zebulun, in thy going out ;
And, Issachar, in thy tents.

19 They shall call the people unto the mountain ;
There they shall offer sacrifices of righteousness :
For they shall suck of the abundance of the seas,
And of treasures hid in the sand.

20 And of Gad he said,

Blessed be he that enlargeth Gad :
He dwelleth as a lion,

And teareth the arm with the crown of the head.

21 And he provided the first part for himself,

Because there, in a portion of the lawgiver, was Ae seated ;
And he came with the heads of the people,
He executed the justice of the Lord,
And his judgments with Israel.

22 And of Dan he said,

DEUTERONOMY XXXIII. 1-29. 253

Dan is a lion's whelp :

He shall leap from Basban.

23 And of Xaplitali he said,

0 Xaphtali, satisfied with favor,

And full with the blessing of the Lord:

Possess thou the west and the south.

24 And of Asher he said,

Zet Asher he blessed with children ;
Let him be acceptable to his brethren,
And let him dip his foot in oil.

25 Thy shoes shall he iron and brass ;

And as th}' days, so shall thy strength he.

26 There is none like unto the God of Jeshurun,
TTAc rideth upon the heaven in thy help,
And in his excellency on the sky.

27 The eternal Grod is thy refuge,

And underneath are the everlasting arms:

And he shall thrust out the enemy from before thee ;

And shall say, Destroy them.

28 Israel then shall dwell in safety alone :

The fountain of Jacob shall he upon a land of corn and
wine ;

Also his heavens shall drop down dew.

29 Happy art thou, O Israel :

Who is like unto thee, O people saved by the Lord,
The shield of thy help, and who is the sword of thy
excellency :

And thine enemies shall be found liars unto thee ;
And thou shalt tread upon their high places.

This seems to have been the valedictory poem of the great
Lawgiver of Israel. He had premonitions of his approaching
departure, and was borne down with anxiety in reference to his
disobedient people. In his prophetic description of God's deal-

254

HAXX All's PRAYER.

ings with them, the most vivid and striking images are em
ployed. "We see before us the flaming mountain, the piUars
of fire, and liear the voice of the Eternal, directing his chosen
people. It is a lyric ode. but plaintive, exciting, and beautiful.

Another instance appears in Joshua x. 12, iu which the leader
of Israel's forces exclaims :

'* Sun, stand thou still upon Gibeon,
And thou, Moon, in the valley of Ajalon."

This is a remarkable instance in which nature obeyed the
mandate of a human being. Rationalism may attempt to show
that no miracle was wrought in this case — that it is a mere po-
etic license — that Joshua only irhlied the sun not to go down,
as Herder asserts ; but we believe that the Almighty inter-
posed, and that the earth stopped in her diurnal revolution, or
that the laws of refraction were so changed that the sun was
visible about a day longer than usual. In either case it was a
miracle. The passage is a striking instance of bold, animated
poetry.

The Song of Deborah (Judges v. 2-31) we have already con-
sidered (vid. pp. 143-1-4T, supra).

In I Sani. ii. 1-10, we have the prayer of a mother in Israel,
expressed iti antithetic parallel lines, as follows :

1 Aud Ilanuali prayed, and said,
Mv heart rejoiceth in the Lord,
Mine born is exalted in the Lord :

My mouth is enlarged over mine enemies;
Because I rejoice in thy salvation.

2 There is none holy as the Lord :
For there is none beside thee :
Iseither is there any rock like our God.

8 Talk no more so exceeding proudly ;

Let 7wt arrogancy come out of your mouth :
For the Lord is a God of knowledge,

I SAMUEL II. 1-10. 255

And by bim actions are weighed.

4 The bows of the mighty men are broken,

And they that stumbled are girded with strength.

5 They that v:ere Ml have hired out themselves for

bread ;

And they that icere hungry ceased :

So that the barren hath born seven ;

And she that hath many children is waxed feeble.

6 The Lord killeth, and maketh alive :

He bringeth down to the grave, and bringeth up.

7 The Lord maketh poor, and maketh rich :
He bringeth low, and lifteth up.

8 He raiseth up the poor out of the dust,
And lifteth up the beggar from the dunghill,
To set them among princes,

And to make them inherit the throne of glory :
For the pillars of the earth are the Lord's,
And he hath set the world upon them.

9 He will keep the feet of his saints.

And the wicked shall be silent in darkness ;
For by strength shall no man prevail.
10 The adversaries of the Lord shall be broken to pieces ;
Out of heaven shall he thunder upon them :
The Lord shall judge the ends of the earth ;
And he shall give strength unto his King,
And exalt the horn of his anointed.

Hannah rises in a kind of triumphal climax from her o\m
domestic happiness to that of her fellow-men at large. She
returns thanks to God, in an impressive manner, for the birth
of Samuel, who was destined to be a renowned prophet of the
Lord.

In n Sam. i. 19-27, we have an admirable specimen of
elegiac poetry from the sweet singer of Israel. We present
Herder's translation (Marsh's Ed.) :

256

DAYID MOURXS FOR JONATHAN,

DAVID'S LAMENTATION FOR JONATHAN, HIS FRIEND.

19 Beautiful Roe, thou pride and glory of Israel !
Thus then art thou wounded upon thy high places!

Chorus. Fallen, fallen are the heroes !

How are the heroes fallen ?

20 Tell ye it not in Gath,

Publish it not in the streets of Askelon,

Lest the daughters of the Philistines rejoice.

Lest the daughters of the uncircumcised leap for joy.

21 Ye mountains of Gilboa, on you henceforth
Let no more rain nor dew descend forever.

No more on you, ye mountains blighted with a curse,
For there the shield of heroes was struck down.
The shield of Saul, as of one unconsecrated with oil.

22 From the blood of the slain, from the fat of the strong,
The bow of Jonathan never turned backward,

The sword of Saul returned not empty. (It reached
the blood of the slain).

23 Saul and Jonathan, dear to each other in life.
They went undivided in love to the realm of shades:
Swifter than eagles, bolder were they than lions.

24 Daughters of Israel, weep ye for Saul,

Ko more will he clothe you in garments of purple,
Nor deck your apparel with ornaments of gold.

25 Chorus. Ah ! how are the heroes fallen in the

midst of hattle^
Jonathan^ thou lovely Boe^ slain on thy
high jplaces.

26 I am afflicted for thee, my brother Jonathan,
Lovely wast thou to me, exceeding lovely.

Yea, my love for thee surpassed the love of women.

27 Chorus. Ah ! how are the heroes fallen^

And their weaj>ons of war perished.

II SAMUEL III. 33, 34.

257

These lines are tender, plaintive, and exceedingly touching.
David loved Jonathan as he did his own soul, and not without
reason, for the latter, though a prince, and the lawful heir to
the throne of Israel, allowed the son of Jesse to be anointed
king. Saul had disregarded the divine command, and was re-
jected of God ; but when the shepherd-boy was made king in
his place, he sought to take his life. Jonathan continued to be
a true friend to the young king, and often shielded him from the
darts of his father Saul. In a battle on Mount Gilboa Saul
and Jonathan were slain, and in view of that mournful fact,
David breaks forth in this splendid elegy, in honor of both.

In II Sam. iii. 33, 34, David utters five lines of the same
kind of poetry, in honor of Abner, the leader of the party op-
posed to hiin. The following is Herder's translation of it
(Marsh's Ed.) :

" Abner died not as a coward dietb !
Thy hands were not bound,
Nor thy feet put in fetters.
As one falleth before wicked men,
So fellest thou."

The soul of David was full of tender and lofty emotions,
and when his friends or even his enemies were in mourning, or
were swept away by the rude hand of the destroyer, he was
always ready to pour forth the overflowing sympathies and
benevolence of his nature, in plaintive and elegant rhythm.

His triumphal song, recorded in II Sam. xxii. 2-51, and
xxiii. 2-7, we have already considered (vid. pp. 180-185, supra).

In II Kings xix. 21-34, there is a terrific denunciation by
Jehovah, through his servant, Isaiah, against Sennacherib, the
Assyrian monarch, as follows :

21 This is the word that the Lord hath spoken
concerning him ;

The virgin the daughter of Zion

Hath despised thee, and laughed thee to scorn ;

258 DENUNCIATION OF SENNACHERIB.

The daughter of Jerusalem hath shaken her head at
thee.

22 Whom hast thou reproached and blasphemed?
And against whom hast thou exalted thy voice,
And lifted up thine eyes on high ?

Even against the Holy One of Israel.

23 By thy messengers thou hast reproached the Lord,
And hast said, With the multitude of my chariots
I am come up to the height of the mountains,

To the sides of Lebanon,

And will cut down the tall cedar-trees thereof.
And the choice fir-trees thereof :
And I will enter into the lodgings of his borders.
And into the forest of his Carmel.

24 I have digged and drunk strange waters,
And with the sole of my feet

Have I dried up all the rivers of besieged places.

25 Hast thou not heard long ago liow I have done it,
And of ancient times that I have formed it ?
Now have I brought it to pass,

That thou shouldest be to lay waste fenced cities into
ruinous heaps.

26 Therefore their inhabitants were of small power.
They were dismayed and confounded ;

They were as the grass of the field.

And as the green herb, as the grass on the house-tops,

And as corn blasted before it be grown up.

27 But I know thy abode.
And thy going out.
And thy coming in.
And thy rage against me.

28 Because thy rage against me

And thy tumult is come up into mine ears,
Therefore I will put my hook in thy nose,

II KINGS XIX. 21-34.

259

And my bridle in thy lips,

And I will turn thee back by the way by which, thou
earnest.

29 And this shall he a sign unto thee,

Ye shall eat this year such things as grow of them-
selves,

And in the second year that which, springeth of the
same ;

And in the third year sow ye and reap,
And plant vineyards, and eat the fruits thereof.
80 And the remnant that is escaped of the house of Judah
Shall yet again take root downward, and bear fruit
upward.

31 For oat of Jerusalem shall go forth a remnant,
And they that escape out of mount Zion :
The zeal of the Lord of hosts shall do this.

32 Therefore thus saith the Lord concerning tlie

king of Assyria,
He shall not come into this city,
ISTor shoot an arrow there.
Nor come before it w^ith shield,
Nor cast a bank against it.

83 By the way that he came,
By the same shall he return.
And shall not come into the citj^,
Saith the Lord.

84 For I will defend this city, to save it,

For mine own sake, and for my servant David's sake.

Sennacherib had come up against Hezekiah, king of Judah,
and determined to destroy Jerusalem. The latter monarch
prayed earnestly to God, who interposed in a wonderful man-
ner, in answer to the supplications of his servant. He directs
the son of Amoz to utter m the ears of Hezekiah the exalted

260

FALL OF THE ASSYRIAIT MOXARCH.

effusions, which we have presented above, predicting the dis-
comfiture and ruin of the haughty Assyrian. The passage is
replete with sharp rebuke to Sennacherib, derision and fear-
ful denunciation. The same evening, the inspired writer in-
forms us, an angel of the Lord smote an hundred fourscore
and five thousand of the Assyrians. The remnant retreated,
and finally Sennacherib was murdered at Nineveh by his own
sons.

David's Psalm of thanksgiving, found in I Chron. xvi. 8-36,
has already been considered (vid. pp. 200-202, supra).

BOOK OF JOB.

261

THE BOOK OF JOB.

INTRODUCTORY REMARKS.

This book receives its title from the person described
in its pages. It has been questioned, however, by bibli-
cal scholars, whether the name of Job refers to a real per-
sonage. That it does not, is maintained by Maimonides,
LeClerc, Michaelis, Semler, Stock, and others. That
there is reference to a real personage is supported by Cal-
met, Heidegger, Spanheim, Moldenhawer, Schultens, Carp-
zof, Magee, Lowth, Kennicott, Hales, Taylor, and by
evangelical divines generally. The improbability that
Satan would be represented as accusing Job, the inconsis-
tency of the idea that God should permit such grievous
temptations and sufferings to be experienced by a just
man, and the artificial regularity of the numbers used in
describing the patriarch's possessions, are presented as
proofs that the name does not indicate a real personage.
On the other hand, the manner in which different inspired
writers have spoken of Job (cf Eze. xiv. 14 ; James v.
11, etc.), and the fact that he is expressly mentioned as a
real personage by vapous ancient historians, leave but
little doubt that such a man existed.

The learned Dr. Hales has shown by astronomical cal-
culations that Job's trial must have occurred 818 years
after the deluge, 184 before the birth of Abraham, and
689 before the exodus of the Israelites from Egypt, or
B. C. 2337 (2130 according to the usual computation).
The fact that the exodus is not mentioned in the book of
Job, nor the destruction of Sodom and Gomorrah, the

262

SCENE OF THE POEM.

great length of the patriarch's life, the allusion to Sabian-
ism, one of the most ancient superstitions, also the fact
that all of the speakers use the Hebrew language, though
Idum^eans or Arabians, and other considerations, confirm
the great antiquity of the poem, and critics and commen-
tators agree that it is the most ancient book extant.

The scene of this composition is laid in Uz, which
seems to have been Idumjjea (cf. Lam. iv. 21), located be-
tween Egypt and Philistia (cf Jer. xxv. 20). The poem
contains a description of a great sufferer. Though Job
was a just man, he was lamentably afflicted with a loath-
some disease, as well as with the loss of his property and
friends. He was an Emir or Arabian prince of great
wealth, authority, and distinction, and probably his
friends Eliphaz, Bildad, and. Zophar were Emirs of im-
portant cities. It is believed that the Patriarch had the
JElepliantiasis or leprosy of the Arabians, which the ancient
medical writer, Paul of ^gineta, characterized as an uni-
versal ulcer. It was named Elephantiasis by the Greeks,
because it rendered the skin like that of an elephant,
scabrous, dark colored, furrowed with tubercles, and ex-
tremely loathsome to the patient as well as to others.
The good man seemed to be reduced to the lowest depths
of human maisery, and his mournful condition called forth
the strongest feelings of the heart, and suggested the high-
est kind of poetic numbers.

That the Book of Job was composed by a single author
is evident from the remarkable unity which is apparent
throughout its pages, and from the references in the pero-
ration to the exordium and to other parts of the poem.
There is a difference of opinion, however, in reference to
the question, who that author was ? It must have been
either Job himself, or a contemporary of his. Had it been
Moses, as some suppose, there would undoubtedly have

SUFFEKINGS OF JOB.

263

been frequent allusions to the customs, manners, and his-
tory of the Israelites ; but there is not one such reference.
The grand object presented to our contemplation, is the
example of a devotedly pious man, suddenly precipitated
from the highest pinnacle of earthly prosperity to the
most abject misery and ruin, 3'et sustaining his bereave-
ments and sorrows with entire resignation to the divine
will.

The book is a kind of elegiac drama. Bishop Lowth
considers it, " to some extent, a dramatic poem, as the
parties are introduced as speaking with great fidelity of
character, and as it deviates from strict historical accuracy
for the sake of effect." But this is questioned by others.
The book has been called by different critics, a didactic,
an ethic, an epic, and a dramatic poem. It may have
some of the qualities of all. It is unique in its character,
differing in some respects from all the other specimens of
poetry in the sacred Scriptures.

The circumstances under which it was composed are
exciting in the highest degree. A mortal is suddenly re-
duced fiom princely affluence to the most distressing pov-
erty and misery imaginable — enduring, without a murmur,
apparently more than human nature could bear — his rela-
tives, of great influence and power, visiting him for the
avowed purpose of consolation, but reproaching him, and
uttering unjust suspicions in reference to the motives by
which he was actuated — Job in his wretchedness appeal-
ing to the Almight}^, and the Eternal, from his throne,
condescending to hold conversation with him. This ac-
cumulation of mournful circumstances is adapted to arouse
all the energies of the soul, and produce, in the mind, the
sublimest emotions.

The power of lifelike description here exhibited is far
superior to that of any other of the sacred poets. As we

264

SUBLIMITY OF THE POEM.

read, we feel that we are in the midst of the wild sublim-
ities of nature, where the lightnings play and the thun-
ders roll. We see the parched desert, and then the dash-
ing, whirling tempest. We hear the tiger's growl and the
lion's roar. We behold nature in her simplest, roughest,
and yet grandest form ; we seem to be grappling with the
terrific war-horse, the monster behemoth, and the power-
ful leviathan ; and then we are listening to the strange,
wild music of nature. How vivid is Eliphaz's description
of a vision of the night. Darkness surrounds him. He
is alone on his bed. Suddenly a shuddering comes over
him. A kind of indefinite shadow moves before him.
He fears and trembles until every bone shakes. At
length be perceives, more distinctly, a spirit passing. His
hair is erect. It is a form without a marked outline — a
messenger from another world — and then a still, small
voice is heard. "'How can man be more just than God,
or mortal man more just than his Maker? "

This is a masterly description, excelling even ^Milton's
representation of chaos. The whole poem is full of orien-
tal rudeness, beauty, and grandeur.

Elegiac, as well as lyric poetry, was often accompanied
by plaintive music. Some of the Psalms of David are
sacred elegies, and their recital was doubtless accompanied
by plaintive notes from his enchanting harp. The origi-
nal recital of the book of Job was not probably accom-
panied by either instrumental or vocal music, as the occa-
sion did not seem to require it. Its metrical arrangement,
however, is adapted to musical accompaniments.

The commencement and close of the book are written
in prose. The exordium contains a description of Job's
wealth, domestic prosperity and happiness. Then follows
an account of a remarkable conversation between the
Great Creator and the arch-Deceiver of mankind, in refer-

job's temptation.

265

ence to a just man called Job. Jehovah directs the atten-
tion of Satan to him as " perfect and upright above any
other person upon the earth." The Deceiver replies, and
utters the suspicion that Job exhibits apparent piety from
the fact that he had been continually blessed and never
afflicted. Then God permits him to sift the good man, as
wheat, that his faith may be thoroughly tried. The Devil
retires from the presence of the Lord, and the sad tidings
are speedily brought to the old patriarch that his oxen
and asses had been carried away by the Sab^eans, and
that some of his servants had been slain. Next, his
sheep, and other servants are consumed by fire from heav-
en. Then his camels are captured by the Chaldaeans,
and finally it is announced that his sons are buried be-
neath the ruins of the house in which they had assem-
bled. These accumulated and terrible afflictions deeply
af&icted the man of God ; but he did not murmur. He
arose, rent his mantle, shaved his head, and falling upon
the earth, worshipped God, exclaiming, in plaintive, poetic
strains,

Naked came I out of my mother's womb,
And naked shall I return thither :
The Lord gave, and the Lord hath taken away ;
Blessed be the name of the Lord."

Vid. Job i. 21.

The second chapter of the book is written in prose, in
the first part of which is found a continuation of the con-
versation between Deity and Satan. Jehovah descants
npon the perseverance of the patriarch in his integrity
though in so great distress, while the latter intimates, that
if the good man should be attacked by disease, he would
curse his Maker. God permits the Devil to afflict him
still more severely, and the fiend smites him with sore
12

266

A TOUCHIXG ELEGY.

boils upon every part of his body, and he sits in ashes.
His -wife, perceiving his anguish, advises him to curse
God, and die ; but he reproves her, and still maintains his
integrity. His three friends, Eliphaz the Temanite, Bildad
the Shuhite, and Zophar the Naamathite, also visit him,
and beholding his great affliction, mingle their tears with
his, rend their mantles, sprinkle dust upon their heads,
and sit with him in silence upon the ground, during seven
days and seven nights. Finally, Job's distress is so aggra-
vated that human nature is overwhelmed, and he breaks
the sad silence by bitter asseverations, in the following
plaintive strains of elegiac poetry.

JOB'S PLAINTIVE ADDRESS.

Job iii. 2-26.

2 And Job spake, and said,

3 Let the day perish wherein I was born,
And the night in vjhich it was said,
There is a man-child conceived.

4 Let that day be darkness ;

Let not God regard it from above.
Neither let the light shine upon it.

5 Let darkness and the shadow of death stain it ;
Let a cloud dwell upon it ;

Let the blackness of the day terrify it.

6 ^5 for that night, let darkness seize upon it ;
Let it not be joined unto the days of the j^ear.
Let it not come into the number of the months.

7 Lo, let that night be solitary,
Let no joyful voice come therein.

8 Let them curse it that curse the day,
Who are ready to raise up their mourning.

9 Let the stars of the twilight thereof be dark ;

JOB III. 2-26.

267

Let it look for the light, but have none ;
Neither let it see the dawning of the day :

10 Because it shut not up the doors of my mother's womb,
jSTor hid sorrow from mine eyes.

11 TThy died I not from the womb ?

Why did I not give up the ghost when I came out of
the belly ?

12 TThy did the knees prevent me ?

Or why the breasts that I should suck ?

13 For now should I have lain still and been quiet,
I should have slept ; then had I been at rest,

14 "With kings and counsellors of the earth,
Which built desolate places for themselves ;

15 Or with princes that had gold,
Who filled their houses with silver :

16 Or as an hidden untimelj^ birth I had not been ;
As infants ichich never saw light.

17 There the wicked cease from troubling ;
And there the weary be at rest.

18 There the prisoners rest together ;

They hear not the voice of the oppressor,

19 The small and great are there ;

And the servant is free from his master.

20 Wherefore is light given to him that is in miser}^
And life unto the bitter in soul ;

21 Which long for death, but it conieih not ;
And dig for it more than for hid treasures ;

22 Which rejoice exceedingly, and are glad,
When they can find the grave ?

23 TTA?/ is light given to a man whose way is hid.
And whom God hath hedged in ?

24 For ni}^ sighing cometh before I eat.

And ni}' roarings are poured out like the waters,

25 For the thing which I greatly feared is come upon me,

268

PLOT OF THE POEM.

And that which I was afraid of is come unto me.
26 I was not in safety, neither had I rest,
Neither was I quiet ; yet trouble came.

In this complaint of the patriarch, he utters passionate ex-
clamations and execrations of the day of his birth.

Here properly begins the plot of the poem. The friends of
Job, who had professedly come to administer consolation in
this trying hour, had, thus far, remained in silence. On hear-
ing his vehement complaints, however, they seemed to be ex-
asperated. They had unholy suspicions in reference to his in-
tegrity, and finally reproached him with severity. This cruel
treatment added tenfold to the load of sorrow which was
crushing his spirit.

Eliphaz first raised his warning voice and condemned Job's
impatience, distrusting his integrity, and intimating that the
chastisement of God had justly come upon him, a fact which he
should not despise. The miserable comforter speaks in the
following vindictive manner :

REPLY OF ELIPHAZ TO JOB.

Job iv. 1-21.

1 Then Eliphaz the Temanite, answered and said,

2 7/^ we assay to commune with thee, wilt thou be

grieved ?

But who can withhold himself from speaking ?

3 Behold, thou hast instructed many,

And thou hast strengthened the weak hands.

4 Thy words have upholden him that was falling,
And thou hast strengthened the feeble knees.

5 But now it is come upon thee, and thou faintest ;
It toucheth thee, and thou art troubled.

6 Is not this thy fear, thy confidence,

Thy hope, and the uprightness of thy ways ?

JOB IV. 1--21.

269

T Remember, I pray tliee, who ever perished, being in-
nocent ?

Or where were the righteous cut off?

8 Even as I have seen, they that plow iniquity.
And sow wickedness, reap the same.

9 By the blast of God they perish,

And by the breath of his nostrils are they consumed.

10 The roaring of the lion, and the voice of the fierce

lion,

And the teeth of the young lions, are broken.

11 The old lion perisheth for lack of prey.

And the stout lion's whelps are scattered abroad.

12 Now a thing was secretly brought to me,
And mine ear received a little thereof

13 In thoughts from the visions of the night.
When deep sleep falleth on men,

14 Fear came upon me, and trembling.
Which made all my bones to shake.

15 Then a spirit passed before my face ;
The hair of my flesh stood up :

16 It stood still, but I could not discern the form thereof ;
An image luas before mine eyes.

There loas silence, and I heard a voice, saying^

17 ' Shall moi-tal man be more just than God ?
Shall a man be more pure than his Maker ?

18 Behold, he put no trust in his servants ;
And his angels he charged with folly :

19 How much less in them that dwell in houses of clay.
Whose foundation is in the dust, wliich are crushed

bef )re the moth ?

20 They aie destroyed from morning to evening :
They perish for ever without any regarding it.

21 Doth not their excellency v:]iich is in them go away ?
They die, even without wisdom.'

270

REPLY OF ELIPHAZ TO JOB.

FARTHER REPLY OF ELIPHAZ TO JOB.

Job v. 1-27.

1 Call now, if there be any that will answer thee ;
And to which of the saints wilt thou turn ?

2 For wrath killeth the foolish man,
And envy slayeth the silly one.

3 I have seen the foolish taking root :
But suddenly I cursed his habitation.

4 His children are far from safety,
And they are crushed in the gate,
Neither is there any to deliver them.

5 Whose harvest the hungry eateth up,
And taketh it even out of the thorns,

And the robber swalloweth up their substance.

6 Although affliction cometh not forth of the dust,
Neither doth trouble spring out of the ground ;

7 Yet man is born unto trouble.
As the sparks fly upward.

8 I would seek unto God,

And unto Grod would I commit niy cause :

9 Which doeth great things and unsearchable ;
Marvellous things without number :

10 Who giveth rain upon the earth,
And sendeth waters upon the fields :

11 To set up on high those that be low ;

That those which mourn may be exalted to safety.

12 He disappointeth the devices of the crafty.

So that their hands cannot perform their enterprise.

13 He taketh the wise in their own craftiness :

And the counsel of the fro ward is carried headlong.

14 They meet with darkness in the day-time.
And grope in the noon-day as in the night.

15 But he saveth the poor from the sword,

JOB V. 1-27.

271

From tlieir mouth, and from tlie hand of the mighty.
Id So the poor hath hope,

And iniquity stoppeth her mouth.

17 Behold, happy is the man whom God correcteth :
Therefore despise not thou the chastening of the Al-
mighty:

18 For he maketh sore, and bindeth up :

He woundeth, and his hands make whole.

19 He shall deliver thee in six troubles :

Yea, in seven there shall no evil touch thee.

20 In famine he shall redeem thee from death :
And in war from the power of the sword.

21 Thou shalt be hid from the scourge of the tongue :
Neither shalt thou be afraid of destruction when it

Cometh.

22 At destraction and famine thou shalt laugh :
Neither shalt thou be afraid of the beasts of the earth.

23 For thou shalt be in league with the stones of the field :
And the beasts of the field shall be at peace with thee.

24 And thou shalt know that thy tabernacle shall he in

peace ;

And thou shalt visit thy habitation, and shalt not sin.

25 Thou shalt know also that thy seed shall he great,
And thine offspring as the grass of the earth.

26 Thou shalt come to thy grave in a full age,
Like as a shock of corn cometh in in his season.

27 Lo this, we have searched it, so it is ;
Hear it, and know thou it for thy good.

Job answered by referring to his severe trials, and com-
plained of the unkindness of his friends, calling upon God and
man to witness that he was unjustly oppressed ; but he knew
that he could not contend with his Maker.

The address is full of enthusiasm and poetic beauty. It is
the following :

272

REPLY OF JOB.

REPLY OF JOB TO ELIPHAZ.

^ Job vi. 1-30.

1 But Job answered, and said,

2 0 that my grief were thoroughly weighed,
And my calamity laid in the balances together !

3 For now it would be heavier than the sand of the sea:
Therefore my words are swallowed up.

4 For the arrows of the Almighty are within me,
The poison whereof drinketh up my spirit :

The terrors of God do set themselves in array against
me.

5 Doth the wild ass bray when he hath grass?
Or loweth the ox over his fodder ?

6 Can that which is unsavory be eaten without salt ?
Or is there any taste in the white of an egg ?

7 The things that my soul refused to touch
Are as my sorrowful meat.

8 0 that I might have my request ;

And that God would grant m.e the thing that I long for !

9 Even that it would please God to destroy me ;
That he would let loose his hand, and cut me off!

10 Then should I yet have comfort ;

Yea, I would harden myself in sorrow :
Let him not spare ; for I have not concealed the words
of the Holy One.

11 "What is my strength, that I should hope ?

And what is mine end, that I should prolong my life?

12 Is my strength the strength of stones ?
Or is my flesh of brass ?

13 Is not my help in me ?

And is wisdom driven quite from me ?

14 To him that is afflicted, pity should he showed from his

friend ;

JOB YI. 1-30.

273

But he forsaketh the fear of the Almighty.

15 My brethren have dealt deceitfully as a brook,
And as the stream of brooks they pass away ;

16 TThich are blackish by reason of the ice,
And wherein the snow is hid :

17 What time they wax warm, they vanish :

"When it is hot, they are consumed out of their place,

18 The paths of their way are turned aside ;
They go to nothing, and perish.

19 The troops of Tema looked,

The companies of Sheba waited for them.

20 They were confounded because they had hoped ;
They came thither, and were ashamed.

21 For now ye are nothing ;

Ye see my casting down, and are afraid.

22 Did I say, Bring unto me ?

Or, Give a reward for me of your substance ?

23 Or, Deliver me from the enemy's hand ?

Or, Eedeem me from the hand of the mighty ?

24 Teach me, and I will hold my tongue :

And cause me to understand wherein I have erred.

25 How forcible are right words !

But what doth your arguing reprove ?

26 Do ye imagine to reprove words,

And the speeches of one that is desperate,
Which are as wind ?

27 Yea, ye overwhelm the fatherless.
And ye dig a pit for your friend.

28 Now therefore be content, look upon me ;
For it is evident unto you if I lie.

29 Return, I pray you, let it not be iniquity ;
Yea, return again, my righteousness is in it.

80 7^ there iniquity in my tongue ?

Cannot my taste discern perverse things ?

274:

FARTHER REPLY OF JOB.

FARTHER REPLY OF JOB TO ELIPHAZ.

Job vii. 1-21.

1 Is there not an appointed time to man npon earth ?
Are not bis days also like the days of an hireling ?

2 As a servant earnestly desireth the shadow,

And as an hireling looketh for the reward of his work :

3 So am I made to possess months of vanity,
And wearisome nights are appointed to me.

4 When I lie down, I say, When shall I arise, and the

night be gone ?
And I am full of tossings to and fro unto the dawning
of the day.

5 My flesh is clothed with worms and clods of dust ;
My skin is broken, and become loathsome.

6 My days are swifter than a weaver's shuttle,
And are spent without hope.

7 Oh 1 remember that my life is wind :
Mine eye shall no more see good.

8 The eye of him that hath seen me shall see me no

moi^e :

Thine eyes are upon me, and I am not.

9 As the cloud is consumed and vanisheth away :

So he that goeth down to the grave shall come up no
7no7'e.

10 He shall return no more to his house,
Neither shall his place know him any more.

11 Therefore I will not refrain my mouth ;

I will speak in the anguish of my spirit ;
I will complain in the bitterness of my soul.

12 Am I a sea, or a whale, that thou settest a watch over

me ?

13 When I say. My bed shall comfort me,
My couch shall ease my complaint ;

JOB VII. 1-21.

275

14: Then thou scarest me T\'ith dreams,
And terrifiest me through visions :

15 So that my soul chooseth strangling,
A7id death rather than my life.

16 I loathe it ; I would not live alway :
Let me alone ; for my days are vanity.

17 What is man, that thou shouldest magnify him ?
And that thou shouldest set thine heart upon

him ?

18 And that thou shouldest visit him every morning.
And try him every moment ?

19 How long wilt thou not depart from me,

Nor let me alone till I swallow down my spittle ?

20 I have sinned : what shall I do "unto thee,

0 thou preserver of men ? why hast thou set me as a

mark against thee.
So that I am a burden to myself ?

21 And why dost thou not pardon my transgres-

sions.

And take away mine iniquity ?
For now shall I sleep in the dust ;
And thou shalt seek me in the morning, but I shall
not le.

Bildad next speaks, in the same overhearing manner, severely
reproving the patriarch. Zophar is still more inveterate, openly
upbraiding Job with arrogance, vanity, and falsehood. The
good man expostulates with his friends, and they reply with
still greater acerbity, employing splendid oriental imagery.
Finally, Elihu, offended with both parties, descants with great
energy, pathos, and power. He reproves Job for justifying
himself before God, and blames the three friends because they
condemn the patriarch without any evidence of his guilt.

The several addresses of Elihu, to which Job made no reply,
are the following :

276

HEBREW POETRY.

ADDRESS OF ELIHU TO JOB. EXORDIOI.

Job xxxii. 6-22.

6 And Eliliu the son of Baracliel the Buzite

answered and said,
I am young, and ye are very old ;
Wherefore I was afraid, and durst not show you mine

opinion.

7 I said, Days should speak,

And multitude of years should teach wisdom.

8 But there is a spirit in man :

And the inspiration of the Almighty giveth them
understanding.

9 Great men are not always wise :
Neither do the aged understand judgment.

10 Therefore I said, Hearken to me ;
I also will show mine opinion.

11 Behold, I waited for your words ;

I gave ear to your reasons, whilst ye searched out
what to say.

12 Yea, I attended unto you.

And, behold, tJiere was none of you that con\dnced Job,
Or that answered his words :

13 Lest ye should say, We have found out wisdom :
God thrusteth him down, not man.

14 Now he hath not directed his words against me :
Neither will I answer him with your speeches.

15 They were amazed, they answered no more :
They left off speaking.

16 When I had waited, (for they spake not.
But stood still, and answered no more) ;

17 I said ^ I will answer also my part,
I also will show mine opinion.

18 For I am full of matter,

JOB XXXIII. 1-33.

277

The spirit within me constraineth me.

19 Behold, my belly is as wine which hath no vent ;
It is ready to burst like new bottles.

20 I will speak, that I may be refreshed :
I will open my lips and answer.

21 Let me not, I pray you, accept any man's person,
Neither let me give flattering titles unto man.

22 For I know not to give flattering titles ;

In so doing my maker would soon take me away.

OPENING OF THE ARGUMENT.

Job xxxiii. 1-33.

1 Wherefore, Job, I pray thee, hear my speeches,
And hearken to all my words.

2 Behold, now I have opened my mouth,
My tongue hath spoken in my mouth.

3 My words shall he of the uprightness of my heart :
And my lips shall utter knowledge clearly.

4 The Spirit of God hath made me,

And the breath of the Almighty hath given me life.

5 If thou canst answer me,

Set thy words in order before me, stand up.

6 Behold, I am according to thy wish in Grod's stead :
I also am formed out of the clay.

7 Behold, my terror shall not make thee afraid.
Neither shall my hand be heavy upon thee.

8 Surely thou hast spoken in mine hearing.

And I have heard the voice of thy words, saying^

9 I am clean without transgression,

I am innocent ; neither is there iniquity in me.

10 Behold, he findeth occasions against me,
He counteth me for his enemy,

11 He putteth my feet in the stocks,

278 HEBKEW POETRY.

He marketh all my paths.

12 Behold, in this thou art not just:

I will answer thee, that God is greater than man.

13 Why dost thou strive against him ? ■

For he giveth not account of any of his matters.

14 For God speaketh once, yea twice, ^
Yet man perceiveth it not.

15 In a dream, in a vision of the night.
When deep sleep falleth upon men,
In slumberings upon the bed ;

16 Then he openeth the ears of men,
And sealeth iheir instruction,

IT That he may withdraw mixnfrom his purpose,
And hide pride from man.

18 He keepeth back his soul from the pit.
And his life from perishing by the sword.

19 He is chastened also with pain upon his 'bed,
And the multitude of his bones with strong .*

20 So that his life abhorreth bread.
And his soul dainty meat.

21 His flesh is consumed away, that it cannot be seen ;
And his bones that were not seen, stick out.

22 Yea, his soul draweth near unto the grave,
And his life to the destroyers.

23 If there be a messenger with him,

An interpreter, one among a thousand.
To show unto man his uprightness:
24: Then he is gracious unto him,

And saith, deliver him from going down to the pit :
I have found a ransom.

25 His flesh shall be fresher than a child's :
He shall return to the days of his youth :

26 He shall pray unto God,

And he will be favorable unto him :

JOB XXXIV. 1-37.

279

And lie shall see his face with joy :

For he will render unto man his righteousness.

27 He looketh upon men,

And if any say, I have sinned,

And perverted lliat which was right, and it profited
me not ;

28 He will deliver his soul from going into the pit,
And his life shall see the lio'ht.

29 Lo, all these things worketh God oftentimes with man,

30 To bring back his soul from the pit,

To be enliohtened with the lii^ht of the livinsc.
81 Mark well, 0 Job, hearken unto me :

Hold thy peace, and I will speak.
32 If thou hast any thing to say, answer me :

Speak, for I desire to justify thee.
38 H not, hearken unto me :

Hold thy peace, and I shall teach thee wisdom.

DEFENCE OF GOD'S GOVERNMENT.

Job xxxiv. 1-37.

1 Furthermore Elibu answ^ered and said,

2 Hear my words, O ye wise men ;

And give ear unto me, ye that have knowledge.
8 For the ear trieth words,

As the mouth tasteth meat.
4 Let us choose to us judgment :

Let us know among ourselves what is good.
6 For Job hath said, I am righteous :

And God hath taken away my judgment.

6 Should I lie against my right?

My wound is incurable without transgression.

7 What man is like Job, \
Who drinketh up scorning like water ?

280 HEBREW POETRY.

8 Which goeth in company with the workers of iniquity,
And walketh with wicked men.

9 For he hath said, It profiteth a man nothing
That he should delight himself with God.

10 Therefore hearken unto me, ye men of understanding :
Far be it from God, that he should do wickedness ;
And from the Almighty, that he should commit in-
iquity.

11 For the work of a man shall he render unto him,
And cause every man to find according to his ways.

12 Yea, surely God will not do wickedly,
Neither will the Almighty pervert judgment.

13 Who hath given him a charge over the earth ?
Or who hath disposed the whole world ?

14 If he set his heart upon man,

If he gather unto himself his spirit and his breath ;

15 All flesh shall perish together.

And man shall turn again unto dust.

16 If now thou hast understanding, hear this:
Hearken to the voice of my words.

17 Shall even he that hateth right govern?

And wilt thou condemn him that is most jast?

18 Is it fit to say to a king, Thoit art wicked ?
And to princes, Ye are ungodly ?

19 Sow much less to Jam that accepteth not the persons

of princes,

Nor regardeth the rich more than the poor ?
For they all are the work of his hands.

20 In a moment shall they die,

And the people shall be troubled at midnight, and
pass away :

And the mighty shall be taken away without hand.

21 For his eyes are upon the ways of man,
And he seeth all his goings.

JOB XXXIV. 1-37.

281

22 There is no darkness, nor shadow of death,
Where the workers of iniquity may hide themselves.

23 For he will not lay upon man more than right /
That he should enter into judgment with God.

24 He shall break in pieces mighty men without number,
And set others in their stead.

25 Therefore he knoweth their works,
And he overturneth them in the night,
So that they are destroyed.

26 He striketh them as wicked men
In the open sight of others ;

27 Because they turned back from him,
And would not consider any of his ways :

28 So that they cause the cry of the poor to come unto him.
And he heareth the cry of the afflicted.

29 "When he giveth quietness, who then can make trouble ?
And when he hideth his face, who then can behold him ?
Whether it he done against a nation, or against a man

only :

80 That the hypocrite reign not,
Lest the people be ensnared.

31 Surely it is meet to be said unto God,

I have borne chastisement^ I will not offend any more j

32 That lohich I see not, teach thou me:

If I have done iniquity, I will do no more.
88 Should it le according to thy mind? he will recom-
pense it.

Whether thou refuse, or whether thou choose;

And not I : therefore speak what thou knowest.
34 Let men of understanding tell me,

And let a wise man hearken unto me.
85 Job hath spoken with<jut knowledge.

And his words were without wisdom.
36 My desire is that J ob may be tried unto the end,

282

HEBREW POETRY.

Because of his answers for wicked men.
37 For he addeth rebellion unto his sin,
He clappeth his hands among us,
And multiplieth his words against God.

MAN'S RIGHTEOUSNESS YAIN.

Job XXXV. 1-16.

1 Eliliu spoke moreover, and said,

2 Thinkest thou this to be right,

That thou saidst. My righteousness is more than God's?

3 For thou saidst, "What advantage will it be unto thee?
A7idy What profit shall I have, if lie cleansed from

my sin ?

4 I will answer thee.

And thy companions with thee.

5 Look unto the heavens, and see;

And behold the clouds ichich are higher than thou.

6 If thou sinnest, what doest thou against him?

Or if th}' transgressions be multiplied, what doest thou
unto him?

7 If thou be righteous, what givest thou him?
Or what receiveth he of -thine hand?

8 Thy wickedness may hurt a man as thou art ;
And thy righteousness may profit the son of man.

9 By reason of the multitude of oppressions they make

the oppressed to cry :
They cry out by reason of the arm of the mighty.

10 But none saith, where is God my maker,
W^ho oiveth song^s in the nio-ht ;

11 W^ho teacheth us more than the beasts of the earth,
And maketh us wiser than the fowls of heaven?

12 There they cry, but none giveth answer,
Because of the pride of evil men.

JOB XXXVI. 1-33.

283

13 Surely God will not hear vanity,

ISTeither will the Almighty regard it.
14: Although thou sayest thou shalt not see him,

Yet judgment is before him ;

Therefore trust thou in him.

15 But now, because it is not so^ he hath visited in his

anger ;

Yet he knoweth it not in great extremity :

16 Therefore doth Job open his mouth in vain ;
He multiplieth words without knowledge.

FARTHER DEFENCE OF GOD'S DEALINGS.

Job xxxvi. 1-33.

1 Elihu also proceeded, and said,

2 Suffer me a little, and I will show thee
That I have yet to speak on God's behalf.

3 I will fetch my knowledge from afar,

And will ascribe righteousness to my Maker.

4 For truly my words shall not he false ;

He that is perfect in knowledge is with thee.

5 Behold, God is mighty, and despiseth not any :
He is mighty in strength and wisdom.

6 He preserveth not the life of the wicked :
But giveth right to the poor.

7 He withdraweth not his eyes from the righteous :
But with kings are they on the throne ;

Yea, he doth establish them for ever, and they are ex-
alted.

8 And if they he bound in fetters, •
Aiid be holden in cords of affliction ;

9 Then he showeth them their work,

And their transgressions that they have exceeded.
10 He openeth also their ear to discipline,

284

HEBREW POETRY.

And commandeth that tbe}^ return from iniquity.

11 If they obey and serve hini^

They shall spend their days in prosperity,
And their years in pleasures.

12 But if they obey not,

They shall perish by the sword,

And they shall die without knowledge.

13 But the h^^pocrites in heart heap up wrath :
They cry not when he bindeth them.

14 They die in youth,

And their life is among the unclean.

15 He delivereth the poor in his affliction,
And openeth their ears in oppression.

16 Even so would he have removed thee out of the strait
l7ito a broad place, where thej^e is no straitness ;
And that which should be set on thy table should he

full of fatness.

17 But thou hast fulfilled the judgment of the wicked:
Judgment and justice take hold on thee.

18 Because there is wrath.

Beware lest he take thee away with his stroke :
Then a great ransom cannot deliver thee.

19 Will he esteem thy riches?

JS^o. not gold, nor all the forces of strength.

20 Desire not the night.

When people are cut off in their place.

21 Take heed, regard not iniquity :

For this hast thou chosen rather than afl&iction.

22 Behold, God exalteth by his power:
WhQ teacheth like him ?

23 Who hath enjoined him his way ?

Or who can sa}^ Thou hast wrought iniquity?

24 Remember that thou magnify his work,
Which men behold.

JOB XXXVII. 1-24.

285

25 Every man may see it;
Man may behold it afar off.

26 Behold, God is great, and we know him not,
Neither can the number of his years be searched out.

27 For he maketh small the drops of water :

They poar down rain according to the vapor thereof:

28 Which the clouds do drop

And distil upon man abundantly.

29 Also can any understand the spreadings of the clouds,
Oi' the noise of his tabernacle?

80 Behold, he spreadeth his light upon it,

And covereth the bottom of the sea.
31 For by them judgeth he the people ;

He giveth meat in abundance.
82 With clouds he covereth the light ;

And commandeth it not to shine by the cloud that
cometh betwixt.
33 The noise thereof showeth concerning it,

The cattle also concerning the vapor.

SUBLIME PERORATION.

Job xxxvii. 1-24.

1 At this also my heart trembleth,
And is moved out of his place.

2 Hear attentively the noise of his voice,
And the sound that goeth out of his mouth.

3 He directeth it under the whole heaven,
And his lightning unto the ends of the earth.

4 After it a voice roareth :

He thundereth with the voice of his excellency;
And he will not stay them when his voice is heard.

5 God thundereth marvellously with his voice:

Great things doeth he, which we ca-nnot comprehend.

6 For he saith to the snow, Be thou on the earth ;

286

HEBREW POETRY.

Likewise to the small rain, and to tlie great rain of his
strength.

7 He sealeth up the hand of every man ;
That all men may know his work.

8 Then the beasts go into dens,
And remain in their places.

9 Oat of the south cometh the whirlwind :
And cold out of the north.

10 By the breath of God frost is given :

And the breadth of the waters is straitened.

11 Also by watering he wearieth the thick cloud :
He scattereth his bright cloud :

12 And it is turned round about by his counsels :
That they may do whatsoever he commandeth them
Upon the face of the world in the earth.

13 He cause th it to come, whether for correction,
Or for his land, or for mercy.

14 Hearken unto this, 0 Job :

Stand still, and consider the wondrous works of God.

15 Dost thou know when God disposed them.
And caused the light of his cloud to shine ?

16 Dost thou know the balancings of the clouds,

The wondrous works of him which is perfect in knowl-
edge ?

17 How th}^ garments are warm.

When he quieteth the earth by the south icindf

18 Hast thou with him spread out the sky,
Which is strong, cmd as a molten looking-glass ?

19 Teach us what we shall say unto him ;

For we cannot order our speech by reason of darkness.

20 Shall it be told him that I speak ?

If a man speak, surely he shall be swallowed up.

21 And now men see not the bright light which is in the

clouds ;

JOB XXXVIII. 1-41.

287

But the wind passeth, and cleanseth tliera.

22 Fair weather cometh oat of the north :
With God is terrible majesty.

23 Touching the Almighty, we cannot find him out ;

He is excellent in power, and in judgment, and in

plenty of justice:
He will not afflict.

24 Men do therefore fear him :

He respecteth not any that are wise of heart.

Then Jehovah deigns to interfere and speak to his servant
Job. The very idea that the Supreme Ruler of the universe
should condescend to address one of his fallen creatures is
morally sublime. He disdains to enter into any particular ex-
plication of his counsels ; but describes, with intense vividness
and splendor, the stupendous results of his power. He reproves
the temerity of Job, shows his ignorance in not understanding
the works of creation, the structure of the earth, the sea, light,
and the animal kingdom. He then calls upon the patriarch to
exert his power, and equal a single act of divine energy. He
asks Job how he could contend with Omnipotence if he could
not stand before the violence of irrational animals, many of
which far surpass him in strength. The iVhnighty proceeds
by a series of questions and descriptions adapted to convince
his complaining servant that he was incapable of judging how
the moral government of God should be administered. The
grandeur and sublimity of this address perhaps never was
equalled by human language. The following is Herder's trans-
lation of it (Marsh's Ed.) :

ADDRESS OF THE ALMIGHTY TO JOB.

Job xxxviii. 1—41.

1 Jehovah spoke to Job from out of the tem-

pest, and said to him,

2 Who is it, that darkeneth the counsels of God

288

ADDRESS OF DEITY TO JOB.

Bj words without knowledge ?

3 Gird up thy loins like a man ;
I will ask thee, teach thou me.

4 Where wast thou,

When I founded the earth ?
Tell me, if thou knowest.

5 Who fixed the measure of it? dost thou know?
Who stretched the line upon it?

6 Whereon stand its deep foundations?
Who laid the corner-stone thereof,

7 When the morning stars sang in chorus,
And all the sons of God shouted for joy?

8 Who wrapped up the sea in swaddling-clothes,
When it broke forth from the mother's womb?

9 I gave it the clouds for garments,
I swathed it in mists and darkness,

10 I fixed my decrees upon it.

And placed them for gates and bars

11 I said. Thus far shalt thou come, and no further.
Here shalt thou dash thy stormy waves.

12 Hast thou in thy lifetime commanded the dawn ?
And taught the day-spring to know its place,

13 That it seize on the far corners of the earth,
And scatter the robbers before it ?

14 Like clay the form of things is changed by it,
They stand forth, as if clothed with ornament.

15 From the wicked their light is taken away.
Their haughty arm is broken.

16 Hast thou entered into the caverns of the sea ?
Hast thou explored the hollow depths of the abyss ?

17 Have the gates of death opened for thee ?
And hast thou seen the doors of non-existence ?

18 Is thy knowledge as broad as the earth ?
Show me, if thou knowest it all.

JOB XXXYIII. 1-41.

289

19 "U^here dwelletli tlie light? where is the way to it?
And the darkness, where is its place ?

20 That thou mayest reach even the limits thereof,
For thou knowest the path to its house,

21 Thou knowest, for thou wast already born,
And the number of thy days is great.

22 Hast thou been into the storehouse of the snow ?
And seen the treasury of the hail,

23 Which I have laid up for the time of need,
For the day of war and of slaughter ?

2-1 Where doth the light divide itself,

When the east wind streweth it upon the earth ?

25 Who divided the water-courses of heaven?
And traced a path for the storms of thunder ?

26 To bring rain upon lands, where no man dwelleth,
Upon deserts, which no man inhabiteth,

27 To refresh the wilderness, and the barren place.
And cause the tender herb to spring forth.

28 Who is the father of the rain?

The drops of dew, who hath generated them?

29 From whose womb came forth the ice ?

The hoar-frost of heaven, who gave it birth ?

80 The waters hide themselves and become as stone.
The surface of the abyss is confined as in chains.

81 Canst thou bind together the brilliant Pleiades?
Or canst thou loose the bands of Orion ?

32 Canst thou bring the stars of the Zodiac in their season ?
And lead forth the Bear with her young?

83 Knowest thou the laws of the heavens above ?
Or hast thou given a decree to the earth beneath?

84 Canst thou lift up thy voice to the clouds.
And enter into them clothed with floods?

35 Canst thou send the lightnings, that they shall go.
And say to thee, " Here are we ? "
13

290 ADDRESS OF DEITY TO JOB.

86 Who gave understanding to the fl.ying clouds?
Or intelligence to the meteors of the air?

37 Who by his wisdom hath numbered the drops of rain ?
Ilath sent down the gentle showers from heaven,

38 And watered the dust, that it might unite,
And the clods of the earth cleave together ?

39 Dost thou hunt for the lion his prey ?

The hunger of the young lions dost thou satisfy,

40 When they lie in wait in their dens,
And couch under covert in ambush?

41 Who provideth for the raven his food,
When his young cry unto God,

And wander for lack of meat ?

CLOSE OF GOD'S ADDRESS TO JOB.

Job xxxix. 1-39.

1 Dost thou know when the chamois-goat brings forth?
And mark the birth-throes of the hind ?

2 Dost thoa number the months they fulfill.
And know the period of their bringing forth ?

3 They bow themselves, and give birth to their young,
They cast forth the offspring of their pains.

4 Their young ones increase in strength ;
They grow up in the wilderness ;

They go from them, and return no more.

5 AYho sent forth the wild ass free,

And broke from him his slavish bonds ?

6 The wilderness have I made an house for him,
And the barren desert his dwelling.

7 He scoffs at the uproar of the city ;
The cry of the driver, he heedeth it not.

8 He spieth out in the mountains his pasture;
He searcheth after every green thing.

JOB XXXIX. 1-39.

291

9 "Will the buffalo be willing to serve tbee,
And abide through the night at thy crib?

10 "Wilt thou bind him with his band in the furrow,
And will he harrow the valleys after thee?

11 Wilt thou trust him because he is strong,
And commit unto him thy labor ?

12 Belie vest thou in him, that he will gather thy harvest,
And that thy threshing-floor shall be filled?

13 A wing with joyous cry is uplifted yonder ;
Is it the wing and feather of the ostrich ?

14: When she commits her eggs to the earth,
And leaves them to be warmed on the sand,

15 She heeds it not, that the foot may crush them,
And the wild beasts trample upon them.

16 She casts off her young for none of hers ;
In vain is her travail, but she regards it not ;

17 For God hath made her forgetful of wisdom.
And hath not imparted to her reflection.

18 At once she is up, and urges herself forward.
She lauMis at the horse and his rider.

19 Hast thou given the horse his strength.
And clothed his neck with its flowing mane ?

20 Dost thou make him leap like the locust?
The pomp of his neighing is terrible ;

21 He paweth the earth and joyeth in his strength,
When he goeth against the weapons of war.

22 He scoffeth at fear, and is nothing daunted,
And turneth not back from facing the sword.

23 Above him is the rattling of the quiver,
The lightning of the spear and the lance.

24 With vehemence and rage he devoureth the ground,
And believeth not that the trumpet is sounding.

25 The trumpet sounds louder; he cries — aha!
And from afar he snuffeth the slaughter,

292

job's humility.

The war-cry of the captains, and tlie shout of battle.

26 Is it by thy understanding that the hawk flieth,
And spreadeth his wings to the south wind ?

27 Is it at thy word that the eagle is lifted up,
And buildeth his nest on high ?

28 He inhabiteth the rock, and all night is- there,
High upon the cliff, his rocky fortress.

29 From this he spieth out his prey,
His eye searcheth it out from afar.

30 His 3'oung ones are greedy of blood,
And where the carcasses are, there is he.

Job listens to this unearthly eloquence, and is overwhelmed
with a sense of his own imperfection and sinfulness. He ab-
hors himself, and repents in dust and ashes.

We should love to dwell longer upon the poetical splendor
of this wonderful oriental composition ; but it would be con-
trary to the design of this work to pursue the subject further.

There are a few allusions to music in the book.

Job xvii. 6

He hath made me also a byword of the people :
And aforetime I was as a tabret.

This passage occurs in Job's answer to the second part of Eli-
phaz's address. The patriarch speaks of his present loathsome,
afflictive state, and the contempt exhibited towards him by his
friends. He had become a " byword," though formerly, accord-
ing to our common English version, he was " as a iabret,'^ it be-
ing a figurative expression, indicating that he was formerly in
prosperous, joyful circumstances.

^6' a tabret. — This instrument is a s^mibol of joy. The He-
brew term, translated tabret^ is topheth, which, according

to Gesenius and other biblical critics, signifies spittle^ being de-
rived from i]iph^ io spit upon^ and not, as the translators

JOB XXI. 11, 12.

293

of our common version supposed, from q'jr] toph., a tohret.
The translators of the Septiiagint did not employ a musical
term, but, also mistaking the true meaning of the ^vord, used
yeX(x)c geloivs, signifying joy, mirth. The idea, no doubt,
which the patriarch wished to convey by ^^Jr^ topheth^ was,
that derision was then heaped upon him by his pretended
friends, gelows signifying joy. We have already shown
that the trial of Job occurred, according to Dr. Hales, 2337
years B. C, (2130 according to the usual computation), 818
years after the deluge, 184 before the birth of Abraham, and
689 after the exodus from Egypt, or about 532 years after
music is known to have been cultivated in Egypt (vid. pp. 56, 60,
supra), and that was about 1850 years after Jubal's music.

Job xxi. 11, 12.

11 They send forth their little ones like a flock,
And their children dance.

12 They take the timbrel and harp,

And rejoice at the sound of the organ.

These verses occur in Job's answer to Zophar, in which he
strongly reproves his miserable comforters. He describes the
wicked in a clear and vivid manner, plainly intimating that his
pretended friends were among their number. He shows that the
prosperity of the ungodly continues only for a time.

Their children dance. — This indicates rejoicing. The terra
translated dance, is 'J^lj^'l"' y^raqqedhun, from the verb ^p*|

raqadh, to leap, to skip, to dance. The term in the Septuagint
signifies to play like a child.

In verse 12, we have three instruments mentioned, viz : the
timbrel, harp, and organ. The first is a percussion instrument,
the Hebrew term being toph. The same word is used in
Gen. xxxi. 27, and translated tabret, which indicates the same
instrument as timbrel (vid. Rem. on that passage, supra). The
Septuagint has tpaXrripLov psalterion, psaltery, which is a

294

ORIENTAL MUSIC.

stringed instrument. The LXX must have been mistaken, as
the Hebrew term clearly indicates a porcussion instrument.

Harp. — This is the Idnnor to which reference is made in
Gen. iv. 21.

Organ. — This is the vgabh found also in Gen. iv. 21. The
Septuagint has, for the last two terms, Kt^apav kitharan, citha-
ra, and ipaXfjiov psalmou, psalm, or song. Sometimes the
LXX use psalterion for kliinor (vid. Rem. on Gen. iv. 21,
siq^ra). Evidently, the Alexandrine translators did not have
correct ideas in respect to those ancient instruments, and per-
haps scholars at the present day are too confident in reference
to their knowledge in these matters. Here we perceive that
one of each kind of the three grand classes is mentioned, viz :
percussion, stringed, and wind instruments.

The blessing of bim that was ready to perisb came
upon me :

And I caused tbe widow's beart to sing for joy.

This is a part of the answer of Job to Bildad the Shuhite,
in justification of his conduct. He shows that he assisted the
poor, the fatherless, and the widow.

To sing. — The original is 'l!]*!^ arnin, I caused io sing, the

Hiphil conjugation of ranan. In the Septuagint there is

no allusion to singing, but it is merely an expression indicating
joy on the part of the widow.

Job xxix. 13.

JOB XXXVIII. 7.

295

These passages occur in Job's eloquent reply to Bildad.
He complains that those who were much younger than him-
self, and whose fathers he would disdain to place with the dogs
of his flock, reproach him, and make him their son/j. The
original, nriD^jD u^^ginatham^ their song (v. 9), signifies music

T T • :

of stringed instriunents^ and may mean song^ in derision, as it
does here. The LXX translate it thus : / ain their cithara.
The meaning, however, is the same.

In the 31st verse. Job appears to speak, in a figurative man-
ner, of his harp and organ. He wished to express the sad
idea that his joy was turned into mourning and weeping; still
the fact that he used the names of those instruments, shows
that he was acquainted with them, and that in all probability
he performed upon thera before the dreadful trial which he
was then enduring. The same terms in the original are em-
ployed which occur in Job. xxi. 12, also in Gen. iv. 21. The
instruments are the kianor and \igohh.

Job xxxviii. 7.

When the morning stars sang together,
And all the sons of God shouted for joy ?

This language occurs in the sublime address of the Almighty
to his servant Job. In recounting the wonders of creation, Je-
hovah refers to the time when he laid the foundations of the
earth — when the mighty forces of the material universe were
ushered into being — when suns, planets, and satellites were
hurled into their splendid orbits. In celebration of that event,
the choirs of heaven raised their paean of praise to the Great
Creator.

The morning stars sang together. — These, it is thought, could
not have been men, as it is generally admitted that this language
refers to a period anterior to the creation of Adam. They are
supposed to have been angels. Sons of God, in the same verse

296

MUSIC OF THE ANGELS.

are thought to refer to the same holy beings. But would it not
be more natural to suppose that there is a difference of signifi-
cation in the two phrases ? The first, morning stars, may indi-
cate the thousand voices of nature. The stars and the whole
material universe raised their notes of praise, and then, in unison
with this choir, were that of the sons of God — the angels burn-
ing around the throne. These last may represent the universe
of created intelligent existences at that remote period. This is,
of course, the language of elevated oriental poetry, and highly
figurative ; but not more so than some of the Psalms of Da-
vid, in which inanimate nature is represented as praising God.
At the celebration of so grand an event, certainly it would
seem admissible, if under any circumstances, to personify na-
ture, and represent her as breaking forth in songs of praise.
Sang. — The original word is a derivative of l^-j ranan^ sig-

nifying a tremulous, creaking sound, as of a pole in the wind'
also a roaring sound, as of a torrent.

Shouted for joij. — This is a figurative expression, of similar
import to the one which we have just considered.

Job xxxix. 24, 25.

24. He swallowetb the ground with fierceness and rage ;
Neither believeth be that it is the sound of the trum-
pet.

25 He saitb among the trumpets, Ha, ba !
And he smelleth the battle afar off,
The thunder of the captains, and the shouting.

These verses also occur in the memorable address of Deity
to Job, and refer to the fierceness and fury of the war-horse.

Trumpet, trumpets. — These are the shophars (vid. Rem. on
5 ; Ex. xix. 16, where reference is made to the sameJosh. vi.
instruments).

BOOK OF PSALMS.

297

THE BOOK OF PSALMS.

INTRODUCTORY REMARKS.

We come now to the lays of the sweet singer of Israel,
who chanted upon his harp those joyous or mournful
strains of music, which indicated the depression or eleva-
tion of his spirit while contemplating the prosperous or
adverse circumstances of his country, the advancement
or declension of true piety among that people who once
hung their harps upon the willows in a strange land.

The Psalms have been admired by Christians in all ages,
as affording consolation in every event of life, and as val-
uable helps to devotion. Among the Fathers, Basil con-
sidered them as a compendium of all theology, and Atha-
nasius, as an epitome of the entire sacred volume. Among
the Reformers, Melancthon declared that they were the
most elegant writings in the whole world, and Luther
called them a little Bible, the summary of the old Testa-
ment. Prefixed to the Reformers' Bible is the following
just and beautiful tribute to the Psalms :

" The book of Psalms is set forth unto us by the Holy
Ghost, to be esteemed as a most precious treasure ; where-
in all things are contained that appertain to true felicity,
as well in this present life as in the life to come : for the
riches of true knowledge and heavenly wisdom are set
open for us, to take thereof most abundantly. If we
would know the great and high Majesty of God, here we
may see the brightness thereof shine most clearly. If we
would seek this incomprehensible wisdom, here is the
school of the same profession. If we would comprehend

298

BEAUTIES OF THE PSALMS.

his inestimable bounty, and approach near thereunto, and
fill our hands with that treasure, here we may have a most
lively and comfortable taste thereof. If we would know
wherein standeth our salvation, and how to attain to life
everlasting, here is Christ, our only Eedeemer and Media-
tor, most evidently described. The rich man may learn
the true use of riches : the poor man may find full con-
tentment. He that will rejoice shall know the true joy,
and how to keep measure therein. They that are afflicted
and oppressed, shall see wherein standeth their comfort,
and how they ought to praise God when he sendeth them
deliverance. The wicked, and the persecutors of the chil-
dren of God, shall see how the hand of God is ever against
them ; and though he suffer them to prosper for a while,
yet he bridleth them, insomuch that they cannot touch a
hair of one's head, except he permit them ; and how in
the end their destruction is most miserable. Briefly, here
we may have present remedies against all temptations, and
troubles of mind and conscience ; so that, being well prac-
tised herein, we may be assured against all dangers in
this life, live in the true fear and love of God, and at
length attain to that incorruptible crown of glory, which
is laid up for all them that love the coming of our Lord
Jesus Christ."

This book, in Hebrew, is entitled, Book of Hymns or
Praises^ in the Septuagint, simply Psalms^ and in the
Syriac, Booh of Psalms of David^ the King and Prophet,
Origen, Chrysostom, Ambrose, and other ancient Fathers,
believed that David was the sole author of that composi-
tion ; but a careful perusal of it will show that it was
written by various persons, some earlier and some later
than the time of David. The great Hebrew poet reduced
the Jewish service relating to music to a regular system,
and was an excellent composer as well as performer in the

POETRY OF THE PSALMS.

299

art. He received the divine approval in appointing a
select company of singers to celebrate the praises of God
in the tabernacle.

This book contains every variety of Hebrew poetry.
We find in it elegiac, historical, moral, and lyric verse.
Indeed, it may all be considered as lyric poetry, since it is
adapted to music, but it is extremely varied in style, ex-
tending from the dignified ode, with its ornate beauty, to
the grave ethical or simple didactic rhythm. De Wette,
in his admirable Einleitung in die Psahnen^ remarks :
" They are lyric in the proper sense ; for among the He-
brews, as among the ancients generally, poetrj^, singing,
and music were united, and the inscriptions to most of the
Psalms determine their connection with music, though in
a way not always intelligible to us. Also, as works of
taste these compositions deserve to be called h'ric. The
essence of lyric poetry is the immediate expression of
feeling ; and feeling is the sphere in which most of the
Psalms move. Pain, grief, fear, hope, joy, trust, gratitude,
submission to God, everything that moves and elevates
the heart, is expressed in these songs. Most of them are
the lively effusions of the excited susceptible heart, the
fresh offspring of inspiration and elevation of thought ;
while only a few are spiritless imitations and compilations,
or unpoetic forms of prayer, temple hymns, and collec-
tions of proverbs."

We find occasional pastoral idyls and enigmatical poems ;
but a kind of dramatic ode in the form of a dialogue, is
most prevalent. Bishop Horseley remarks : " The persons
are frequently the psalmist himself, or the chorus of priests
and Levites, or the leader of the Levitical band, opening
the ode with a proem declarative of the subject, and very
often closing the whole with a solemn admonition drawn
from what the other persons say. The other persons are,

300

AUTHORS OF THE PSALMS.

Jehovah, sometimes as one, sometimes as another of the
three persons ; Christ in his incarnate state, sometimes be-
fore, sometimes after his resurrection ; the human soul of
Christ, as distinguished from the divine essence. Christ,
in his incarnate state, is personated sometimes as a priest,
sometimes as a king, sometimes as a conqueror ; and in
those psalms in which he is introduced as a conqueror, the
resemblance is very remarkable between this conqueror
in the book of Psalms, and the wanior on the white horse
in the book of Eevelations, who goes forth with a crown
on his head and a bow in his hand, conquering and to
conquer. And the conquest in the Psalms is followed,
like the conquest in the Revelations, by the marriage of
the conqueror. These are circumstances of similitude,
which, to any one versed in the prophetic style, prove be-
yond a doubt that the mystical conqueror is the same per-
sonage in both." — (Horseley's Psalms, vol. 1, p. 16).

The authors of this book, as we have already intimated,
are various, and lived at different periods, embracing
about nine hundred years. Jewish writers suppose that
there were ten authors, viz: Adam, Melchisedec, Abra-
ham (whom they call Ethan), Moses, Asaph, Heman, Je-
duthun, and the three sons of Korah. They strangely
exclude David, and assert that he merely collected them
into one book. But this opinion is alike contrary to scrip-
ture and fact. It will be found that, in all probability, the
Psalms were composed by Moses, David, Solomon, Asaph,
Heman, Ethan, Jeduthun, and the three sons of Korah.
This opinion is generally maintained by modern biblical
critics. We shall mention the authors of individual
psalms as we consider them separately.

It is difficult to determine with certainty who collected
these poems into one book, and when the compilation was
made. David, undoubtedly, in his time collected many

MUSIC OF THE PSALMS.

301

of them ; but, from an examination of their contents, it
seems quite evident that the book of Psalms was compiled *
by various persons at different times. Psalm cxxvi was
obviously composed while the second temple was being
built, so that the collection must have been made before
that time. In very ancient versions, like the Syriac, the
collection is divided into five books, to correspond, it is
thought, with the Pentateuch. This division is proved to
have been in existence before the Septuagint Greek ver-
sion was made, and certainl}?- existed more than 200 years
before the Christian era. The first book extended from
Psalm i, to xli. ; the second from Psalm xlii. to Ixxii. ;
the third from Psalm Ixxiii. to Ixxxix. ; the fourth from
xc. to cvi. ; and the fifth from cvii. to cl. It is generally
believed that Ezra formed the different collections into one
volume at the time that the Jewish canon of scripture was
completed. Ewald (Poetic Books ii. 205) remarks that it
must have been as early as 450 B. C. The number of
psalms admitted into the canon, was one hundred and
fifty. Another, however, describing the combat of David
with Goliath, appears in the Septuagint version, also in
the Syriac, Arabic, and ^thiopic translations. But it is
not found in the Hebrew, has always been rejected by the
Fathers, and is evidently spurious, though very ancient.

Various instruments of music are mentioned in the
book, which Herder (vid. Herder's Heb. Poet, by Marsh,
vol. ii. p. 265) divides into ruling and accompanying ones.
The latter are the common instruments, and do not appear
in any superscriptions of the Psalms. There are many
grand choruses represented in this book, which were per-
formed by multitudes, and generally accompanied by the
more common instruments, such as flutes, castanets, the
adufa, and different kinds of trumpets.

There is not that boldness in the poetry and music of

802

CLASSIFICATIOISr.

the Psalms which is found in more ancient compositions
The lyric poetry of the Hebrews was much refined, and
the music elevated and improved, under the influence of
David. At the same time, it lost some of that native
originality and pathetic grandeur which it possessed in
the times of Moses and Deborah. The highly figurative
language of ancient poetry, possessed, nnder David, less
natural vigor, freshness, and energy, but was more pol-
ished and scientific. The poetry and music of David and
Solomon were tame compared with the same in the hands
of the ancient prophets. The real difference was, that
David's seers were not natural but artificial poets, while
the old prophets were the Homers and Miltons of the age
in which they lived. They could thunder, lighten, raise
tempests, shake the earth, and cause all nature to quake
in terror. But David's seers move in a humbler sphere,
though there are some exceedingly fine touches in the
sweet singer's beautiful la3'S. In some of the Psalms, in-
deed, we find most admirable specimens of the morally
sublime. Some of them, which we shall examine indi-
vidually, are far more ancient than others, and represent
different periods of Hebrew poetry.

The Psalms may be classed under the following
divisions :

I. Prayers.

1. Prayers for pardon of sin, Psal. vi. xxv. xxxviii. li.
cxxx. Psalms styled penitential, vi. xxii. xxxviii. li. cii.
cxxx. cxliii.

2. Prayers, composed when the Psalmist was deprived
of an opportunity of the public exercise of religion, Psal.
xlii. xliii. Ixiii. Ixxxiv.

3. Prayers, in which the Psalmist seems extremely de-
jected, though not totally deprived of consolation, under

CLASSIFICATION".

803

his afflictions, Psal. xiii. xxii. Ixix. Ixxvii. Ixxxviii.
cxliii.

4. Prayers, in which the Psalmist asks help of God, in
consideration of his own integrity, and the uprightness of
his cause, Psal. vii. xvii. xxvi. xxxv.

5. Prayers, expressing the firmest trust and confidence
in Grod under afflictions, Psal. iii. xvi. xxvii. xxxi. liv.
Ivi. Ivii. Ixi. Ixii. Ixxi. Ixxxvi.

6. Prayers, composed when the people of God were
under affliction or persecution, Psal. xliv. Ix. Ixxiv. Ixxix.
Ixxx. Ixxxiii. Ixxxix. xciv. cii. cxxiii. cxxxvii.

7. The following are likewise prayers in time of trouble
and affliction, Psal. iv. v. xi. xxviii. xli. Iv. lix. Ixiv. Ixx
cix. cxx. cxl. cxli. cxliii.

8. Prayers of intercession, Psal. xx. Ixvii. cxxii. cxxxii.
cxliv.

11. Psalms of Thanksgiving.

1. Thanksgivings for mercies vouchsafed to particular
persons, Psal. ix. xviii. xxii. xxx. xxxiv. xl. Ixxv. ciii.
cviii. cxvi. cxviii. cxxxviii. cxliv.

2. Thanksgivings for mercies vouchsafed to the Is-
raelites in general, Psal. xlvi. xlvii. Ixv. Ixvi. Ixviii. Ixvi.
Ixxxi. Ixxxv. xcviii. cv. cxxiv. cxxvi. cxxix. cxxxv.
exxxvi. cxlix.

III. Psalms of Praise and Adoration^ displaying the
Attrihutes of God.

1. General acknowledgments of God's goodness and
mercy, and particularly his care and protection of good
men, Psal. xxiii. xxiv. xxxvi. xci. c. ciii. cvii. cxvii. cxxi.
cxlv. cxlvi.

2. Psalms displaying the power, majesty, glory, and
other attributes of the Divine Being, Psal. viii. xix. xxiv.
xxix. xxxiii. xlvii. 1. Ixv. Ixvi. Ixxvi. Ixxvii. xciii. xcv.

804

CLASSIFICATION.

xcvi. xcvii. xcix. civ. cxi. cxiii. cxiv. cxv. cxxxiv.
cxxxix. cxlvii. cxlviii. cl.

lY. Instructive Psalms.

1. The different characters of good and bad men, — the
happiness of the one, and the misery of the other, — are
represented in the following psalms : — i. v. vii. ix. x. xi.
xii. xiv. XV. xvii. xxiv. xxv. xxxii. xxxiv. xxxvi.
xxxvii. 1. lii. liii. Iviii. Ixxii. Ixxv. Ixxxiv. xci. xcii. xciv.
cxii. cxix. cxvi. cxxv. cxxvii. cxxviii. cxxxiii.

2. The excellence of God's laws, Psal. xix. cxix.

8. The vanity of human life, Psal. xxxix. xlix. xc.

4. Advice to magistrates, Psal. Ixxxii. ci.

5. The virtue of humility, Psal. cxxxi. '

Y. Psalms m.ore eminently and directly Projphetical.

Psal. ii. xvi. xxii. xl. xlv. Ixviii. Ixxii. Ixxxvii. ex.
cxviii.

YI. Historical Psalms.
Psal. Ixxviii. cv. cvi.

(Yid. Home's Intro. P. v., c. iii., Sec. ii. xi).

Psalm i. 1-6.

1 Blessed is the man.

That walketh not in the counsels of the ungodly,
Nor standeth in the way of sinners,
ISTor sitteth in the seat of the scornfal :

2 But his delight is in the law of the Lord ;
And in his law does he meditate day and night.

3 And he shall be like a tree planted by the rivers of

water.

That bringeth forth his fruit in his season ;

PSALM I. 1-6.

305

His leaf also shall not wither ;

And whatsoever be doeth shall prosper.

4 The ungodly are not so :

But are like the chaff which the wind driveth away.

5 Therefore the ungodly shall not stand in the judgment,
Nor sinners in the congregation of the righteous.

6 For the Lord knoweth the way of the righteous :
But the way of the ungodly shall perish.

This psal m is evidently a kind of preface to the hook, giving
an admirable view of the truly happy man, both in this life
and in that which is to come. The description is brief, but
clear, vivid, and comprehensive. The poem contains a compen-
dium of the doctrines inculcated in the book of Psalms. It is
supposed to have been written about 444 years B. C, but its
date is somewhat uncertain. From the fact that it is intimately
connected with the second psalm, and corresponds very nearly
with it in style, we conclude that it must have been composed
by the same person who wrote that, the author of which we
know to have been David. Some suppose that Ezra composed
it when he completed the collection ; but this opinion is obvi-
ously incorrect. The poetry is not of the most elevated kind,
and can only be distinguished by its lively figures, from ornate
prose. Bishop Jebb gives this psalm as an example of Parallel
lines gradadonal, or those in which some clauses are responsive
to others, and rise above them in a regular gradation. The
first line is nn exclamation which belongs equally to each of the
three foli<»u ing : In the triplet, not only does the general sense
of each successive line rise by a regular gradation above the
preceding one. but each is divided into three members, and the
sense of '-ach successive member rises above the preceding one.
This is tlk- most common kind of parallelism, and sometimes
the gradation is by a descending scale. "To walkj'' says Jebb,
" implies no more than casual intercourse ; to stand, closer inti-
macy ; to .s//, fixed and permanent connection ; the counsel, the
ordinary place of meeting, or public resort ; the way, the select

806

MUSIC OF THE PSALMS.

and chosen foot-path; the seot^ the habitual and final resting-
place ; the ungodly^ negatively wicked ; sinners, positively
wicked ; the scornf ul, scoffers at the very name or notion of
piety and goodness (vid. Jebb's Sacred Literature, p. 41).
There is no allusion to music or musical instruments in the
poem.

Psalm ii. 1-12.

1 What tumult reigns among the nations !
Why do they clamor with empty noise?

2 The kings of the earth rise up,
The princes build projects together
Against Jehovah and his anointed.

3 " Let us break their bands asunder, .
And cast away their fetters from us."

4 He, that is throned in heaven, shall laugh,
Jehovah holdeth them in derision.

5 He speaketh to them in his wrath,
And scattereth them in his fierce anger.

6 "I have set my king upon my throne,
Upon my holy mountain Zion."

7 I will also declare the divine decree,
Jehovah said unto me,

" Thou art my son,

So be it from this day forth."

8 Ask of me.

And nations shall be thine inheritance,

The utmost parts of the earth thy possession.

9 Thou shalt smite them with an iron sceptre,
And dash them as a potter's vessel.

10 Be wise now, therefore, O ye kings,
Be instructed, ye judges of the earth.

11 Obey Jehovah with fear,

And honor him with trembling,

PSALM II. 1-12.

307

12 Do homage to the son, lest he be angry,
And bring destruction on you by the way,
For soon his wrath wiJl be kindled,
And happy they, who are faithful to him.

The above is the translation of Herder. This psalm, like Ps.
i., is anonymous, though, as we have already intimated, it was
evidently composed by David, the imagery being clearly taken
from the warlike times of that Hebrew monarch, and closely
resembling several of the following psalms bearing his name :
Luke (vid. Acts iv. 25) ascribes it to him. It is supposed to
have been written about 1044 B. C. Herder calls it a royal
psalm, the crown of the book (vid. Herder's Heb. Poetry, trans-
lated by Marsh, vol. ii., p. 264). This is the first prophetic
psalm in which the promise made to David in respect to the
Messiah is presented in lyric poetry. The style is rather more
lively than that of the first psalm. " Among the perfect speci-
mens," says Herder, " which have not only variety and contrast,
but a progressive lyric action, I venture to name the Second
Psalm (Ibid vol ii., p. 233).

The poet presents a striking view of the nations who had re-
nounced their allegiance to Jehovah ; but a glance from the
Eternal, as he sits upon his throne, or a smile of derision, blasts
all of their most lofty anticipations. God speaks to them in
thunder, and scatters them with his lightnings. The psalm con-
sists of four strophes or stanzas, of three verses each. The
conduct of the wicked nations is described in the firnt (includ-
ing the first three verses). The second (including verses 4, 5,
and 6), contains the reply of Deity. The third (including ver-
ser 7, 8, and 9), contains the declaration of the Messiah regard-
ing the divine decree in respect to himself In the fourth (in-
cluding verses 10, 11, and 12), earthly potentates are exhorted
to submission, and, in case of refusal, the threatenings of divine
wrath are denounced against them. The parallelisms are reg-
ular, and the number of verses and stanzas is just double that
of the first psalm. There are in it no allusions to music.

308

FIRST POETRY OF DAYID.

Psalm iii. 1-8.

A Psalm of David when he fied from Absalom^ his son.

1 Lord, how are they increased that trouble me !
Many are they that rise up against me.

2 Many there he which say of my soul,

There is no help for him in God. Selah.

3 But thou, 0 Lord, art a shield for me ;
My glory, and the lifter up of mine head.

4 I cried unto the Lord with my voice,

And he heard me out of his holy hill. Selah.

5 I laid me down and slept ;

I awaked: for the Lord sustained me,

6 I will no|; be afraid of ten thousands of people
That have set themselves against me round about.

7 Arise, O Lord ; save me, O my God !

For thou hast smitten all mine enemies upon, the cheek-
bone ;

Thou hast broken the teeth of the ungodly.

8 Salvation helongeih unto the Lord ;

Thy blessing is upon thy people. Selah.

This psalm contains an energetic description of the numerous
foes and dangers that encompassed the wTiter. Yet he confided
in his Heavenly Father to deliver him, as he had done on for-
mer occasions. This was probably among the first poetic effu-
sions from David's pen. It is merely called mizrabr
meaning Psalm^^ and seems to have been composed after David
had been driven from Jerusalem by Absalom, about 1023 B.C.
It consists of four double verses, exclusive of the title. There
has been much controversy among scholars in respect to

* There are 45 psalms called mizmor, viz : 3, 4, 5, 6, 8, 9, 12, 13, 15, 19, 20,
21, 22, 23, 24, 29, 31, 38, 39, 40, 41, 47, 49, 50, 51, 62, 63, 64, 73, 75, 77, 79 80,
82, 84, 85, 98, 100, 101 109, 110, 139, 140, 141, 143.

PSALM III. 1-8.

309

the question, whether the titles to the psalms are of equal au-
thority with the other parts of the book. The ancient critics
generally admit them to be genuine ; but most modern critics
either reject them as not canonical, entirely or in pari. The
titles are obviously very ancient, as they are found in the Sep-
tuagint ; and it is probable that they are older even than that
version, as the LXX in many cases have transferred the He-
brew words, not being able to translate them, and when they
have attempted a translation it is in some cases entirely unin-
telligible. This, however, may have been owing to the fact
that the translators resided in Egypt, and were unacquainted
with the psalmody of the temple service at Jerusalem. From
the fact that these appendages are found m the Septuagint, they
must be as ancient as the time of Ezra. All critics agree that
they are very obscure. Several of them do not appear in the
original Hebrew, having been added in the Septuagint and other
Greek versions. Many of them are probably conjectural
additions, made by the collectors of the psalms at different
periods, and some, no doubt, are of equal authority with the
text. A few refer to music, which we shall consider in their
proper places. The object of the title is generally to name the
author, the chief singer, the instrument of music to be used, or
style of music, the kind of poetry, or the subject or occasion
of the psalm. In our English version the Hebrew words are
generally retained without attempting a translation. Luther
translated them as well as his knowledge of their meaning
would allow ; but Coverdale omitted them altogether, excepting
the names of the authors.

In this psalm (iii) the word Selah occurs at the end of
the second, fourth, and eighth verses. There is a variety
of opinions in respect to its signification. It occurs seventy
three times in the Book of Psalms, and three times in the
prophecy of Habakkuk. It occurs still more frequently in
the Septuagint, and is there translated by AIA^AAMA di-
apsalma, signifying a rest or pause, referring to music.
Suidas thinks that diapsalma signifies a change of the song,

310

SELAH EXPLAINED.

or modulation. Some suppose that it refers to the iwie
of the music, and corresponds to slow among us. Others be-
lieve that it denotes a repetition of the last strain by a chorus ;
others still that it indicates a change of metre^ and others sup-
pose that it calls particular attention to a remarkahle passage.
Jerome asserts that it connects what follows with what pre-
cedes, and that the clause with which it is connected is of great
importance. Jahn and others think that it is similar to the
Italian Da Capo ; Buxtorf and others that it is a note of ancient
music, and that its use is now lost. Calmet and others believe
that it was put in the margin to denote the end of a strain, and
indicated the time when the whole choir were to suspend their
voices, or commence again. Eabbi Kimchi affirms that it prob-
ably refers both to music and the sense, denoting something
specially important. A. F. PfeifFer, Rosenmiiller, and others
suppose it to denote a rest for the vocal performers, while the
instruments are sounding. Ewald and De Wette derive it
from niO bi^D' raise^ and suppose that it means a raising
of the voice or music. Gesenius, Rosenmiiller, Hengstenberg,
Tholuck, and others derive it from silent^ and sup-

pose that it signifies a j^ct^ise in the singing. Herder maintains
that it corresponds neither with pauses, da capo, nor intermezzo,
but must mean change of tone^ expressed by increase of force, or
transition into another time and mode (Herd. Spir. Heb. Poet. vol.
ii., p. 267, Marsh's transl.). Nearly all critics agree that the prin-
cipal use of Selah was in music, while some suppose that it had
reference both to the sense and to music. Is it not highly
probable that it did refer to both ? Professor Wilson, late of
Oxford, has presented an ingenious and perhaps correct expla-
nation of the term, at least in many cases where it occurs.
He says, " The root of the word appears, evidently, to lie in
the two first letters, ^Q, which are in contraction for ^bO?
raise^ to exalt, to magnify.^'' He supposes X] to be an abbrevia-
tion for and Selah would thus be a contracted form for
Jl^lbO' celebrate ye Jehovah, exalt the Lord^ viz : in songs
of praise, accompanied by instruments of music. Thus it in-

PSAL^r IV. 1-8.

311

dicates about the same as n^lJin: Hallelvijah^ meaning
Praise ye the Lord. This view is confirmed by the latter part
of verse fourth of the sixty-eighth psalm, which is translated
thus : Extol Him that rideth upon the heavens with the name
Jah (vid. Wilson's Ileb. Gram., pp. 315, 316, 4th edition, as
quoted by T. H. Home, Intro. P. v., c. iii., Sec. ii. viii). Still,
judging from the connection in which it is employed, we believe
that in many cases it signifies silence^ or a pause in the music.

Psal:^! iv. 1-8.

To the Chief Musician on Keginoth. A Psalm of David.

1 Hear me when I call, 0 God of my righteousness :
Thou hast enlarged me when I was in distress ;
Have mercy upon me, and hear mj prayer.

2 0 ye sons of men, how long ivill ye turn my glory

into shame ? [Selab.
Hoiu long will ye love vanity, and seek after leasing ?

3 But know, that the Lord

Hath set apart him that is godly for himself :
The Lord will hear when I call unto him.

4 Stand in awe, and sin not ;

Commune with 3'our own heart upon 3'our bed, and be
still. Selah.

5 Offer the sacrifices of righteousness ;
And put your trust in the Lord.

6 There he many that say, Who will show us any good ?
Lord, lift tbou up the ligbt of thy countenance upon us.

Y Thou hast put gladness in my heart,

More than in the time tliat their corn and their wine
increased.

8 I will both lay me down in peace, and sleep :
For tbou, Lord, only makest me dwell in safety.

This Psalm seems to be a prayer of David, and is believed to
have been composed about 1023 B. C. He calls upon God to

812 NEGIXOTH EXPLAIXED.

deliver him from his present aiicl past troubles, and defends
himself, in the possession of his kingdom, from the assaults of
his foes. The composition is dedicated to the chief musician
or superintendent of the temple music. The Hebrew term
translated to the chief musician is PllS^TOb lanmatseahlt, derived

from n!^5 7iaisahh, signifying io shine, to conquer, and, in the

Peal conjugation, io lead in music. The chief musician was to
superintend the recital of the poetry and the accompanying
music. This psalm was doubtless prepared for the use of the
temple service, and not for any private purpose. The title fur-
ther indicates how the stanzas were to be recited.

On Keginoth (^("j^-.j^ n^ginoth). — The Hebrew word, it will

be perceived, is not translated, but transferred, in our English
version, and appears in the titles of five other psalms (viz : vi.
liv. Iv. Ixi. Ixxvi). It is derived from n!3'^3D f^^ginah, signi-

fying music of stringed instruments. According to Gesenius,
this term means simply instruments of music. Prof. Alexan-
der, in his excellent commentary on the Psalms, supposes that
it denotes stringed instruments, and that it " may either qualify
chief musician, as denoting the leader in that particular style
of performance, or direct him to perform this psalm with that
kind of accompaniment" (vid. J. A. Alexander's Comment,
on Psal. vol. i. p. 27). The verb nagan, from which the

- T

nouns n^g'ina and n^g'inoth are derived, means to strike a chord,
thus clearly showing that the reference is to stringed instru-
ments. T. H. Horne supposes that it signifies stringed instru-
ments to be played on with the fingers (cf p. 80, supra). Cal-
met proposes to translate the title thus : " A Psalm of David,
t-o the master of music who presides over the stringed instru-
ments." The term Selah occurs at the end of verses 2 and 4.
The last occurrence of it seems to the writer to be a pretty
clear case in which it signifies silence, a pause in the music.
Otherwise it would do violence to the sense. There are no
other allusions to music in this psalm.

PSALM V. 1-12.

313

Psal:h v. 1-12.

To the Chief Musician iipon Kehiloth. A Psalm of David.

1 Give ear to my words, 0 Lord ;
Consider my meditation.

2 Hearken unto the voice of my cry, my King,
And my God : for unto thee will I pray.

3 My voice shalt thou hear in the morning, 0 Lord ;

Li the morning will I direct iny prayer unto thee, and
will look up.

4 For thou art not a God that hath pleasure in wicked-

ness ;

Neither shall evil dwell with thee.

5 The foolish shall not stand in thy sight :
Thou hatest all workers of iniquity.

6 Thou shalt destroy them that speak leasing :

The Lord will abhor the bloody and deceitful man.

7 But as for me, I will come into thy house in the mul-

titude of thy mercy ;
And in thy fear will I worship toward thy holy temple.

8 Lead me, 0 Lord, in thy righteousness.

Because of mine enemies ; make thy way straight be-
fore my fiice.

9 For there is no faithfulness in their mouth ;
Their inward part is very wickedness ;
Their throat is an open sepulchre ;

They flatter with their tongue.

10 Destroy thou them, 0 God ;

Let them fall by their own counsels :

Cast them out in the multitude of their transgressions:

For they have rebelled against thee,

11 But let all those that put their trust in thee rejoice :
Let them ever shout for joy because thou defendest

them ;

NEHILOTH EXPLAINED.

Let tliem also that love tlij name be joyful in thee.
12 For thou, Lord, wilt bless the righteous ;

With favor wilt thou compass him as with a shield.

This Psalm also, in the title, is ascribed to David. The poet
pleads for divine assistance, that he may be delivered from his
enemies, who were ready to devour him. The composition
seems to be a kind of double psalm, the same considerations
being repeated in the lost part of it, as occur in the first.
The two preceding psalms form a pair, repeating, in a similar
manner, essentially the same truths. This, like the fourth
psalm, is addressed to the chief musician.

On N^hhiloth (tli^'^n^)- — This is a very obscure term, and

is untranslated in our English version. The LXX trans-
late it by fcXTjpovofiovGTjg kleronomouses, derived from the verb
KXrjpovoiJiect) kleronomeo, signifying, to get^ or obtain by lot.
Hengstenberg supposes that the Hebrew word signifies lots or
heritages, being derived from the verb ^pj;] nahhal, to 2>ossess,

- T

and that the LXX have translated it correctly. Most of the

ancient versions explain it in a similar manner, referring it to

the subject of the psalm. Calmet supposes that it is derived

from the verb J^^pl hhalal, to perforate^ and me^ws pipes or flutes.

" T ■■ , .a

De Wette and others take the same view, while Rosenmiiller
supposes that the organ was intended. Gesenius intimates,
that, in the singular number, (nb^/l^ n^hhilah), the term means

T . :

an instrument of music, probably the tibia, pipe or flute.
Modern critics generally suppose that the word relates to
music, and to some kind of wind instrument. This is probably
its signification. If it refer to a flute, then we must under-
stand that the psalm w^as to be sung to an accompaniment of
that instrument ; but the fact that flutes are not mentioned as
a part of the temple instrumental music, has led some to sup-
pose that it signifies the name of a tune or of another song to
the melody of which this psalm was to be adapted (vid. J. A.

PSALM ly. 1-10.

315

Alexander's Com. on this Psalm). It is by no means certain,
however, that flutes were not used in the temple service. "We
know that wind instruments were employed, and Xehiloth may
include flutes among others of that class.

Inverse 11 we have a reference to music. Shoui (■^•I'l'*)
y^rannenu^ from "^^i rnnan^ to give forth a tremulous sound.
Peal conjugation, to shout.

PSAL^I vi. 1-10.

The following is Herder's translation (Marsh's Ed.)

To the Chief Musician on Xeginoth upon Sheminith. A song of

David.

1 0 Lord, rebuke me not in tbj wratb,
Nor chasten me in thy fierce anger.

2 Be merciful to me, 0 Jebovab ! for I am weak.
Heal me, 0 Jehovah, for my bones tremble ;

8 My whole soul is in terrors.

And thou, Jebovab ? 0 bow long !

4 Eeturn, 0 Jebovab, deliver my soul.
0 save me for tby mercies' sake.

5 For in death tbere is no remembrance of tbee,
In tbe grave, who shall give tbee thanks ?

6 I am weary witb my groaning,
All nigbt my bed is wet with tears.
With tears I make my coucb to swim,

7 !Mine eye is consumed witb sorrow.

It looks but feebly upon all mine enemies.

8 Depart from me, ye workers of iniquity !
For God bath beard tbe voice of my weeping.

9 Jebovab bath beard my supplication,
Jebovab bath accepted my praj'er.

10 Ashamed, confounded, shall be my enemies.
They shall fall back, and be ashamed suddenly.

SHEMINITH EXPLAINED.

In this psalm, the writer prays that God would deliver him
^ from his severe affliction, intimating that he cannot endure them
longer without assistance, and implores divine interposition.
He is sure of aid, and certain that his enemies, the originators
of his distress, will be overthrown. This is called the first of
the peniteniial psalms. It is ascribed to David, by whom it
was evidently written, near the close of his life. Like Psalms
iv. and v., it is addressed to the chief musician, and, like Psalm
iv., was to be performed on 7i^ginoth^ (for an explanation of
this term, vid. Rem. on Psalm iv. supra). The title further
adds, o/i ShemiaUh (tl'^^^^tl))- ^he same term is used in the

title of Psalm xii. The LXX translate it by oy6orig ogdoes^
from oydoo^ ogdoos, meaning eighth. Gesenius, De Wette,
Hengstenberg, Tholuck, and others consider that rendering as
correct, and suppose the term to refer to music in the lower
notes or bass. Home and others think it refers to a harp
with eight strings. Prof. Alexander remarks that the term
corresponds exactly to our octave. Some suppose that it has
no reference to instrumental music. The most reasonable sup-
position is, that it refers to the lower notes or bass, whether
performed by instruments or the voice. In I Chronicles xv.
20, 21, we have an instance in which sheminith evidently de-
notes the lowest part (our bass — an octave below), in opposi-
tion to alamoth^ which denotes the higher part (our treble),
(vid. Rem. on I Chron. xv. 20, 21).

Psalm vii. 1-18.

Shiggaion of David, which he sang unto the Lord, concerning Gush
the Benjaminite.

1 0 Lord, my God, in thee do I put my trust :

Save me from all them that persecute me, and deliver
me.

2 Lest be tear my soul like a lion,

Rending it in pieces while there is none to deliver.

PSALM VII. 1-18.

317

8 0 Lord, my God, if I have done this ;
If there be iniquity in my hands ;

4 If I have rewarded evil unto him that was at peace

with me;

(Yea I have delivered him that without cause is mine
enemy) ;

5 Let the enemy persecute my soul and take it ;
Yea, let him tread down my life upon the earth,
And lay mine honor in the dust. Selah.

6 Arise, 0 Lord, in thine anger,

Lift up thyself, because of the rage of mine enemies ;
And awake for me to the judgment that thou hast com-
manded.

Y So shall the congregation of the people compass thee
about ;

For their sakes, therefore, return thou on high.

8 The Lord shall judge the people:

Judge me, O Lord, according to my righteousness,
And according to mine integrity that is in me.

9 Oh ! let the wickedness of the wicked come to an end ;
But establish the just:

For the righteous God trieth the hearts and reins.

10 My defence is of God, which saveth the upright in

heart.

11 God judgeth the righteous, and God is angry with the

icicked every day.

12 If he turn not, he will whet his sword ;
He hath bent his bow, and made it ready.

13 He hath also prepared for him the instruments of

death ;

He ordaineth his arrows against the persecutors.

14 Behold, he travaileth with iniquity,
And hath conceived mischief,
And brought forth falsehood.

318

SHIGGAION EXPLAINED.

15 He made a pit, and digged it,

And is fallen into the ditch which he made.

16 His mischief shall return upon his own head,

And his violent dealings shall come down upon his
own pate.

17 I will praise the Lord according to his righteousness ;

18 And will sing praise to the name of the Lord most

high.

This psalm is ascribed to David, and is supposed to have
been composed by him a little before his death. The author
here, as in the preceding one, prays for deliverance from his
malicious foes. He speaks not as an individual, but as the rep-
resentative of the righteous, and justifies the latter through him-
self. He believes that the vengeance of God will be exhibited
against the impenitent — that they will even be their own de-
stroyers. In the title, the term, shiggayon ('^i'^^tlJ) which is not

translated in our English version, signifies, according to Gese-
nius, a song, a psalm, and is derived from nTit2j shagoh, to he

great. In the Peal conjugation, if used, it would mean to mag-
nify, to extol with praises, to utter a song under the greatest ex-
citement. Shiggayon is a noun, translated by the LXX by
ipaXfiog psalmos, psalm. De Wette, Tholuck, Rosenmiiller,
Calmet, Dr. Kennicott, and others suppose that it signifies a
plaintive song or elegy. Ewald, Hengstenberg, and others
maintain that it refers to the errors or abberations of the
wicked, and includes the subject discussed in the poem. They
call it a wandering psalm. Houbigant, Parkhurst, and others
also think that it signifies a ivandering song, referring to the fact
that David had fled as a fugitive from Saul. They derive it
from an Arabic root. Should we not arrive nearer the truth
by uniting the opinion of Houbigant with that of Rosenmiiller
and others, thus making it 2^ plaintive, wandering song, composed
by David while in the deepest distress, fleeing from his perse-
cutor Saul 1

PSALM Till. 1-9.

319

The title further informs us that the psalm relates to the
words of Cush^ the Beiijaminite. Some suppose this Cush to
have been a person, nowhere else appearing in history. Others
think that Shimei, who cursed David, is the individual indicated ;
and others still, with more probability, we think, maintain that
it refers to Saul, as Cush is the Hebrew name of ^Ethiopia, and
would apply to Saul, whose character was morally black, like
an Ethiopian.

In the fifth verse the word Selah occurs, and gives effect to
the preceding solemn appeal to God, by indicating silence.
I will sing "I'STi^S ^zamni^rah (v. 17), future tense from

"\/^T ^^P'^'^i'i to prune.

-T

Psal:\i viii. 1-9.

To the Chief Musician upon Gittith. A Psalm of David.

1 0 Lord, our Lord, bow excellent is tbj name in all

tbe earth I

Who bast set tby glory above tbe beavens.

2 Qiit of tbe mouths of babes and sucklings

Hast tbou ordained strength, because of tbine ene-
mies ;

That tbou migbtest still tbe enemy and tbe avenger.

3 "When I consider tby beavens,
Tbe work of tby fingers,
Tbe moon and tbe stars,
Wbicb tbou bast ordained ;

4 Wbat is man, that tbou art mindful of bim ?
And tbe son of man, that tbou visitest bim ?

5 For tbou bast made bim a little lower then tbe

angels.

And bast crowned bim with glory and bonor.

6 Tbou madest bim to have dominion over tbe works of

tby bands ;

820

GITTITH EXPLAINED.

Thou "hast put all tilings under his feet;

7 All slieep and oxen,

Yea, and the beasts of the field ;

8 The fowl of the air, and the fish of the sea,

And whatsoever passeth through the paths of the
seas.

9 0 Lord our Lord, how excellent is thy name in all the

earth !

This psalm is ascribed to David, and is supposed to have
been written about 1015 B. C. It extols the excellence of
Deity as displayed in animate and inanimate creation. It is
addressed to the chief musician upon Gittith. This term is un-
translated in our version. The same expression appears also in
Ps. Ixxxi. and Ixxxiv. The Hebrew is j^^^^ giitiih, feminine

from the noun "^-y Gath^ the name of one of the principal cities

of the Philistines. Or it may signify a wine-press. Gesenius
supposes that the feminine form, gittith^ indicates an instrument
of music, so called either because it was common among the Git-
tites, or belonged to the wine-press, and was used to accompany
the songs of the vintage. Rabbi Jarchi, Tholuck, De Wette,
Hengstenberg, Rosenmiiller, Ewald, and others suppose it to
signify an instrument brought from Gath. The Septuagint has
vrrep tCjv A7]vC)v hvper ton lenbn^ referring to a wine-press.
Calmet thinks that it is an air or song sung at the time of vint-
age. The etymology of the word evidently refers to the wine-
press, and the most probable opinion is that it was an instru-
ment of music used by the Gittites and adopted by the He-
brews (David having once resided at Gath), and afterwards used
by the Jews as a favorite instrument during the festivities of
the vintage. What kind of an instrument it was we have no
means of ascertaining. Some suppose that it resembled the
wine-press in shape; but nothing can be determined with cer-
tainty upon the subject. There are no further allusions to
music in the psalm.

PSALM IX. 1-20.

321

Psalm ix. 1-20.

To the Chief Musician upon Muth-lablen. A Psalm of David.

1 I will praise thee^ 0 Lord, with my whole heart;
I will show forth all thy marvellous works.

2 I will be glad and rejoice in thee :

I will sing praise to thy name, 0 thou Most High.

3 When mine enemies are turned back,
They shall fall and perish at thy presence.

4 For thou hast maintained my right and my cause ;
Thou sattest in the throne judging right.

5 Thou hast rebuked the heathen, thou hast destroyed

the wicked,

Thou hast put out their name for ever and ever.

6 0 thou enemy ! destructions are come to a perpetual

end ;

And thou hast destroyed cities :
Their memorial is perished with them.

7 But the Lord shall endure for ever :

He hath prepared his throne for judgment ;

8 And he shall judge the world in righteousness,

He shall minister judgment to the people in upright-
ness.

9 The Lord also will be a refuge for the oppressed,
A refuge in times of trouble.

10 And they that know thy name will put their trust in

thee :

For thou. Lord, hast not forsaken them that seek thee.

11 Sing praises to the Lord, which dwelleth in Zion ;
Declare among the people his doings.

12 When he maketh inquisition for blood, he remember-

eth them :

He forgetteth not the cry of the humble.

322

MUTH-LABBEN EXPLAINED.

13 Have mercy upon me, 0 Lord ;

Consider my trouble which I suffer of tliem that hate
me,

Thou that liftest me up from the gates of death ;

14 That I may sliow forth all thy praise
In the gates of the daughter of Zion :
I will rejoice in thy salvation.

15 The heathen are sunk down in the pit that they made }
In the net which they hid is their own foot taken.

13 The Lord is known hy the judgment which he execut-
eth :

The wicked is snared in the work of his own hands.

Higgaion. Selah.

17 The wicked shall be turned into hell,
And all the nations that forget God.

18 For the needy shall not alway be forgotten :

The expectation of the poor shall not perish forever.

19 Arise, 0 Lord, let not man prevail ;
Let the heathen be judged in thy sight.

20 Pat them in fear, 0 Lord ;

That the nations may know themselves to he tut men.

Selah.

This Psalm is supposed to have been written by David after
his victory over Goliath. He expresses his thankfulness for
past mercies, aiid full confidence in God, that he would continue
to bless hini. Tlie psalm is addressed to the chief musician,
and there is added, in the title, the expression al-nuiih-ldhhen
"J^b literally, upon death to the son. There are

various readings in different manuscripts. Some have Alamoth
or Alamvbth^ which means virr;ins, and probably relates to that
part in music usually performed by females, which is our treble
(vid. Rem. on I Chron., xv. 20, supra). Some critics suppose
that Miith-labhen refers to the occasion which called forth the
psalm ; but most refer it to a musical accompaniment. Gesen-

PSALM X. 1-18.

823

ius maintains that it relates to music performed by a choir of
boys in the treble. Calmet supposes a choir of virgins to be
indicated, taking Alamuth for the true reading ; labben he con-
siders as two words, La Ben. to Ben or Benaiah. Professor
Alexander inclines to the opinion that Muth-labben indicates
the title, first words, or a prominent expression of some other
poem, in the style or to the air of which this psalm was com-
posed. The term is very obscure, but probably relates to mu-
sic, perhaps of a mournful kind, or to some accompanying
instrument.

Sing (v. 2). — The same Hebrew word is here used as in Ex.
XV. 2. The same term is also translated sing in verse 11 of tTiis
psalm. Cry (v. 12) signifies a call for help, and does not
relate to music.

Higgaion-sehh (v. 16). — The Hebrew term is XibZ) "jl^v^n

higgaydn selah. Gesenius defines Higgaion to signify a murmur
— sound of the harp or cithara. But in this place he considers
the two words, higgaion selah^ as musical terms, indicating that
the instruments were to strike up a symphony while the vocal
performers should pause. Higgnyon ("jV-^n) probably

derived from J^^n ^^^QZ^-, murmur, to mutter, to growl ; evi-

T T

dently referring to a low sound, if not to entire silence. In
connection with selah, there is more reason in supposing that
2k i^ause, silence, meditation, are indicated, as that term is un-
doubtedly often used to denote silence (^dd. Rem. on Ps. iii.
supra). Tlioluck, Hengstenberg, and others, think that the terms
in conjunction mean that the vocal performers were to meditate
while the music should cease. The LXX translate the phrase
by (1)6t) dLaibd/.fiaroc, ode diapsalmatos, signifying a pause in the
music. Selah occurs again in verse 20, and probably indicates
silence.

Psalm x. 1-18.

1 Why standest tbou afar off, 0 Lord ?

Why bidest tbou thyself in times of trouble ?

324

PSALM OF DAVID.

2 The wicked in his pride doth persecute the poor :
Let them be taken in the devices that they have im-
agined.

3 For the wicked boasteth of his heart's desire,

And blesseth the covetous, whom the Lord abhorreth.

4 The wncked, through the pride of his countenance,

will not seek after God :
God is not in all his thoughts.

5 His ways are always grievous ;

Thy judgments ai^e fiir above out of his sight:
As for all his enemies, he puffeth at them.

6 He hath said in his heart, I shall not be moved :
For I shall never he in adversity.

7 His mouth is full of cursing, and deceit, and fraud ;
Under his tongue is mischief and vanity.

8 He sitteth in the lurking-places of the villages ;
In the secret places doth he murder the innocent :
His eyes are privily set against the poor.

9 He lieth in wait secretly as a lion in his den ;
He lieth in wait to catch the poor :

He doth catch the poor, when he draweth him into his
net.

10 He crouch eth, and humbleth himself.
That the poor may fall by his strong ones.

11 He hath said in his heart, God hath forgotten :
He hideth his face ; he will never see it.

12 Arise, 0 Lord ; 0 God, lift up thine hand :
Forget not the humble.

13 Wherefore doth the wicked contemn God?

He hath said in his heart, Thou wilt not require it.
L4 Thou hast seen it / for thou beholdest

Mischief and spite, to requite it with thy hand :
The poor committeth himself unto thee :
Thou art the helper of the fatherless.

PSALM XII. 1-8. 325

15 Break thou the arm of the wicked, and the evil man:
Seek out his wickedness, till thou find none.

16 The Lord is king for ever and ever:
The heathen are perished out of his land.

17 Lord, thou hast heard the desire of the humble ;
Thou wilt prepare their heart, thou wilt cause thine

ear to hear ;

18 To judge the fatherless and the oppressed,

That the man of the earth may no more oppress.

This psalm has no title, hut was evidently composed by Da-
vid during the Babylonish captivity. The Vulgate and Septua-
gint unite this with the ninth, and make of the two a pair^ or
douhle-psalm. The first part of this poem is ascribed to David,
and the latter part bears strong evidence that it was from the
same pen.

The king of Israel asserts that he is neglected by Jehovah.
He also avers that he is hated by his foes, and prays for deliv-
erance.

Psalm xii. 1-8.

To the Chief Mmician upon Sheminith. A Psalm of David.

1 Help, Lord, for the godly man ceaseth ;

For the faithful fail from amonsr the children of men.

2 They speak vanity every one with his neighbor :
With flattering lips, and with a double heart, do they

speak.

8 The Lord shall cut off all flattering lips,
And the tongue that speaketh proud things ;

4 Who have said. With our tongue will we prevail ;
Our lips are our own : who is lord over us ?

5 For the oppression of the poor, for the sighing of the

needy.

Now will I arise saith the Lord ;

826

PSALM OF DAVID.

I will set him in safety ym/z- him that pufFeth at him.

6 The words of the Lord are pure words ;
As silver tried in a furnace of earth
Purified seven times.

7 Thou shalt keep them, 0 Lord,

Thou shalt preserve them from this generation for ever.

8 The wicked walk on every side.
When the vilest men are exalted.

In the first part of this psalm of David the author speaks of
the prevalence of wickedness and the declension of piety, and
in the latter part he expresses his confidence that he should re-
ceive assistance from on high, hi the title, the psalm is direct-
ed to the chief musician on Sheminith, meaning, probably, on
the octave below, or on a bass instrument of music (vid. Re-
marks on I Chron., xv. 21, and Ps. vi). There is no other ref-
erence to music in the poem.

Psalm xiii. 1-6.

To the Chief Musician. A Psalm of David.

1 How long wilt thou forget me, 0 Lord, forever?
How long wilt thou hide thy face from me?

2 How long shall I take counsel in my soul,
Having sorrow in my heart daily ?

IIow long shall mine enemy be exalted over me ?

3 Consider and hear me, 0 Lord my God :
Lighten mine eyes, lest I sleep the sleep of death ;

4 Lest mine enemy say, I have prevailed against him ;
And those that trouble me rejoice when I am moved.

5 But I have trusted in thy mercy ;

My heart shall rejoice in thy salvation.

6 I will sing unto the I^ord,

Because he hath dealt bountifully with me.

PSALM XIII. 1-6.

327

This psalm of David is supposed to have been composed dur-
ing the Babylonish captivity, as the writer speaks of great
afflictions, and earnestly implores Jehovah, in whom he puts his
trust, to deliver him. There is an allusion to music in the last
verse.

/ will sing, — The original is a derivative of ^/nr, song.
There is an addition to the last verse in the Septuagint, the
translation of which is : Yea^ I will praise the name of the
Lord Most High. This does not occur in any Hebrew manu-
script (vid. J. A. Alexander's Com. on this Ps). In psalm xv.
49, sing occurs in the usual sense.

Psalm xvi. 1-11.

Michtam of David.

1 Preserve me, 0 God ; for in thee do I put my trust.

2 0 my sold, thoa hast said unto the Lord,
Thou art my Lord :

My goodness extendeth not to thee ;

3 J^ut to the saints that are in the earth,

And to the excellent, in whom is all my delight.

4 Their sorrows shall be multiplied that hasten a/ter an-

other God :

Their drink-offerings of blood will I not offer.
Nor take up their names into my lips.

5 The Lord is the portion of mine inheritance and of my

cup :

Thou maintainest my lot.

6 The lines are fallen unto me in pleassLnt places^
Yea, I have a goodly heritage.

7 I will bless the Lord who hath given me counsel ;
My reins also instruct me in the night seasons.

8 I have set the Lord always before me :

Because he is at my right hand I shall not be moved.

9 Therefore my heart is glad and my glory rejoiceth ;

828

MIKTAM EXPLAINED.

My flesh also shall rest in hope :

10 For thou wilt not leave my soul in hell ;

Neither wilt thou suffer thine Holy One to see corrup-
tion.

11 Thou wilt show me the path of life :
In thy presence is fullness of joy :

At thy right hand there are pleasures for ever more.

This psalm is called Miktmn (tDri^'o) of David, and is

thought to have been composed about 1044 B. C. The term
miktam is found in the titles of five other psalms (vid. Psalms
Ivi., Ivii., Iviii., lix., and Ix), and appears to be a substitute for
psalm or song. Aben-Ezra and other critics derive it from
GSISj hethem^ meaning gold^ and would translate the term golden

psalm. T. H. Horne favors the opinion which he derived from
D'Herbelot, that the psalms to which Miktam is attached were
so called on account of having been written on some occasion
in letters of gold, and hung up in the sanctuary (Home's Intro.
P. v., ch. iii., sec. ii., 7— vol. ii., p. 242, Phil. ed.). The LXX
translate the word by I^T7]Xoypa(pLa, sielogi-aphia, signifying in-
scripiion, supposing the psalm to have been engraved on a monu-
ment. Hengstenberg thinks that it means mystery^ indicating that
the psalms to which it is prefixed have an occult meaning. Prof.
Alexander supposes that it " probably indicates the depth of doc-
trinal and spiritual import " of the poems to which it is prefixed.
Gesenius believes that the final letter of the word was originally
^, and was gradually changed to )2« The ancient form of the word
appears over Hezekiah's song, in Isa. xxxviii., 9. Thus the word
would be miktahh^ a tvriiing, a poem, a song, instead of

1D?1D?25 ^niktam. Rosenmiiller, Tholuck, De Wette, and others

take this view, which is probably the correct one ; as those let-
ters, by the carelessness of transcribers, were often, in ancient
times, interchanged with each other. There is no allusion to
music in the psalm.

PSALMS XVIII, XX, XXI.

329

Psalm xviii.

This psalm has already been considered in our remarks on II
Sam. xxii. above, to which the reader is referred. The title is
a lengthy one, presenting simply the subject of the psalm.
There is an allusion to music in the 49th verse, in which the
term sing is employed similarly to its use in previous psalms.

Psalm xx.

There is no allusion to music in this psalm, excepting the
occurrence of the word Selah in the third verse, probably in
the sense of Halleluya.

Psalm xxi. 1-13.

To the Chief Musician. A Psalm of David,

1 The King shall joy in thy strength, 0 Lord ;
And in thy salvation how greatly shall he rejoice !

2 Thou hast given him his heart's desire, [Selah.
And hast not withholden the request of bis lips.

3 For thou preventest him with the blessings of good-

ness ;

Thou settest a crown of pure gold on his head.

4 He asked life of thee.
And thou gavest it him,

Even length of days for ever and ever.

5 His glory is great in thy salvation :
Honor and majesty hast thou laid upon him.

6 For thou hast made him most blessed for ever :
Thou hast made him exceeding glad with thy counte-
nance,

T For the king trusteth in the Lord ;

And, through the mercy of the Most High, he shall
not be moved.

830 PSALM OF DAVID.

8 Thme hand shall find out all thine enemies :

Thj right hand shall find out those that hate thee.

9 Thou shalt make them as a fiery oven in the time of

thine anger :

The Lord shall swallow them up in his wrath, and the
fire shall devour them.

10 Their fruit shalt thou destroy from the earth,
And their seed from among the children of men.

11 For they intended evil against thee ;

They imagined a mischievous device, which they are
not able lo jperform.

12 Therefore shalt thou make them turn their back.
When thou shalt make ready thine arrows upon thy

strings, against the face of them.

13 Be thou exalted. Lord, in thine own strength ;
So will we sing and praise thy power.

This psalm represents the chosen people of God as rendering
thanksgiving to the Great Creator. In verse 2, selah occurs,
probably meaning halleluya. In verse 13, the word sing occurs,
but in the usual form.

Psalm xxii. 1-31.

We present Herder's translation (Marsh's Ed.).

THE SUFFERER.

To the Chief Musician^ at the Dawn of Morning. A Psalm of

Datid.

1 My God, my God ! wherefore dost thou forsake me ?
Why art thou far from helping me, and from my cry ?

2 My God, by day I call, but thou hearest not,
I cry by night, and find no time of rest !

3 And yet art thou the adorable one,

Who is enthroned amid the praises of Israel.

PSALM XXII. 1-31.

331

4 In thee our fathers trusted,

They trusted, and thou didst save them,

5 They cried to thee, and were dehvered,
Trusted in thee, and were not confounded.

6 But I am but a worm, and no man,
Contemned of men, the people's scorn.

7 All they that see me, scoff at me,
They pout the lips, and shake the head.

8 " He calls upon Jehovah ; let him save him,
Let him deliver him, since he delights in him."

9 Yet thou didst take me from my mother's womb,
And wast my hope upon my mother's breasts.

10 While laid upon the lap, I hung on thee.

And from my mother's womb thou wast my God !

11 Be therefore, even now, not far from me,
For trouble comes, and there is none to help !

12 Many bulls have compassed me about,
Strong bulls of Bashan have beset me round.

13 They rushed with open mouth upon me.
Like ravening and roaring lions.

14 Like water am I poured out,
And all my bones are loosed.

My heart is melted like wax within me,

15 My strength dried up like a potsherd.

My tongue too cleaveth to the roof of my mouth,
And thou hast laid me in the dust of death.

16 Dogs have encompassed me around.
And gangs of wicked men enclose me,
They pierce my hands and feet.

17 I might count over all my bones.

They see it, and with joy they gaze upon me.

18 They even now divide my garments.
And cast lots upon my vesture.

19 But be not thou, Jehovah, far from me.

332 AFFLICTIONS OF THE KIGHTEOUS.

My strong deliverer, haste and help me,

20 Deliver my life from the sword.
My soul from the power of the dog.

21 Rescue me from the lion's mouth,
And save me from the bullock's horns,

22 Among my brethren then will I extol thee,
And praise thee in the congregation.

23 Ye, that fear Jehovah, praise him !
All ye offspring of Jacob, glorify him,
And reverence him, ye seed of Israel,

24 For he contemneth not nor despiseth
The mournful cry of the afflicted.
Nor hath he hid his face from him,
But when he cried to him, he heard.

25 My song shall praise thee in the congregation,
Before thy servants will I pay my vows.

26 Eat, and be satisfied, ye humble sufferers,
Ye, that seek him, praise Jehovah,
Your heart shall be revived forever,

27 And all inhabitants of the earth,
Eemembering, shall turn to Jehovah,
And all the tribes of men worship him.

28 For to Jehovah doth the kingdom pertain,
And he is ruler among the nations.

29 Let them that eat the fat of the earth worship him,
And them that are humble, bow before him.
Whose souls are vexed with care !

SO The future generations shall revere him.

And shall be counted as his people.
31 They come to make his kindness known.

And what he hath performed, to future times !

This Psalm of David describes a righteous person in deep
aflliction from the cruelties of his foes. His final deliverance

PSALM XXIV. 1-10

833

from them is delineated, and its effect upon others. There is
an affecting allusion to the vicarious sufferings of Jesus Christ.
The psalm is addressed, in the title, to the chief musician upon
Ayyeleth hashahhar ("^ntlin nb'^i^)^ signifying hinds of the

morning, or, as Herder translates it, at the dawn of morning.
Harmer supposes that these terms have no reference to musical
instruments, but that they refer to the tune, in accordance with
which the words were arranged. Aben-Ezra and other critics
think that they designate a song, bearing this name or com-
mencing with it, to the melody of which the psalm was to be
sung. Tholuck and others suppose that it relates to the sub-
ject of the psalm. Prof. Alexander takes the same view.
Gesenius translates it, hind of the daivn, and supposes, with the
first named critics, that the expression indicates the name of
some other poem or song, to the measure of which this psalm
was to be chanted. This seems to be the most reasonable con-
clusion. There is no other reference in it to music.

Psalm xxiv. 1-10.

We present Herder's translation :

The Entrance of God iijjon Mount Zion.

1 All. Jehovah's is the earth and its fullness,

The world and they that dwell therein,

2 For he bath founded it upon the seas,
He hath established it upon the floods.

3 1. "Who shall ascend the mountain of Jeho-

vah?

Who dares to stand in his most holy place ?

4 2. He that hath clean bands, and a pure heart,

That hath not bound his soul with perfidy,
ISTor ever sworn deceitfully.

5 He shall receive a blessing from Jehovah,
The approbation of his guardian God.

334

PARALLEL LINES GRADATIOXAL.

6 1. This is the people, that seek after him,

That seek thy face, 0 God of Jacob.

7 Chorus. Lift up your heads, 0 ye gates.

And be ye lifted up, ye everlasting doors,
For the king of glory will come in.

8 1. Who is the king of glory ?

Jehovah strong and mighty,
2. Jehovah mighty in battle.

9 Chorus. Lift up your heads, O ye gates,

And be ye lifted up, ye everlasting doors,
For the king of glory will come in.
10 1. Who is the king of glory ?

Chorus. Jehovah, God of gods! he is the king of
glory.

According to Herder's arrangement, the whole assembly
perform the first part of this ode. Then a single person
sings, " Who shall ascend," etc. The answer is performed by
two voices. Then one begins, " This is the people," etc. Next
the chorus proclaims : "Lift up your heads," etc. One then
asks, " Who is the king of glory ? " etc. Then follow two
voices, and then the chorus again : " Lift up your heads," etc.
Finally one asks : " Who is the king of glory ? " and the
chorus proclaim the answer. Bishop Jebb presents this as an
instance of parallel lines gradational. The gradation in senti-
ment is ascending. Whether the poem was performed by an-
swering choirs, as Herder thinks, or not, we have no means of
determining with certainty. Its recital was probably accom-
panied by all of the instruments of music known to the Israel-
ites, as the occasion was an important one, being no less than
the removal of the ark of the covenant to Mount Zion, de-
scribed in II Sam. vi. and I Chron. xv (vid. Rem. on those
passages).

The word Selah occurs in verses 6 and 10, probably in the
sense of halleluyah.

PSALZVr XXV. 1-22.

335

Psalm xxv. 1-22.

A Psalm of David.

1 Unto thee, 0 Lord, do I lift up mj soul.

2 0 my God, I trust in thee :
Let me not be ashamed ;

Let not mine enemies triumph over me.

3 Yea, let none that wait on thee be ashamed,

Let them be ashamed which transgress without cause.

4 Show me thy waj^s, 0 Lord ;
Teach me thy paths.

5 Lead me in thy truth, and teach me ;
For thou art the God of my salvation :
On thee do I wait all the day.

6 Remember, 0 Lord, thy tender mercies,
And thy loving-kindnesses ;

For they have been ever of old.

7 Remember not the sins of my youth, nor my trans-

gressions :

According to thy mercy, remember thou me,
For thy goodness' sake, 0 Lord.

8 Good and upright is the Lord :
Therefore will he teach sinners in the way.

9 The meek will he guide in judgment,
And the meek will he teach his way.

10 All the paths of the Lord are mercy and truth
Unto such as keep his covenant and his testimonies.

11 For thy name's sake, 0 Lord,
Pardon mine iniquity ; for it is great.

12 AVhat man is he that feareth the Lord ?

Him shall he teach in the way that he shall choose :

13 His soul shall dwell at ease ;

And his seed shall inherit the earth.
1-1 The secret of the Lord is with them that fear him :

836

ALPHABETICAL PSALM.

And he will show them his covenant.

15 Mine eyes are ever toward the Lord :
For he shall pluck my feet out of the net.

16 Turn thee unto me, and have mercy upon me :
For I am desolate and afflicted.

17 The troubles of my heart are enlarged ;
0 bring thou me out of my distresses.

18 Look upon mine affliction and my pain ;
And forgive all my sins.

19 Consider mine enemies : for they are many,
And they hate me with cruel hatred.

20 0 keep my soul, and deliver me :
Let me not be ashamed ;

For I put my trust in thee.

21 Let integrity and uprightness preserve me ;
For I wait on thee.

22 Kedeem Israel, 0 God, out of all his troubles.

David here seeks deliverance from his enemies, and implores
pardon for his own sins. This is the first of the alphabetical
psalms. The others are the xxxiv. xxxvii. cxi. cxii. cxix. and
cxlv. Also Prov. xxxi. 10-31, and Lam. i. ii. iii. iv., are of
the same character. This species of poetry consists of twenty-
two lines, says Lowth, or twenty-two systems of lines, periods,
or stanzas, corresponding with the number of the Hebrew al-
phabet. Every line, or every stanza, begins with each letter,
generally in the order in which it stands in the alphabet. It is
thought that the object of this arrangement was to assist the
memory, as the alphabetical psalms are composed of detached
sentences or aphorisms on moral and religious subjects.
Psalms cxi. cxii. and Lam. iii. are perfectly alphabetical, every
line being marked by a letter of the alphabet in its regular
order. The others are imperfectly so, every stanza only com-
mencing with a letter of the alphabet in its regular order. Psalm
XXV. consists of stanzas of two lines each. Psalms xxxiv. cxix.

PSALM XXX. 1-12.

33T

cxlv., Prov. xxxi., and Lam. iv., are arranged in a similar man-
ner. These stanzas are divided each into lines, as is evident
from the sense. The first line or first stanza of the poem, be-
gins with Aleph (jj^), the second with Beth (^),and so oii in the
order of the alphabet. In the psalm under consideration, the
first two verses begin with Aleph (^), the third verse with
Gemel (^), passing over Beth, the second letter of the alphabet.
Verse fourth begins with Daleth (^), and so on. Verses 18
and 19 begin with the same letter [Besh

Psalm xxx. 1-12.

A Psalm and a Song at the Dedication of the home of David.

1 I will extol tbee, 0 Lord ;
For thou bast lifted me up,

And bast not made mj foes to rejoice over me.

2 0 Lord my God, I cried unto tbee, and thou hast

bealed me.

3 0 Lord, tbou bast brougbt up my soul from tbe grave ;
Tbou bast kept me alive, that I sbould not go down

to tbe pit.

4 Sing unto tbe Lord, 0 ye saints of bis.

And give thanks at tbe remembrance of his holiness.
5- For his anger endureth hut a moment ; i
In bis favor is life :
Weeping may endure for a night,
But joy Cometh in the morning.

6 And in my prosperity I said, I shall never be moved.

7 Lord, by thy favor thou hast made my mountain to

stand strong :
Thou didst hide thy face, and I was troubled.

8 I cried to tbee, 0 Lord ;

And unto the Lord I made supplication.

9 What profit is there in my blood, when I go down to

the pit ?

83d

DEDICATOKY PSALM.

Shall the dust praise thee? shall it declare thy truth?

10 Hear, 0 Lord, and have mercy upon me :
Lord, be thou my helper.

11 Thou hast turned for me my mourning into dancing :
Thou hast put off my sackcloth, and girded me with

gladness ;

12 To the end that my glory may sing praise to thee, and

not be silent.

0 Lord my God, I will give thanks unto thee forever.

The title of this psalm seems to indicate that it was pre-
pared with special reference to the dedication of the house or
altar of God, referring, probably, to the place which David pur-
chased (vid. II Sam. xxiv ; I Chron. xxi), and on which he
erected an altar for sacrifice. It was the spot on which the
temple was subsequently built. The psalmist praises God for
his deliverance from ruin, and calls upon others to join in as-
criptions of adoration.

Verse 4. Sing. — The writer, in this verse, calls upon the
righteous to sing praises to God. There is nothing peculiar in
the expression.

Verse \\. Dancing. — The Hebrew term is ^"jH/S mahhol.

Another form of the word is used in Ex. xv. 20. In the last
verse the word sing is used in a similar manner as in verse 4.

Psalm xxxii. 1-11.

A Psalm of David. Maschll.

1 Blessed is he whose transgression is forgiven,
Whose sin is covered.

2 Blessed is the man unto whom the Lord imputetb not

iniquity,

And in whose spirit there is no guile.

3 When I kept silence, my bones waxed old
Through my roaring all the day long,

PSALM XXXII. 1-11.

339

4 (For day and night thy hand was heavy upon me)
My moisture is turned into the drought of summer.

Selah.

5 I acknowledged my sin unto thee;
And mine iniquity have I not hid.

I said, I will confess my transgressions unto the Lord :
And thou forgavest the iniquity of my sin. Selah.

6 For this shall every one that is godly

Pray unto thee, in a time when thou mayest be found ;
Surely in the floods of great waters, they shall not
couie nigh unto him.

7 Thou art my hiding-place ;

Thou shalt preserve me from trouble :
Thou shalt compass me about with songs of deliver-
ance. Selah.

8 I will instruct thee, and teach thee in the way which

thou shalt go ;
I will guide thee with mine eye.

9 Be ye not as the horse, or as the mule.
Which have no understanding ;

Whose mouth must be held in with bit and bridle,
Lest they come near unto thee.

10 Many sorrows shall he to the wicked :

Bat he that trusteth in the Lord, mercy shall compass
him about.

11 Be glad in the Lord, and rejoice, ye righteous :
And shout for joy, all ye that are upright in heart.

A contrast is made in this psalm between the lamentable
condition of the sinner while unpardoned, and his happy state
when forgiven. The term Maskil (5'^3tD?2) occurs in the
title. The same word is employed in eleven other psalms (vid.
Ps. xxxii, xlii, xliv, lii, liii, liv, Iv, Ixxiv, Ixxviii, Ixxxix, cxliii).
It is a participial noun in the Hiphil conjugation, signifying

340

MASKIL EXPLAINED.

poem, song. It is derived from J^'jjj salcal, to look at, to he-
hold. IIovT" the term came to signify song, is uncertain. Gese-
nius supposes that it originally indicated a didactic song, and
subsequently different kinds of verse. De Wette, Calmet, and
others take a similar view. Hengstenberg, Tholuck, and others
maintain that it signifies a didactic poem ; but they derive it
from i'n^tori haskil, to teach, to make wise. Kosenmiiller con-
siders it as a generic term for a particular kind of poem, though
he agrees with Calmet in respect to its use in this psalm. The
word selah occurs in verse 4, probably in the sense of silence,
and in verses 5 and 7 in the sense of halleluyah.

. Shout (v. 11) — a general expression of rejoicing without any
particular reference to music.

Psalm xxxiii. 1-22.

1 Eejoice in the Lord, 0 ye righteous;
For praise is comely for the upright.

2 Praise the Lord with harp ;

Sing unto him with the psaltery, and an instrument of
ten strings.

3 Sing unto him a new song;
Play skillfully with a loud noise ;

4 For the word of the Lord is right ;
And all his works are done in truth.

5 He loveth righteousness and judgment;

The earth is full of the goodness of the Lord.

6 By the word of the Lord were the heavens made ; '
And all the host of them by the breath of his mouth.

7 He gather eth the waters of the sea together as an heap ;
He layeth up the depth in storehouses.

8 Let all the earth fear the Lord ;

Let all the inhabitants of the world stand in awe of him :

9 For he spake, and it was done /

PSALM XXXIir. 1-22.

341

He commanded, and it stood fast.

10 The Lord bringeth the counsel of the heathen to

nought:

He maketh the devices of the people of none effect.

11 The counsel of the Lord standeth for ever,
The thoughts of his heart to all generations.

12 Blessed is the nation whose God is the Lord ;

And the people whom he hath chosen for his own in-
heritance.

13 The Lord looketh from heaven ;
He beholdeth all the sons of men.

14 From the place of his habitation he looketh.
Upon ail the inhabitants of the earth.

15 He fashioneth their hearts alike ;
He considereth all their works.

16 There is no king saved by the multitude of an host ;
A mighty man is not delivered by much strength.

17 An horse is a vain thing for safety :

Neither shall he deliver any by his great strength.

18 Behold, the eye of the Lord is upon them that fear

him.

Upon them that hope in his mercy ;

19 To deliver their soul from death,
And to keep them alive in famine.

20 Our soul waiteth for the Lord ;
He is our help and our shield.

21 For our heart shall rejoice in him ;
Because we have trusted in his holy name.

22 Let thy mercy, 0 Lord, be upon us,
According as we hope in thee.

This psalm is intimately connected with the preceding, and
enlarges upon the closing sentiment of that poem, thus furnish-
ing a reason why no title is prefixed in the Hebrew text. The

TEN-STRINGED LYRE.

LXX ascribe it to David. Its object seems to be to excite
confidence in God.

Harp (v. 2). — This is the Mnnor mentioned in Gen iv. 21, for
a full explanation of which vid. remarks above on that passage.
Cithara is used in the Septuagint.

Psaltery (v. 2). — This is the nehhel which occurs in I Sam.
X. 5, and II Sam. vi. 5. The LXX use psalterion, psaltery.

All instrument of ten strings. — Gesenius supposes that
"^ItD^^ asor, translated an instrument of ten strings in our Eng-

lish version, is to be taken with ^IQD nebhel, and that they mean

a ten-stringed lyre. The LXX translate it ten-stringed psaltery
(vid. Rem on I Sam. x. 5. supra, where it is shown that the
nehhel was probably a kind of guitar).

Sing — a neiu song — play skillfully with a loud noise (v. 3). —
The usual term for song and sing (shir) is used as in Ex. xv. i.
The original for play means to do good, and sometimes to be joy-
ful, to play. The whole verse is intended as an expression of
joy and praise.

In Psalm xxxv. 27 the word shout is used, but with no par-
ticular reference to music.

Psalm xxxvii. 1-40.

A Psalm of David.

1 Fret not thyself because of evil-doers,

Neither be thou envious against the workers of in-
iquity.

2 For they shall soon be cut down like the grass,
And wither as the green herb.

3 Trust in the Lord, and do good ;

So sbalt tbou dwell in the land, and verily thou shalt
be fed.

4 Delight thyself also in the Lord ;

And he shall give thee the desires of thine heart.

PSALM XXXVII. 1-40. 343

•

5 Commit ihj way unto the Lord ;

Trust also in him, and he shall bring it to pass.

6 And he shall bring forth thy righteousness as the light,
And thy judgment as the noon-day.

7 Kest in the Lord, and wait patiently for him :

Fret not thyself because of him who prospereth in his
way,

Because of the man who bringeth wicked devices to
pass.

8 Cease from anger, and forsake wrath ;
Fret not thyself in any wise to do evil.

9 For evil-doers shall be cut oflf :

But those that wait upon the Lord, they shall inherit
the earth.

10 For yet a little while, and the wicked shall not he :
Yea, thou shall diligently consider his place, and it

shall not he,

11 But the meek shall inherit the earth ;

And shall delight themselves in the abundance of
peace.

12 The wicked plotteth against the just,
And gnasheth upon him with his teeth.

13 The Lord shall laugh at him :

For he seeth that his day is coming.
14: The wicked have drawn out the sword,
And have bent their bow,
To cast down the poor and needy,
A7id to slay such as be of upright conversation.

15 Their sword shall enter into their own heart.
And their bows shall be broken.

16 A little that a righteous man hath

Is better than the riches of many wicked.

17 For the arms of the wicked shall be broken :
But the Lord upholdeth the righteous.

344 ALPHABETICAL POEM.

18 The Lord knoweth the days of the upright:
And their inheritance shall be forever.

19 They shall not be ashamed in the evil time.
And in the days of famine they shall be satisfied.

20 But the wicked shall perish,

And the enemies of the Lord shall le as the fat of
lambs :

They shall consume; into smoke shall they consume
away.

21 The wicked borroweth, and payeth not again :
But the righteous showeth mercy, and giveth.

22 For such as he blessed of him shall inherit the earth ;
And they that he cursed of him shall be cut off.

23 The steps of a good man are ordered by the Lord :
And he delighteth in his way.

24 Though he fall, he shall not be utterly cast down :
For the Lord upholdeth him with his hand.

25 I have been young, and now am old ;

Yet have I not seen the righteous forsaken,
Nor his seed begging bread.

26 He is ever merciful, and lendeth ;
And his seed is blessed.

27 Depart from evil, and do good ;
And dwell for evermore.

28 For the Lord loveth judgment,
And forsaketh not his saints ;
They are preserved for ever :

But the seed of the wicked shall be cut off.

29 The righteous shall inherit the land,
And dwell therein for ever.

30 The mouth of the righteous speaketh wisdom,
And his tongue talketh of judgment.

31 The law of his God is in his heart ;
None of his steps shall slide.

PSALM XXXIX. 1-13.

345

32 The wicked watchetli the righteous,
And seeketh to slay him.

33 The Lord will not leave him in his hand,
Nor condemn him when he is judged.

34 Wait on the Lord, and keep his way,
And he shall exalt thee to inherit the land :
When the wicked are cut off, thou shalt see it.

35 I have seen the wicked in great power.

And spreading himself like a green bay-tree:

36 Yet he passed away, and lo, he was not ;
Yea, I sought him, but he could not be found.

37 Mark the perfect 7nan^ and behold the upright :
For the end of that man is peace.

38 But the transgressors shall be destroyed together;
The end of the wicked shall be cut off.

39 But the salvation of the righteous is of the Lord ;
S[e is their strength in the time of trouble.

40 And the Lord shall help them, and deliver them :

He shall deliver them from the wicked, and save them,
Because they trust in him.

This is an alphabetical poem like psalm xxv., describing the
sinner as a self-destroyer, and assuring the righteous that he
need not fear from his enemies as God will sustain him. The
psalm much resembles the hook of proverbs from its aphoris-
tic character, and may have been the model, Prof. Alexander
thinks, according to which that book was constructed. There
is no allusion to music in the psalm.

Psalm xxxix. 1-13.

To the Chief Musician^ even to Jeduthun. A Psalm of David.

1 I said, I will take heed to my ways, that I sin not with
my tongue :

846

PSALM OF DAVID.

I will keep my mouth with a bridle,
While the wicked is before me.

2 I was dumb with silence, I held my peace,
Even from good : and my sorrow was stirred.

3 My heart was hot within me,
"While I was musing the fire burned :
Then spake I with my tongue.

4 Lord, make me to know mine end,

And the measure of my days, what it is /
That I may know how frail I am.

5 Behold, thou hast made my days as an hand-breadth ;
And mine age is as nothing before thee:

Yerily every man at his best state is altogether vanity.

Selah.

6 Surely every man walketh in a vain show:
Surely they are disquieted in vain ;

He heapeth up riches^ and knoweth not who shall
gather them.

7 And now. Lord, what wait I for ?
My hope is in thee.

8 Deliver me from all my transgressions :
Make me not the reproach of the foolish.

9 I was dumb, I opened not my mouth.
Because thou didst it.

10 Remove thy stroke away from me :

I am consumed by the blow of thine hand.

11 When thou with rebukes dost correct man for iniquity,
Thou makest his beauty to consume away like a moth :
Surely every man is vanity. Selah.

12 Hear my prayer, 0 Lord,
And give ear unto my cry ;
Hold not thy peace at my tears :
For I am a stranger with thee.

And a sojourner, as all my fathers were.

PSALM XLII. 1-11. 347

13 0 spare me, that I may recover strength,
Before I go hence and be no more.

The psalmist here expresses his past and present feelings in
respect to the providences of God. David composed this poem
for the chief musician named Jeduthun, signifying praise-giver.
Jeduthun, Asaph, Heman, and Ethan were the king's leading
musicians or choristers. None but the Levites were allowed
to sing, or play on instruments of music, in the tabernacle or
temple. Those who belonged to other tribes were permitted,
on secular occasions, though not in the temple, to use all kinds
of musical instruments, excepting the silver trumpets, which
the priests only could blow. The Hebrew monarchs also had
their private music. Asaph was master of David's royal band
of musicians. Two other psalms seem to have been composed
for Jeduthun (vid. Ps. Ixii. and Ixxvii).

In verses 5 and 11 the word selah is used, probably meaning
silence.

In psalm xl. the usual term (shir) is employed and translated
song.

PSAI^I xlii. 1-11.

To the Chief Musician, Maschil, for the Sons of Korah,

1 As the hart panteth after the water-brooks,
So panteth my soul after thee, 0 God.

2 My soul tbirsteth for God, for the living God :
When shall I come and appear before God ?

3 My tears have been my meat day and night,

While they continually say unto me, Where is thy
God?

4 When I remember these things^ I pour out my soul in

me :

For I had gone with the multitude,
I went with them to the house of God,

348

SONG OF THE SONS OF KORAH.

Witli the voice of joj and praise,
With a multitude that kept holy-daj.

5 Why art thou cast down, 0 my soul ?
And why art thou disquieted in me ?

Hope thou in God : for I shall yet praise him
For the help of his countenance.

6 0 my God, my soul is cast down within me :
Therefore will I remember thee from the land of Jordan,
And of the Hermonites, from the hill Mizar.

V Deep calleth unto deep at the noise of thy water-
spouts :

All thy waves and thy billows are gone over me.

8 ITet the Lord w^ill command his loving-kindness in

the day-time.
And in the night his song shall he with me.
And my prayer unto the God of my life.

9 I will say unto God my rock, Why hast thou forgotten

me ?

Why go I mourning because of the oppression of the
enemy ?

10 As with a sword in my bones, mine enemies reproach

me ;

While they say daily unto me, Where is thy God ?

11 Why art thou cast down, 0 my soul?
And why art thou disquieted within me ?
Hope thou in God : for I shall yet praise him,
Who is the health of my countenance, and my God.

This psalm is ascribed to the Sons of Korah. Prof. Alexan-
der supposes that they did not compose the poem, being merely
" performers " of it, but that David was the writer, as the ex-
perience of that monarch is evidently described, and probably
that part of his experience which transpired when he was ex-
cluded from the sanctuary on account of Absalom's rebellion.
Calmet thinks that it was composed during the captivity. We

PSALM XLIII. 1-5.

349

are inclined to believe, with Rosenmiiller and other eminent
critics, that it was written by one of the sons of Korah, as the
title indicates. The expression by the Sons of Korah ^ is entirely-
separate ifom chief musician^ and is in the place which the
author's name usually occupies.

This is the first sacred song ascribed to the sons of Korah.
The forty-one psalms preceding were evidently from David's
pen. Others which follow are obviously his composition. Sev-
enty-one psalms in all are ascribed to him in the Hebrew text,
and eleven others in the Septuagint ; but not all which bear his
name were really composed by him, and some which do not bear
his name are obviously his composition. Calmet, after a care-
ful examination, concludes that forty -five were written by that
monarch. The Sons of Korah were Levites, employed in the
temple music. Prof Stuart supposes that they were descend-
ants of that Korah who was destroyed in the rebellion described
in Num. xvi., some of- whose posterity presided over the tab-
ernacle music. Overseers of the tabernacle are mentioned by
that name (vid. Num. xvi. 8 ; I Chron. vi. 22, 37 ; ix. 19 ;
xxvi. 1 ; II Chron. xx. 19). This poem is designated as a
MashiJ,, or didactic psalm, being intended for permanent use.

The only allusion to music is in the eighth verse (ninth in
Hebrew, the title being reckoned as one verse), where the
usual term for song is employed.

Psalm xliii. 1-5.

1 Judge me, 0 God, and plead my cause against an un-

godly nation :
O deliver me from the deceitful and unjust man.

2 For thou art the God of my strength :
Why dost thou cast me off?

Why go I mourning because of the oppression of the
enemy ?

3 0 send out thy light and thy truth :

SORROWS OF THE RIv^xHTEOUS.

Let them lead me ;

Let them bring me unto thy holy hill, and to thy tab-
ernacles.

4 Then will I go unto the altar of God, •
Unto God my exceeding joy ;

Yea, upon the harp will I praise thee, 0 God my God,

5 Why art thou cast down, 0 my soul ?
And why art thou disquieted within me ?
Hope in God : for I shall yet praise him.

Who is the health of my countenance, and my God.

This and the preceding psalm are united into one poem in
more than thirty Hebrew manuscripts. The two compositions
closely resemble each other, and the most probable opinion is
that the latter is supplementary to the former, and composed
by the same individual who wrote that. Hence the omission
of the title. The subject of the psalm is the description of a
person in sorrow, seeking deliverance from his enemies.

JIarp (v. 4). — This is the Kinnor probably the

instrument on which David played so beautifully. The same
term occurs in Gen. iv. 21, in our remarks upon which, above, it
is particularly explained ; also in our remarks on I Sam. x.
5 ; I Kings, x. 12. It is translated ciihara in the Septuagint.

Psalm xliv. 1-26.

To the Chief Musician for the Sons of Korah.

1 "We have heard with our ears, 0 God, our fathers have

told us.

What work thou didst in their days, in the times of old.

2 How thou didst drive out the heathen with thy hand,

and plantedst them ;
How thou didst afflict the people and cast them out.

3 For they got not the land in possession by their own

sword.

PSALM XLIV. 1-26.

351

Neither did their own arm save them ;
But thy right hand, and thine arm,
And the light of thy countenance, because thou hadst
a favor unto them.

4 Thou art my king, 0 God :
Command deliverances for Jacob.

5 Through thee will we push down our enemies :
Through thy name we will tread them under that rise

up among us.

6 For I will not trust in my bow,
Neither shall my sword save me.

7 But thou hast saved us from our enemies,
And hast put them to shame that hated us.

8 In God we boast all the day long.

And praise thy name forever. Selah.

9 But thou hast cast off, and put us to shame :
And goest not forth with our armies.

10 Thou makest us to turn back from the enemy :
And they which hate us spoil for themselves.

11 Thou hast given us like sheep appointed for meat ;
And hast scattered us among the heathen.

12 Thou sellest thy people for nought,

And dost not increase thy wealth by their price.

13 Thou makest us a reproach to our neighbors,

A scorn and a derision to them that are round about us.

14 Thou makest us a byword among the heathen,
A shaking of the head among the people.

15 My confusion is continually before me,
And the shame of my face hath covered me,

16 For the voice of him that reproacheth and blas-

phemeth ;
By reason of the enemy and avenger.

17 All this is come upon us ; yet have we not forgotten thee,
Neither have we dealt falsely in thy covenant.

852

A DIDACTIC POEM.

18 Our heart is not turned back,

Neither have- our steps declined from thy way ;

19 Though thou hast sore broken us in the place of dragons,
And covered us with the shadow of death.

20 If we have forgotten the name of our God,
Or stretched out our hands to a strange god ;

21 Shall not God search this out?

For he knoweth the secrets of the heart.

22 Yea, for thy sake are we killed all the day long ;
We are counted as sheep for the slaughter.

23 Awake, why sleepest thou, 0 Lord ?
Arise, cast us not off forever.

24 Wherefore hidest thou thy face,

And forgettest our affliction and our oppression ?

25 For our soul is bowed down to the dust :
Our belly cleaveth unto the earth.

26 Arise for our help,

And redeem us for thy mercies' sake.

This, like the forty-second psalm, is ascribed to the sons of
Korah, and was probably composed by one of them. The poet
speaks of God as having been the deliverer of his people in
ancient times ; but intimates that now they are given up to
their enemies. Still Israel trusts in Him. This is a Maskil or
didactic psalm, being intended for permanent use. At the end
of the eighth verse the word selah occurs, probably in the
sense of halleluyah.

Psalm xlv. 1-17.

To the Chief Musician upon STioshannim for the Sons of Korah^
Maschil. — A song of loves.

1 My heart is inditing a good matter :

I speak of the things which I have made touching the
king:

rSALM XLV. 1-ir.

353

My tongue is the pen of a ready writer.

2 Thou art fairer than the children of men :
Grace is poured into thy lips :
Therefore God hath blessed the forever.

3 Gird thy sword upon thy thigh, 0 most mighty,
With thy glory and thy majesty.

4 And in thy majesty ride prosperously,

Because of truth and meekness and righteousness ;
And thy right hand shall teach thee terrible things.

5 Thine arrows ay^e sharp in the heart of the king's

enemies :

Wherehy the people fall under thee.

6 Thy throne, 0 God, is for ever and ever :
The sceptre of thy kingdom is a right sceptre.

7 Thou lovest righteousness, and hatest wickedness :
Therefore God, thy God, hath anointed thee
With the oil of gladness above thy fellows.

8 All thy garments S7nell of myrrh, and aloes, and

cassia,

Out of the ivory palaces,

Whereby they have made thee glad.

9 Kings' daughters were among thy honorable women :
Upon thy right hand did stand the queen in gold of

Ophir.

10 Hearken, 0 daughter, and consider, and incline thine

ear ;

Forget also thine own people, and thy father's house ;

11 So shall the king greatly desire thy beauty :
For he is thy Lord ; and worship thou him.

12 And the daughter of Tyre shall he there with a gift ;
Even the rich among the people shall entreat thy

favor.

13 The king's daughter is all glorious within :
Her clothing is of wrought gold.

354:

SHOSHAXXIM EXPLAINED.

14 She sliall be brought unto the king in raiment of

needlework :

The virgins her companions that follow her shall be
brought unto thee.

15 With gladness and rejoicing shall thej be brought :
They shall enter into the king's palace.

16 Instead of thy fathers shall be thy children,
Whom thou mayest make princes in all the earth.

17 I will make thy name to be remembered in all genera-

tions :

Therefore shall the people praise thee forever and
ever.

This Psalm is also ascribed to the sons of Korah, and was
probably written by one of them.

Upon Shoshamiim. — This expression in the title is supposed
by some to refer to a musical instrument, and by others to a
particular tune. The Hebrew term is tj^i^'^ji^i plural of
shnshan, usually signifying Uly. Hengstenberg and

some others suppose that it refers to the subject of the Psalm,
and indicates a cheerful theme. Gesenius thinks that it refers
to a musical instrument, resembling a lily in shape. The same
term is used in Psalms Ix. Ixix. and Ixxx. In Psalms Ix. and
Ixxx. edhuth is joined with shushan, and Gesenius sup-

poses the two words united to signify pipe of song or a lyric
pipe, probably referring to the cymbal. This opinion is con-
firmed from the fact that there is one kind of lily called the
martabon lily, or Turkish cap, which very much resembles the
cymbal in form. Indeed, the name of cymbal was sometimes
given to this species of lily. The flower and stock bear a
strong resemblance to several kinds of wind instruments, and
may refer to them.

This is a Maskil, or didactic psalm. It is also called a song
of loves, referring probably to the connection between Jesus

PSALM XLVI. 1-11. 355

Christ and the church represented as bridegroom and bride.
Such a remarkable accumulation of titles would seem to indi-
cate that the psalm is one of vital importance to the people of
God.

Psalm xlvi. 1-11.

To the Chief Musician for the Sons of Korah. — A song upon Alamoth.

1 God is our refuge and strength,
A very present help in trouble.

2 Therefore will not we fear, though the earth be re-

moved,

And though the mountains be carried into the midst

of the sea ;

3 Though the waters thereof roar and be troubled,
Though the mountains shake with the swelling there-
of Selah.

4 There is a river, the streams whereof shall make glad

the city of God,
The holy place of the tabernacles of the Most High.

5 God is in the midst of her ; she shall not be moved :
God shall help her, and that right early.

6 The heathen raged, the kingdoms were moved :
He uttered his voice, the earth melted.

7 The Lord of hosts is with us ;

The God of Jacob is our refuge. Selah.

8 Come, behold the works of the Lord,
What desolations he hath made in the earth.

9 He maketh wars to cease unto the end of the earth ;
He breaketh the bow, and cutteth the spear in sunder ;
He burneth the chariot in the fire.

10 Be still, and know that I am God :
I will be exalted among the heathen,
I will be exalted in the earth.

856

ALAMOTH EXPLAINED.

11 The Lord of "hosts is with us ;

The God of Jacob is our refuge. Selah.

Tliis psalm describes the righteous as safe under the protec-
tion of their Heavenly Father. It is ascribed to the sons of
Korah^ and was probably composed by one of them.

On Alamoth. — This term occurs in the title, and refers prob-
ably to female voices, or the treble (vid. Rem. on I Chron. xv,
supra). This psalm is divided into three strophes, as indicated
by the word selah after verses 3, 7, and 11.

Psalm xlvii. 1-9.

To the Chief Musician. — A Psalm for the Sons of Korah.

1 0 clap your hands, all ye people ;

Shout unto God with the voice of triumph.

2 For the Lord Most High is terrible ;
He is a great King over all the earth,

8 He shall subdue the people under us,
And the nations under our feet.

4 He shall choose our inheritance for us,

The excellency of Jacob whom he loved. Selah.

5 God is gone up with a shout,

The Lord with the sound of a trumpet.

6 Sing praises to God, sing praises :

Sing praises unto our King, sing praises.

7 For God is the King of all the earth :
Sing ye praises with understanding.

8 God reigneth over the heathen :

God sitteth upon the throne of his holiness.

9 The princes of the people are gathered together,
Even the people of the God of Abraham :

For the shields of the earth belong unto God :
He is greatly exalted.

PSALM XLIX. 1-20.

857

This psalm expresses great joy on account of some remarka-
ble deliverance of the chosen people of God. It is generally
thought, by critics, to refer to the sanguine contest between the
Israelites under Jehoshaphat, and the Ammonites and Edomites,
in which Israel was victorious (vid. II Chron. xx. 18-29). It
seems that singers on that occasion went before the army, and
shouted forth the praises of God.

Shout (y. 1). — This refers to the ancient method of going to
war with loud vociferations (vid. Rem. on Ex. xxxii. 18 supra).
The soldiers were called upon to clap their hands, to sing (ver-
ses 6 and 7). In verse 5 the writer exclaims, God is gone up
with the sound of a trumpet. This is thought, by some emi-
nent commentators, to be an exclamation indicating that God,
after the victory, had gone up to heaven with shouting and
great pomp. But it seems more natural to consider the writer
as intending to say, that God was present, by his approbation
at least, with the soldiers as they went up to the battle, attend-
ed by singing, the blast of the trumpet, and the shout of war.
We have not room to examine this view critically, but present
it as more natural than the other. The whole psalm seems to
refer to some great conflict and victory. The people of God
triumphed and praised Jehovah, because he went up with them
and effected a victory. The word translated trumpet (v. 5), is
the shophar or crooked one (vid. Rem. on Ex. xix. 16 supra).

Selah occurs at the end of verse 4, probably in the sense
of Halleluyah. It also occurs in psalm xlviii. 8 in the same sense.

PsALii xlix. 1-20.

To the Chief Musician. — A Psalm for the Sons of Korah.

1 Hear this, all ye people :

Give ear, all ye inhabitants of tbe world :

2 Both low and high, rich and poor together.

3 My mouth shall speak of wisdom ;

And the meditation of my heart shall be of understand-
ing.

358

SONG OF A SON OF KORAH.

4 I will incline mine ear to a parable :

I will open mj dark saying upon a harp.

5 Wherefore should I fear in the days of evil,

When the iniquity of my heels shall compass me about ?

6 They that trust in their wealth,

And boast themselves in the multitude of their riches ;

7 None of them can by any means redeem his brother,
Nor give to God a ransom for him.

8 (For the redemption of their soul is precious, and it

ceaseth forever) ;

9 That he should still live forever, and not see corrup-

tion.

10 For he seeth that wise men die.

Likewise the fool and the brutish person perish,
And leave their wealth to others.

11 Their inward thought is, that their houses shall con-

tinue forever,
And their dwelling-places to all generations ;
They call their lands after their own names.

12 Nevertheless, man heing in honor abideth not :
% He is like the beasts that perish.

13 This their way is their folly :

Yet their posterity approve their sayings. Selah.

14 Like sheep they are laid in the grave ;
Death shall feed on them ;

And the upright shall have dominion over them in the
morning ;

And their beauty shall consume in the grave from
their dwelling.

15 But God will redeem my soul from the power of the

grave :

For he shall receive me. Selah.

16 Be not thou afraid when one is made rich,
When the glory of his house is increased ;

PSALiI L. 1-23.

359

17 For when he dieth he shall carry nothing away :
His glory shall not descend after him.

18 Though while he lived he blessed his soul :

And nun will praise thee, when thou doest well to
thj^self.

19 He shall go to the generation of his fathers ;
They shall never see light.

20 Man that is in honor, and understandeth not.
Is like the beasts that perish.

Tills psalm describes the trials of the righteous arising from
the success and hatred of the wicked. Sources of comfort to
the people of God, under such circumstances, are mentioned.
It was probably written by one of the Sons of Korah, as its
title indicates. Its exact date cannot be ascertained ; but the
obscurity of the style refers it to a high antiquity.

Harp (v. 4). — ^This is the kin nor, the same which is men-
tioned in Gen. iv. 21. The LXX translate it by ipa?-T]pt(x>
(psalterio), psaltery. Selah occurs in verse 13, probably in the
sense of silence, or meditation. It also occurs in verse 15, prob-
ably in the sense of Halleluyah.

•

Psalm 1. 1-23.

A Psalm of Asaph.

1 The mighty God, even the Lord, hath spoken,

And called the earth, from the rising of the sun unto
the going down thereof.

2 Out of Zion, the perfection of beauty,
God hath shined.

8 Our God shall come, and shall not keep silence:

A fire shall devour before him, and it shall be very
tempestuous round about him.

4 He shall call to the heavens from above.

And to the earth, that he may judge his people.

360

SONG OF ASAPH.

5 Gather rtiy saints together unto me ;

Those that have made a covenant with me by sacrifice.

6 And the heavens shall declare his righteousness :

For God is judge himself. SeJah.

7 Hear, O my people, and I will speak ;

0 Israel, and I will testify against thee ;

1 am God, even thy God.

8 I will not reprove thee for thy sacrifices.

Or thy burnt-offerings, to have leen continually before
me.

9 I will take no bullock out of thy house,
Wor he-goats out of thy folds,

10 For every beast of the forest is mine.
And the cattle upon a thousand hills.

11 I know all the fowls of the mountains ;
And the wild beasts of the field are mine.

12 If I were hungry, I would not tell thee :

For the world is mine, and the fullness thereof.

13 Will I eat the flesh of bulls.
Or drink the blood of goats ?

14 Offer unto God thanksgiving ;

And pay thy vows unto the Most High :

15 And call upon me in the day of trouble :

I will deliver thee, and thou shalt glorify me.

16 But unto the wicked God saith,

What hast thou to do to declare my statutes.

Or tJtat thou shouldest take my covenant in thy mouth?

17 Seeing thou hatest instruction.
And castest my words behind thee.

18 When thou sawest a thief, then thou consentedst with

him.

And hast been partaker with adulterers.

19 Thou givest thy mouth to evil,
And thy tongue frameth deceit,

PSALM L. 1-23.

861

20 Thou sittest and speak est against thy brother ;
Thou slanderest thine own mother's son.

21 These things hast thou done, and I kept silence ;
Thou thoughtest that I was altogether such an one as

thyself :

But I will reprove thee, and set thim in order before
thine eyes

22 Now consider this, ye that forget God,

Lest I tear you in pieces, and there he none to deliver.

23 Whoso ofFereth praise glorifieth me :

And to him that ordereth his conversation aright will
I show the salvation of God.

In this psalm God is represented as condemning formalists, on
the ground that they are deceitful. He calls upon them to wor-
ship their Creator. This is the first psalm which is ascribed to
Asaph. From I Chron. xxv. 1, 2, it appears that he was an
inspired prophet, as well as one of David's chief singers.
Twelve psalms, viz : 1., and Ixxii.-lxxxiii., are ascribed to him.
He was a distinguished Levite, and a celebrated musician and
composer. It is thought that the seventy-fourth and seventy-
ninth psalms can hardly be his composition, as they speak of
the destruction of Jerusalem and the burning of the temple.
The style seems to be very similar to that of the lamentations
of Jeremiah. It is believed either that the poem is incorrectly
ascribed to Asaph, or that it was composed by another person
by the same name, living at the time of the captivity. There
is a deep vein of thought pervading Asaph's psalms. He dwells
upon doctrines. His style is more bold and vehement than
that of David, and sometimes reaches the morally sublime.

In verse 6 selah occurs, probably in the sense of silence.

In the fourteenth verse of the fifty-first chapter the word sing
is employed, referring to the utterance of the praises of God.
In verses 3 and 5 of chapter lii., selah occurs in the sense of
iilence,

MAHHALATH EXPLAINED.

Psalm liii. 1-6.

To the Chief Musician upon Mahhalath^ Maschil. — A FSalm of Dor

vid.

1 The fool hath said in his heart, There is no God.
Corrupt are they, and have done abominable iniquity:
There is none that doeth good.

2 God looked down from heaven upon the children of

men.

To see if there were any that did understand, that did
seek God.
8 Every one of them is gone back ;
They are altogether become filthy ;
There is none that doeth good, no, not one.

4 Have the workers of iniquity no knowledge ?
"Who eat up my people as they eat bread :
They have not called upon God.

5 There were they in great fear, where no fear was :
For God hath scattered the bones of him that encamp-

eth against thee :
Thou hast put them to shame, because God hath de-
spised them.

6 0 that the salvation of Israel were come out of Zion !
When God bringeth back the captivity of his people,
Jacob shall rejoice, and Israel shall be glad.

This is a psalm of David, and similar to the fourteenth. It
is thought by the best critics that both psalms were written by
him, and that the latter is simply the former rewritten and re-
vised, in order to elucidate some points without intending to
supersede the use of the original composition. This is a Mas-
kilj or didactic psalm.

On Mdhhdlath. — This term (jlbn)?) occurs in the title. It

- is derived from the verb Ji^H hhala^ to he smooth or soft^ to

PSALM LIV. 1-r.

363

be siclc. Some critics believe that mahhalath^ in this place, signi-
fies disease, referring to the subject of the psalm. Others, with
more reason we think, adopt the former signification, and de-
rive from it the meaning to sing. Gesenius supposes that it
means a stringed instrument, a lute or guitar. In the ^Ethiopic
version it is translated song. Fiirst supposes it to mean a tune,
and that it is the first word of some popular song. Calmet
translates the title of this psalm thus : '"'■An instructive psalm
of David for the chief master of dancing : or for the chorut
of singers and dancers.'''' Horne thinks it refers to some pecu-
liar dance used at festivals. The LXX, contrary to their usual
course, leave the term untranslated. The general belief is that
it relates, in some manner, to music ; and this is probably its
true meaning. It occurs in only one other psalm, viz., the 88th,
with probably a similar signification. It is impossible to ascer-
tain what kind of an instrument is intended : but the etymology
of the word would indicate the softer kind, perhaps the luie or
guitar.

Psalm liv.

To the Chief Musician on Neginoth, Maschil^ A Psalm of David,
when the Ziphims came and said to Saul, Doth not David hide
himself with us ?

1 Save me, 0 God, by tby name,
And judge me by thy strength.

2 Hear my prayer, 0 God ;

Give ear to the words of my mouth.

3 For strangers are risen up against me,
And oppressors seek after my soul :

They have not set God before them. Selah.

4 Behold, God is mine helper:

The Lord is with them that uphold my soul.

5 He shall reward evil unto mine enemies :
Cut them off in thy truth.

364 NEGINOTH EXPLAINED.

6 I will freely sacrifice unto thee :

I will praise thy name, O Lord, for it is good.

7 For lie hath delivered me out of all trouble :

And mine eye hath seen his desire upon mine enemies.

In this psalm the writer prays for deliverance from his ene-
mies. The term n^g'inoth {XXXT^y^) occurs in the title,

meaning stringed instruments of music, as in psalm iv (vid.
Rem. on the same, supra). ' Selah occurs at the end of verse 4,
probably in the sense of silence. N^ginoth also occurs in the
title of Psalm Iv, with a similar meaning as in Ps. liv. At
the end of verse 7, and in the middle of verse 19, selah is
found, meaning silence.

Psalm Ivi. 1-6.

To the Chief Musician upon Jonath-Elem ReclioTcim^ Michtam of
David, when the Philistines tooh hiin in Gath.

1 Be merciful unto me, 0 Grod ;
For man would swallow me up :
He fighting daily oppresseth me.

2 Mine enemies would daily swallow me up :

For they he many that fight against me, O thoa Most
■ High.

3 What time I am afraid,
I will trust in thee.

4 In God I will praise his word ;
In God I have put my trust :

I will not fear what flesh can do unto me.

5 Every day they wrest my words ;

All their thoughts are against me for evil.

6 They gather themselves together, they hide themselves.

In this psalm David asks to be delivered from the malice and
oppression of his foes, and trusts in the Almighty arm to

PSALM LVII. 1-11.

365

rescue him. This is addressed to the chief musician, and is a
miktam or didactic psalm.

On yonath elem r^hhoqim (D^pn*"} DbjS; ^^V)- Ton-

ath signifies a dove ; don, dvmb^ silent, and r^/ihoq'im, far dis-
tant. Prof. Alexander supposes that this phrase refers to
David, and represents him as an innocent and uncomplaining
sufferer among strangers (vid. his Comment, on this Ps.). Ge-
senius translates it thus: " (he silent dove among strangers,^'' and
supposes that it may refer to the people of Israel in exile.
There seems to be no allusion to music in this expression, ex-
cepting that it is part of the title to a lyric poem.

Psalm Ivii. 1-11.

To the Chief Musician, Al-taschith, Michtam of David, when he fled
from Saul in the cave.

1 Be merciful unto me, 0 God, be merciful unto rae :
For my soul trusteth in thee :

Yea, in the shadow of thy wings will I make my
refuge.

Until these calamities be overpast.

2 I will cry unto God most high ;

Unto God that performeth all things for me.
8 He shall send from heaven, and save me

From the reproach of him that would swallow me
up. Selah.
God shall send forth his mercy and his truth.

4 My soul is among lions :

And I lie even among them that are set on fire,
Even the sons of men, whose teeth are spears and
arrows.

And their tongue a sharp sword.

5 Be thou exalted, 0 God, above the heavens :
Let thy glory he above all the earth.

AL-TASCHHETH EXPLAINED.

6 They "have prepared a net for my steps ;
My soul is bowed down :

They have digged a pit before me,

Into the midst whereof they are fallen themselves,

7 My heart is fixed, 0 God, my heart is fixed :
I will sing and give praise.

8 Awake up, my glory ; awake, psaltery and harp :
I myself will awake early.

9 I will praise thee, 0 Lord, among the people :
I will sing unto thee among the nations.

10 For thy mercy is great unto the heavens,
And thy truth unto the clouds.

11 Be thou exalted, 0 God, above the heavens :
Zet thy glory he above all the earth.

In this psalm the writer describes his sufferings, and seeks for
deliverance from his enemies.

Al-taschheth (rirTCiiTl'bi^)- — "^his obscure term, which oc-
curs in the title, means destroy not. Some critics maintain that
it relates to music. Prof Alexander adopts the explanation
suggested by the Chaldee Paraphrase, viz : that the psalm be-
longs to that period in David's life when he was under the neces-
sity of saying constantly. Destroy not. Gesenius supposes,
with more reason, we think, that this expression contains the
" first words or title of a song, to the melody of which this psalm
was to be sung." This view is generally received as correct.
Psalms Iviii, lix, and Ixxv, have the same term in their titles.

Miktam is also employed in the title, probably meaning
psalm or song (vid. Rem. on Ps. xvi, supra).

hi verses 3 and 6, selah occurs, probably in the sense of
silence.

In verse 7, the expression, / will sing and give praise, is
translated by Prof Alexander thus : / will sing and play, thus
intimating that there was probably not only vocal, but instru-

PSALM LIX. 1-17.

367

mental music. The original word translated sing in verses 7
and 8, has the same derivation as that in Ex. xv. 2 (vid Rem.
on the same above.)

Psaltery (v. 8). — Nehhel is used here in the same sense as in
I Sam. X. 5, and II Sam. vi. 5.

Harp (v. 8). — This is the kinnor^ the same as in Gen. iv. 21.
The Septuagint has cithara. The literal translation of the last
clause of the verse is, / will mvaken morning. A beautiful
idea. The writer was going to awaken the dawn instead of
being awakened by it.

Psalm lix. 1-17.

To the Chief Musician^ Al-taschlth, Michtam of David, when Saul
sent, and they watched the house to Mil Mm.

1 Deliver me from mine enemies, 0 raj God:
Defend me from them that rise against me.

2 Deliver me from the workers of iniquity,
And save me from bloody men.

3 For lo, they lie in wait for my soul :
The mighty are gathered against me ;

'Not for my transgression, nor for my sin, 0 Lord.

4 They run and prepare themselves without 7ni/ fault:
Awake to help me, and behold.

5 Thou, therefore, 0 Lord God of hosts,

The God of Israel, awake to visit all the heathen :
Be not merciful to any wicked transgressors. Selah.

6 They return at evening;
They make a noise like a dog,
And go round about the city.

7 Behold, they belch out with their mouth :
Swords a7^e in their lips ;

For who, {say they,) doth hear ?

8 But thou, 0 Lord, shalt laugh at them ;
Thou shalt have all the heathen in derision.

368

psal:m: of datid.

9 Because of his strength will I wait upon thee;
For God is my defence.

10 The God of my mercy shall prevent me ;

God shall let me see my desire upon mine enemies.

11 Slay them not, lest my people forget :
Scatter them by thy power ;

And bring^ them down, 0 Lord our shield.

12 For the sin of their mouth, and the words of their

lips.

Let them even be taken in their pride :
And for cursing and lying which they speak.

13 Consume them in wrath, consume them^ that they may

not he :

And let them know that God ruleth in Jacob unto the
ends of the earth. Selah.
Itt And at evening let them return ;

And let them make a noise like a dog,
And go round about the city.

15 Let them wander up and down for meat,
And grudge if they be not satisfied.

16 But I will sing of thy power;

Yea, I will sing aloud of thy mercy in the morning :
Eor thou hast been my defence and refuge in the day
of my trouble.

17 Unto thee, 0 my strength, will I sing :

For God is my defence, and the God of my mercy.

This Psalm contains a description of the sufferings of a pious
man, from implacable foes. He pravs for deliverance, and con-
fides in God to accomplish what he so much desires. The lat-
ter part of the poem forms a parallelism with the first part,
the same subject being repeated. The title is the same as those
of the two preceding psalms. Selah occurs in verses 5 and 13,
probably in the sense of silenee.

I will sing (verses 16 and 17). — In verse 16 a derivative of

PSALM LX. 1-12.

309

the same word, in the original, is used, as in Gen. xxxi. 27 and
Ex. XV. 1, and in verse 17 a derivative of the same word as is
found in Ex. xv. 2, remarks on which see.

Psalm Ix. 1-12.

To the Chief Musician upon Shushan-eduth, Michtam of David, to
teach; when he stroTe with Aram-naharaim, and with Aram-zo-
J)ah., when Joah returned^ and smote of Edom in the valley of Salt^
twelve thousand.

1 0 God, thou hast cast us off,

Thou hast scattered us, thou hast been displeased ;

0 turn thyself to us again.

2 Thou hast made the earth to tremble ; thou hast brok-

en it :

Heal the breaches thereof ; for it shaketh.

3 Thou hast showed thy people hard things :

Thou hast made us to drink the wine of astonishment.

4 Thou hast given a banner to them that fear thee,
That it may be displayed because of the truth. Selah.

5 That thy beloved may be delivered ;
Save With thy right hand, and hear me.

6 God hath spoken in his holiness ;

1 will rejoice, I will divide Shechem,
And mete out the valley of Succoth.

7 Gilead is mine, and Manasseh is mine ;
Ephraim also is the strength of mine head ;
Judah is my lawgiver ;

8 Moab is my wash -pot ;

Over Edom will I cast out my shoe :
Philistia, triumph thou because of me.

9 Who will bring me hito the strong city ?
Who will lead me into Edom ?

10 Wilt not thou, 0 God, which hadst cast us off ?

370

SHUSHAN-EDUTH EXPLAIXED.

And tliou^ 0 God, lohich didst not go out with our
armies ?

11 Give us help from trouble ;
For vain is the help of man.

12 Through God we shall do valiantly :

For he it is that shall tread down our enemies.

This psalm is divided into three equal strophes of four verses
each. The writer pleads earnestly for the people of God.
Sh/shan-edhuih Iti^tlj)- — This expression in the title

signifies Uli/ of the testimony. The first part of it occurs in
the plural in Psalm xlv slioshannim). This expres-

sion probably indicates some kind of wind instrument of music
resembling a lily in shape (vid. Rem. on Ps. xlv. supra).
Mik'tam^ meaning song^ also appears in the title. At the end
of verse 4, selah occurs, probably in the sense of halleluyah.
In Psalm Ixi, n^g'inoth is used as in Psalms iv, vi, liv, Iv, signi-
fying stringed instruments of music. At the end of verse 4, in
the same Psalm (Ixi), selah is found, probably in the sense of
halleluyah.

I luill sing (Ps. Ixi. S), would be more correctly translated,
/ will celebrate^ i. e., both by vocal and instrumental music.
Psalm Ixii. is ascribed to Jeduthun like psalm xxxix, which see.
Selah at the end of verse 4 in Ps. Ixii, probably means silence^
and in verse 8, halleluyah. hi Psalm Ixv, verse 13, sing is
used. The same original word is employed as in Gen. xxxi.
27, remarks on which see.

Psalm lx\d. 1-20.

To the Chief Musician. — A song or 'psalm.

1 Make a joyful noise unto God, all ye lands :

2 Sing forth the honor of his name :
Make his praise glorious.

8 Say unto God, How terrible art thou in thy works !

PSALM LXVI. 1-20.

371

Through the greatness of thy power

Shall thine enemies submit themselves unto thee.

4 All the earth shall worship thee, and shall sing unto

thee ;

They shall sing to thy name. Selah.

5 Come and see the works of God :

He is terrible in his doing toward the children of men.

6 He turned the sea into dry land :
They went through the flood on foot :
There did we rejoice in him.

7 He ruleth by his power for ever ;
His eyes behold the nations:

Let not the rebellious exalt themselves. Selah.

8 O bless our God, ye people,

And make the voice of his praise to be heard :

9 Which holdeth our soul in life.

And suffereth not our feet to be moved.

10 For thou, 0 God, hast proved us :
Thou hast tried us, as silver is tried.

11 Thou broughtest us into the net ;
Thou laidest affliction upon our loins.

12 Thou hast caused men to ride over our heads :
We went through fire and through water :

But thou broughtest us out into a vjQsXihy place.

13 I will go into thy house with burnt-offerings :

14 I will pay thee my vows, which my lips have uttered,
And my mouth hath spoken, when I was in trouble.

15 I will offer unto thee burnt-sacrifices of fatlings,
With the incense of rams; I will offer bullocks with

goats. Selah.

16 Come and hear, all ye that fear God,

And I will declare what he hath done for my soul.

17 I cried unto him with my mouth,
And he was extolled with my tongue.

372

HEBREW POETRY.

18 If I regard iniquity in my heart,
The Lord will not hear me :

19 But verily God hath heard me ;

He hath attended to the voice of my prayer.

20 Blessed he God, which hath not turned away my

prayer,
ISTor his mercy from me.

God's wonderful works, and his dealings with the righteous
are here recorded.

Sing (verses 2, 4). — A similar term in the original is used as
in Ex. XV. 2, remarks on which see. Selah, at the end of
verses 4 and 15, probably means halleluyah^ and in verse 7,
silence. In the title of Psalm Ixvii. neglnoth occurs, meaning
stringed instruments. Selah in the first verse probably means
silence^ and in verse 4, halleluyah.

Sing (verse 4). — The original word has the same derivation
as that used in Lev. ix. 24, and translated shouted^ remarks on
which see.

Psalm kviii. 1-4 ; 13-35.

1 Let God arise, let his enemies be scattered :
Let them also that hate him flee before him,

2 As smoke is driven away, so drive them away :
As wax melteth before the fire,

. So let the wicked perish at the presence of God.

3 But let the righteous be glad ; let them rejoice before

God:

Yea, let them exceedingly rejoice.

4 Sing unto God, sing praises to his name ;
Extol him that rideth upon the heavens
By his name Jah, and rejoice before him.

13 Though ye have lien among the pots,

PSALM LXVIII. 1-4; 13-35.

373

Yet shall ye he as the wings of a dove covered with
silver,

And her feathers, with yellow gold.

14 "When the Almighty scattered kings in it,
It was white as snow in Salmon.

15 The hill of God is as the hill of Bashan ;
An high hill, as the hill of Bashan.

16 Why leap ye, ye high hills?

This is the hill which God desireth to dwell in ;
Yea, the Zord will dwell in it forever :

17 The chariots of God ara twent}^ thousand, even thou-

sands of angels ;
The Lord is among them as in Sinai, in the holy
place.

18 Thou hast ascended on high,
Thou hast led captivity captive :
Thou hast received gifts for men ;
Yea, for the rebellious also.

That the Lord God might dwell among them.

19 Blessed he the Lord, who daily loadeth us with hem-

fits,

Even the God of our salvation. Selah.

20 He that is our God is the God of salvation ;

And unto God the Lord helong the issues from death.

21 But God shall wound the head of his enemies,

And the hairy scalp of such an one as goeth on still in
his trespasses.

22 The Lord said, I will bring again from Bashan,

I will bring my people again from the depths of the
sea :

23 That thy foot may be dipped in the blood of thine

enemies,

And the tongue of thy dogs in the same.
24: They liave seen thy goings, 0 God,

374

David's triumph.

Even the goings of my God, my King, in the sanc-
tuary :

25 The singers went before,

The players on instruments followed after ;

Among them were the damsels playing with timbrels.

26 Bless ye Grod in the congregations.

Even the Lord, from the fountain of Israel.

27 There is little Benjamin with their ruler,
The princes of Judah and their council,

The princes of Zebulun, and the princes of Naphtali.

28 Thy God hath commanded thy strength :
Strengthen, 0 God, that which thou hast wrought for us.

29 Because of thy temple at Jerusalem
Shall kings bring presents unto thee.

30 Kebuke the company of spearmen.

The multitude of the bulls, with the calves of the
people,

Till every one submit himself with pieces of silver :
Scatter thou the people tliat delight in war.

31 Princes shall come out of Egypt ;

Ethiopia shall soon stretch out her hands unto God.

32 Sing nnto God, ye kingdoms of the earth ;

0 sing praises unto the Lord ; Selah.

33 To him that rideth upon the heavens of heavens which

were of old ;

Lo, he doth send out his voice, and that a mighty
voice.

34 Ascribe ye strength unto God ;

His excellency is over Israel, and his strength is in the
clouds.

35 0 God, thou art terrible out of thy holy places :

The God of Israel is he that giveth strength and pow-
er unto his people.
Blessed he God.

PSALM LXXI. 1-24.

375

In this psalm David utters ascriptions of praise to God for
some celebrated victory. It is thought that reference is made
to a war near the close of his reign, mentioned in II Sam. xii.
26-31. A history of the dealings of God with Israel, in differ-
ent ages, follows.

Sing (v. 4). — A derivative of shii\ is the original, as in Ex.
XV. 1.

Sing (in the same verse). — The original in this case is a de-
rivative of zamar^ as in Ex. xv. 2, remarks on which see.
Selah occurs in verse 7, probably in the sense of silence, and in
verses 19 and 32, in the sense of halleluyah.

The singers (v. 25). — The original is the plural of shir, as
in verse 4.

Players on instruments (v. 25). — The original is tJ'^^^SD

ghi'im, the general term for stringed instrume7its, from nngan,
to play on stringed instruments (vid. Rem. on Gen. iv. 21
supra). Probably different kinds of instruments of that class
were employed.

Timbrels (v. 25). — These were tophs, as in Ex. xv. 20, re-
marks on which see above. It seems by this that not only
stringed, but pulsatile instruments were employed, and that by
females. The original indicates that the singers and those per-
forming on stringed instruments were surrounded by females
playing on their timbrels.

In verse 32, sing occurs in the ordinary sense. The king-
doms of the earth are called upon to sing praises to God. In
psalm Ixix., shoshanmm is used in the title, and probably means
a wind insirume?it somewhat resembling a lily, as in psalm xlv,
remarks on which see. In verse 30, song occurs, for which the
usual word shir is used in the original.

Psalm Ixxi. 1-24.

1 In thee, 0 Lord, do I put my trust:
Let me never be put to cod fusion.

376

SUFFERINGS OF THE RIGHTEOUS.

• 2 Deliver me in thy righteousness, and cause me to
escape :

Incline thine ear unto me, and save me.

3 Be thou my strong habitation, whereunto I may con-

tinually resort :
Thou hast given commandment to save me ;
For thou art my rock and my fortress.

4 Deliver me, 0 my God, out of the hand of the wicked,
Out of the hand of the unrighteous and cruel man.

5 For thou art my hope, O Lord God :
Thou art my trust from my youth.

6 By thee have I been holden up from the womb :
Thou art he that took me out of my mother's bowels :
My praise shall he continually of thee.

7 I am as a wonder unto many :
But thou art my strong refuge.

8 Let my mouth be filled with thy praise,
And with thy honor all the day.

■9 Cast me not off in the time of old age ;
Forsake me not when my strength faileth.

10 For mine enemies speak against me ;

And they that lay wait for my soul take counsel to-
gether,

11 Saying, God hath forsaken him :
Persecute and take him ;

For there is none to deliver him.

12 0 God, be not far from me ;

0 m}^ God, make haste for my help.

13 Let them be confounded and consumed that are adver-

saries to nw soul ;
Let them be covered loith reproach and dishonor that
seek my hurt.

14 But I will hope continually.

And will yet praise thee more and more.

PSALir LXXI. 1-24.

377

15 My mouth shall show forth thj righteousness a7id thy

salvation all the day ;
For I know not the numbers thereof.

16 I will go in the strength of the Lord God ;

I will make mention of thy righteousness, even of thine
only.

17 0 God, thou hast taught me from my youth :
And hitherto have I declared thy wondrous works.

18 Now also, when I am old and grey-headed, 0 God, for-

sake me not ;

Until I have showed thy strength unto this generation,
And thy power to every one that is to come.

19 Thy righteousness also, O God, is very high,
Who hast done great things :

0 God, who is like unto thee !

20 Thou^ which hast showed me great and sore troubles,

shalt quicken me again,
And shalt bring me up again from the depths of the
eartli.

21 Thou shalt increase my greatness,
And comfort me on every side.

22 I will also pi-aise thee with the psalter^^,
Even thy truth, 0 my God :

Unto thee will I sing with the harp,
0 thou hol v one of Israel.

23 My lips shall greatly rejoice when I sing unto thee ;
And my soul, which thou hast redeemed.

24 My tongue also shall talk of thy righteousness all the

day long :

For they are confounded, for they are brought unto
shame, th^it seek my hurt.

This psalm resembles the 22d, 35th, 38th, and 40th, and ap-
pears to have a part of the last prefixed to it, which circum-

378

HEBREW HARP AND LYRE.

stance is supposed to be the reason why it has no title. The
theme of the psalm seems to be the sufferings of the righteous
and their plea for deliverance.

Psaltery — harp (v. 22). — These are the nebhel and Icinnor
(vid. Rem. on I Sam. x. 5; II Sam. vi. 5, and Gen. iv. 21).
Prof. Alexander translates thus : " Also / will thank thee with
a harp-instrument, i, e., with a harp or lyre as the instrument
of praise." In the 23d verse, the two verbs translated, in our
English version, rejoice and sing^ may refer, though not neces-
sarily, to both instrumental and vocal music. In the title of
Psalm Ixxv. Al-tascheth occurs, signifying destroy not (vid. Rem.
on Ps. Ivii, and Iviii, supra).

Sing (v. 9), occurs in the usual sense.

Selah is found in verse 5, probably in the sense of silence.
Sing occurs in verse 9, referring to the praises of God. In the
title of psalm Ixxvi, negmoth, meaning stringed instruments, oc-
curs, for an explanation of which see remarks on Gen. iv. 21 ;
Job xxx. 9 ; Ps. iv.

Selah is found in verses 3 and 9, probably in the sense of
silence. In psalm Ixxvii. 7, sing occurs, the original of which is
n^g'inathiy, and may be translated, I will play on stringed instru-
ments.

In verses 3, 9, and 15, selah is found. In the 15 th verse it
probably signifies halleluyah, and in the other two, silence. In
Psalm Ixxx, shoshann'im eduth appear in the title, meaning song
of the lily. See remarks on Psalms xlv, and Ix, where the
same terms occur.

Psalm Ixxxi. 1-16.

To the Chief Musician upon Gittith. — A Psalm of Asaph.

1 Sing aloud unto God our strength :

Make a joyful noise unto the God of Jacob.

2 Take a psalm, and bring hither the timbrel,
The pleasant harp with the psaltery.

PSALM LXXXI. 1-16.

379

3 Blow up the trumpet in the new moon,

In the time appointed, on our solemn feast-day.

4 For this was a statute for Israel,
And a law of the God of Jacob.

5 This he ordained in Joseph yb/' a testimony,
When he went out through the land of Egypt ;
Where I heard a language that I understood not.

6 I removed his shoulder from the burden :
His hands were delivered from the pots.

7 Thou calledst in trouble, and I delivered thee ;
I answered thee in the secret place of thunder:

I proved thee at the waters of Meribah. Selah.

8 Hear, 0 my people, and I will testify unto thee :
0 Israel, if thou wilt hearken unto me ;

9 There shall no strange god be in thee ;
Neither shalt thou worship any strange god.

10 I am the Lord thy Grod,

Which brought thee out of the land of Egypt:
Open thy mouth wide, and I will fill it.

11 Bat my people would not hearken to my voice ;
And Israel would none of me.

12 So I gave them up unto their own hearts' lust :
And they walked in their own counsels.

13 0 that my people had hearkened unto me,
And Israel had walked in my ways!

14 I should soon have subdued their enemies,
And turned my hand ngainst their adversaries.

15 The haters of the Lord should have submitted them-

selves unto him :
But their time should have endured for ever.

16 He should have fed them also with the finest of the

wheat :

And with honey out of the rock should I have satis-
fied thee.

880

SONG FOR THE PASSOVER.

The Psalmist exhorts Israel to praise God for deliverance
from her enemies in Egypt, and the poem is supposed to have
been prepared in order to be sung at the Passover.

Gittith, probably meaning instruments of music, though it is
uncertain what kind, occurs in the title, for an explanation of
which vid. remarks on Psalm viii. supra.

Sing aloud (v. 1). — The original of this is a derivative of
ronan {^^) to utter a tremulous sound. In Ps. v. 11 (v. 12

in Heb.), the same word is translated shout. The idea is, to
utter exalted songs of praise to God. The parallel verb in the
same verse, is, according to Alexander, a generic term, refer-
ring both to shouting^ and to the sound of the trumpet.

Timbrel, harp, psaltery (v. 2). — These are the^^opA, kiiinor^
and nebhel, for an explanation of which see Eem. on Ex. xv.
20; Gen. iv. 21 ; and I Sam. x. 5.

Blow vp the trumpet (v. 3). — This is the shophar (vid. Rem.
on Ex. xix. 16 supra). In verse 7 selah occurs, probably
meaning halleluyah. In Psalm Ixxxii, selah is found in verse 2,
probably in the sense of silence. In the same sense also it oc-
curs in Psalm Ixxxiii. 8. In the title of Psalm Ixxxiv, git-
t'iih is found, meaning probably instruments of music (vid.
Rem. on Ps. viii. supra). In verses 4 and 8 selah occurs,
probably in the sense of halleluyah. In Psalm Ixxxv, verse
2, selah is found in the sense of halleluyah.

Psalm Ixxxvii. 1-7.

A Psalm or Song for the Sons of Korah.

1 His foundation is in the boly mountains.

2 The Lord lovetb the gates of Zion
More than all the dwellings of Jacob.

3 Glorious things are spoken of thee, 0 city of God.

Selah.

4 I will make mention of Rabab and Babylon to them

tbat know me :

PSALM LXXXVIII. 1-18.

381

Behold Philistia, and Tjre^ with Jllthiopia;
This ma?i was born there.
6 And of Zion it shall be said, This and that man was
born in her,
And the Highest himself shall establish her.

6 The Lord shall count, when he writeth up the people,
That this 77ia?i was born there. Selah.

7 As well the singers as the players on instruments shall

he there :
All my springs are in thee.

This Psalm seems to have been composed in commemoration
of the flict, that Hezekiah had been delivered from the power
of the Assyrians.

Singers — players on instruments (verse 7.) — The term
translated singers is sharun, the usual term employed. The
word translated plmjers on instruments^ is the plural of halilil
(i^bn)? meaning This refers probably to the Hebrew

flute, for a full explanation of which see Rem. on I Sam. x. 5,
and I Kings i. 40. Alexander correctly translates the verse
thus : " And singers as tvell as players (shall be heard saying),
All my springs are in thee.'*'' The poet seems to have had a vision
of the nations, preceded by musicians, moving in solemn pro-
cession to Mount Zion. The reference is to vocal and instru-
mental music in praise of Jehovah. Selah is found in verses 3
and G, probably in the sense of halleluyah. They are also,
doubtless, intended to mark the divisions of the poem.

Psalm Ixxxviii. 1-18.

A Song or Psalm for the Sons of Kora\ to the Chief Musician upon
Mahhalath Leannoth, Maschil of Heman the Ezrahite.

1 0 Lord God of my salvation,

I have cried day and night before thee :

2 Let my prayer come before thee ;

882

MOURNFUL SONG OF HEMAN.

Incline tliine ear unto my cry ;
8 For my soul is full of troubles :

And my life draweth nigh unto tlie grave.

4 I am counted with them that go down into the pit :
I am as a man that hath no strength :

5 Free among the dead like the slain that lie in the grave,
Whom thou rememberest no m.ore :

And they are cut off from thy hand.

6 Thou hast laid me in the lowest pit,
In darkness, in the deeps.

7 Thy wrath, lieth hard upon me,

And thou hast afflicted me, with all thy waves. Selah.

8 ThoLi hast put away mine acquaintance far from me ;
Thou hast made me an abomination unto them :

I am shut up, and I cannot come forth.

9 Mine eye mourneth by reason of affliction :
Lord, I have called daily upon thee,

I have stretched oat my hands unto thee.

10 Wilt thou show wonders to the dead ?

Shall the dead arise and praise thee ? Selah.

11 Shall thy loving-kindness be declared in the grave?
Or thy faithfulness in destruction ?

12 Shall thy wonders be known in the dark ?

And th}^ righteousness in the land of forgetfulness ?

13 Bat unto thee have I cried, 0 Lord;

And in the morning shall my prayer prevent thee.

14 Lord, why castest thou off my soul ?
Tf^Ay liidest thou thy face from me ?

15 I am afflicted and ready to die from my youth up :
'While I suffer thy terrors I am distracted.

16 Thy fierce wrath goeth over me ;
Thy terrors have cut me off.

IT They came round about me daily like water;
They compassed me about together.

PSALM LXXXIX. 1-27. 383

18 Lover and friend hast thou put far from me,
And mine acquaintance into darkness.

This Psalm is a mournful lamentation, and probably con-
stitutes, with Psalm Ixxxix, really one poem. The first part
is plaintive, and the last joyous. The long title of Psalm
Ixxxviii, is probably intended for both compositions. It is as-
cribed to Heman. He was one of David's chief singers, as
appears from I Chron. xv. 19. He is called, in the title, the
Ezrahite, and in I Chron. vi. 33-38 a Kohathite. He was also
probably a Korahite, as the former were reckoned in the line
of Korah (I Chron. vi. 22, 37, 3S). Heman, then, must have
been a descendant of some person by the name of Ezra, who
was a descendant of Korah. It is generally believed that Psalm
Ixxxviii, was written by Heman, as its title indicates ; but some
have doubts upon the subject. Mahli^lath Ikinnoth (j^iii^D

ilbn^) t^^® title, mean sickness, to ajllci — aJHicfive sickness.

The term is generally believed to refer to music. Mahhalath
probably means lute or guitar. Thus the whole expression
would be mournful lute, referring to the character of the Psalm
(vid. Rem. on Ps. liii", supra). Selah in the sense of silence,
occurs in verses 7 and 10.

Psalm Ixxxix. 1-27.

Maschil of Ethan the Ezrahite.

1 I will sing the mercies of the Lord forever :

"With my mouth will I make known thy faithfulness
to all generations.

2 For I have said, Mercy shall be built up forever :
Thy fliithfulness shalt thou establish in the very heav-
ens.

3 I have made a covenant with my chosen,
I have sworn unto David my servant.

4 Thy seed will I establish forever,

884

SONG OF ETHAN.

And build up thy throne to all generations. Selah.

5 And the heavens shall praise thy wonders, 0 Lord :
Thy faithfulnevSS also in the congregation of the saints.

6 For who in the heavens can be compared unto the

Lord ?

WJio among the sons of the mighty can be likened
unto the Lord ?

7 God is greatly to be feared in the Jissembly of the

saints.

And to be had in reverence of all tliem that are about
him.

8 0 Lord God of hosts, who is a strong Lord like unto

thee?

Or to thy fcdthfulness round about thee?

9 Thou rulest the raging of the sea :

When the waves thereof arise, thou stillest them.

10 Thou hast broken Eahab in pieces, as one that is slain ;
Thou hast scattered thine enemies with thy strong arm.

11 The heavens are thine, the earth also is thine:

As for the w^orkl and the fullness thereof, thou hast
founded them.

12 The north and the south thou hast created them :
Tabor and Ilermon shall rejoice in thy name.

13 Thou hast a i nighty arm:

Strong is thy hand, and high is thy right hand.

14 Justice and judgment are the habitation of thy throne :
Mercy and truth shall go before thy fiice.

15 Blessed is the people that know the joj'-ful sound :
They shall walk, O Lord, in the light of thy counte-
nance.

16 In thy name shall they rejoice all the day:
And in thy righteousness sliall they be exalted.

IT For thou art the glory of their strength :
And in thy favor our horn shall be exalted.

PSALM XCII. 1-15. 385

18 For the Lord is our defence ;

And the Holy One of Israel is our King.

19 Then thou spakest in vision to thy holy one, and saidst,
' I have hiid help upon one that is mighty ;

I have exalted one chosen out of the people.

20 I have found David my servant ;
With my holy oil have I anointed him :

21 With whom my hand shall be established ;
Mine arm also shall streno;then him.

22 The enemy shall not exact upon him ;
Nor the son of wickedness afflict him.

23 And I will beat down his foes before his face,
And plague them that hate him.

24 But my faithfulness and my mercy shall he with him:
And in my name shall his horn be exalted.

25 I will set his hand also in the sea,
And his rio-ht hand in the rivers.

26 He shall cry unto me, Thou ai't my Father,
My God, and the rock of my salvation.

27 Also I will make him my first-born,
Higher than the kings of the earth.

This Psalm seems to be a continuation of the eighty-eighth.
It is of a cheerful character, referring to blessed promises.
The name of Ethan is inserted in the title as the author. He
was an Ezrahite (I Kings iv. 31 ; I Chron. ii. 6), and a leader
in the temple music. The word sing occurs in the first verse,
in the usual sense. Selah is found in verses 4 and 37, in the sense
of silence^ and in verses 45 and 48 in the sense of halleluyah.

Psalm xcii. 1-15.

A Psalm or Song for the SahhatJi Day.

1 It is a good thing to give thanks unto the Lord,
And to sing praises unto thy name, 0 most High ;
17

886

SONG FOR THE SABBATH.

2 To show fortli thy loving-kindness in the morning,

And thy faithfulness every night,
8 Upon an instrument of ten strings, and upon the psal-
^tery ;

Upon the harp with a solemn sound.

4 For thou. Lord, hast made me glad through thy

work :

I will triumph in the works of thy hands.

5 0 Lord how great are thy works !
And thy thoughts are very deep.

6 A brutish man knoweth not.
Neither doth a fool understand this

7 When the wicked spring as the grass,

And when all the workers of iniquity do flourish ;
It is that they shall be destroyed forever.

8 But thou, Lord, ai't rnost high for evermore.

9 For lo, thine enemies, 0 Lord,
For lo, thine enemies shall perish ;

All the workers of iniquity shall be scattered.

10 But my horn shalt thou exalt like the horn of an uni-

corn :

I shall be anointed with fresh oil.

11 Mine eyes also shall see my desire on mine enemies,
And mine ears shall hear my desire of the wicked that

rise up against me.

12 The righteous shall flourish like the palm-tree :
He shall grow like a cedar in Lebanon.

13 Those that be planted in the house of the Lord
Shall flourish in the courts of our God.

14 They shall still bring forth fruit in old age;
They shall be fat and flourishing ;

15 To show that the Lord is upright:

He is my Kock, and there is no unrighteousness in
bim.

PSALM XCVIII. 1-9.

887

This is a Psalra of praise in commemoration of the wisdom
and power of God, manifested in his dealings with both the
righteous and wicked. The last part of the title informs us
that the psalm was intended for the Sabbath. Sing occurs in
the first verse. The original is a derivative of zamai\ meaning
to 'prune ^ and in the Peal conjugation, to sing^ or make music.
Alexander translates it to make music (vid. Rem. on Ps. xxxiii.
2, supra).

Instrument of ten strings (v. 3). — The Hebrew ('^"('[2)3?

a50?'), signifies ten, a decade. It doubtless here refers to an in-
strument of music, and seems to indicate one of ten strings. The
Septuagint unites the psaltery with this word, and translates
the two, ten-stringed psaltery. But the two words are separated
in the Hebrew, each having a preposition before it, and obvi-
ously referring to different instruments (vid. Rem. on Ps. xxxiii.
2, supra).

Psaltery (v. 3). — This is the nebhel (vid. Rem. on I Sam. x.
5 ; II Sam. vi. 5).

Harp (v. 3). — This is the kinnor (in the Septuagint, cithara^
vid. Rem. on Gen. iv. 21).

. In Psalm xcv. 1, general expressions of joy and triumph ap-
pear. In Psalm xcvi. 1 and 2, occur several expressions of ex-
ultation.

Psalm xcviii. 1-9.

A Psalm.

1 0 Sing unto tbe Lord a new song ;
For lie hath done marvellous things :
His right hand, and his holy arm,
Hath gotten him the victory.

2 The Lord hath made known his salvation :

His righteousness hath he openly showed in the sight
of the heathen.

388

HEBREW POETRY.

3 He hatli remembered liis mercy and his trutli toward

the house of Israel :
All the ends of the earth have seen the salvation of
our God.

4 Make a joyful noise unto the Lord, all the earth ;
Make a loud noise, and rejoice, and sing praise.

5 Sing unto the Lord with the harp ;
With the harp, and the voice of a psalm.

6 With trumpets and sound of cornet,

Make a joyful noise before the Lord, the King.

7 Let the sea roar, and the fullness thereof;
The world, and they that dwell therein.

8 Let the floods clap their hands ;
Let the hills be joyful together

9 Before the Lord ;

For he cometh to judge the earth :

With righteousness shall he j udge the world,

And the people with equity.

This Psalm is filled with expressions of praise to God. Its
title is simply mizmor^ mearxing son^ or poem. This word
occurs in the titles of several psalms ; hut in no other does it
compose the whole title. In verses 1, 4, and 5, general expres-
sions of praise and triumph, with an allusion to song, occur.
In verse 5, the ki?inor, translated harp, is twice found (vid.
Rem. on Gen. iv. 21, supra).

Trumpets (v. 6). — These were hdisoiseras, or straight trum-
pets (vid. Rem. on Num. x. 2 ; 11 Chron. vii. 0).

Cornet (v. 6). — This is the skophar or crooked trumpet. The
cornet was a wind instrument ; but we know of no good rea-
son why the crooked trumpet should be thus designated. The
Septuagint has oaXmyyog KeparLvrjg, salpinggos keraiiiies, mean-
ing a trumpet made of horn (vid. Rem. on Ex. xix. 16 ; Lev.
XXV. 9).

In Psalms c. 2 ; ci. 1 ; cv. 2 ; cvi. 12, there is a general ref-

PSALM CXIX. 1-8; 169-176.

389

erence to singing as employed in praising God. In Psalm
cviii. 1, 3, a similar reference to vocal music occurs. In verse
2, the nebhel and kinnor are translated psaltery and harp ; see
remarks on I Sam. x. 5 ; II Sam. vi. 5 ; Gen. iv. 21. In Psalm
cxviii. 14, song occurs. A derivative of zamar is used (vid.
Rem. on Ex. xv. 2).

Psalm cxix.1-8 ; 169-176.

' ALEPH.

1 Blessed are the ud defiled in tlie way,
Who walk in the law of the Lord.

2 Blessed are they that keep his testimonies,
And that seek him with the whole heart.

3 They also do no iniquity :
They walk in his ways.

4 Thou hast commanded us

To keep thy precepts diligently.

5 0 that my ways were directed
To keep thy statutes !

6 Then shall I not be ashamed

When I have respect unto all thy commandments.

7 I will praise thee with uprightness of heart,
When I shall have learned thy righteous judgments.

8 I will keep thy statutes :
0 forsake me not utterly.

TAU.

169 Let my cry come near before thee, 0 Lord :
Give me understanding according to thy word.

170 Let my supplication come before thee :
Deliver me according to thy word.

171 My lips shall utter praise,

When thou hast taught me thy statutes.

B90

ALPHABETICAL PSALM.

172 My tongue sliall speak of thy word :

For all thy commandments are righteousness.

173 Let thine hand help me ;

For I have chosen thy precepts.

174 I have longed for thy salvation, 0 Lord :
And thy law is my delight.

175 Let my soul live, and it shall praise thee ;
And let thy judgments help me.

176 I have gone astray like a lost sheep ;

Seek thy servant ; for I do not forget thy command-
ments.

Various opinions exist in respect to the ohject of this re-
markahle Psalm ; hut the most probable supposition is that it
was intended as a manual of instruction for youth after the
return of the Israelites from their exile. It is the most perfect
specimen of an alphabetical psalm which we have ; being di-
vided into twenty -two paragraphs, corresponding with the let-
ters of the Hebrew alphabet, and each paragraph consists of
eight verses, all beginning with the same Hebrew letter (vid.
Rem. on Ps. xxv, supra). In verse 54 there is a reference to
vocal music.

Psalm cxx. 1-7.

A Psalm of Degrees.

1 In my distress I cried unto the Lord,
And he heard me.

2 Deliver my soul, 0 Lord,

From lying lips, and from a deceitful tongue.

3 What shall be given unto thee?

Or what shall be done unto thee, thou false tongue?

4 Sharp arrows of the mighty,
With coals of juniper.

rSALM CXX. 1-7.

391

5 Woe is me, that I sojourn in Mesech,
That I dwell in the tents of Kedar?

6 My soul hath long dwelt with him that hateth peace.

7 I am for peace : but when I speak, they are for war.

This and the fourteen following Psalms arc designated in the
titles as Songs of Degrees. The Hebrew term is ^iJ^JTsH

-j-.'^i shir Ivdmma'^hloth, literally song of the steps, trans-
lated in our English version song of degrees. The LXX trans-
late the terra by (^drf rC)v dvafiadjiQv, ode of the steps, and the
Vulgate has carmen graduvm, song of the steps. In accordance
with this idea the ancient Jewish writers supposed that these
Psalms were sung on fifteen stairs of the temple, leading from the
court of Israel to the court of the women (vid. Mishn.i Sucah,
cap. V. 4). But that explanation is not now received among
critics as satisfactory. Luther translated the term a song in
the higher choir, supposing that the poem was sung either in an
elevated position, or with a loud voice. Tholuck takes the same
view. Gesenius thinks that it indicates a certain number or
rhythm, by which the sense ascends as it were by degrees or
steps. De Wette and Winer take the same view (De Wette
Einl. in das A. T. p. 289). But this characteristic is not obvi-
ous in all of this species of poetry. The most probable ex-
planation is that of Ewald, Herder, and others, who suppose
that the expression means song of the ascents, or pilgrim song^
sung during the journey ings of the Israelites to Jerusalem,
either from Babylon, or as they repaired to that city statedly to
attend their national solemnities. Jerusalem, and especially
the temple, were elevated and, going up to them was called an
ascent (vid. Ez. vii. 9 ; xxxiv. 24 ; 1 Kings xii. 27, 28).

In Ps. cxxvi. 2, singing occurs. The original is a derivative
of ranan, signifying to sing aloud, to shout (vid. Rem. on Lev.
ix. 24). In Ps. cxxxii. 9, 16, sltont is employed. In both
cases a derivative of ranan is found in the original. In Ps.
cxxxv. 2, the term sing occurs. The original word is a deriva-

392

THE REFRAIIT.

tive of zamar, to prune ^ In Peal conjugation, io sing (vid. Rem.
on Ex. XV. 2).

Psalm cxxxyi. 1-26.

1 0 give thanks unto the Lord : for he is good :
For his mercy endureth forever.

2 O give thanks unto the God of gods :
For his mercy endureth forever.

3 O give thanks to the Lord of lords :
For his mercy endureth forever.

4 To him who alone doeth great wonders :
For his mercy endureth forever.

5 To him that by wisdom made the heavens :
For his mercy endureth forever.

6 To him that stretched out the earth above the

waters :

For his mercy endureth forever.

7 To him that made great lights :
For his mercy endureth forever :

8 The sun to rule by day :

For his mercy endureth forever:

9 The moon and stars to rule by night :
For his mercy endureth forever :

10 To him that smote Egypt in their first-born:
For his mercy endureth forever:

11 And brought out Israel from among them :
For his mercy endureth forever :

12 With a strong hand, and with a stretched-out arm :
For his mercy endureth forever.

13 To him which divided the Eed Sea into parts:
For his mercy endureth forever :

14 And made Israel to pass through the midst of it :
For his mercy endureth forever :

PSALM CXXXYI. 1-26.

893

15 But overthrew Pharaoli and his host in the Red Sea :
For his mercy endureth forever :

16 To him which led his people through the wilderness;
For his mercy endureth forever.

17 To him which smote great kings :
For his mercy endureth forever :

18 And slew famous kings :

For his mercy endureth forever :

19 Sihon king of the Amorites :
For his mercy endureth forever :

20 And Og the king of Bashan :
For his mercy endureth forever :

21 And gave their land for an heritage :
For his mercy endureth forever :

22 Even an heritage unto Israel his servant:
For his mercy endureth forever.

23 Who remembered us in our low estate:
For his mercy endureth forever :

24 And hath redeemed us from our enemies :
For his mercy endureth forever.

25 "Who giveth food to all flesh :

y For his mercy endureth forever.

26 0 give thanks unto the Grod of heaven :
For his mercy endureth forever.

This Psalm is remarkable from the fact that a burden or re-
frain^ as it is called, occurs regularly at the end of every verse.
Some biblical critics suppose that alternate or responsive choirs
are indicated by it. Others think that the singers sometimes
answered their own questions, and others still, that the people
united in a kind of chorus. The latter is probably the correct
view. The choir repeated the first part of the verse, and then the
multitude jomed in a chorus, and repeated the latter part of
each verse.

394

PLAINTIVE SOXG.

Psalm cxxxvii. 1-9.

We give Herder's translation :

THE CAPTIVITY IN BABYLON.

1 By the rivers of Babylon we sat down,
And wept, when we remembered Zion.

2 We hanged our harps upon their willows.

3 For they, that held us in captivity,
Eequired of us a song,

Our oppressors required of us mirth.
" Sing us one of the songs of Zion."

4 How shall we sing Jehovah's song
In a foreign land !

5 If I forget thee, 0 Jerusalem !
Let my right hand forget me,

Let my tongue cleave to the roof of my mouth.

6 If I do not remember thee,
If I prefer not Jerusalem
Above my highest joy.

7 Eemember, O Lord, the children of Edom.
In the day of Jerusalem's affliction,

When they cried " Eaze it,
Eaze it, even to its foundation."

8 Daughter of Babylon, the desolate,
Blessed be he that requiteth thee,

That requiteth thee, as thou hast done to us.

9 Happy shall he be that seizeth thy little ones,
And casteth them upon the rocks.

This is a beautiful Psalm of the plaintive kind. It refers
directly to the captivity of the Hebrews in Babylonia. As
they thought of their religious privileges in Palestine, they
could not be cheerful. They could not sing the songs of Zion,
nor play upon their instruments of music. They hung their

PSALM CXLIV. 1-15.

395

harps upon the willows. Here seems to be a difficulty, as his-
tory informs us that no willows grow in Babylonia. We must
then suppose that the language is figurative, and merely indi-
cates that the Jews could neither sing, nor play on instruments.
The willow tree usually grows on the banks of rivers, hence
that particular tree is mentioned. This is a beautiful and pa-
thetic elegy, flowing in the most tender and mournful strains.

Harps (v. 2). — These were kinnors, probably somewhat simi-
lar to harps at this day, for, at the time of the Babylonish cap-
tivity, when this Psalm is supposed to have been ^\^:•itten, that
instrument had been much improved. Its number of strings
had been multiplied from three to an indefinite number. More
than 500 years earlier, during the reign of David in Jerusalem,
the harp had reached a high state of improvement, and, in the
hands of that monarch, chanted forth elevated strains of music
(vid. Rem. on Gen. iv. 21).

In verses 2 and 3, sinff and soiif/ are used, but are derivatives
of the usual term [sh'i?-).

In Psalm cxxxviii. 1 and 5, sin^ occurs. In verse 1, a deriva-
tive of zamar is used, meaning to sing with vociferation, to
shout. In verse 5, a derivative of the usual term (^sh'ir) is em-
ployed. In Psalm cxl. 3, 5, and 8, selah occurs, probably in the
sense of silence. In Psalm cxliii. 6, selah occurs, probably in
the sense of halleluyah.

Psalm cxliv. 1-15.

A Psalm of David.

1 Blessed he the Lord my strength,
Which teacbeth my hands to war,
And my fingers to fight ;

2 My goodness, and my fortress;
My high tower, and my deliverer ;
My shield, and he in whom I trust;
Who subdaeth my people under me.

396

PSALM OF DAVID.

3 Lord, what is man, that thou takest knowledge of

him?

Or the son of man, that thou makest account of
him ?

4 Man is like to vanity :

His days are as a shadow that passeth away.

5 Bow thy heavens, 0 Lord, and come down :
Touch the mountains, and they shall smoke.

6 Cast forth lightning, and scatter them :
Shoot out thine arrows, and destroy them.

Y Send thine hand from above ;

Eid me, and deliver me out of great waters.
From the hand of strange children ;

8 Whose mouth speaketh vanity,

And their right hand is a right hand of falsehood.

9 I will sing a new song unto thee, 0 God :

Upon a psaltery and an instrument of ten strings
Will I sing praises unto thee.

10 It is he that giveth salvation unto kings.

Who delivereth David his servant from the hurtful
sword.

11 Eid me, and deliver me from the hand of strange

children.
Whose mouth speaketh vanity.
And their right hand is a right hand of falsehood :

12 That our sons may he as plants grown up in their

youth ;

That our daughters may he as corner-stones,
Polished after the similitude of a palace :

13 That our garners may he full.
Affording all manner of store ;

That our sheep may bring forth thousands
And ten thousands in our streets:

14 That our oxen may he strong to labor ;

PSALM CXLIV. 1-15.

397

That there "be no breaking in, nor going out :
That there he no complaining in our streets.
15 Happy is that people that is in such a case ;

Yea^ happy is that people whose Grod ^',9 the Lord.

In verse 9, the Psalmist, in exultation, declares that he will
sing a new song to the Lord his deliverer, upon the j^sallerg and
a?i instrument of ten strings. Sh'ir is the original, translated
song^ and a derivative of the same is translated sing^ in the
same verse. The expression, a new song, indicates, probably,
a new occasion for singing praises to God.

Upon the psaltery and an instrument of ten strings will I sing
praises unto thee. — Prof. Alexander translates the passage thus :
With a lyre of ten (strings) / will play (or make music) to thee.
This is certainly the literal meaning of the original, and we
perceive no good reason why asor (^li'jTJj?) translated in our

English version, an instrinnent of ten strings, should not be re-
ferred to the nebhel (5^2^) rendered i)saltery. Gesenius and

other eminent scholars take the same view. We should prefer
to translate nehhel by guitar rather than lyre (vid. Rem. on I
Sam. X. 5). This instrument in very early times had five, and
subsequently ten and twelve, strings. The last verb in the verse
is from zamar, which signifies to shout, to make a trernuloiis
vociferation or sound, and may refer to the voice, or to a musi-
cal instrument. The same Hebrew word is used in Psalm cxhi.
2, translated sing, and indicates the exultation by which the
Psalmist would praise Jehovah.

In Psalm cxlvii. 1, 7, zamar is translated sing once in each
verse.

In the first part of verse 7 the original for sing is ^nu
(:]53?) and indicates a shout, or song of triumph (vid. Rem.

on Ex. xxxii. 18).

Harp (v. 7). — Tliis is the kinnor (vid. Rem. on Gen. iv.
21).

898

TRIUMPHAL HYMN".

Psal:m cxlix. 1-9.

1 Praise ye the Lord.

Sing unto the Lord a new song.

And bis praise in the congregation of saints.

2 Let Israel rejoice in him that made him;

Let the children of Zion be joyful in their King.

3 Let them praise his name in the dance :

Let them sing praises unto him with the timbrel and
harp.

4 For the Lord taketh pleasure in his people :
He will beautify the meek with salvation.

5 Let the saints be joyful in glory :
Let them sing aloud upon their beds.

6 Let the praises of God he in their mouth,
And a two-edged sword in their hand ;

7 To execute vengeance upon the heathen,
And punishments upon the people ;

8 To bind their kings with chains,
And their nobles with fetters of iron ;

9 To execute upon them the judgment written:
This honor have all his saints.

Praise ye the Lord.

This Psalm is full of expressions of triumph and praise to
God, m view of the fact that Jerusalem and the Jewish nation,
under the administration of Nehemiah, had been fortified and
made secure from the attacks of their foes.

Song (v. 1). — Shir is here used. The verh also appears in
the first part of the verse. Dance (v. 3), a derivative of Tihul
(J^n)? usual term, is employed (vid. Eem. on Ex. xv.
20). Sing (v. 3), properly ^lay in this place, as the term (a
derivative of znmai-) relates to the performance on the ioyh and
Jcinnor^ mentioned m immediate connection. The to]jh is a per-
cussion instrument, sometimes called iabret, iabor, and tambou-

PSALM CL. 1-6.

399

rine (vid. Rem. on Gen. xxxi. 27). The Tcinnor is our harp
(vid. Rem. on Gen. iv. 21).

PSAM cl. 1-6.

1 Praise je the Lord.

Praise God in his sanctuary :

Praise him in the firmament of his power.

2 Praise him for his mighty acts :

Praise him according to his excellent greatness.
8 Praise him with the sound of the trumpet :
Praise him with the psaltery and harp.

4 Praise him with the timbrel and dance :
Praise him with stringed instruments and organs.

5 Praise him upon the loud cymbals :
Praise him upon the high-sounding cymbals.

6 Let everything that hath breath praise the Lord.
Praise j^e the Lord.

This brief poem contains a remarkably simple, yet pathetic
and sublime burst of triumphant praise to Jehovah. It is a
kind of halleluyah psalm or doxology, elegantly closing the
beautiful melodies of the book.

Sound of the trumpet. — This is the shophar^ or crooked
trumpet. The phrase might be rendered blast of the trumpet.
The original of blast is a derivative of taqa (>p5Sn)- ^7 this

peculiar sound, the Israelites were called together on important
occasions, and but one blast was given. The Psalmist, by a
bold personification, would seem to indicate that one tremen-
dous blast was to be made to call all animate and inanimate na-
ture together, for the purpose of uttering the praises of Al-
mighty God.

Psaltery and harp (v. 3.) — These are the nebhel [guitar) and
kinnor.

Timbrel (v. 4). — This is the toph^ a pulsatile instrument (vid.
Rem. on Gen. xxxi. 27).

400

A SPURIOUS PSALM.

Dance (v. 4). — For this the same Hebrew word is employed
as in Psalm cxlix. 3 (ibid).

Stringed instruments (v. 4). — Literally strings. The He-
brew term is {minnUn), from (men), meaning a part

or portion, and in the plural strings, evidently indicating all
kinds of stringed instruments (vid. Rem. on Gen. iv. 21 ; Job
XXX. 9 ; Ps. iv. title). The Septuagint has xopdaig (chordais),
chords, strings.

Organs (v. 4). — It should be organ ov pipe, as the original
ugabh is in the singular number (vid. Rem. on Gen. iv. 21).

Loud Cymbals (v. 5). — These were pulsatile instruments.
The Hebrew term is 'ij^j^^iji;^ {tsilts^ley), meaning literally
cymbals of sound, probably referring to the smaller instrument
of this kind (vid. Rem. on II Sam. vi. 5).

High-sounding cymbals (v. 5). — The same word for cymbals
is used in the original as in the first part of the verse. The term
translated high-sounding is H^^ltl {i^ru ah), and signifies a loud

T :

noise, a tumult, indicating that these cymbals were the larger
kind, as explained in our remarks on II Sam. vi. 5. The three
classes of musical instruments — wind, stringed, and pulsatile —
are here mentioned. The writer undoubtedly intended to in-
clude all kinds of musical instruments of every description.
He finally closes the poem by calling upon everything that
hath breath to praise the Lord; thus elegantly completing this
admirable collection of the songs of Zion.

The Septuagint contains another psalm numbered cli. Dr.
A. Clarke's translation of it is the following :

Psalm cli. 1-8.

Psalm, in the hand-writing of David, bhyond the number of the
Psalms, composed by David, when he fought in single combat with
Goliath:'

1 I was the least among my brethren,
And the youngest in my father's house ;

PSALM CLT. 1-8.

401

And I kept also my father's sheep.

2 My hands made the organ,

And my fingers jointed the psaltery.

3 And who told it to my Lord?

{Ai'ah. And who is he who taught me ?)
The Lord himself, he is my Master,
And the hearer of all that call upon him.

4 He sent his angel and took me away from my father's

sheep :

And anointed me with the oil of his anointing.

5 M}^ brethren were taller and more beautiful than I :
Nevertheless the Lord delighted not in them.

6 I went out to meet the Philistine,
And he cursed me by his idols.

7 (In the strength of the Lord I cast three stones at him.
I smote him in the forehead, and felled him to the

earth. Arah.)

8 And I drew out his own sword from its sheath, and

cut off his head.
And took away the reproach from the children of Is-
rael.

This Psalm is found in the Syriac, Arabic, and ^Ethiopic ver-
sions of the scriptures. David's contest with Goliath is the
subject of the poem. It is evidently very ancient, as it is found
in the Codex Alexandrinus, which is a production of the sixth
century. It has never been inserted, however, in the Hebrew
scriptures, and has been invariably rejected by the Fathers.
Furthermore, it is not written in the style of David, though
ascribed to him, and is evidently spurious. Every Council held
in the Christian church has rejected it, and scholars almost uni-
versally consider it as of little account. There is an allusion to
music in the second verse. Organ and psallerT/ occur. Opyavov
organon^ and ipaATrjQcov psalterion, are the original words, in-
dicating, doubtless, the i/gabh or organ, and nebhel or guitar.

BOOK OF PKOYERBS.

THE BOOK OF PROVERBS.

INTRODUCTORY REMARKS.

This book is ascribed to Solomon. Probably he did
not compose the whole of it, but collected a portion from
different sources. All, after the beginning of the twenty-
fifth chapter, we are informed, was added by order of
King Hezekiah. It is generally believed by biblical
scholars, that the collection, as we now have it, was ar-
ranged by different persons ; but mostlj^ composed and
arranged by Solomon. There are numerous quotations
from the bo9k in the New Testament, thus clearly estab-
lishing its canonicity. This kind of composition is very
ancient, and adapted to the rudest state of society. The
inhabitants of Palestine and other oriental nations were
accustomed to utter aphorisms, or brief, sententious say-
ings. Subsequently metaphors and other embellishments
of stjde were employed. The teachers of religion, in
many cases, rather commanded than reasoned. Bishop
Lowth mentions three characteristics of the proverbial
style, viz : brevity, obscurity, and elegance. The first is
obviously striking, and universal in this kind of writing.
It is apparent from the etymology of the word proverhia,
meaning ybr words, i. e., one word for many. Ohscurity
is a characteristic of some proverbs, but is not universal
in that kind of composition. Elegance of diction is
sometimes found, though it is by no means universal.
Another striking characteristic of proverbial writings is
concentration of thought— jpoint. This is found probably
in every proverb, and sometimes takes the antithetic form.
The brevity, pointed character, and boldness of this spe-

PROVERBS II. 1-5.

403

cies of composition, make it a very favorable medium for
conve3'ing thought.

The object of the Book of Proverbs is to instruct man-
kind in the principles of true wisdom, which is the knowl-
edge and fear of the Lord. It contains an immense va-
riety of choice sayings, embracing various principles of
morality, doctrine, and practical considerations in respect
to our duties to God, our fellow-men, and ourselves.

Bishop Lowth considers this book as didactic poetry.
It abounds with that remarkable characteristic of Hebrew
poetry, parallelism, consisting in a resemblance as to
thought or form, or both, between the members of a
period. Lowth divides the parallelism of Proverbs into
synonymous^ or that in which there are but two members,
the latter repeating the idea contained in the former ; and
antithetic^ or that in which the last member is an antithet-
ic expression commencing with hut. An instance of the
first kind is found in Prov. ii. 1-5 :

" My son, if thou wilt receive my words.
And hide my commandments with thee ;
So that thou incline thine ear to wisdom.
And apply thy heart to understanding ;
Yea, if thou criest after knowledge.
And liftest up thy voice for understanding ;
If thou seekest her as silver,
And searchest for her as for hid treasures ;
Then shalt thou understand the fear of the Lord,
And find the knowledo-e of God."

An instance of the second kind is found in Prov. x.
27-29 :

" The fear of the Lord prolongeth days ;
But the years of the wicked shall be shortened.
The hope of the righteous shall be gladness ;

PROVERBS OF SOLOMON.

But the expectation of the wicked shall perish.
The way of the Lord is strength to the upright ;
But destruction shall be to the workers of iniquity."

The first nine chapters of Proverbs are very different
from the other parts of the book, and seem to be a kind
of proem, or exordium, containing a continuous discourse,
and are supposed to have been committed to writing,
while the more disconnected aphorisms of the other parts
were merely uttered verbally. The first part of the book
abounds with beautiful figures and illustrations, and ranks
with the highest style of poetry. The personification of
wisdom is truly elegant, and is one of the finest specimens
of Prosopopeia to be found in the scriptures. From chap-
ter X. to xxii. 17, the style is entirely different. That
part of the poem consists of pointed, but disconnected,
aphorisms of a varied character. From chapter xxii. 17)
to chapter xxv. the style is more ornate, though not so
elegant as in the exordium. The remainder of the book
consists of detached maxims, with the exception of the
thirtieth and thirty-first chapters, which are ascribed to
Agur and the mother of king Lemuel. The thirtieth
chapter consists principally of enigmas. This species of
poetry is frequent in the scriptures.* These sayings are
supposed to have been composed about 1000 years B. C.

There are hut few allusions to music in the book, hi Prov.
xi. 10, sJiouting occurs, referring to the destruction of the
wicked. The original is a derivative of rcuia/i, indicating a
tremulous, exciting sound.

Singeih songs (xxv. 20). — The usual terms are here em-
ployed. In Prov. xxix. 6, a derivative of ranan is employed,
and translated sing, denoting the triumph of the righteous.

* Vid. Judges xiv. 12-18 ; Ezra xvii. in which the king of Babylon is com-
pared to an eagle ; Jer. xiii. 1-11 ; xviii, 1-6 ; xxiv. 1-10.

BOOK OF ECCLESIASTES.

405

THE BOOK OF ECCLESIASTES.

INTRODUCTORY REMARKS.

The name of this book in Hebrew is Qoheleth (ri^i^'p
"wbich is generally considered as an epithet of Solomon.
It is translated in the Septuagint by 'EfcicXTjaLaorrig {EkMe-
siastes)^ which is the term employed in our English Bible,
and signifies a preacher^ or one who addresses a public
assembly. The book is a kind of philosophical treatise,
and was evidently composed by Solomon, though it does
not bear his name (cf. Eccl. i. 12, 16 ; xi. 4-9 ; xii. 9, 10).
That monarch probably found that the Hebrew language
was not sufficient to express his ideas, and made use, to
some extent, of the popular Chaldaic dialect. Solomon
seems to have prepared this composition in his old age,
after having tried the pleasures, honors, and riches of the
world, and become thoroughly convinced that nothing but
true piety was really valuable. Ecclesiastes is classed by
Bishop Lowth among the didactic poems of the Hebrews.
He afterwards, however, assents to the view of Des Yoeux,
who considers it as a philosophical discourse interspersed
with poetry.

The book possesses, in a small degree, the characteristics
of poetry, and partakes of the conversational style. The
following is a synopsis of it, by G. Holden.

Part I. The vanity of all earthly conditions, oc-
cupations, AND pleasures.
Sect. I. The vanity of all earthly things (i. 2).
Sect. IT. The unprofitableness of human labor, and the
transitoriness of human life (i. 3-11).

406

SYNOPSIS OF ECCLESIASTES.

Sect. III. The vanity of laborious inquiries into the

ways and works of man (i. 12-18).
Sect. IY. Luxury and pleasure are only vanity and

vexation of spirit (ii. 1-11).
Sect. V. Though the wise excel fools, yet, as death

happens to them both, human learning is but vanity

(ii. 12-17).

Sect. YI. The vanity of human labor, in leaving it

they know not to whom (ii. 18-23).
Sect. YII. The emptiness of sensual enjoyments (ii.

24-26).

Sect. YIII. Though there is a proper time for the ex-
ecution of all human purposes, yet are they useless
and vain ; the divine counsels, however, are immuta-
ble (iii. 1-14).

Sect. IX. The vanity of human pursuits proved from
the wickedness prevailing in courts of justice, con-
trasted with the righteous judgment of God (iii. 15-

Sect. X. Though life, considered in itself, is vanity, for
men die as well as beasts, yet in the end it will be
very different with the spirit of man and that of
beasts (iii. 18-22).

Sect. XI. Yanity is increased unto men by oppression
(iv. 1-3).

Sect. XII. The vanity of prosperity (iv. 4).

Sect. XIII. The vanity of folly, or of preferring the
world to True Wisdom (iv. 5, 6).

Sect. XIY. The vanity of covetousness (iv. 7, 8).

Sect. XY. Though society has its advantages, yet do-
minion and empire are but vanity (iv. 9-16).

Sect. XYI. Errors in the performance of divine wor-
ship, which render it vain and unprofitable (v. 1-7).

Sect. XYII. The vanity of murmuring at injustice;

SYNOPSIS OF ECCLESIASTES.

407

for, though the oppression of the poor and the per-
version of judgment greatly prevail, they do not es-
cape the notice of the Almighty (v. 8, 9).

Sect. XYIII. The vanity of riches ; with an admo-
nition as to the moderate enjoyment of them (v. 10-20).

Sect. XIX. The vanity of avarice (vi. 1-9).

Part II. The nature, excellence, ani> beneficial.

EFFECTS OF WISDOM OR RELIGION.

Sect. XX. Since all human designs, labors, and enjoy-
ments are vain, it is natural to inquire, What is good
for man ? What is his supreme good ? (vi. 10-12).
The answer is contained in the remainder of the book..

Sect. XXI. The praise of character and reputation (vii.

!)• ^

Sect. XXII. Affliction improves the heart, and exalts

the character of the wise (vii. 2-10).
Sect. XXIII. The excellence of Wisdom (vii. 11-14).
Sect. XXI Y. An objection, with the answer (vii. 15 ;

viii. 7).

Sect. XXY. The evil of wickedness shows the advan-
tage of True Wisdom (viii. 8-13).
Sect. XXYI. An objection, with the answer (viii. 14;

ix. 1).

Sect. XXYII. An objection, with the answer (ix. 2 ; x.
17).

Sect. XXYIII. The banefulness of sloth (x. 18).

Sect. XXIX. The power of wealth (x. 19).

Sect. XXX. An exhortation against speaking evil of

dignities (x. 20).
Sect. XXXI. Exhortation to charity and benevolence

(xi. 1-10).

Sect. XXXII. An exhortation to the early cultivation
of Keligious Habits (xiii. 1-7).

408

BOOK OF ECCLESIASTES.

Sect. XXXIII. The conclusion (xii. 8-14).
The allusions to music in the book are very few.

ECCLESIASTES ii. 8.

I gathered me also silver and gold, and the
peculiar treasure of kings and of the provinces ; I
gat me men-singers and women-singers, and the de-
lights of the sons of men, as musical instruments,
and that of all sorts.

Men-singers — women-singers. — The plural masculine and femi-
nine of the usual term shir, are here employed.

Musical instruments, and that of all sorts. — The original of
this signifies -simply wife and wives. Gesenius remarks that the
singular noun may refer to the queen, and the plural to the
king's other wives and concubines. The vrord here employed
denotes, in the Talmud, a iooman''s camel saddle. In the Arabic
it signifies the same. The Septuagint has OLvoxoog (oi)iochoos),
a cup-hearer. It is a very obscure term, and scholars have ex-
pressed various opinions in respect to its derivation. From
the context it is evident that it refers to some kind of enjoy-
ment, and its etymology would indicate that that enjoyment
was connected in some way with females. As music was often
practised by them, there may be a remote reference to the art.
The word translated delights, may include music, among other
things adapted to produce enjoyment.

In Eccl. iii. 4, dance occurs. The original is a derivative of
(raqadh), signifying to skip, to play, to dance. In Eccl.

xii. 4, the word music occurs. It is literally, daughters of
the song. The usual term for song is employed. The expres-
sion is a general one, indicating all the sources of pleasure, and
among them, music as one of the most important.

SONG OF SOLOMON".

409

THE SONG OF SOLOMOK

INTRODUCTORY REMARKS.

The Hebrew title of the book is Q^i^'^lDn "^^'W (^^^'^
hashmm), signifying literalfy song of the songs, indicating
that the poem is an elevated one. It seems to be an
allegorj^, representing the church of God and her glorious
Head under the similitude of two lovers. It is ascribed
to Solomon, and contains obvious internal marks that he
was the author (vid. Song of Solomon i. 5, 9 ; iii. 9, 10 ;
vi. 12). It must have been composed by a conteraporarj,
and, it is in the highest degree probable, by that monarch
himself, for there are references in the book to nearly all
of the leading circumstances in his life. About two cen-
turies before Christ a Greek translation of it was made by
the Jewish authors of the Septuagint, and is now found
in the Alexandrian version. Aquila, Symmachus, and
Theodotion also translated it into Greek, in the second
century of the Christian era. Origen inserted it in his
Hexapla in the third century. The allegorical significa-
tion attached to it by the Chaldee paraphrasts, shows that
the ancient Jews considered it as inspired. Joseph us, Eu-
sebius, Melito, of the second century, Ignatius, Athana-
sius, and others mention it as one of the books of the
Jewish scriptures. From these and other proofs, it is gen-
erally received as canonical.

All commentators agree that the song of songs is a
poem, but they differ in respect to the class of poetry to
which it belongs.

Harmer regards it as a nujptial song ; Bossuet, Calmet,
18

410

SONO OF SOLOMON.

Percy, and others as a regular drama. As the Jews were
accustomed to celebrate their nuptials seven days in suc-
cession, some critics divide the book into seven parts cor-
responding to each day. Bishop Lowth considers it as a
sacred jpastoral drama^ though he does not agree with Bos-
suet in considering it a regular one. Bauer, Jahn, and
others regard it as an idyl, or perhaps more correctly, sev-
eral idyls. Dr. Grood maintains that it consists of a series
of poems, which he calls sacred idyls. Accordingly, he
divides the book as follows :

Idyl 1

• CHAP. i. 1-8.

i. 9-ii. 7.

3 -

ii. 8-17.

iii. 1-5.

5 -

iii. 6-iv. 7.

iv. 8-v. 1.

Y -

9 -

V. 2-vi. 10.

vi. 11-13.

vii. 1-9.

vii. 10-viii. 4.

11 -

viii. 5-7.

viii. 8-14.

This view is adopted by other eminent critics, and is
probably the correct one. Dr. Wright presents an inter-
esting analysis of the book, drawn probably from Jahn,
which we here copy (vid. Kitto's Cyclop. Bib. Lit. Art.
Canticles).

1. An innocent country maiden makes an undisguised
profession of her attachment, and her lover, a shepherd,
replies to it with eq«al protestations of affection (i. 2, ii.
7). Some prefer concluding this dialogue at i. 11, and
making i. 12-ii. 7, a soliloquy, in which the maiden is
supposed to repeat some compliments of her lover. But
this is without sufficient reason. — 2. A maiden sings of

PLAN OF THE POEM.

411

her lover, wlio is seeking her everywhere, and she also
confesses her warm affection (ii. 8-iii. 5). Some suppose
that ii. 8-14 is a dream, and that in verse 15 the maiden
awakes, who dreams again in iii. 1-5. But if these places
are similar to dreams, it ought to be remembered that
waking dreams are not uncommon with lovers. This the
poet, true to nature, has here presented. — 3. A maiden in
a litter, surrounded by Solomon's soldiers, is brought to
the harem of the king. The lover prefers, far before all
the royal beauties, his own beloved, in whose society he
declares that he is happier than the king himself (iii. 6-v.
1). Some choose to make iv. 8-v. 1, a distinct poem : but
they can hardly offer any sufficient reason for separating
this portion from the other. Nevertheless the distribution
of the work into its several parts must be left very much
to the readers own taste and feeling. — 4. A maiden be-
loved sings of her lover. He had come to her door at
night, and had fled away before she opened it. She seeks
him ; is beaten by the watch, and stripped of her veil.
She describes the beauty of her lover, who at length an-
swers, celebrating her loveliness, with a contemptuous
glance at the multitude of the king's wives (v. 2-vi. 19).
— 5. Shulamith recounts, in few words, the allurements
of the courtiers, whom she has met with unexpectedly in
the garden, and her rejection of them, and celebrates her
affection for her lover (vi. 10-viii. 3). — 6. Protestation and
praises of constant affection (viii. 4-7). — 7. A discourse be-
tween two brothers, about guarding and giving away their
sister in marriage ; who replies with scorn, that she would
be her own guardian (viii. 8-12). — 8. A fragment. A
lover wishes to hear his beloved. She replies by persuad-
ing him to fly. Perhaps her parents or relations were
near, who, in the East, never permit such meetings (viii.
13, 14).

412

SONG OF SOLOMON.

Ewald supposes that the book was composed about 920
B. C. Pareaa, De Wette, and scholars generally agree
that it must have been written in the age of Solomon.

There is one allusion to music in chapter ii. verse 12, singing.
A derivative of zamar is used in the Hebrew, meaning to
prune, and in the Peal conjugation, (o cut off discourse at reg^
ular intervals^ to sing (vid. Rem. on Ex. xv. 2).

PROPHETICAL WRITINGS.

413

THE BOOK OF ISAIAH.

INTRODUCTORY REMARKS.

Tb.^ prophetical writings are mostly in poetry, and con-
tain some of the highest flights of the Hebrew bards.
This species of poetry is different, in some respects, from
all other kinds found in the sacred volaine. The sen-
tentious parallelism is remarkably prevalent, and the orna-
ments are more numerous and far more elegant. The
imagery is taken from natural objects as well as from
sacred history ; its metaphors, comparisons, and allegories,
are abundant and exceedingly rich. The seers, inspired
from on high, manifest the most exalted enthusiasm.
They seem to be entirely absorbed in the subject be-
fore them : their diction is sententious and energetic —
even electric in its effect — and often rises to the highest
degree of the morally sublime (vid. Bishop Lowth's Lect.
on Heb. Poet., Lectures xviii, xix, xx). The Bishop
presents Balaam's prophecy in Num. xxiv. 5-9. as one of
the most elegant specimens of this kind of poetrj^ extant,
as it is distinguished for charming imagery, the- figures
being diversified, and the language glowing and elegant.
We have already presented Dr. Hale's translation of it
(vid. p. 2-13 supra). Some of the prophetical poetry is
plaintive. The Lamentations of Jeremiah, for instance,
furnish probably the most perfect and beautiful specimen
of elegiac Hebrew poetry ever written. (For farther gen-
eral Rem. on Hebrew poetry, see Rem. on I Chron. xxv.
1, supra).

Isaiah is justly distinguished for the energy, beauty, and

414

STYLE OF ISAIAH.

grandeur of his conceptions and style. For this reason,
among other considerations, the book of Isaiah, though
the fifth in the order of time, is placed first among the
prophetical writings. It appears from his own account,
that this prophet was the son of Amos, and flourished
from 810-698 B. C, during the reigns of Uzziah, Jotham,
Ahaz, and Hezekiah. Some suppose that he was brother
of Uzziah, king of Judah, but this is not certain. The
prophets Amos, Hosea, Joel, and Micah, were his contem-
poraries.

Isaiah was a bold, original, and splendid writer. His
language, in some instances, is in the highest degree exalted
and sublime. He rises upon the mount of vision, his con-
ceptions are intensely vivid, and his style full of energy
and pathos. The terrific and joyous scenes which were
to transpire in future ages, seem to have been really before
him. He is in the midst of commotions, wars, and triumphs.
He hears the cannon's roar, beholds the thousands slain,
listens to the groans of the dying, and then to the songs
of victory. He is the matchless Hebrew bard, and is
justly styled, by Lowth, "the prince of all the proph-
ets."

Doederlein, Hoppe, Bauer, Eichhorn, Justi, Kosenmiil-
ler, and others have undertaken to show that Isaiah did
not compose the whole book ascribed to him, but Jahn
and others have triumphantly refuted their arguments.

The object of the prophet in writing this book, was to
show the Israelites as well as the Gentile nations, the tur-
pitude of their iniquities, and to call down upon them, un-
less they should repent, the judgments of an offended Grod.
The writer warns them to repent, and avert impending
wrath. He also comforts the godly in view of their
severe afflictions. There are in the book numerous and
■unmistakable prophecies concerning the advent of the

ISAIAH III. lG-18; V. 1, 12.

415

Messiah, some of wbicli are exceedingly beautiful and
sublime. There are a few allusions to music in the book.

Isaiah iii. 16-18.

16 Moreover the Lord saith,

Because the daughters of Zion are haughty,
And walk with stretched-forth necks and wanton eyes,
Walking and mincing as they go, and making a tink-
ling with their feet :

17 Therefore the Lord will smite with a scab

The crown of the head of the daughters of Zion,
And the Lord will discover their secret parts.

18 In that day the Lord will take away the bravery of

their tinkling ornaments ctboict their feet ^

And their cauls, and their round tires like the
moon.

Tinkling (vs. 16, 18). — This does not refer to music ; but to
a clinking sound caused by chains attached to the ankles of
ladies, who thus attracted the attention of the populace. The
austere prophet condemns this custom as indicative of pride.

Isaiah v. 1, 12.

1 Now will I sing to my well-beloved

A song of my beloved touching his vineyard.
My well-beloved hath a vineyard in a verv fruitful
hill :

12 And the harp, and the viol, the tabret,
And pipe, and wine, are in their feasts :
But they regard not the work of the Lord,
Neither consider the operation of his hands.

Sing — song (v. 1). — The usual term is employed here for
sing (vid. Rem. on Ex. xv. 1).

416 MUSIC OF ISAIAH.

Harp — viol — tahret — j)ipe (v. 12). — Kinnor is the original
for harp (vid. Rem. on Gen. iv. 21), and nebhel for viol. The
nebhel^ we have already shown, resennbled our guitar more
nearly than any other instrument. Viol is a general term,, in-
cluding the guitar and other instruments of that class (vid.
Rem. on I Sam. x. 5 ; II Sam. vi. 5). Toph is the original for
tahret (vid. Rem. on Gen. xxxi. 27 ; Ex. xv. 20), and halil for
pipe. The latter was evidently a wind instrument, probably
resembling a flute, and should not be confounded with the
iigahh or organ, which was a much more ancient instrument
(vid. Rem. on I Sam. x. 5 ; I Kings i. 40).

Isaiah xii. 2, 5, 6.

2 Behold, God is my salvation ;

I will trust, and not be afraid :
For the Lord Jehovah is my strength and my song ;
He also is become my salvation.

5 Sing unto the Lord ;

For he hath done excellent things :
This is known in all the earth.

6 Cry aut and shout, thou inhabitant of Zion :

For great is the Holy One of Israel in the midst of
thee.

Song (v. 2). — In the original, a derivative of zamar is used,
also in verse 5, the term translated sing is similarly derived
(vid. Rem. on Ex. xv. 20). In verse 6, cry out and shout is
simply an expression of joy. In Isa. xiii. 21, the word
dances is found. The original of it is a derivative of raqadh
(vid. Rem. on Eccl. iii. 4).

The language here employed is highly figurative and terrific.
The writer is speaking of the destruction of Babylon, and his
predictions have been literally and dreadfully fulfilled.

ISAIAn XIV. 4-19.

417

IsATAii xiv. 4-19.

"VVe present Noyes' translation.

4 Then shalt thou utter this song over the king of

Babylon, and say,
How hath the tyrant fallen !
The tribute ceased !

5 Jehovah hath broken the staff of the wicked,
The rod of the tyrants,

6 That smote the people in anger
With a continual stroke,

That lorded it over the nations in wrath
With unremitted oppression.

7 The whole earth is at rest, is quiet ;
They break forth into singing.

8 Even the cypress trees exult over thee,
And the cedars of Lebanon ;

' Since thou art fallen,

No feller cometh up against us.'

9 Hades beneath is in commotion on account of thee.
To meet thee at thy coming ;

He stirreth up before thee the shades, all the mighty
of the earth ;

He arouseth from their thrones all the kings of the
nations ;

10 They all accost thee, and say,

' Art thou, too, become weak as we ?
Art thou become like us ? '

11 Thy pomp is brought down to the grave,
And the sound of thy harps.

Yermin have become thy couch.
And earth-worms thy covering.

12 How art thou fallen from heaven I
Howl, son of the morning I

418

BEAUTIES OF ISxVIAH.

How art tlion cast down to the ground,
Thou that didst trample upon the nations !

13 Thou saidst in thy heart, ' I will ascend to heaven !
Above the stars of Grod will I exalt my throne ;

I will sit upon the mount of assembly in the farthest
north.

14 I will ascend above the height of the clouds ;
I will be like the Most High.'

15 But thou art brought down to the grave,
To the depths of the pit ;

16 They that see thee gaze upon thee, and view thee at-

tentively, (and say,)
' Is this the man that made the earth tremble ?
That did shake kingdoms ?

17 That made the world a wilderness,
And laid waste its cities.

And dismissed not his captives to their homes? '

18 All the kings of the nations, yea, all of them,
Lie down in glory, each in his own sepulchre ;

19 But thou art cast forth without a grave.
Like a worthless branch ;

Covered with the slain, who are pierced by the sword,
Who go down to the stones of the pit,
Like a carcass, trampled under foot."

This chapter is considered as one of the most beautiful and
sublime specimens of Hebrew poetry found in the sacred vol-
ume, or in any other hook. Bishop Lowth uses the following
language in respect to it :

" How forcible is this imagery, how diversified, how sub-
lime ! how elevated the diction, the figures, the sentiments ! —
The Jewish nation, the cedars of Lebanon, the ghosts of de-
parted kings, the Babylonish monarch, the travelers who find
his corpse, and last of all Jehovah himself, are the characters
which support this beautiful lyric drama. One continued ac-

ISAIAH XIV. 4-19.

419

tion is kept up, or rather a series of interesting actions are con-
nected together in an incomparable whole ; this, indeed, is the
principal and distinguished excellence of the sublimer ode, and
is displayed in its utmost perfection in this poem of Isaiah,
■svhich may be considered as one of the most ancient, and cer-
tainly one of the most finished, specimens of that species of
composition which has been transmitted to us. The personifi-
cations here are frequent, yet not confused ; bold, yet not im-
probable : a free, elevated, and truly divine spirit pervades the
whole ; nor is there any thing wanting in this ode to defeat its
claim to the character of perfect beauty and sublimity. If, in-
deed, I may be indulged in the free declaration of my own sen-
timents on this occasion, I do not know a single instance, in the
whole compass of Greek and Roman poetry, which, in every
excellence of composition, can be said to equal, or even to ap-
proach it."

Singing (v. 7). — The original is a derivative of ranan, sig-
nifying to utter a tremulous sound, to shout, referring to exulta-
tion, triumph. In verse 11, the term viols occurs. The origi-
nal is the plural of nejjhel, indicating an instrument resembling
the guitar, and often translated psaltery in our English version
of the scriptures. The term here seems to be a general one, re-
ferring to the viol class of stringed instruments (vid. Rem. on
I Sam. x. 5 ; II Sam. vi. 5).

In chapter xvi. verse 9, shouting is used, referring to the cus-
tom of rejoicing in view of gathering in the harvest. The
same word occurs in verse 10, referring to joy in the time of
vintage. Singing also occurs in the same verse. A derivative
of ranan is used (vid. Rem. on Isa. xiv. T). In verse 11,
kinnor, translated harp, is employed in a peculiarly figurative
and striking manner.

In chapter xviii, verse 3, trumpet is employed. This is the
shophar or crooked trumpet (vid. Rem. on Ex. xix. 16 ; Lev.
XXV. 9), used principally in war. The prophet here declares
the fact, that a powerful army would come from beyond the
Euphrates, and spread desolation in every direction. This

420

MUSIC OF ISAIAH.

prophecy is exceedingly obscure, and it is impossible to ascer-
tain beyond a doubt from what country the warriors were to
emerge. Vitringa and others suppose that they were Assyri-
ans, while Bishop Lowth thinks that they were Egyptians.
Rosenmiiller and others maintain that they were ^Ethiopians.

In Isaiah xxiii. 15, sing occurs. The original is a derivative
of the usual form shir. In verse 16, kinnoi\ translated Aa?^?, is
found. Sing occurs in the same verse. The original word is
naggen, meaning to play on stringed instruments. Refer-
ence is probably made to instruments of the viol kind (vid.
Rem. on Gen. iv. 21 ; Job xxx. 9). In chapter xxiv. 8, a de-
rivative of toph, translated tabrets, is used. Also the kinnor,
harp. In verse 14, sing occurs — from a derivative of ranan
(vid. Rem. on Lev. iv. 24). In verse 16, the word songs is
found — a derivative of zamar (vid. Rem. on Ex. xv. 2).

Chapter xxvi. 1, song — sung. — The usual term is employed
here ; but in verse 19, a derivative of ranan. The prophetic
denunciations and encouragements contained in Isaiah xxiv,
XX v^, and xxvi, are supposed to have been delivered in the be-
ginning of Hezekiah's reign. In chapter xxiv, a terrible de-
struction by the invasion of some powerful chieftain is an-
nounced. Commentators are not agreed whether it was Shal-
irianeser, Nebuchadnezzar, or the leader of the Romans, who
was to make the attack. Lowth supposes that there may be
reference to all three. Finally, the prophet, in chapters xxv,
and xxvi, breaks forth into beautiful and sublime songs of ador-
ation. In chapter xxvii. 2, sing occurs. The original is a de-
rivative of anah^ meaning to sing, to shout, the cry of victory
(vid. Rem. on Ex. xxxii. 18).

Great trumpet (v. 13). — This is the shophar or crooked trum-
pet. Here is a beautiful reference to that custom of the Jews,
by which they blew the trumpet or shophar to call the people
together for their holy solemnities, for war, or to suppress a
rebellion. The Israelites, though scattered and oppressed, shall
return to the holy city at the blast of the g7'eat trumpet, and
three worship the God of their fathers.

ISAIAH XXXV. 1-10.

421

Song (Isa. xxx. 29). — The usual Hebrew term is here em-
ployed (vid. Rem. on Ex. xv. 1).

Pipe (v. 29). — This is the halil or flute kind of wind instru-
ments, different from the ugabh or organ (vid. Rem. on I Sam.
X. 5 ; I Kings i. 40).

Tabrets and harps (v. 32). — These were tophs and hinnors
(vid. Rem. on Gen. iv. 21 ; xxxi. 27).

Isaiah xxxv. 1-10.

1 The wilderness and the solitary place shall be glad

for them ;

And the desert shall rejoice, and blossom as the rose.

2 It shall blossom abundantly, and rejoice even with joy

and singing:

The glory of Lebanon shall be given unto it, the ex-
cellency of Carmel and Sharon.
They shall see the glory of the Lord, and the excel-
lency of our God.
8 Strengthen ye the weak hands, and confirm the fee-
ble knees.

4 Say to them that are of a fearful heart, Be strong,
fear not ;

Behold, your God will come with vengeance,

Even God with a recompense ;

He will come and save you.
6 Then the eyes of the blind shall be opened,
And the ears of the deaf shall be unstopped.

6 Then shall the lame man leap as an hart.
And the tongue of the dumb sing :

For in the wilderness shall waters break out.
And streams in the desert.

7 And the parched ground shall become a pool.
And the thirsty land springs of water :

In the habitations of dragons, where each lay.

422

MUSIC OF ISAIAH.

Shall 1)6 grass with reeds and rushes.

8 And an highway shall be there, and a way,
And it shall be called the way of holiness ;

The unclean shall not pass over it ; but it shall he
for those :

The wayfaring men, though fools, shall not err
therein.

9 * No lion shall be there ;

Nor any ravenous beast shall go up thereon,

It shall not be found there ;
But the redeemed shall walk there :
10 And the ransomed of the Lord shall return,

And come to Zion with songs, and everlasting joy
upon their heads.

Singing (v. 2), sing (v. 6), songs (v. 10). — hi these three
cases derivatives of ranan are employed (vid. Rem. on Lev. ix.
24). Chapter xxxv is an elegant poem, and refers in the plain-
est terms to the incarnation and sufferings of the Messiah. The
previous chapter is intimately connected with this, the two con-
taining an entire prophecy.

We ivill sing my songs to the stringed instruments (Isa. xxxviii.
20). — This expression indicates rejoicing in consequence of the
recovery of King Hezekiah from a dangerous illness, ^^r^^j

(n^naggen), translated sing my songs, also ^irjlD'^ti'] (n^gino-

thay), translated stringed instriuyients, are both derived from
nagan, to strike a chord or string (vid. Rem. on Job xxx. 9;
Ps. iv. title). The LXX designate the particular stringed in-
strument used, calling it the psaltery, but there is nothing in
the original to show that the inspired writer intended to indi-
cate any particular stringed instrument. The expression is ob-
viously a general one, indicating praise and rejoicing with instru-
mental, as well as vocal, music. Chap. xlii. 10, 11, sing — song
' — shout. The prophet here speaks of the infinite goodness of

ISAIAH XXXV. 1-10.

423

God in providing a Saviour, and calls upon all men to rejoice and
praise the Lord in view of the wonderful fact. In verse 10?
derivatives of shir are used for sing and song^ and in verse 11,
for sing^ a derivative of ranan (vid. Rem, on Ex. xv. 1 ; Lev.
ix. 24). Chap. xliv. 23. Here the prophet calls upon the heav-
ens and earth to praise Jehovah, because he had redeemed his
people. A derivative of ranan is used in both cases in which
reference is made to music. In chap, xlviii. 20, a derivative of
the same word is employed and translated singing. The same
is true of the references to music in chap. xlix. 13.

Chap. li. 3, melody. — The original of this is a derivative of
zamar (vid. Rem. on Ex. xv. 2). It is usually translated song.
In V. 11, a derivative of ranan is employed for singing. Chap,
lii. 8, 9, sing, a derivative of ranan, is used in both cases. The
same is true of the references to music in chap. liv. 1. The
same is true also in chap. Iv. 12. In chap. Iviii. 1, trumpets
This was the shophar, or crooked trumpet (vid. Rem. on Ex.
xix. 16 ; I^ev. xxv. 9). In chap. Ixv. 14, a derivative of ranan
is employed.

424

JEREMIAH — IXTRODUCTORY REMARKS.

BOOK OF THE PROPHET JEREMIAH.

INTRODUCTORY REMARKS.

The object of the writer in this book is to exhibit the
great wickedness and apostasy of the people of Judah, to
show that thej would be punished by judgments from heav-
en, and, upon repentance, be finally restored to the divine
favor. Jeremiah was sensitive, naturally timid, and retir-
ing; still, in the discharge of his duty he did not shrink
from publicity, danger, or even death itself. He was
remarkably susceptible to sorrowful emotions, and utters
many plaintive and thrilling lays. His style is highly pa-
thetic and beautiful. He speaks the truth with boldness
and fidelity, but with the utmost tenderness. He beholds
in prophetic vision the judgments of heaven descending
upon his people. He deeply sympathizes with them, and
exhorts them to avert impending destruction by turning
to the Lord. Bishop Lowth considers Jeremiah as nearly
equalling Isaiah in sublimity of thought and diction.

The canonicity of this book is well-established, though
some German critics have raised objections against de-
tached passages. There seems to be a disarrangement in
the chronological order of the different prophecies of Jer-
emiah, and various conjectures have been suggested to ac-
count for it, but we have not a sufficient number of facts
at present to enable us to decide with certainty the cause.
Dr. Blane}^ has arranged the prophecies in the following
manner :

1. The prophecies delivered in the reign of Josiah^ con-
taining chapters i-xii, inclusive.

JEREMIAH IV. 19-26.

425

2. The jpropliecies delivered in the reign of JehoiaTcim^
comprising chapters xiii-xx, xxii, xxiii, xxxv, xxxvi,
xlv-xlviii, and xlix, 1-33.

3. The jyrophecies delivered in the reign of Zedekia\
including chapters xxi, xxiv, xxvii-xxxiv, xxxvii-
xxxix, xlix, 34-39, and 1, and li.

4. The prophecies delivered under the government of
Gedaliah^ from the taking of Jerusalem to the retreat of
the people into Egypt, and the prophecies of Jeremiah de-
livered to the Jews in that country ; comprehending chap-
ters xl-xliv, inclusive.

This book is believed to have been written at different
times between 628 and 583 B. C, and is consequently
very ancient. There are occasional allusions to music.
Indeed, nearly the w-hole book consists of beautiful poems,
which were probably set to music. As a specimen of the
plaintive, pathetic, sublime lays of this poet, we present a
part of the fourth chapter (verses 19-26). It is the fol-
lowing, as translated by Herder :

19 My bowels, my bowels ! I'm filled with pain,
My very heart is full of anguish,

And yet I cannot hold my peace.

My soul hath heard the sound of trumpets,

The shout and alarm of war.

20 Destruction, desolation, is cried.
For all the land is desolate,
M}^ tents are suddenly spoiled.

21 How long shall I yet see the standard,
And hear the soun-d of trumpets ?

22 My foolish nation understand me not,
Unwise children and void of sense,
Wise to do evil, but never to do good.

23 I look abroad upon the earth,

42d

INVASION OF JUDJEA.

And lo ! it is desolate and waste,

Upon the heavens, and thej have no light,

24 I see the mountains, and they tremble,
And all the hills are in commotion.

25 I behold, and lo ! there is no man,
And all the birds of heaven are fled.

26 I look, and lo ! Carmel is a desert,
And all its cities are laid waste
Before the presence of Jehovah,
Before the blast of his fierce anger.

In this passage we have references to music in verses 5, 19 and
21. The shoplwr^ crooked trumpet^ is used (vid. Rem. on Ex.
xix. 16; Lev. xxv. 9). The prophet elegantly describes, in
prophetic vision, the invasion of Judaea by the Babylonians,
Chaldseans, Assyrians, and Medes, the awful ravages of the
country by the enemy, and their victory over the disobedient,
though favored people of the Lord. The writer's lamentation
over the sorrows of his people is truly elegant. The Hebrews
are commanded to blow the trumpet — to call the warriors to the
combat. In chapter vi. 1, 17, a similar expression is employed.
Judah and Jerusalem are called upon to sound the sliophar in
view of an attack by the Babylonians and Chaldseans. Chapter
XX. 13, sing. Pashur, the chief governor of the house of the
Lord, persecuted Jeremiah, smote him, and put his feet in the
stocks. The prophet made his complaint, and exulted in God
as the deliverer of his people from the hands of evil-doers.
A derivative of shir is used, and translated sing (vid. Rem. on
Ex. XV. 1). Inverse 16 s^ow/m^ occurs. The original is teruah^
indicating triumph (vid. Rem. on Num. x. 5 ; xxix. 1). Chapter
xxxi. 4, tabrets. The original is a derivative of toph^ a pulsa-
tile instrument (vid. Rem. on Gen. xxxi. 27 ; Ex. xv. 20 ; I
Sam. xviii. 6). The prophet is speaking of the restoration of
Israel to the favor of God. In the same verse it is said that
they shall go forth in dances of them that make merry. The

JEREMIAH XLII. 14.

427

whole indicates joy and triumph. In verse 7, Israel is called
upon to sinr/ and shout. In one case the original is a derivative
of ranan, and in the other simha is employed, all indicative of
great joy (vid. Rem. on Gen. xxxi. 27 ; Lev. ix. 24). In verse
12, a derivative of ranan is employed, indicating extreme joy
" on the heights of Zion." In verse 13, it is said that Israel
shall unite in dances as well as singing.

Trumpet (Jer. xlii. 14), — This is the shophar ov croolced trum-
pet (vid. Rem. on Ex. xix. 16). Reference is here made to the
war-blast. The Israelites thought they should not hear the sound
of that terrible instrument if they should go down into Egypt.
In chap, xlviii. 33, shouting occurs three times. The original is
^T^tl hedhadh, from the verb, ^^y^ hadhadh, to break

forth into jog, to shout for jog. The reference is to the exulta-
tion of those whose wine-presses are full of wine from an abun-
dant harvest. The joy usually characteristic of such occasions
was to be turned into mourning. In verse 30, of the same
chapter, the prophet declares that his heart should sound like
pipes for Moab and Kir-heres. Pipes were used particularly
at funerals to aid in mournful demonstrations. So there should
be similar mourning for Moab and Kir-heres. The original is
a derivative of 35 H {hhalal), to pierce, to bore through, to

- T

play 071 the pipe. This was evidently a wind instrument, prob-
ably a flute, and as it appears in the plural form, it is supposed
to refer to the double flute (vid. Rem. on I Sam. x. 5 ; I Kings,
i. 40.) In chap. li. 27, the shophar or crooked trumpet is men-
tioned. The allusion is to the terrible destruction of Babylon
predicted by the prophet. In. prophetic vision he beholds the
great and wicked city attacked by surrounding nations — he hears
the blast of the war-trumpet, and sees Babylon full. Then in
verse 48, he represents the heavens and earth as rejoicing, and
singing in triumph at her overthrow. A derivative of ranan
is employed (vid. Rem. on Lev. ix. 24).

428 LAMENTATIONS OF JEREMIAH.

LAMENTATIONS OF JEREMIAH.

INTRODUCTORY REMARKS.

In this part of tlie prophet's writings we find his sweet-
est and most exalted elegiac lays. He is a mourner. The
kingdom of Judah is rent by a foreign foe, the beloved
city of Jerusalem is destroyed, and Israel overwhelmed in
sorrow. The prophet is borne down with inconsolable
grief. He appears upon the ruins of that city, once pros-
perous, and beholds the fearful desolation around him, — the
dear homes of his people demolished, the streets flowing
with blood, his own relatives slain or carried to Babylon
into hopeless captivity; and, worse than all, he views the
sacred temple, where God had vouchsafed his presence,
leveled to the ground and burned with fire — its altars,
sanctuary, and holy of holies desecrated and laid in utter
desolation. Its beauty and splendor were no more — the
plaintive or joj^ous tones of its vocal and instrumental music
reverberated within its walls no longer ; its solemn assem-
blies had ceased to witness, in its holy portals, the divine
manifestations ; and its priesthood had fallen by the sword
or been carried into captivity. Not only are the city and
temple destroyed, but the whole land is laid waste. With
this overwhelming view before him, the inspired seer
utters his plaintive strains. He strikes his lyre, and from
its quivering strings proceed those tones which are in
unison with the deep emotions of his soul. He is in tears,
and the bitterest pang which heaves his bosom is caused
by the fact that Israel is guilty — that she has inflicted upon
herself this dread calamity.

LAMENTATIONS III. 31-G6.

429

This part of the book consists of five distinct elegies, all
of which are plaintive funeral dirges. Each elegy contains
twenty-two periods, corresponding with the number of
letters in the Hebrew alphabet. In the first four chapters
the several periods begin with the different letters in al-
phabetical order, thus marking the metre more precisely.
In the third chapter each period contains three verses, all
having the same initial letter. There seems to be nothing
artificial or methodical in the arrangement of these elegies ;
yet there is no incoherency or abrupt transition. There is
a great variety of beautiful and pathetic images, all clad in
the habiliments of mourning. There are some allusions to
music, — indeed, the whole piece is a musical composition.
As a specimen, we present the following:

Lamentations iii. 31-66.

81 For the Lord will not cast ofi" for ever :

82 But though he cause grief, yet will he have compassion

according to the multitude of his mercies.
38 For he doth not afflict willingly nor grieve the children
of men.

84 To crush under his feet all the prisoners of the earth,

85 To turn aside the right of a man before the face of the

Most High,

36 To subvert a man in his cause, the Lord approveth not.

87 Who is he that saith, and it cometh to pass, when the

Lord commandeth it not?

88 Out of the mouth of the Most High proceedeth not

evil and good ?

89 Wherefore doth a living man complain, a man for the

punishment of his sins?
40 Let us search and try our ways, and turn again to the
Lord.

430 ELEGY OF JEREMIAH.

41 Let US lift up our heart with our hands unto God in

the heavens.

42 We have transgressed and rebelled : thou hast not

pardoned.

43 Thou hast covered with anger, and persecuted us : thou

hast slain, thou hast not pitied.

44 Thou hast covered thyself with a cloud, that our' prayer

should not pass through.

45 Thou hast made us as the offscouring and refuse in the

midst of the people.

46 All our enemies have opened their mouths against us.

47 Fear and a snare is come upon us, desolation and

destruction.

48 Mine eye runneth down with rivers of water for the

destruction of the daughter of my people.

49 Mine eye trickleth down, and ceaseth not, without any

intermission,

50 Till the Lord look down, and behold from heaven.

51 Mine eye affecteth mine heart because of all the daugh-

ters of my city.

52 Mine enemies chased me sore, like a bird, without

cause.

53 The}^ have cut off my life in the dungeon, and cast a

stone upon me.

54 "Waters flowed over my head; then I said, I am cut

off.

55 I called upon thy name, 0 Lord, out of the low dun-

geon.

56 Thou hast heard my voice: hide not thine ear at my

breathing, at my cry.

57 Thou drewest near in the day that I called upon thee :

thou saidst, Fear not.

58 0 Lord, thou hast pleaded the causes of my soul ; thou

hast redeemed my life.

LA:SIEXTATIONrS III. 31-66.

59 0 Lord, tliou hast seen mj wrong; judge thou my

cause.

60 Thou hast seen all their vengeance and all their im-

aginations against me :

61 Thou hast heard their reproach, 0 Lord, and all their

imaginations against me ;

62 The lips of those that rose up against me, and their

device against me all the day.

63 Behold their sitting down, and their rising up ; I am

their music.

64 Eender unto them a recompense, 0 Lord, according to

the work of their hands.

65 Give them sorrow of heart, thy curse unto them.

66 Persecute and destroy them in anger from under the

heavens of the Lord.

Tiie whole chapter is a beautiful elegy upon the afflictions
which the prophet was experiencing m view of the grievous ca-
lamities which had fallen upon his people. In verse 14, song is
used. The original word is a derivative of nagan^ signifying
to strike the strings. The noun^ which is here employed, signi-
fies, music of stringed instruments. The same word, in Lam.
V. 14, is translated music. In the former instance the prophet
refers to the derision which his enemies heaped upon him. The
idea in the original is, that his foes shouted, and not only em-
ployed their voices, but stringed instruments, in triumphing over
him. The same term is used in the 63d verse of the same chapter
in a similar sense, and translated music. In Lam. v. 14, Jere-
miah speaks of the sadness of his afflicted people. Even the
young men had ceased to be joyful, and the cheering sound of
their harps could no longer be heard.

432

EZEKIEL — INTRODUCTOKY REMARKS.

BOOK OF THE PROPHET EZEKIEL

INTRODUCTORY REMARKS.

This prophet was one of those whom Nebuchadnezzar,
king of Babylon, carried captive into his own dominions,
after the destruction of Jerusalem and the Temple, so
beautifully and pathetically described by Jeremiah in his
inimitable Lamentations. Ezekiel resided at some distance
from Babylon, on the river Chebar, and there commenced
his career as an inspired prophet of God. He had many
remarkable visions, which cast a shade of obscurity over
some parts of his writings. With great vehemence he re-
proves the sins of his people.

Some critics of late have raised doubts in reference to
the canonicity of the book, and endeavored to show that
some parts of it were not written by Ezekiel ; but their
objections have been unanswerably refuted, and the com-
position is now almost universally received as authoritative
and canonical. The chief objection of toe prophet is to
administer consolation to his afflicted people. His style is
much more bold and denunciatory than that of Jeremiah.
Ezekiel is oftener in the tempest — amid the raging of the
elements. He delights in the terrific — the awful. He was
a person of extensive information and great genius. Bishop
Lowth describes him thus (Lowth's Sac. Poet, of the
Heb., Lect. 22) : "Ezekiel is much inferior to Jeremiah in
elegance; in sublimity he is not even excelled by Isaiah;
but his sublimity is of a totally different kind. He is deep,
vehement, tragical ; the only sensation he affects to excite,
is the terrible; his sentiments are elevated, fervid, full of

EZEKIEL I. 14, 22-28.

433

fire, indignant ; his imagery is crowded, magnificent, terrific
sometimes almost to disgust; bis language is pompous,
solemn, austere, rough, and at times unpolished : he em-
ploys frequent repetitions, not for the sake of grace or
elegance, but from the vehemence of passion and indig-
nation. Whatever subject he treats of, that he sedulously
pursues, from that he rarely departs, but cleaves as it were
to it; whence the connection is in general evident and
well preserved. In many respects he is perhaps excelled
by the other prophets; but in that species of composition
to whicli he seems by nature adapted, — the forcible, the
impetuous, the great and solemn, — not one of the sacred
writers is superior to him. His diction is snfiiciently per-
spicuous ; all his obscurity consists in the nature of the
subject. Visions (as for instance, among others, those of
Hosea, Amos, and Jeremiah) are necessarily dark and con-
fused. The greater part of Ezekiel, towards the middle
of the book especially, is poetical, whether we regard the
matter or the diction."

Michaelis and others intimate that Lowth is probably a
little too enthusiastic in his praise of Ezekiel. Still, he
was a splendid prophet and poet — the Homer of the He-
brews. As a beautiful specimen of his poetry, read the
glowing and sublime description of his vision of Jehovah
enthroned above the cherubim (Ezek. i. 4-14, 22-28), as
translated by Herder.

EzehieVs vision of God enthroned above the Cherubim.

4 I looked, and lo ! a whirlwind from the North
Came sweeping onward, a vast cloud, that rolled
Its voliunes, charged with gleaming fire, along,
And cast its dazzling splendors all around.
Now from within shone forth, what seemed the glow
Of gold and silver, molten in the flame,
10

434

EZEKIEL'S YISIOX OF DEITY.

5 And in the midst thereof the form expressed,
As of a four-fold living thing — a shape,
That yet contained the semblance of a man.

6 AYith four-fold visage each, and each four wings,

7 On upright limbs and cloven feet they stood.
And shone with splendor as of burnished brass.
Withdrawn beneath their wings/on every side .

8 Were human hands, for each four-sided seemed,
And four-fold had their faces and their wings.

9 Then, wing to wing, and each to each close joined,
They turned not in their going, but went forth,
Advancincr each with look and course unchancred.

10 In all the four-fold visasfed four was seen
The face of man; the right a lion, and an ox
The left distinguished, and to all the four
Belonged an eagle's visage. By itself

11 Distinct, their faces and their wings they each
Extended upward, joining thus, it seemed.

Two wings for flight, while two their bodies veiled,

12 With course direct, and forward each advanced.
Whither the spirit moved they went, nor ever turned.

13 The several living forms, like glowing coals
Appeared. What seemed the flame of torches played
Between them, and the dazzling light of fire.

From out the fire went gleaming lightnings forth ;

14 And quick, as lightnings flash, the living forms
Were here and there, went forth and back returned.

22 Above their heads, high over-arching, seemed
An azure firmament outspread, like clear
Transparent crystal, that inspired with awe.

23 Approaching near the firmament, their wings.
Extending wing to wing, were upward spread.
With two they bore themselves aloft, with two

EZEKIEL I. 14, 22-28.

435

24 They veiled tlieir bodies round. And as they went,
I heard the rushing sound of wings, like rush

Of mighty waters, or the distant sound

Of thunder, the dread voice of Shaddai.

They went with sound of tumult, Jike an host,

And when they stopped, they closed again their wings,

25 For when, from the o'er-arching firmament
Above a voice was uttered forth, they stood
With wings depending, and close veiled around.

26 And high upraised above the firmament
There seemed the sapphire vSplendor of a throne.
And on the throne there sat, what seemed the form

27 Of man. It shone with amber glow of gold
And silver intermixed, as burning fire.
Both inward and without, and from the loins
Above and underneath it seemed like fire.
And shone with radiant lustre all around.

28 As shines the rainbow in the day of rain,
So seemed the lustre of that radiant form.
The aspect of Jehovah's Majesty

I saw in this, and fell upon my face
And heard the voice of one that spake

There are, in the book of Ezekiel, some alhisions to music.
The poem was written about 595-536 B. C. To bloio the trum-
pet (Ezek. vii. 14). The writer here employs two derivatives

^'pri "^'^^h and noun meaning to bloio a blast. The

prophet is describing the afflictions of his people, and intimates that
none go up to battle when they are called^ evidently referring
to the war trumpet. The Septuagint has oaXmoare aaXmyyt
salpisate salpingi^ blow the trumpet, hi chap. xxvi. 13, occur
songs, harps. The writer in prophetic vision beholds the mul-
titudes of Nebuchadnezzar's warriors coming up with fury against
Tyre, to slay her inhabitants, and cause her sougs of joy and

436

MUSIC OF EZEKIEL.

instrumental music to cease. The usual term for songs is em-
ployed, viz: shir (vid. Rem. on Ex. xv. 1). The term trans-
lated harp is the Icinnor (vid. Rem. on Gen. iv. 21). Chap, xxvii.
25, sing. The ordinary term is here used. Chap, xxviii. 13,
tabreis, pipes. The prophet is here speaking of the beauty and
glory of Tyre, and warning the inhabitants of the appalling calami-
ties which were sure to fall upon them. Among other things he
speaks of their musical instruments. Tahrets. This is the
toph (vid. Rem. on Gen. xxxi. 27; Ex. xv. 20). Pipes.
The original of this is a noun derived from naqabh^ to

hollow out, to excavate, to bore. The noun [neqebh) means

a cavity, a pipe, and sometimes refers to musical instruments,
T. H. Home supposes that it was the hautboy. Ilnlil is the
usual word denoting the flute (vid. Rem. on 1 Sam. x. 5 ; 1
Kings, 1. 40). Some suppose that ueqebh does not refer to music
in this place (vid. Gesen. Heb. Lex. under iHp^)- We incline to

the opinion that there is reference here to a wind instrument of
music. At least the etymology of the word strongly favors
that idea. Chap, xxxiii. 8, 4, 5, 6. Trumpet. This is the
shophar or crooked trumpet (vid. Rem. on Ex. xix. 16). Song-
instruments (Ezek. xxxiii. 82). God is represented here as de-
claring to the prophet, that the children of Israel are deceptive
— listening to the preacher's voice and being apparently de-
lighted with his exhortations, but considering them as a song
and an instrument, and not performing the duties enjoined. For
song, the usual word shir is employed. A derivative of fiagan
is translated instrument. It refers to a stringed instrument
(vid. Rem. on Ps. iv. title). Chap. xl. 44, singers. The original
is the plural of shir, referring to the singers in the temple.

DANIEL — :

•INTRODUCTORY REMARKS.

437

THE BOOK OF DANIEL

INTRODUCTORY REMARKS,

This prophet was carried a captive to Babylon 606
years B. C, which was seven years before Ezekiel shared
a similar fate. The former was learned in Chaldaean litera-
ture, and highly honored by the Babylonian monarchs,
having been promoted to an elevated official position.
From the fact that he often speaks in the first person, it is
evident that he wrote the book ascribed to him, though
his name is not prefixed. The first part relates to his own
history and that of the Jews. The second part contains
important prophecies relating to the various kingdoms of
the world, in reference to the advent of Jesus Christ, and
other important events extending from the establishment
of the Persian empire to the final judgment and consum-
mation of all things. The writings of Daniel are con-
sidered as less obscure than those of the other prophets.
His style is clear, simple, and not as lofty and figurative
as that of the others.

The evidence of the canonicity of the book, external
and internal, is abundant. Various neological writers
have objected to this view, but they have been ably re-
futed by Dr. Hengstenberg of Berlin.

This book is not so highly poetical as some other pro-
phetical writings, still it contains fine specimens of the
beautiful and sublime. Take, for instance, the description
of Deity in Dan. vii. 9, 10, as translated by Herder (vid.
Herder's Heb. Poetry by Marsh, vol. ii. pp. 41, 42.)

438 BABYLONISH ROYAL BAND OF MUSIC.

9 This I saw, "Qntil the thrones were raised,
And the ancient of days enthroned,
His garment was white as snow,
The hair of his head like pure wool.
His throne was like the fiery flame,
Its wheels like burning fire.
10 A fiery stream issued forth,
And went before his face,
A thousand thousand ministered to him,
Ten thousand times ten thousand stood before him.
The judgment was set,
And the Books were opened.

Dais-jel iii. 5, 10, 15.

5 So tliat at what time ye liear the sound of tlie
cornet, flute, harp, sackbut, psaltery, dulcimer, and
all kinds of music, ye fall down and worship the
golden image that ISTebucliadnezzar the king hath
set up :

10 Thou, O king, hast made a decree, that every
man that shall hear the sound of the cornet, flute,
harp, sackbut, psaltery, and dulcimer, and all kinds
of music, shall fall down and worship the golden
image.

15 ISTow if ye be ready that at what time ye
hear the sound of the cornet, flute, harp, sackbut,
psaltery, and dulcimer, and all kinds of music, ye
fall down and worship the image which I have
made ; well : but if ye worship not, ye shall be cast
the same hour into the midst of a burning fiery

DANIEL III. 5, 10, 15.

439

furnace ; and who is tliat God that shall deliver
you out of my hands ?

There are a few allusions to music in this book.

Cornet^ Jiute^ sackbiU, harp^ psaltery^ dulcimer. — Here is an
account of a remarkable concert of instruments belonging to the
Babylonish royal band of musicians. Nebuchadnezzar had
caused a golden image to be constructed, and had called to-
gether the magnates of his realm, commanding them, when they
should hear the music of his band, to fall down and worship the
image. The best performers, undoubtedly, and the most im-
portant instruments in his dominions, were employed on that
great occasion.

Cornet. — This is the qeren (we have here the Chaldee form
i^^'lp qdrrui)^ horn. In the most ancient times, this in-

strument was made of the horn of an ox, and subsequently of a
ram's horn. Yobhel^ mesLn'mg jiibel or jubilee, generally accom-
panies qeren, though it is not found here. M'^naanlm (Q'^^^!]-

3^!D^) rendered cornets in II Sam. vi. 5, but incorrectly, as

it is obviously a pulsatile, and the cornet a wind, instrument.
The qeren might more properly be translated cornel, as the lat-
ter is a musical tube increasing in diameter from the mouth-
piece to the lower end, and is a sort of horn (vid. Rem. on II
Sam. vi. 5 ; I Chrori. xiii. 8). The Scptuagint has salpinx,
trumpet. Flute (jj^tl^pl^ltl)^ mashroqiytha). — This word

occurs four times in the book of Daniel (Dan. iii. 5, 7, 10, 15),
and in no other part of the sacred writings. It is a noun from
the verb p^.tS; {^^^^f/(^9)i signifying to hiss, to whistle. Some

suppose that the noun was the name of a modified form of the
Hebrew ugabh or organ ; but it is generally and with more
probability, thought to be the double flute, or flute with two
reeds (vid. a representation of it on p. 161). The Septuagint has
avptv^ [s7/rinx), signifying, the pipe of Fan. The term for the
single flute is ha hi (vid. Rem. on I Sam. x. 5).

440

BABYLONISH MUSIC.

Sachbut. — x\ccording to the order of the Hebrew, liarp should
precede sacJclut. The original for the latter is jj^^^D

T : -

[sabb^ka). Bat the sackbui is a hor/i, one species of which is
the trombone.

Sab¥ka evidently refers to a stringed instrument, and is in
correctly translated sacbut. The Septuagint renders it oau,3vK7]g
(sambukes^ sambuke). Gesenius supposes it to have been sim-
ilar to the jiebhel, which he believes to be the harp or bjre. The
next term is harp, jjiri^J^ {qayth^ros), cithora, meaning harp.
The Greek cithara was derived from this Chaldee term. The
Hebrew word for harp is kinnor (vid. Rem. on Gen. iv. 21).

Psaltery ynj'*^^ pUanfr'in. — This Chaldee term is
supposed to represent the Hebrew nebhel. It probably indicates
a stringed instrument, but its precise form we cannot ascertain.
The word occurs also in verses 7, 10, and 15, of the same chap-
ter, and in no other part of the scriptures.

Dulcimer H'-i'l'D siunpon^yah. — A Chaldee word,
meaning a double pipe with a sack, a bagpipe. The Greek term is
ovjKbcji'La sumphonia, symjyhony, harmony. It was undoubtedly
a wind instrument made of reeds. The Syrians called "it sam-
bonja. In the seventh verse of the same chapter the same mu-
sical terms occur with the exception of the last, which is omitted
in the Chaldee. The Septuagint omits that word in verse 5.
In verse 10, the same terms occur as in verse 5. The same
also in verse 15.

Chapter vi. 18, instruments of music. These words re-
fer to a remarkable occasion. It seems that Daniel had
been promoted by Darius to the highest office in his king-
dom : but the princes who were inferior to Daniel in authority,
moved by envy, drew from the king a decree, that whoever
should make a petition to any god or man except Darius, for
thirty days, should be cast into the lion's den. Daniel heeded
not the king's command, and prayed to his God three times a
day. Consequently, the terrible penalty of disobedience was
inflicted upon him. Darius, however, was in great affliction in

DANIEL III. 5, 10, 15.

view of the dangerous situation of the prophet. He spent the
night in fasting, and would not allow any instruments of music
to be brought before him. The Chaldee term for instruments
of music is ^ini dahh^van^ signifying, concubine^ from l^n*!

) T-: - T T

dahhah, to thrust^ to push, to strike. Hence some suppose that
it refers to music. The passage evidently indicates that the
king would not indulge in any kind of pleasure while Daniel
was in the den of lions.

4^2

HOSEA — INTKODUCTORY REMARKS.

THE BOOK OF HOSEA.

INTRODUCTORY REMARKS.

The prophecies contained in this book are supposed to
have been made and committed to writing between the
years 810 and 725 B. C. The object of the prophet is to
reprove the Jews for their aggravated transgressions, and
especially for the sin of idolatry. He speaks of their
grievous captivity by the Assyrians, and calls upon them
to repent of their iniquities. The style of the composi-
tion exhibits marks of great antiquity. It is concise, ab-
rupt, vehement, and was, undoubtedly, at first in a metri-
cal form, though the precise arrangement is now lost.
This book seems to contain only some of Hosea's leading
prophecies, and is consequently, in some parts, very ob-
scure. One grand idea pervades the whole book, and
absorbs the mind of the prophet. It is the estrangement
of Israel and Judah from Jehovah, and the question how
they can be restored to the favor of God. In his bold
earnestness, Hosea, in prophetic vision, beholds the righteous
reduced to the lowest extremities of want and distress, and
then raised, as it were, to heaven by the bestow ment of the
divine blessing. In the vehemence of his emotions he
seems to be bewildered and almost overwhelmed, uttering
broken metaphors and unfinished sentences, and passing
from one subject to another with the greatest precipitancy.
The first part of the book is rather repulsive, but the last
part closes with great beauty. The abruptness and agita-
tion of the writer are succeeded by a heavenly calmness.
His furious and incoherent declarations are changed into

HOSEA XIV. 4-9.

sweet, consoling, elevated musical strains of unearthly elo-
quence. Take, for example, the last chapter, from verse
4 to the close, as translated bj Noyes :

4 "I will heal their rebellion ; I will love them freely ;
For my anger is turned away from them.

5 I will be as the dew to Israel ;
He shall bloom as the lily.

And strike his roots like Lebanon.

6 His branches shall spread,

And his beauty shall be as the olive-tree,
And his fragrance as Lebanon.

7 They that dwell under his shadow, shall gather

strength ;
They shall revive as the corn ;
They shall shoot forth as the vine ,
Their name shall be like the wine of Lebanon.

8 Ephraim shall say. What have I more to do with idols ?
I will hear him ; I will care for him ;

I will be like a green olive-tree ;
From me shall thy fruit be found."

9 Who is wise, that he may understand these things :
Prudent, that he may know them ?

For the ways of Jehovah are right,
And the righteous walk in them ;
But in them transgressors stumble.

Sing (Hosea ii. 15; v. 17 in Heb.). The original is a de-
rivative of anah, to sing (vid. Rem. on Ex. xxxii. 18).

Cornet, trumpet (Hos. v. 8). These are the shophar or
crooked trumpet, and hataotsera or straight trumpet (vid. Rem.
on Ex. xix. 16; Lev. xxv. 9; Num. x. 2; II Chron. vii. 6).
For the sake of variety in expression, one of these words is
translated cornet, as that instrument is one species of the trum-

444 MUSIC OF HOSEA.

pet. The prophet is speaking of the aggravated sins of Israel,
and threatens the infliction upon her of the divine wrath. The
trumpet shall be sounded, war will ensue, and Israel be over-
thrown.

Trumpet (Hos. viii. 1). This is the shophar or war trumpet
(vid Rem. on Ex. xLx. 16).

JOEL — INTRODUCTORY REMARKS.

445

THE BOOK OF JOEL

INTRODUCTORY REMARKS.

The prophecies contained in this book were written
about 810-660 B. C. Various opinions have been ad-
vanced by scholars in respect to the time when Joel lived ;
but it is now generally admitted that he was a contempo-
rary of Amos and Hosea. The prophet graphically de-
scribes the sins of the priesthood and lait}^, calling upon
both to repent, to fast and pray. Finally, in glowing,
beautiful language, he speaks of the conversion and return
of God's favored people to the land of their fathers. His
style is highly poetic, solemn, vehement, elegant, and sub-
lime. In speaking of the judgments which were to fall
upon the Jews, he represents a vast army of locusts led
on by Deity himself, rushing with vengeance upon those
who had incurred the Divine displeasure. In describing
the final contest between idolatry and Christianity, he
speaks of great multitudes assembled in one place. Dark-
ness covers them. Mount Olivet is suddenly in a blaze,
from whose brilliant light the countenances of the wicked
are visible. A voice from Zion shakes the heavens and
the* earth, and Jehovah appears in behalf of his people.

The style of Joel is sombre, and often terrific and sub-
lime. Take for example chapter ii. 1-11, as translated by
Noyes :

1 Blow ye the trumpet in Zion;

Sound an alarm in my holy mountain !
Let all the inhabitants of the land tremble !
For the day of Jehovah cometh ; for it is near !

446

HEBEEW POETRY.

2 A day of darkness, and gloominess;
A day of clouds, and thick darkness.

As the morning light spreadeth itself upon the moun-
tains,

There cometh a numerous people and a strong ;
Like them there have been none of old time,
And after them there shall not be,
Even to the years of many generations.

3 A fire devoureth before them,
And behind them a flame burneth ;

The land is as the garden of Eden before them,
And behind them a desolate wilderness !
Yea, nothing escapeth them.

4 Their appearance is like the appearance of horses,
And like horsemen do they run ;

5 Like rattling chariots they leap on the tops of the

mountains;

Like the crackling flame of fire, which devoureth
stubble ;

Like a mighty host set in battle array.

6 Before them the people tremble.
And all faces gather blackness.

7 They run like mighty men ;
They climb the wall like warriors;
They march every one on his way ;
They change not their paths.

8 One doth not trust another ;
They march every one in his path ;

And if they rush against the sword, they are not
wounded.

9 They run through the city ;
They run upon the wall ;

They climb up upon the houses ;

They enter in at the windows, like a thief.

JOEL III. 9-21.

447

10 The earth quaketli before tliem,
And the heavens tremble :

The sun and the moon are darkened,
And the stars withdraw their shining.

11 Jehovah uttereth his voice before his army ;
His camp is very great ;

He is strong that executeth his word ;

The day of Jehovah is great, and very terrible ;

Who shall be able to bear it?

Compare this with chapter iii. 9-21.

9 Proclaim ye this among the nations,
" Prepare war ! Stir up the mighty ones !
Let all the warriors draw near; let them come up ! "

10 Beat your ploughshares into swords,
And your pruning-hooks into spears ;
Let the weak say, I am strong!

11 Assemble yourselves and come, all ye nations round

about ;

Gather yourselves together !

Yet there will Jehovah bring low your mighty ones.

12 Let the nations rise and come up to the valley of

Jehoshaphat !
For there will I sit to Judge all the nations around.

13 Put ye in the sickle, for the harvest is ripe ;
Come and tread, for the wine-press is full ;
The vats overflow ;

For their wickedness is great !

14 The multitudes, the multitudes, in the valley of judg-

ment !

For the day of Jehovah is near in the valley of Je-
hoshaphat;

15 The sun and the moon are darkened.
And the stars withdraw their shining.

448

MUSIC OF JOEL.

16 Jehovali also roareth from Zion,
And uttereth his voice from Jerusalem ;
The heavens and the earth shake.
Jehovah is a refuge to his people ;

A strong-hold to the sons of Israel.

17 Then shall ye know that I am Jehovah jour God,
Dwelling in Zion, mj hoi v mountain ;

And Jerusalem shall be holy ;

Strangers shall pass through her no more.

18 Iq that day shall the mountains drop down new
wine,

And the hills shall flow with milk,
And all the streams of Judah shall flow with water.
A fountain shall come forth from the house of Jehovah,
That shall water the valley of Shittim.

19 Egypt shall be a waste,

And Edom a desolate wilderness,

For their violence against the sons of Judah ;

For they shed innocent blood in their land.

20 But Judah shall be inhabited forever.

And Jerusalem from generation to generation.
* 21 And I will avenge their blood, which I have not
avenged,

And Jehovah will dwell upon Zion.

There are only two allusions to music in the hook, and they
are found in chapter ii. 1 and 15.

Blow the trumpet. — The same expression is used in both cases.
This is the shophar or crool:ed war trumpet (vid. Rem. on Ex.
xix. 16 ; Lev. xxv. 9).

AMOS — INTKODUCTORY REMARKS.

449

THE BOOK OF AMOS.

[NTRODUCTORY REMARKS.

This book is supposed to have been written B. C. 810-
785. Amos informs us that he was not a prophet, neither
the son of a prophet, indicating that he was not educated
in the schools of the prophets. He was called to the pro-
phetic office from the occupation of a herdsman and gath-
erer of sycamore fruit. He was contemporary with Hosea,
and predicted the overthrow of the nations surrounding "
Judiea. He condemns the wickedness of the fovored
people of God, and encourages them with prospective de-
liverance from their foes if they should repent of their
sins.

Jerome, Calmet, and others have regarded the book of
Amos as rude, and sadly wanting in all the characteristics
of an elevated and finished style ; but Bishop Lowth de-
clares that, " in sublimity and magnificence, he is almost
equal to the greatest, so in splendor of diction and clear-
ness of expression, he is scarcely inferior to any."

It is certain that his conceptions were exceedingly vivid.
In prophetic vision he was often in the midst of terrific
scenes, and his mind was consequently in the highest state
of excitement. He was full of the fury of the Lord, and
uttered with vehemence, abruptness, and severity, the
fiercest and most awful denunciations against the enemies
of righteousness. He deals with disobedient Israel in a
summary, startling, and indignant manner. His language
is not so smooth, beautiful, and elegant as that of some
other prophets, but it is so energetic, and his thoughts so

450

POETRY OF AMOS.

original, elevated, and sublime, that the reader is awed,
excited, and charmed. His imagery is pastoral, and some
of it exceedingly fine. As a sample of his terrific denun-
ciations, we present the first part of chapter ix., v. 1-8,
Noyes' translation.

1 I saw the Lord standing upon the altar ; and he said.
Smite the capitals, so that the pillars shall tremble ;
Break them in pieces upon the heads of all of them !
And their residue will I slay with the sword.

He that fleeth of them shall not flee from danger,
And he that escapeth of them shall not escape into
safety.

2 Though they dig down to the lower world.
Thence shall my hand take them ;
Though they climb up to heaven.
Thence will I bring them down.

3 Though they hide themselves on the top of Carmel,

I will search for them, and thence will I take them
away ;

Though they hide themselves from mine eyes in the

bottom of the sea,
There will I command the serpent, and he shall bite

them.

4 Though they go into captivity before their enemies,
There will I command the sword, and it shall slay

them ;

I will set mine eyes upon them for evil, and not for
good.

5 For the Lord Jehovah of hosts

Is he, that toucheth the earth, and it shall melt,

And all that dwell therein shall mourn ;

All of it shall rise in waves like a river.

And shall be overflowed, as by the river of Egypt ;

AMOS IX. 11-15.

451

6 He that baildetli his upper rooms in the heavens,
And foundeth his arch upon the earth ;

That calleth up the waters of the sea,

And poureth them out upon the face of the earth ;

Jehovah is his name.

7 Are ye not as the Ethiopians to me, 0 children of

Israel, saith Jehovah ?
Did I not bring Israel from the land of Egj^pt,
And the Philistines from Caphtor, and the Syrians

from Kir?

8 Behold the eyes of the Lord Jehovah are upon the

sinful kingdom,
And I will destroy it from the face of the earth ;
Yet will I not utterly destroy the house of Jacob, saith

Jehovah.

As a specimen of his less sublime but beautiful style,
read, in the same chapter vs. 11-15, as translated by Noyes.

11 In that day I will raise up the fallen tabernacle of
David,

And I will close up the breaches thereof.

And raise up its ruins,

And I will build it, as in the days of old.

12 That they, who are called by my name, may possess

the remnant of Edom,
And all the nations.
Thus saith Jehovah, who doeth this.

13 Behold the days come, saith Jehovah,

That the plougher shall draw near to the reaper.
And the treader of grapes to the sower of the seed ;
And the mountains shall drop new wine.
And all the hills shall melt.

14 I will bring back the captives of my people Israel,

462

MUSIC OF AMOS.

And they shall build the desolate cities, and shall in-
habit them ;

And they shall plant vineyards, and drink the wine of
them?

They shall also make gardens, and eat their fruit.
15 I will plant them in their land,

And they shall no more be rooted up from the land,

which I have given them,
Saith Jehovah, thy God.

There are a few references to music in this hook. The first
occurs in chapter ii. 2.

Shouting — sound of the trumpet. — This refers to the destruc-
tion which was to fall upon wicked Moab. Fire and sword
were to lay her desolate. The war trumpet was to be sounded
for an attack upon her bulwarks. This is the shophar or
crooked trumpet (vid. Rem. on Ex. xix. 16 ; Lev. xxv. 9).
The word translated shouting is teruoh in the original, signify-
ing to sound an alarm (vid. Rem. on Num. x. 5 ; xxix. 1). In
chapter iii. 6, trumpet (shophar) occurs again in a similar sense,
as in Amos ii. 2. In chapter v. 23, viols and songs occur.
For songs the usual term shir is used. Viol is the nehhel or
psaltery (vid. Rem. on I Sam. x. 5 ; II Sam. vi. 5).

Chanty viol, instruments of music (Amos vi. 5). — The He-
brew chant is a derivative of the verb ^D^^ [par at), to prate^

- T

to chatter. It may be applied to music, and would signify the
utterance of sound in a garrulous manner. Nehhel (psaltery)
is here translated viol.

Instruments of 7nusic, literally, instruments of song. — The
Hebrew is ^^'TJli-^bS (kHey-shir) (vid. Rem. on I Chron.

XV. 16 ; I Sam. xviii. 6). In chapter viii. 3, 10, the word songs
occurs. The plural of shir is used in both cases.

HABAKKUK I. 1-17.

453

THE BOOK OF HABAKKUK.

INTRODUCTORY REMARKS.

This book was written B. C. 612-598. Habakkuk is
supposed to have been contemporary with Jeremiah. He
dwells upon the sins of the Jewish people, graphically
describes the destruction of Judah and Jerusalem by the
Chaldgeans in consequence of their wickedness, and finally
comforts the Jews under their trying afflictions. The first
part of this prophecy is in the form of a dialogue between
the prophet and Deity. The remainder is an ode of great
beauty and sublimity.

The inspired penman's description of the ferocity of
the Chaldseans is exceedingly vivid and startling. The
last part of the prophecy is regarded by Bishop Lowth as
one of the most perfect specimens of the Hebrew ode ex-
tant. The imagery is grand almost beyond description.
The writer describes the majestic movements of Jehovah
through the Jewish economy. His march commences in
the wilderness of Paran — he is clothed with light — the
pestilence goes before him — the earth moves — the nations
are scattered — the mountains bow — his arrows fly — his
spear glitters — the sun and moon stand still ! The de-
scription is in the highest degree sublime. Eead the song
as translated by ISToyes.

Habakkuk i. 1-1 Y.

1 The prophecy which was revealed to the prophet

Habakkuk.

2 How long, O Jehovah, do I cry, and thou dost not hear I
How long do I complain to thee of violence, and thou

dost not save !

454

MUSIC OF HABAKKUK.

3 Why dost thou suffer me to see iniquity, and behold

wickedness ?
For spoiling and violence are before me ;
There is contention, and strife exalteth itself !

4 Therefore the law faileth,

And judgment is not pronounced according to truth ;
For the wicked encompasseth the righteous,
Therefore wrong judgment is pronounced.
6 Behold ye among the nations, and look !
Yea, wonder and be astonished !
For I do a work in your days,
Which ye will not believe, though it be told you.

6 For behold, I raise up the Chaldosans,
A fierce and swift people.

Which go over the breadth of the earth, [own.
To take possession of dwelling-places that are not their

7 They are terrible and dreadful ;

Their decisions and decrees go forth according to their
pleasure.

8 Their horses are swifter than leopards.
And fiercer than evening wolves.
Their horsemen leap proudly ;
Their horsemen come from far ;

They fly like an eagle, hastening to devour.

9 All of them come for violence ;

The multitude of their faces is directed forwards.
And they gather captives as the sand.

10 They also scoff at kings.

And princes are to them a laughing-stock ;
They deride every strong-hold.
For they heap up earth, and take it.

11 Then their spirit is renewed, and they transgress, and

become guilty ;
This their strength is made their god.

nABAKKTTK 1. 1-17.

455

12 Art thou not from everlasting, 0 Jehovah, my God,

my Holy One ?
"We shall not die !

Thou, 0 Jehovah, hast appointed them for judgment ;
Thou, 0 Rock, hast ordained them for chastisement:

13 Thou that art of purer eyes than to behold evil,
And canst not look on wickedness !

Why then dost thou look on transgressors.
And art silent, when the wicked swalloweth up the
man that is more righteous than he ?

14 And why makest thou men as the fishes of the sea,
As the reptiles that have no ruler over them ?

15 They take up all of them with the hook,
They catch them in their net.

And gather them in their drag ;
Therefore they rejoice and exult.

16 Therefore they sacrifice to their net,
And burn incense to their drag ;
Because by them their portion is fat,
And their food plenteous.

17 Shall they therefore empty the net,

And slay the nations continually without mercy ?

Ewald calls this song Dithyrambic verse. The recital of it
was doubtless intended to be accompanied with instrumental
music. There are allusions to music in chapter iii. 1, 3, 9, 13,
19. In the first verse or title the term shigeonoth occurs. It
means an ode or song. A simihir term is used in the title of
the seventh psalm, where it probably means a loanderiiig^ plain-
tive song (vid. Rem. on Ps. vii. Title).

In verses 3, 9, and 13, selah occurs, probably in the sense of
silence. In verse 19 we are informed that this song is dedi-
cated to the chief singer (vid. Rem. on Ps. iv. Title). The
term for stringed imtruments is neglaoth^ the usual term (vid.
Bern, on Job xxx. 9 ; Ps. iv. Title).

456 MUSIC OF ZEPHANIAH.

THE BOOK OF ZEPHANIAH.

rNTRODUCTORY REMARKS.

This book was written B. C. 640-609. Zephaniah is
supposed to have been contemporary with Jeremiah, and
his prophecies resemble those of that seer. Some critics
maintain that this composition is an abridgment of that
of Jeremiah ; but it is evident from the contents that the
prophecies of Zephaniah preceded those of Jeremiah (cf.
Jer. ii. 5, 20, 22, with Zeph. i. 4, 5, 9).

The inhabitants of Judah had become contaminated
with idolatry and other heinous sins, and Zephaniah was
commissioned to charge upon them their revolting wick-
edness, to announce the destruction awaiting them, and
urge them to repentance. He then foretells the final dis-
comfiture of their enemies, and promises that the Jews
shall be blessed of Heaven.

The style of this prophet is not characterized by the
abruptness, impetuosity, and sublimity of some of his con-
temporaries. He seems to possess qualities which belong
to all, though not strikingly developed. He is calm,
grave, solemn, and sometimes vehement and furious.
Zephaniah is poetical, but his writings do not exhibit the
highest beauties of refined poetry.

There are three or fjur allusions to music in the hook.
Chapter i. 16, trumpet. This is the shoph<n\ or war trumpet.
The writer is speaking of the judgments which were to fall
upon Judah and Jerusalem. The trumpet indicates war. Their
enemies shall destroy them. Chapter ii. 14, sing. Here is a
terrific idea. The prophet is speaking of the destruction of

ZEPH.A>s'IAH III. U.

457

Nineveh. After describing its utter desolation, he declares
that the cormorant and bittern shall sui^ in the windows. The
original is a derivative of shir, usually translated to sing.
Chapter iii. 14, sing — shout. A derivative of ranan is used for
sing (vid. Rem. on Lev. ix. 24). This is the language of tri-
umph. Israel was eventually to exult over her enemies, and
shout for victory. Verse 17, singing. The original of this is
also a derivative of ranan, indicating rejoicing under the bless-
ings of God.

THE BOOK OF ZECHARIAH.

INTRODUCTORY REMARKS.

The prophecies contained in this book were made B. C.
520-518. Zechariah was undoubtedly one of the captives
who returned to Jerusalem on account of the decree of
Cyrus. He prophesied concerning the restoration of the
temple, the incarnation of the Messiah, the war of the
Romans aorainst the Jews, and the final coming: of Christ.
Some parts of the book are obscure, from the f\\ct, doubt-
less, that its predictions are not yet all fulfilled. Zecha-
riah is considered as next to Isaiah in the evangelical char-
acter of his prophecies. The book is quite prosaic, but
the language is pure, and the style natural and adapted to
the subjects discussed, being in the historical parts very-
simple, while in the prophetical portions it is elevated and
often in the highest degree sublime (vid. Dr. Blayney's
translation of Zech. Prel. Dis. pp. 15, 16). The writer, in
some of his flights of inspiration, is exceedingly vivid,
and inspires the reader with the most exalted emotions.

There are a few allusions to music in the book. Chap. ii. 10,
sing. The original is a derivative of ranan (vid. Rem. on Lev.
20

458

MUSIC OF ZECHARIAH.

ix, 24). Verse 10 in our translation is verse 14 in Hebrew.
The prophet here calls upon Zion to sing and rejoice in view of
the restoration of the temple. Chapter iv. 7, shoutings. This
refers to the great joy which would occur at the completion of
the temple. The original is not a musical term. It means
noise, tumult, vociferations. Chap. ix. 9, 14. Shout — blow the
trumpet. — The original of shout is a derivative of rua

meaning to make a noise, or tumult. The prophet foresees the
Saviour approaching Jerusalem, amid the acclamations of the
people, as described in the Gospels. In v. 14, Jehovah is repre-
sented as defending his people. He will blow the trumpet (crook-
ed, or war trumpet), and call out warriors to defend them from
their foes. This is the last allusion to music in the Old Testa-
ment.

THE NEW TESTAMENT,

INTRODUCTORY REMARKS.

In connection with our general remarks on Hebrew po-
etry, we have already shown that the poetic effusions of
the New Testament have the same grand characteristics as
those of the Old, the principal of which is different forms
of parallelism (vid. p. 240, su-pra). It should be remarked
that much of the poetry of the New Testament, with the
exception of quotations from the Old, is of a prosaic char-
acter. Some of it, like the sermon on the mount, is
didactic, and not highly poetic, if it can be considered as
at all partaking of that character. The incarnation of
Christ, his crucifixion, his resurrection from the dead, the
final judgment, a heaven of blessedness, the pit of woe,
and other exciting themes, elevate the imagination to the
highest point, and are eminently poetical; but the sub-
jects are not always described in that vivid and senten-
tious style which is so prevalent in the Old Testament.
The sermon on the mount has evidently characteristics of
poetr\^, though not in the highest degree. The same is
true of the parables, some of which exhibit great beauty,
elegance, and sublimity. The writings of Paul are some-
what poetical ; but it is the closing part of the New Tes-
tament— the Apocalypse — where we perceive the most
splendid flights of imagination.

(459)

460

HISTORICAL BOOKS.

THE HISTORICAL BOOKS.

INTRODUCTORY' REMARKS.

These are the Gospels — Matthew, Mark, Luke, and John,
— and the Acts of the Apostles. The design of the former
is to establish the truth that Jesus is the Messiah, and thus
confirm the Christian's faith in the Son of God, and to re-
fute the calumnies of opposers to piety. Matthew, Mark,
and Luke describe the works and doctrines of Christ in
Galilee^ while John gives an account of his actions and
tenets at Jerusalem and in Judoea.

The music of this part of the sacred volume is of a
later age than that which we have been considering.
When the New Testament was prepared, music, and the
arts and sciences generallj", had reached a high state of
improvement.

THE GOSPEL BY MATTHEW.

INTRODUCTORY REMARKS.

This book was probably written about 37 or 88 years
after Christ, though some eminent scholars place it at a
much later date. It is maintained by some critics that it
was originally written in Hebrew or Syro-Cbaldaic, and
by others that it was composed in Greek. The former
opinion is sustained by the highest authority, and is prob-
ably the correct one. From numerous references to this
Gospel by the Apostolic Fathers and their successors, its
authenticity is fully established. Its style is simple, per-
spicuous, impressive, and energetic.

MATTHEW VI. 2; IX. 23.

461

There are a few allusions to music in the book.

Matthew vi. 2.

Tlierefore when thou doest tJiiiie alms, do not
sound a trumpet before thee as the hypocrites do,
in the synagogues, and in the streets, that tliey may
have glory of men. Verily, I say unto you, they
have their reward.

Sound a trumpet. — ^The original of this is aaX^LaTjg {salpises),
from (TaATTi^cj [salpidzo), to trumpet, to sound the trumpet. Sal-
pinx is employed in the Septuagint, for the Hebrew shophar, or
crooked trumpet, for qeren horn, and for the hdtsota^ra, or
straight trumpet, proving that it is the general term in the Greek
language for trumpet. The idea in this passage is, that the
Pharisees made themselves as conspicuous as possible in order
to be seen of men^ while the Saviour directed his disciples to
take the opposite course. There is no evidence, as some sup-
pose, that the Pharisees literally blew a trumpet before them.

Matthew ix. 23.

And when Jesus came into the ruler's house, and
saw the minstrels and the peo2:)le making a noise.

Mi}istrels. — The original of this is av/.rjrag {auletas), flute-play-
ers. There is here an allusion to the custom of wailing and howl-
ing for the dead. The custom was common among the Greeks
and Pomans. They rent their hair, hideously yelled, and
played upon wind instruments of music. The Hebrew term for
flute, ishalil (vid. Pem. on I Sam. x. 5 ; I Kings i. 40 ; II
Kings iii. 15). The custom of mourning for the dead is very
ancient. According to Townsend's chronological arran2:ement,
the first instance on record is found in the patriarch Job (Job i.
20), when he heard that his children were no more. He arose,
rent his mantle, shaved his head, fell upon the ground, and wor-

462

MUSIC OF MATTHEW.

shipped Jehovab. This was about 2130 years B. C, according
to the usual computation. In verse 21 of the same chapter, also
in Job ii. 8, and several other places in that book, there are allu-
sions to the same custom. Abraham, B. C. 1871, came to
mourn and weep for Sarah, as recorded in Gen xxiii. 2. There
was mourning in respect to the anticipated death of Isaac, and
on various other occasions (vid. Gen. xxvii. 41 ; cf. Num. xi.
10; I Sam. ii. 5; II Sam. iii. 31 ; xiii. 36; Ruth i. 9; Gen.
xxxvii. 29, 30, 34, 35 ; xliv. 13, etc.)

Matthew xi. 17.

We have piped unto you, and ye have not
danced ; we have mourned unto you, and ye have
not lamented.

Piped — danced. — The original of piped is a derivative of avA^w
(auleo), to pipe, to flute (vid. Rem. on Matt. ix. 28). There is
an allusion here by our Saviour to the sports of children.
The Pharisees are compared to children who refuse to engage in
any play which they do not propose themselves.

Danced. — The original is a derivative of opxeo) [orcheo), to
jump, to hop by rule, to dance. The same word is translated
danced, in Matt. xiv. 6. Some commentators suppose that
there is reference here to a lascivious dance ; but it is hardly
probable that Herod would be pleased with such a manner of
dancing from his own daughter-in-law.

Matthew xxiv. 31.

And he shall send his ans^els with a srreat sound
of a trumpet, and they shall gather together his
elect from the four winds, from one end of heaven
to the other.

Trumpet. — A derivative of salpinx is here used. There is
reference in the chapter to the final judgment, and to the de-

MARK — INTRODUCTORY REMARKS.

463

struction of Jerusalem. The blowing of the trumpet probably
represents the preaching of the Gospel and gathering the elect
from all parts of the earth.

THE GOSPEL BY MARK,

INTRODUCTORY REMARKS.

Mark was the nephew of Barnabas, and son of Mary,
who resided at Jerusalem. His Hebrew name was Jobn,
and be is supposed to have adopted tbe surname Mark
wben be visited foreign countries for tbe purpose of preach-
ing tbe gospel. That be was tbe author of this compo-
sition is evident from tbe unanimous testimony of tbe an-
cient Fathers, and it is generally believed that it was writ-
ten at Eome, probably between A., D. 60 and 63, though
commentators do not agree in respect to it. Tbe writer
gives an account of tbe life of Christ, particularly from the
time of bis baptism till tbe occurrence of those tragical
scenes which resulted in bis death upon tbe cross. Some
scholars have maintained that Mark abridged bis Gospel
from that of Matthew ; but Micbaclis and others have ir-
refragably proved that this was not the case.

His style is simple, graphic, and perspicuous. He dis-
courses upon a great variety of subjects, describing some
of tbe most stupendous events which ever transpired upon
earth, yet the history is all condensed into a very small
compass.

There seems to be no direct allusion to music in the book.
In Chap. vi. 22. the term danced occurs. A derivative of
orcheo is used in the original (vid. Rem. on Matt. ix. 23 ; xi. 17).
Reference is made to the dancing of Herodias' daughter before
Herod, described in Matt. xiv. 3-6.

464

MUSIC OF THE ANGELS.

THE GOSPEL BY LUKE.

INTRODUCTORY REMARKS.

Luke was probably descended from Gentile parents, em-
braced Judaism while young, and was subsequently con-
verted to Christianity. The unanimous testimony of an-
cient writers attests the genuineness and authenticity of
this Gospel. Biblical scholars are generally agreed that
it was composed A. D. 63 or 64, for the benefit of Gentile
converts. The object of the writer was to furnish a gen-
uine account of the life, works, and death of Jesus Christ,
in opposition to many narratives of no authority, which
were in circulation. According to the testimony of Paul,
Luke was a physician and literary man. His style is pure,
energetic, and flowing. The thought, in his writings, is
original, like that of Paul; and the language simple, ani-
mated, and often pathetic as well as beautiful, much re-
sembling that of some of the best classical writers of the
age in which he lived.

The references to music are few.

Luke ii. 13, 14.
13 And suddenly tbere was witb the angel a mul-
titude of tbe heavenly host praising God, and saying,

14 Glory to God in the highest.

And on earth peace, good will toward men.
Tliis is a remarkable instance in which multitudes of angels
descended from heaven and made the air resound with their ex-
alted praises — with songs of unearthly sweetness in view of the
incarnation of the Messiah. Their exclamations of praise to
God were uttered in elevated strains of oriental poetry.

LUKE I. 46-55 ; 68-79.

465

In the first chapter there are two instances of poetic effusions.
One is from the lips of the Virgin Mary, as follows :

Luke i. 46-55.

46 And Mary said,

My soul doth magnify the Lord,

47 And my spirit hath rejoiced in God my Saviour.

48 For he hath regarded the low estate of his hand-maiden :
For behold, from henceforth all generations shall

call me blessed.

49 For he that is mighty hath done to me great things ;
And holy is his name.

50 And his mercy is on them that fear him,
From generation to generation.

61 He hath show^ed strength with his arm ;

He hath scattered the proud in the imagination of their
hearts.

52 He hath put down the mighty from their seats,
And exalted them of low degree.

53 He hath filled the hungry with good things.
And the rich he hath sSnt empty away.

54 He hath holpen his servant Israel, in remembrance of

his mercy,

55 (As he spake to our fathers), to Abraham, and to his

seed, for ever.

The other instance is from Zacharias, the father of John the
Baptist, as follows :

Luke i. 68-79.

68 Blessed he the Lord Grod of Israel :

For he hath visited and redeemed his people,

466

GRECIAN POETRY.

69 And hath raised up a horn of salvation for us,

In the house of his servant David :
YO As he spake by the mouth of his holy prophets,

Which have been since the world began :

71 That we should be saved from our enemies,
And from the hand of all that hate us :

72 To perform the mercy promised to our fathers.
And to remember his holy covenant ;

73 (The oath which he sware to our father Abraham),

74 That he would grant unto us,

That we, being delivered out of the hand of our

enemies.
Might serve him without fear,

75 In holiness and righteousness before him,
All the days of our life.

76 And thou, child, shalt be called the Prophet of the

Highest,

For thou shalt go before the face of the Lord to pre-
pare his ways ;

77 To give knowledge of salvation unto his people.
By the remission of their sins,

78 Through the tender merc}^ of our God ;

Whereby the day-spring from on high hath visited us,

79 To give light to them that sit in darkness and in the

shadow of death ;
To guide our feet into the way of peace.

Luke vii. 32.

They are like unto cbildren sitting in the mar-
ket-place, and calling one to another, and saying,
We have piped unto you, and ye have not danced ;
we have mourned to you, and ye have not wept.

LUKE XV. 25.

467

Pijoed — danced. — This is the same expression as that which
is found in Matt. xi. 17 (vid. Rem. on Matt. xi. 17, supra).

Luke xy. 25.

And they began to be merry. Xow his elder
son was in the field : and as he came and drew
nigh to the house, he heard music and dancing.

Music — dancing. — This refers to the remarkable parable of
the prodigal son. After returning from his course of degra-
dation and wickedness, to his father's house, he was received
•with affection and joj. When the older brother returned from
the field, he heard music and dancing. The original for music
is avfid)G)VLag (^sumphonias) the plural of avucpiovia {sumphonia)
sgmpkony, a concert of instruments of music. There is here a
reference to the ancient custom of holding musical concerts at
feasts (vid. Hom. Od. xvii. 358). The original word for danc-
ing is a derivative of choreo (vid. Rem. on Matt. xi. 17 ; xiv.
6 ; Mark vi. 22, supra).

468

MUSIC OF ACTS.

ACTS OF THE APOSTLES.

INTRODUCTORY REMARKS.

This book connects the Gospels with the Epistles. It
was con:;posed bj Luke, probably in the year 63, and is
the first ecclesiastical history ever written. It is, however,
a limited one, as the writer omitted the history of the Jews
after the conversion of Paul, also the progress of the Chris-
tian religion in the East, and in Egypt. He says nothing
about the church established at Home, and presents but a
small portion of Paul's history. His object seems to have
been to confirm the truths of Christianity by a description
of the manner in which the influences of the Holy Spirit
were communicated on the day of Pentecost, and by a de-
lineation of the miracles subsequently wrought by the
Apostles. Another object of Luke was, to show that the
Gentiles had a claim to admission into the church of
Christ. In doing this he gives an account of the origin
and progress of the church at Jerusalem from the time of
Christ's ascension till the first Jewish persecution. He
speaks of the dispersion of the disciples, the progress of
Christianity among the Samaritans, the conversion of Paul,
and finally, of the Gentiles who resided at a distance from
Jerusalem. The style is similar to Luke's other writings, — •
pure, energetic, and elevated.

There seems to be but one reference to music in the book,
and that is in chap. xvi. 25. Two prisoners, Paul and Silas, at
midnight, in their cells, smig praises to God. The foundations
of the prison were shaken, the doors flew open, and the fetters
which bound the prisoners were broken in sunder.

EOMAXS X. 9.

469

THE EPISTLE OF PAUL TO THE ROMAXS.

IXTRODUCTORY REMARKS.

This Epistle was probably composed near the end of the
year 57 or beginning of 58 A. D. Paul was at Corinth
about that time, and the letter was obviously written at
that city (cf. Eom. xv. 25-27 ; xvi. 23 ; II Tim. iv. 20). Its
authenticity is attested by the Syriac and Latin versions,
and by the ancient writers generally.

The occdsion of this Epistle was the following. Paul
had intended to visit the disciples at Rome in order to
comfort them under their heavy afflictions and persecu-
tions ; but being prevented from going to that city on ac-
count of his journey to Spain, he addressed to them this
masterly letter. That church was composed of Jewish and
Gentile converts. The latter claimed equal privileges with
the former, which fact the Jews vehemently opposed. To
settle these differences was the object of the Apostle. He
exhibits great power of thought, and his arguments are
clear, strong, and irrefutable. The style is graphic, bold,
elevated, and often sublime.

There is hut one reference to music in the letter, and that is
found in chap. xv. 9, where the word sing occurs. It is con-
tained in a quotation by the Apostle from Psalm xviii. 49 (vid.
Rem. on Psalm xviii. 49).

470

MUSIC OF THE GKEEKS.

THE FIRST EPISTLE OF PAUL TO THE CORISTHIANS.

INTEODUCTORY EEMAEKS.

It appears that in the church at Corinth, as well as in
that at Eome, there were important differences between
the Jewish and Gentile converts. Some of them had be-
come addicted to alarming vices. Paul, having heard of
these disorders, and having been requested, in a letter from
the Corinthian brethren themselves, to advise them in ref-
erence to marriage and other subjects, he penned this Epis-
tle in reply. It was probably written at Ephesus about
A. D. 56. Its authenticity is established from the fact that
frequent citations are made from it by the Apostolic Fathers,
and subsequent writers. The style of this letter is similar
to that of Paul's other writings. The Apostle's character-
istic, intellectual, and ratiocinative power is everywhere
apparent.

There are a few allusions to music.

I Coei:n^thiaxs xiiL 1.

Thougli I speak with the tongues of men and
of angels, and have not charity, I am become as
sounding brass, or a tinkling cymbal.

Sounding brass and tinkling cymbal. — The original of the
former is %a/l/cbf '^ix^'^ {chalkos echon). Chalkos means b7'ass^
and echon, sounding. The two united signify a brazen wind in-
strument— a modern trumpet. Some of the false teachers at
Corinth were very eloquent, and the Apostle would intimate
that, though they had the tongues of men or angels and had not
love to God and man, their eloquence would be merely the

I CORINTHIANS XIV. 7, 8.

471

sound of a wind instrument. The second expression — iinklinf/
cymbal, is still more expressive {KVfifiaXov aXaXa^ov kumbalon
alalazon) the vacant and clamorous sound of a cymbal. Instead
of tinkling it should be, as Dr. Bloomfield justly observes,
dangerous cymbal.

I CoEmTHiANS xiy. 7, 8.

7 And even things without life giving sound,
whether pipe or harp, except they give a distinction
in the sounds, how shall it be known what is piped
or harped ? 8 For if the trumpet give an uncer-
tain sound, who shall p)repare himself to the
battle ?

Sound — pipe — harp — sounds — piped — harped. — Here, again,
Paul illustrates the manner in which false teachers exhorted the
Corinthians, by reference to musical instruments, which w^ere
destitutd of order or distinction of sounds. They merely ex-
hort their hearers, and excite their feelings without any worthy
object before them — they are vague and uncertain in their in.
structions, like numerous instruments of music playing without
any tune or harmony, or rather perhaps uttering sounds differ-
ent from those mtended. Thus in war, if an advance is required
and a retreat is sounded, no one knows what course to take.
For and harp, avXog [aulos) a flute, and fCL^apa (cithara)
a kind of harp, represented by the Hebrew kinnor, are em-
ployed (vid. Rem. on Gen. iv. 21).

In the latter part of the verse, the same terms are repeated,
with the difference that they are participles instead of nouns.

Trumpet (I Cor. xiv. 8). — oaXTTLV^ salpinx is the original term.

Sing (I Cor. xiv. 15). — The original is ijjaXd) psalo. Dr.
Bloomfield supposes that it does not necessarily mean a hymn
sung, but that it may signify a composition partly poetry and
partly prose.

472 LAST TRUMPET.

In verse 26, psalm [ipaXfiog psalmos) is found. The passage
refers to the fact that the value of the various talents bestowed
upon us is to be estimated not by their nature, but by the
manner and degree in which they are exercised.

I CORINTHIAT^-S XV. 52.

We shall not all sleep, but we shall all be
changed, in a moment, in the twinkling of an eye,
at the last trumjo, (for the trumpet shall sound,
and the dead shall be raised incorruptible, and we
shall be changed).

Trump (GaX-niyyL salpingi), trumpet shall sound (aaXmaei
salpisei). — The Apostle here refers to a most solemn and awful
event, the final judgment. Some suppose that trumpets will
literally be sounded on that dreadful day. Dr. Bloomfield sug-
gests that the earth, from some tremendous volcano, may utter a
sound which will be heard throughout her borders. History
informs us that the sound from the eruptions of Cotopaxi may
be heard twelve hundred miles. It is probable, from the dec-
larations of the scriptures, that there will be some external
indication of the approach of that momentous event.

EPHESIANS Y. 19.

473

THE EPISTLE OF PAUL TO THE EPHESIANS.

* INTRODUCTORY REMARKS.

Mention is made of this epistle by some of the Apos-
tolic Fathers, and by nearly all later ecclesiastical writers,
as the composition of Paul. The letter is undoubtedly
genuine, and was probably written during the Apostle's
first imprisonment at Eome (vid. Eph. iii. 1 ; iv. 1 ; vi.
20). About A. D. 61, Paul was imprisoned by the Jews
because he taught the people that an observance of the
Mosaic law was not essential to secure the favor of God.
He labored mostlj^ among the Gentiles, and, fearing that the
converts might be led away by false teachers during his
confinement, he wrote this Epistle in order to confirm his
brethren in the faith of the gospel. The stj'le of this
letter is exceedingly animated, as the writer had heard
that the converts remained firm in the doctrines of Christ.
He reasons powerfully upon the great plan of redemption,
and on justification by faith. He exhibits a glowing elo-
quence, and rises sometimes to the grand and sublime.

There is hut one allusion to music in the Epistle, and that is
in chapter v. 19. Psalms, hymns, sjnritual songs, singing^
making melody. — These expressions indicate that when Chris-
tians feel cheerful, instead of singing dissolute songs as do the
heathen, they should sing those which are spiritual. By the
term psalms we understand not particularly the Psalais of
David, but spiritual songs also of other composers. Dr.
Bloomfield thinks that psalms {^paXiiotg psalmois), and hymns
eiJ,voLg emnois), have here nearly the same signification, and

474 THESSALONIANS— INTEODUCTORY REMARKS.

that in distinction from spiritual songs (oydaig TTveviiarLKoiq
odais pneumatikais), they indicate the celebration of the praises
of God in strains suitable to be sung in chorus, while the G)6aL
(odai) were religious poems designed probably to be recited or
sung like our solo-anthems. The same expressions occur in
Col. iii. 16, with a similar signification. That is the oyly allu-
sion to music which we have noticed in Paul's letter to the
Colossians.

FIRST EPISTLE OF PAUL TO THE THESSALOXIANS.

INTRODUCTORY REMARKS

A Christian church composed of Jews and Gentiles
was first formed at Thessalonica, under the ministry of
Paul, about the middle of the first century after Christ.
The unbelieving Jews raised such a persecution against
the Apostle and his associates, that they were obliged to
flee to Beraea, thence to Athens, and thence to Corinth.
Thus Paul, being unable to visit the Thessalonians again
as he expected to do, sent Silas and Timothy, and on their
return, wrote this letter from Corinth, A. D. 52. The
subscription to the epistle informs us that it was written
from Athens ; but that is considered as spurious. This is
probably one of the earliest, if not the first letter which
Paul addressed to any church. Its genuineness is un-
doubted. Timothy had brought a very favorable report
from the Thessalonian church, and Paul's object in the
letter was to confirm the brethren in the faith of the gos-
pel, under the severe persecutions which they were endur-
ing.

There are two references to music in the letter. The first is
in chapter i. 8, sounded. This refers to the preaching of the
gospel, and represents it as proclaimed by a trumpet.

I THESSAL0XIAX3 lY. 16.

475

I Thessaloniaxs iv. 16.

For the Lord himself shall descend from heaven
with a shout, with the voice of the archangel, and
with the trump of God : and the dead in Christ
shall rise first.

Shout — voice of the archangel — trump of God. — This is a re-
markable passage, referring to the second advent of our Sav-
iour— that terrible day when the trumpet shall arouse the
dead from their slumbers and summon them to the final judg-
ment. The imagery seems to be taken from the triumphal
march of a sovereign to take possession of a kingdom by force
of arms. The soldiers rush on with a shout, and the exciting
sound of the trumpet is heard. What the sound of the last
trumpet will be, or whether there will be any, we cannot tell ;
but that there will be some striking and terrific external indica-
tions is very probable. It is suggested by one, as we have al-
ready intimated, that it may be the voice of a volcano, extend-
ing perhaps to the centre of the earth, shaking its deepest foun-
dations, and loud enough to be heard on every part of the globe
(vid. Rem. on I Cor. xv. 52. supra).

476 HEBREWS — INTRODUCTORY REMARKS.

THE EPISTLE OF PAUL TO THE HEBREWS.

INTRODUCTORY REMARKS.

There are different opinions in reference to the ques-
tion who were the persons addressed in this Epistle ; but
the most probable supposition is, that they were Hebrews
of Palestine residing at Csesarea. The letter was prob-
ably written in Greek, though some maintain that it was
first composed in Hebrew. Barnabas, Clement of Eome,
Silvanus. Apollos, and Paul, have, each, by different
critics, been considered as the author of this Epistle ; but
it is generally conceded that it was composed by Paul in
Italy, and probably at Eome, A. D. 62, or in the early
part of 63. The Jews had endeavored to draw away the
disciples of Christ from the profession which they had
made, by showing the latter that Judaism was superior to
Christianity. The Apostle unanswerably refutes that
idea, proving the divinity of Christ, and the great supe-
riority of the Gospel over the institutions of Moses. He
exhorts the Christians not to relapse into those vain cere-
monies which they formerly observed, and shows that
salvation by grace is the only ground of justification in
the sight of God. He finally describes, with great elo-
quence, the nature and triumphs of the Christian faith.
This letter is an admirable supplement to Paul's Epistles
to the Komans and Galatians.

There are two allusions to music in this Epistle.

HEBREWS II. 12 ; XII. 19.

477

Hebkews ii. 12.

Saying,

I will declare thy name unto my bretliren,

In the midst of the church will I sing praise unto thee.

Sing. — This is a quotation from Psalm xxii. 22. The orig-
inal is a derivative of v[j,ve(i) (humneo) to hymn^ to sing praises,

Hebrews xii. 19.

And the sound of a trumpet, and the voice of
words ; which voice they that heard, entreated
that the word should not be spoken to them any
more.

Sound of a trumpet. — Here is a reference to that majestic
scene, when the Almighty descended upon Mount Sinai amid
thunderings and lightnings, smoke, the shaking of the earth,
and the blast of the trumpet, to deliver the ten commandments
to Moses. It is described in Exodus xx. 18 (vid. Rem. on Ex.
XX. 18 ; xix. 13, supra). It is the crooked trumpet (sliophar) to
which reference is made. The Apostle contrasts the fearful
characteristics of the old dispensation with the mildness and
mercy of the new.

In the Epistle of James, v. 13, there is an allusion to
music. When Christians are persecuted or dejected, let them
sing psalms. This is a general direction to the brethren, when
they wish to be merry, not to use the sports of the heathen,
but to be cheerful in a dignified and religious manner.

478

APOCALYPSE — JOHX'S VISION.

THE APOCALYPSE.

' INTRODUCTOKY REMAEKS.

John was the disciple whom Jesus loved, and doubtless
he possessed something of that mildness and benignity of
character which shone so brightly in the life of oar Sav-
iour. A remarkable sweetness of temper, and loveliness,
pervade his writings. There is exhibited in his G-ospel a
tenderness and delicacy of expression which do not appear
in the compositions of the other evangelists. In his Epis-
tles, John is not imaginative, but grave, dignified, tender,
and pathetic. He sits like a parent among his children,
and imparts to them practical instruction, animated by the
sympathies and feelings of a spiritual father.

In the Apocalypse he appears in a very different char-
acter, and some commentators have supposed that the
" beloved disciple " could not have been the author of
that wonderful book ; but there is indubitable evidence
that he composed it, and we can account for the marked
difference in style from his other writings, only on the
supposition that his feelings were more elevated than
when composing his Gospel and Epistles.

In the Apocalypse the themes are grand, awful, and in
the highest degree sublime.

The author was on a desolate island, and the visions
of God " poured upon him in overwhelming splendor and
terror. He seems to be in the midst of scenes which hu-
man language cannot adequately describe. He witnesses
the opening of the seals — the bursting of the vials of
divine wrath — torrents of fire and blood — terrible con-
flicts— defeat — victory — exultation — agonies — hell yawn-

STYLE OF THE BOOK.

479

ing from beneafh — "heaven opening from above — cliariots
rushing to battle — bloM flowing — the groans of the dy-
ing— doors opened in heaven and rejoicings there — wail-
ings unutterable issuing from the bottomless pit — great
multitudes speaking — trumpets sounding — lions roaring —
dragons uttering their voices — earthquakes and thunder-
ings reverberating — the sweet accents of the new song
from the redeemed — the Eternal sitting upon his throne,
too resplendent for mortal sight — and ten thousand times
ten thousand angels chanting the symphonies of heaven !

Who could look upon scenes like these and not have
his soul stirred and elevated far above its natural state ?

The stjde of John, in the A230cal3^pse, admirably corre-
sponds with the grandeur of the events which he describes.
Many parts of the book are highly poetical, and some
suppose the whole to be of the same character. It is cer-
tainly very sj^mbolical. Eichhorn and others, on account
of its changing actors and scenes, and its chorus, call it a
drama. Some pronounce it a lyric poem. Stuart con-
siders it an epopee. The object of the author is evident-
ly to describe the incarnation of Jesus Christ, the estab-
lishment of Christianity, and its final triumph over all
enemies, and the eternal happiness of the righteous in
heaven. John, as we have intimated, was an exile on a
desolate shore. The Saviour appeared before him and
made known " the things that are^'' i. e., the state of the
Christian churches in Asia ; and the things that are to
he hereafter^'' i. e., the fate of the church from its com-
mencement to its consummation in glory.

The authenticity of the Apocalypse was generally, if not
universally, acknowledged during the first two centuries ;
but in the third, it began to be questioned by the oppo-
nents of a class of individuals who had absurd notions in
respect to the Millennium. Its authenticity has been,

480

POETRY OF THE APOCALYPSE.

however, well established, though Michaelis, Dr. Lell, and
some other late critics, have endeavored to invalidate its
authority ; but without success. The book is a fit con-
tinuation of the prophecies of Daniel.

From the testimony of Epiphanius and Grotius, some
suppose the book to have been composed during the reign
of the Emperor Claudius. Others have thought, from its
Syriac superscription (which is evidently spurious), that it
was prepared by John in the island of Patmos during the
reign of Nero. Others still maintain that it was composed
- before the time of Domitian and the Jewish war, but do
not decide whether it was under Claudius or Kero. The
more general opinion, however, and probably the correct,
one, is, that John was banished to Patmos near the close
of Domitian's reign, and that the revelations contained in
this book were made to him during his exile there. His-
tory informs us that the death of Domitian occurred in
September, A. D. 96. John, with other exiles, was then
released, and soon after, undoubtedly, the composition was
made public. Basnage, Mill, Le Clerc, Tomlme, Lardncr,
and other distinguished critics judiciously place its publi-
cation in the year 96 or 97.

Some parts of the Apocalypse are imperfectly under-
stood, from the fact that its prophecies are not all fulfilled,
but its general scope is obvious. Enough at least is evi-
dent, to convey to us important instruction. It is to us
what the Old Testament prophecies were to the Jews.

A fine instance of elevated poetry is found in xviii.
2-20.

2 And he cried mightily with a strong voice,
saying ;

Babylon the great is fallen ! is fallen !
And is become the habitation of devils,

REVELATIONS XVIII. 2-20. 481

And the hold of every foul spirit,

And a cage of every unclean and hateful bird :

3 For all nations have drunk of the wine of the wrath

of her fornication,
And the kings of the earth have committed fornica-
tion with her,

And the merchants of the earth are waxed rich through
the abundance of her delicacies.

4 And I heard another voice from heaven, saying,

Come out of her, my people.

That 3'e be not partakers of her sins.

And that ye receive not of her plagues.

5 For her sins have reached unto heaven,
And God hath remembered her iniquities.

6 Reward her even as she rewarded 3'ou,

And double "unto her double according to her
w^orks :

In the cup which she hath filled, fill to her double.

7 How much she hath glorified herself, and lived deli-

ciously,

So much torment and sorrow give her :
For she saith in her heart, I sit a queen,
And am no widow, and shall see no sorrow.

8 Therefore shall her plagues come in one day.
Death, and mourning, and famine ;

And she shall be utterly burned with fire :
For strong is the Lord God who judgeth her.

9 And the kings of the earth, who have committed for-

nication and lived deliciously with her,
Shall bewail her, and lament for her.
When they shall see the smoke of her burning.
Standing afar off for the fear of her torment,
10 Saying, Alas, alas! that great City Babylon! that
mighty Citj^ !
21

FALL OF BABYLON. »

For in one hour is thy judgment come!
And the merchants of the earth shall weep and
mourn over her ;
For no man buyeth their merchandise any more :
The merchandise of gold, and silver, and precious
stones,

And of pearls, and fine linen, and purple,
And silk, and scarlet, and all thyine wood,
And all manner vessels of ivory.
And all manner vessels of most precious wood.
And of brass, and iron, and marble.
And cinnamon, and odors, and ointments, and frank-
incense,

And wine, and oil, and fine flour, and wheat,
And beasts, and sheep, and horses.
And chariots, and slaves, and souls of men.
And the fruits that thy soul lusteth after are de-
parted from thee.
And all things which were dainty and goodly are
departed from thee.
And thou shalt find them no more at all.
The merchants of these things which were made
rich by her,

Shall stand afar off for the fear of her torment,
weeping and wailing.

And saying, Alas, alas ! that great City,
That was clothed in fine linen, and purple, and scarlet.
And decked with gold, and precious stones, and pearls !
For in one hour so great riches is come to naught.
And every ship-master, and all the company in ships,

And sailors, and as many as trade by sea.
Stood afar off, and cried when they saw the smoke
of her burning,

Saying, What City is like unto this great Cityl

REVELATIONS I. 10.

483

19 And they cast dust on tlieir heads, and cried,
Weeping and wailing, saying, Alas, alas! that great

City,

Wherein were made rich all that had ships in the sea,
by reason of her costliness !
For in one hour is she made desolate.

20 Rejoice over her, thou heaven.
And ye holy Apostles and Prophets ;
For God hath avenged you on her.

In this remarkable passage, the destruction of Babylon,
her inhabitants having filled up the measure of their in-
iquity, appears in all its horrors before the astonished view
of the seer. He is in the highest degree excited, and de-
scribes the sad event in the most vivid manner.

There are, in the book, several references to music.

Revelations i. 10.

I was in the Spirit on the Lord's day, and heard
behind me a great voice, as of a trumpet.

Voice — trumpet. — There is reference here to the wonderful
vision of John in Patmos. He heard behind him a great voice,
sounding like a trumpet. It is supposed to have proceeded from
our Saviour in a glorified state. Great must here mean lond.
The expression, as a trumpet [o)g oaXTTLyyoq hos salpingos) shows
that the voice was not a common one in respect to sounds but that
it was loud like a trumpet. It was a trumpet-like voice, speaking.
There was evidently a sound which John heard ; but what its
character was farther than that it was fowo?, we have no means
of ascertaining, unless the allusion to a trumpet might indicate
a peculiar sweetness and richness of sound, as well as bold and
terrific tones. It is probable that reference is really made to

484

MUSIC OF HEAVEN".

the trumpet^ from the foot that it was so frequently used on im-
portant occasions (vid. Ex. xx. IS ; Ps. xlvii. 5 ; Zech. ix. 14,
etc). In the 15th verse the voice which John heard is said to be
like the sound of many waters, beautifully referring to the roar
of the ocean.

Eevelattoxs iv. 1.

After tills I looked, and beliold, a door teas
opened in heaven : and tlie first voice wliicli I lieard
was as it were of a trumpet talking with me ; which
said, Come up hither, and I will show thee things
which must be hereafter.

An overwhelming scene is here described. A door was
opened in heaven, and the writer heard a celestial voice, as
it were a trumpet^ talking with him. This is the same manner
of expression as that which we have just considered in Rev.
i. 10. The trumpet is introduced, to give effect and im-
portance to the event. John was in the Spirit, saw a throne,
and Jehovah sitting upon it, clothed with glory and terror.
From it thunders rolled, lightnings flashed, and many celestial
voices were heard.

Eevelatioxs v. 8-12.

8 And when he had taken the book, the foiu*
beasts, and four and twenty eldei^ fell down be-
fore the Laml), having every one of them harps,
and golden vials full of odors, which are the pray-
ers of saints. 9 And thev sung: a new sone, savinsr,

Thou art worthy to take the book, and to open the
seals thereof:

EEVELATIOXS V. S -12.

485

For thou wast slain, and hast redeemed us to God by
thy blood

Out of every kindred, and tongue, and people, and
nation ;

10 And hast made us unto our God. kings and priests,
And we shall reign on the earth.

1 1 And I Leheld. and I heard the voice of many
Ancrels round about the throne, and the beasts, and
the elders : an<.l the number of them was ten thou-
sand times ten thousand, and thousands of thousands;
saying with a loud voice,

12 TTorthy is the La:r /o that was slain,

To receive power, and riches, and wisdom,

And strength, and honor, and glory, and blessing.

This passage contains a description of another wonderftd scene.
He who sat upon the throne had a sealed book, and no one was
found in heaven or on earth who could open and read it. Fi-
nally the Lamb approaches the throne and opens the book. Tbe
living creatures and the four and twenty elders fall down before
him, having harjys {Kida(^ac) citharas^ the Hebrew kinnor (vid.
Gen. iv. '2 1 ). Harps are mentioned as accompanying instruments
in the anthems of praise which were to follow. And they sung a
new sonp (v. 9). The Lamb had opened the seals of the book of
life. It was a new and an unspeakably important occasion — an
appropriate one to be celebrated by a new song. Then in the
eleventh verse, the voice of many angels is heard around about
the throne. Myriads — all heaven doubtless — -joined in the solemn
chorus. How entrancing and glorious ! The Eternal sits upon his
majestic tlirone — Jesus, the Lamb, approaches and takes the book
— the elders seize their celestial harps, and ten thousand times ten
thousand angels utter the praises of Immanuel. What can be
conceived of as more exalted and sublime I

486 VOICES FRO^I THE WORLD OF SPIRITS.

Eevelations vi. 10.

And they cried witli a loud voice, saying, ' How
long, O Lord, holy and true, dost thou not judge
and avenge our blood on them that dwell on the
earth ? '

Cried with a loud voice. — This sound, we are informed in the
preceding verse, proceeded from the souls of those who had
been slain for the sake of Jesus Christ and his cause. It is sup-
posed that this remarkable language refers to those who had
been persecuted on account of their attachment to the Saviour,
and had sealed their testimony with their own blood. There
may have been a special allusion to Christians in Palestine ; but
the writer doubtless intended also to include others, it may be,
in all ages, who have fallen by the enemies of the cross. They
cry for vengeance on those by whom they have been slain.
Trom the sixth to the eleventh chapter, the Prophet seems to be
in the midst of a tragical scene. The seals are opened by the
Lamh that ivas slain, and this is the signal for fire and sword,
famine and pestilence, death and hell, to pursue the enemies of
God and of the church. These instruments of torture are per-
sonified, and cry out against the wicked. Every thing in
heaven, earth, and hell seems to be combined to accomplish
their destruction. As an army, before battle, is often exhorted,
by a reference to the injuries received from the enemy about to
be attacked, so, before this array of vengeance is put into exe-
cution, the souls of those who had been slain in persecutions
are brought up to proclaim in the ears of Jehovah the dreadful
tortures which they had received from their foes. The same
expression occurs in chap. vii. 2, as in vi. 10. An angel is
said to cry with a loud voice to four other angels, directing them
not to hurt the earth till the servants of God should be sealed
in their foreheads, so that they would not be harmed in the de-
struction of the wicked which was about to take place. A
similar expression is employed in the 10th verse.

KEYELATIOXS VII. 10-1 2 ; YIII. 1-13.

487

Kevelatioxs 10-12.

10 And cried with a loud voice, saying,

Salvation to our God which sitteth upon, the throne,
and unto the Lamb.

11 And all the An^rels stood round aT)ont the
throne, and about the eklers and the four beasts,
and fell before the throne on their faces, and
worshipped God, saying,

12 Amen ! Blessing, and glorv, and wisdom,

And thanksgiving, and honor, and power, and might,
Be unto our God for ever and ever! Amen.

Here is the description of a halleluyah of praise to God from
the innuraerahle multitude who had received the seal upon their
foreheads. Tiie language is clothed with splendid imagery, and
was probably intended to indicate the sympathy of all the heav-
enly host in the conversion of souls on earth, and in the deliv-
erance of the church from persecution and adversity of every
kind.

Eevelatioxs viii. 1-13.

1 And when he had opened the seventh Seal,
there was silence in heaven about the space of half
an hour. 2 And I saw the seven Ansrels which
stood before God ; and to them were given seven
trumpets. 3 And another Angel came and stood
at the altar, having a golden censer ; and there was
given unto him much incense, that he should offer
it with the prayers of all saints upon the golden
altar which was before the throne. 4 And the

488

TEUMPETS SOUNDED BY AXGELS.

smoke of tlie incense, wIlIcIi came with tlie prayei-s
of tlie saints, ascended up before God out of tlie
Angel's hand. 5 And the Angel took the censer,
and filled it with fire of the altar, and cast it into
the earth : and there were voices, and thunderings,
and lightnings, and an eai*thquake. 6 And the
seven Angels which had the seven trumpets pre-
pared themselves to sound. Y The first Angel
sounded, and there followed hail and fire minoied
with blood, and the y were cast upon the earth :
and the third part of trees was burnt up, and all
green grass was burnt up. 8 And the second
Angel sounded, and as it were a great mountain
burnino^ with fire was cast into the sea : and the
third part of the sea became blood; 9 And the
thii'cl part of the creatures which were in the sea,
and had life, died ; and the third part of the ships
were destroyed. 10 And the third Angel sounded,
and there fell a orreat star from heaven, burninof as
it were a lamp, and it fell upon the third part of
the rivers, and upon the fountains of waters. 11
And the name of the star is called Wormwood :
and the third part of the waters became worm-
wood; and many men died of the waters, because
they were made bitter. 12 .And the fourth Angel
sounded, and the third j^art of the sun was smitten,
and the third part of the moon, and the third part
of the stars; so as the third part of them was
darkened, and the day shone not for a third 23art
of it, and the night likewise. 13 And I beheld,

REVELATIONS VII. 10-12; VIII. 1-13.

4S9

and heard an Angel flying througli the midst of
heaven, saying with a loud voice, " Woe, woe, woe,
to the inhabitants of the earth, by reason of the
other voices of the trumj)et of the thi'ee Angels,
which are yet to sound ! "

There is reference here to the last seal which was to be
opened, and it would seem that this was to be the closing scene
of disasters which were to fall upon the wicked ; but the break-
ing of the seal is the premonitory signal of another series
of catastrophes to the enemies of the cross. Seven angels
sound as many trumijeU^ which are indications of war and
bloodshed. This chapter includes a description of the sound-
ing of the first four trumpets, intimating that judgments were
to fall upon the earth, ocean, rivers, springs, and the heavens
above. Before the trumpets are sounded, the supplication of
the saints is made for the deliverance of the church, and the
smoke of incense ascends before the throne. In answer to
these entreaties, an angel is represented a-s casting down fire
from heaven, causing thunderings, lightnings, and earthquakes,
which are symbols of terrible judgments awaiting the ungodly.

In the first verse it is said, that there was silence in heaven^
indicating the sympathy, suspense, and awe of the heavenly
inhabitants before the opening of the series of calamities which
were to fall upon the violators of God's law. The sublime
anthems of Paradise are suspended for a short time, in view of
such awful scenes. Some commentators suppose, without suf-
ficient reason, we think, that silence here refers to the Millen-
nium. In the second verse we are informed that seven trum-
pets (tnra aaXniyyeg hepta salpinges) were given to the seven
angels, as indications of the judgments which were to follow.
"When the angel had cast the fire of the altar upon the earth,
there were voices, and tliunderings, and lightnings, and an earth-
quake (v. .5), indicating the dreadful calamities which were to
fall upon the human family. In verses G, 7, 8, 10, and 12,

490

SEVEN THUNDERS.

four of the angels are said to have sounded and brought dovni
judgments upon the wicked. In the 13th verse an angel is rep-
resented as flying through the midst of heaven, and pronouncing
a woe upon the inhabitants of the earth by reason of the trum-
pets yet to sound. The imagery throughout the chapter is splen-
did and terrific.

Revelations ix. 1, 9, 13, 14.

1 And tlie fifth Angel sounded, and I saw a star
fall from heaven unto the earth ; and to him was
given the key of the bottomless pit. 9 And they
had breast-plates, as it were breast-plates of iron ;
and the sound of their wins^s ivas as the sound of
chariots of many horses running to battle.
• 13 And the sixth Angel sounded, and I heard a
voice from the four horns of the golden altar which
is before God, saying to the sixth Angel which had
the trumpet, 14 Loose the four Angels which are
bound in the great river Euphrates.

Eevelatioxs X. 3-8.

3 And cried with a loud voice, as ivlien a lion
roareth : and when he had cried, seven thunders
uttered their voices. 4 And when the seven thun-
ders had uttered their voices, I was about to write :
and I heard a voice from heaven saying unto me,
Seal up those things which the seven thunders ut-
tered, and write them not. 5 And the Angel which
I saw stand upon the sea and upon the earth, lifted
np his hand to heaven, 6 And sware by him that
liveth for ever and ever, who created heaven, and

EEVELATIOyS XI. 12-18.

491

the things that therein are, and the earth, and the
things that therein are, and the sea, and the things
which are therein, that there shonkl be time no
longer : 7 But in the days of the voice of the seventh
Angel, when he shall begin to sound, the mysteiy
of God should be finished, as he hath declared to
his servants the prophets.

8 And the voice which I heard from heaven spake
unto me again and said. ' Go, and take the little
book which is open in the hand of the Angel which
standeth upon the sea and upon the earth.

Revelatioxs xi. 12-lS.

12 And they heard a great voice from heaven,
saying unto them, ' Come up hither.' And they
ascended up to heaven in a cloud ; and their ene-
mies beheld them. 13 And the same hour was
there a great earthquake, and the tenth part of the
city fell, and in the earthquake were slain of men
seven thousand : and the remnant were affrighted,
and gave glory to the God of heaven. 14 The
second woe is past ; and behold, the third woe
Cometh quickly.

15 And the seventh Angel soimded ; and there
were great voices in heaven sa^-ing,

The kingdoms of this world are become

The liingdoriis of our Lord, and of his Christ;

And he shall reign for ever and ever.

16 And the four and twenty elders, which sat be-

492

WOES UPON THE EARTH.

fore God on their seats, fell upon tlieir faces, and
worshipped God, 17 Saying,

We give tbee thanks, O Lord God Almighty.
"Which art, and wast, and art to come;
Because tliou hast taken to thee thy great power, and
hast reigned.

18 And the nations were angrj, and thy wrath is come,
And the time of the dead, that they should be judged,
And that thou shouldest give reward unto thy ser-
vants the proj^hets,
And to the saints, and them that fear thy name, small
and great;

And shouldest destroy them which destroy the earth.

These passages include a continuation of the preceding imagery.
The fifth angel sounded his trumpet (v. 1), and a star (nneaning
an angel) fell from heaven, and locusts were sent down to de-
stroy those who had not the mark of the righteous in their fore-
heads, intimating that dire calamities, probably devastating
wars, were to fall upn the earth. The sound of their wings is
said (v. 9) to be as the sound of chariots of many horses run-
ning to battle. The sixth angel sounded (v. 13), and another
woe was pronounced upon the wicked. Another angel cried
with a loud voice (x. 3), and seven thunders uttered their voices.
The angel declared that time should be no longer. Finally,
(xi. 15) the seventh angel sounded, announcing the third woe
upon the wicked, and the winding up of man's destiny. The
salvation of the righteous is complete, and a halleluyah of praise
ascends from the twenty-four elders and all of the heavenly
host.

Revelations xii. 10.

And I heard a loud voice saying in heaven,
Now is come salvation, and strength,

REVELATIONS XIV. 2-18.

493

And the kingdom of our God, and the power of his
Christ :

For the accuser of our bretliren is cast down,
Which accused them before our God day and night.

Here is represented joy and exultation in heaven in view
of the triumph of the church of Christ over her enemies.

Revelations xiv. 2-18.

2 And I heard a voice from heaven, as the voice
of many waters, and as the voice of a great thmi-
der : and I heard the voice of harpers harping with,
their harps ; 3 And they sung as it were a new song
before the throne, and before the four Beasts, and
the elders : and no man could learn that sonor but
the hundred and forty and four thousand, which
were redeemed from the earth. 4 These are they
which were not defiled with women ; for tliey are
virgins: these are they which follow the Lamb
whithersoever he goeth : these were redeemed from
among men, being the first-fruits unto God and to
the Lamb : 5 And in their mouth was found no
guile : for tbey are without fault before the throne
of God.

6 And I saw another Angel fly in the midst of
heaven, having the everlasting gospel to preach
unto them that dwell on the earth, and to every
nation, and kindred, and tongue, and people, 7 Say-
ing with a loud voice. Fear God, and give glory
to him ; for the hour of his judgment is come : and

FALL OF BABYLOK.

"worslii]:) lilm that made heaven, and earth, and the
sea, and the fountains of waters.

8 And there followed another Angel, sa3''ing, Baby-
lon is fallen ! is fallen ! that great city ! because
she made all nations drink of the wine of the wrath
of her fornication. 9 And the third Angel followed
them, saying with a loud voice, ' If any man wor-
ship the Beast and his image, and receive Ids mark
in his forehead, or in his hand, 10 The same shall
drink of the wine of the wrath of God, which is
poured out without mixture into the cup of his
indignation ; and he shall be tormented with fire
and brimstone in the presence of the holy Angels,
and in the presence of the Lamb. 11 And the
smoke of their torment ascendeth up for ever and
ever : and they have no rest day nor night, who
worship the Beast and his image, and whosoever
receiveth the mark of his name.' 12 Here is the pa-
tience of the saints : here are they that keep the
commandments of God, and the faith of Jesus. 13
And I heard a voice from heaven, saying unto me,
' Write, Blessed are the dead which die in the Lord
from henceforth. Yea,' saith the Sj)irit, ' that they
may rest from their labors ; and their works do
follow them.'

14 And I looked, and behold, a white cloud, and
upon the cloud one sat like unto the Son of man,
having on his head a golden crown, and in his hand
a sharp sickle.

15 And another Angel came out of the temple,

REVELATIOXS XIV. 2-18.

495

crying witli a loud voice to liim tliat sat on the
cloud, ' Thrust in tliy sickle, and reap : for the time
is come for thee to reaj) ; for the harvest of the
earth is rij^e.' 16 And he that sat on the cloud
thrust in his sickle on the earth ; and the earth
was reaped.

17 And another Angel came out of the temple
which is in -heaven, he also having a sharp sickle. 18
And another Angel came out from the altar, which
had power over fire ; and cried with a loud cry
to him that had the sharp sickle, saying, ' Thrust
in thy sharp sickle and gather the clustei's of the
vine of the earth ; for her grapes are fully ripe.'

This chapter consists of symbols of victory on the part of
the saints over their enemies. John heard a voice from heave ti
like the sound of many waters. This probably refers to an
innumerable number of the heavenly host, singing praises, in-
dividually and yet so harmoniously, that there appeared to be but
one joyous sound. As the voice of a great thunder. This prob-
ably relates to the power of the mighty chorus. Voice of harp-
ers harping with their harps. This expression shows particu-
larly the musical character of that immense choir. The writer
uses the term citharais [harps). The idea is that vocal and in-
strumental music were both employed. Each one who su)ig
performed also with his harp at the same time. Theiy sung a
new song. This probably means simply a song having a new
iheme — a song which none could sing but those who had been
redeemed by the blood of Christ. In the other verses quoted
above, several angels are represented as uttering curses upon
the wicked, or blessings upon the righteous.

496

TRIUMPH OF THE SAINTS.

Eevelatioxs XV. 2, 3.

2 And tlie first vrent, and poured out liis vial
upon tlie earth : and there fell a noisome and griev-
ous sore upon the men which had the mark of the
Beast, and u_poti them which worshipped the im-
age.

3 And the second Angel poured out his vial up-
on the sea; and it became as blood of a dead
7)ian : and every living soul died in the sea.

Here commences another thrilling scene. Seven angels pour
out seven vials of the wrath of God. Before these judgments
fall upon the wicked, the righteous exult as victors in anticipa-
tion. They had the hcuys of God (v. 2), i. e., those used in
the praises of Jehovah. They also snng the song of Moses and
the Lamh^ i. e., they sunc/ and performed upon their harps.

Kevelatioxs xvi. 1, 17, 18.

1 And I heard a great voice out of the temple
saying to the seven Angels, Go your ways, and
pour out the vials of the wrath of God upon the
earth.

17 And the seventh Angel poured out his vial
into the air ; and there came a great voice out of
the temple of heaven, from the throne, saying. It
is done.

18 And there were voices, and thunders, and
lightnings ; and there was a great earthquake, such
as was not since men were upon the earth, so
mighty an earthquake, and so great.

Now everything seems to be ready for the burst of ven-

REVELATIONS XVIII. 2, 18-23.

497

geance from the Almighty upon the wicked. The seven vials
were to be poured out by the seven angels upon the earth,
ocean, rivers, fountains, and heavens above. / heard a loud
voice from the temple (v. 1), i. e., from the temple on high, or
from Jesus who is in that temple. The Saviour is represented
as calling with a loud voice upon seven angels to pour out their
vials of v. rath upon the wicked. The idea is terrific and sub-
lime. Tl^ere went forth a loud voice from the temple, from the
throne., Sfn/>nfj, It is done (v. IT). The fact that thi'one is men-
tioned v\ (juld seem to indicate that Jehovah, the Father, is here
represented as speaking. The last clause indicates that this is
the cli^e of the appalling woes which w^ere to fall upon the sin-
ner, and that the final consummation of all things was near at
hand. The writer saw in prophetic vision its premonitory
lightnings, heard its thunders, and felt the heaving of its earth-
quakes. The imagery is exceedingly beautiful and grand.

Revel ATioxs xviii. 2, 18-23.

2 And lie cried mightily witli a strong voice,
saying, Babylon the great is fallen, is fallen, and is
"become tlie habitation of devils, and the hold of
every foul spirit, and a cage of eveiy unclean and
hateful bird.

18 And cried, when they saw the smoke of her
bm'ning, saying, AVhat city is like unto • this great
city!

19 And they cast dust on theii- heads, and cried,
weeping and wailing, saying, Alas, alas, that great
city, wherein were made rich all that had ships in
the sea, by reason of her costliness ! for in one hour
is she miide desolate.

20 Kejoice over her, thou heaven, and ye holy

FALL OF BABYLON".

Apostles and Prophets : for God liatli avenged you
on her.

21 And a mighty Angel took up a stone like a
great millstone, and cast it into the sea, saying,

Thus with violence shall that great city Babylon be
thrown down,

And shall be found no more at all.

22 And the voice of harpers, and musicians, and of

pipers, and trumpeters,

Shall be heard no more at all in thee ; ^

And no craftsman, of whatsoever craft he de,

Shall be found any more in thee ;

And the sound of a millstone

Shall be heard no more at all in thee ;

23 And the light of a caudle

Shall shine no more at all in thee ;
And the voice of the bridegroom and of the
bride

Shall be heard no more at all in thee :
For thy merchants were the great men of the
earth ;

For by thy sorceries were all nations deceived.

In the fourteenth chapter the destruction of Babylon is pro-
claimed ; in chapter sixteenth the shaking of its foundations is
announced, and in chapter eighteenth the people of God are
called upon to come out of the city, and her final and entire
destruction declared. An angel of a superior order carae down
from heaven, illuminating the earth by his splendor, and cried
with a loud voice, Babylon the great is fallen (verses 1 and 2).
Sea-faring people cried out with the greatest surprise, when
they saw the smoke of her torments ascend (verse 18). Then,
in verse 21, a mighty angel cast a stone into the sea, as a token

REVELATIONS XIX. 1-7. 499

of her final and entire overthrow, and reiterates the awful an-
nouncement.

Revel xix. 1-7.

1 And after these things I heard a great voice
of much people in heaven saying,

Alleluia! salvation, and glory, and honor, and power,
unto the Lord our God :
2 For true and righteous are his judgments:

For he hath judged the great whore,
Which did corrupt the earth with her fornication,
And hath avenged the blood of his servants at her
hand.

3 And again they said, Alleluia ! And her
smoke rose up forever and ever !

4 And the four-and-twenty elders and the four
beasts, fell doT\Ti and woi*shipped God that sat on
the throne, sapng, Amen ; Alleluia !

5 And a voice came out of the throne, saying,
Praise our God, all ye his servants, and ye that
fear him, both small and great.

6 And I heard as it Tvere the voice of a great
multitude, and as the voice of many waters, and as
the voice of mighty thunderings, saying,

Alleluia ! for the Lord God omnipotent reigneth.
7 Let us be glad and rejoice, and give honor to him.
For the marriage of the Lamb is come,
And his wife hath made herself ready.

Here seems to he the closing up of the mighty conflict, and

500

ANTHEMS OF PRAISE IN HEAVEN.

the hallelujahs of the heavenly world ascend in view of the glo-
rious victory of the saints over their enemies. I heard a great
voice of much people in heaven (verse 1). Then follows the
hymn of thanksgiving by the heavenly host. In the sixth verse
we perceive the immense power of that celestial chorus — as the
voice of many waters, the voice of mighty thunderings. The
united whole, with their voices and golden harps, sounding not
only melodiously, but as mighty thunderings. Of the power,
magnificence, and sublimity of such a scene, we can form but
a faint conception in this life.

INDEX.

Abeam — his visit to Egypt ; Knowledge of Music ; goes to Canaan, etc.,

33, 36, 41, 43, 69, 71.
Acts of the Apostles — Introductory Remarks, 468 ; Remarks on Acts

xvi. 25 (p. 468).
Abufe — Egyptian musical instrument, 68.
./Ethiopia, 55.
Alcaic Verse, 238.

Alamoth (m'^i?'.? <ilamdth), virgins, treble, 199, 200, 316, 322, 356.
Alphabetical or Acrostic Poetry of the Hebrews, 239, 336, 345, 390,
iintptl-bi^? altaslthcth— term in Title of Ps. Ivii., 366, 378.
Amos — Book of. Introductory Remarks, 449 ; Remarks on Amos ii. 2 ; iii.

6 ; V. 23 ; vi. 5 ; viii. 3, 10 (p. 492).
Ameaphel, King of Shinar, 32, 33.
Antithetic parallelism in Hebrew poetry, 239.

Apochalypse — Introductory Remarks, 478 ; Remarks on Rev. i. 10 (p. 483);

iv. 1; V. 8-12 (p. 484); vi. 10 (p. 486); vii. 10-12; viii. 1-13 (p. 487);

is. 1, 9, 13, 14; x. 3-8 (p. 490); xi. 12-18 (491); xii. 10 (p. 492); xiv.

2-18 (p. 493); xv. 2, 3; xvi. 1, 17, 18 (p. 496); xviii. 2, 18-23 (p. 497);

xix. 1-7 (p. 499).
Aram, descendants of, 30.
Ararat, location of, 18, note.
Arbaces, the Mede, 42.
Argos, lovers of music in, 47.
Arioch, king of Ellasar, 37.
Ark of the Covenant, 196, 197, 203, 207.
Ark, Noah's, where located, 18.

As.vPH, master of music under David, 95, 156, 220, 225, 347, 361.
Ashsiiur, 35.

Assyria — its early History, etc., 27, 35, 39, 42, 43, 260.

Assyrian Empire, 36, 49.

" Monarchy, 36, 43.
AvXeu, aulec, to pipe, 462.
AuAjyrar, auletas, flute-players, 461.

501

502

INDEX.

KvTio^, aulas, Greek term for the Hebrew hhaTil, 160, 4*71.

^1t2)^5 ^.^^''"y ten-stringed instrument, 342, 387, 397.

^ntpn rii^sJ^? aycUtU kashahkar, term in Title of Ps. xxii., 333.

Babel, destruction of, 32. •
Babylon — its origin; opinion of Politz; ruins of, etc., 44, 45.
first city, 30, 32.

Babyloxl\ — its location, language of its inhabitants, etc., 31, 34, 42. 70.
Babylonian Empire — the later one, 34, 42.
Bagpipe, 440.

Balaam, a Chaldsean astrologer, 42, 244,
Band of musicians, Egyptian, 4 (Frontispiece).
Belesis, 42.

Bells, cylindrical of the Chinese, etc., 98.

Belus, tower of, Belus king of Babylon, 32.

Belzoni, Travels in Egypt, 65, 128.

Beni Hassan, 88.

Bethuel, the Syrian, 43.

BiBAjf EL-MoLAUK, ruius of, 67.

BiLDAD, Job's friend, 294.

BouNDAW, Indian musical instrument, 54.

Bruce, Travels, 64.

Cadmus, the Phoenician, 47.
Cambyses, a Persian monarch, 60.
Canaan, location, language, etc., 48, 70.
Cand.vhar, in India, 53.
Carnac, ruins of, 67.

Castanet, a Hebrew pulsatile musical instrument, 61, 68, 96, 166.
Chald.^ia — its location and early history, etc., 41, 42, 70.
'XoAKog ijx^v {chalkos echou), a brazen wind instrument, 470.
Chant, 72, 452.

China, early history of, language, etc., 48.

Chinese, probably descendants of Shem ; their language ; origin of, 32.

Chronicles, first and second Book of; Introductory Remarks, 193; Re-
marks on I Chron. vi. 31-33 (p. 194); ix. 33; xiii. 8 (p. 195); xv. 16,
19-22, 24, 27-29 (p. 196); xvi. 5-36, 42, 43 (p. 200); xxiii. 5; xxv.
1-7 (p. 204); II Chron. v. 12, 13 (p. 206); vii. 6 (p. 208); ix. 11 (p.
209); xiii. 12-15 (p. 210); xv. 14; xx. 19-22, 28 (p. 211); xxiii 13,
18, (p. 213); xxix. 25-30 (p. 214); xxv. 21 (p. 216); xxxir. 12;
XXXV. 15, 25 (p. 217).

INDEX.

603

CiTBL\RA, Hebrew stringed instrument, 81, 86, 91, 93, 294, 295, 387.
Clarioxet, sculiDtured on ruins in Egypt, 67.

Corinthians, first Epistle of Paul to ; Introductory Remarks, 470 ; Re-
marks on I Cor. xiii. 1 (p. 470); xiv. 7, 8 (p. 471); xv. 52 (p. 472).
Cornet, 173, 174, 196, 198, 211, 388, 439, 443.

Crooked Trumpet of the Hebrews, 108, 120, 141, 162, 171, 177, 179, 187,

199, 388.
Ctaxares, ii, 38.

CriiBALS, Chinese, Egyptian, Hebrew, 68, 96, 166, 205, 215, 222, 229, 470.
Cymbals, loud sounding, (^3^3^, tsiltsncy,) 175, 198, 199, 203, 400.

I'^LI'^' ^^^'^'^^TI"' Chaldee term, 441.

D.miEB, the Persian term denoting the tabret, 97.

Dancing among the ancient Hebrews, Egyj^tians, etc., 66, 67, 97, 104, 105,
114, 151, 169, 170, 176, 177, 293, 400, 408, 462, 463.

Daniel, Book of. Introductory Remarks, 437 ; Remarks on Dan. iii, 5, 10,
15, (p. 438); vi. 18 (p. 440).

Darits, the Mede, 38.

Deborah, Song of, 143, 254.

Deff, the Arabian term for the Hebrew toph, 97.

Denderah, or Tenttra, an Egyptian temple ; lyres sculptured on. 64, 65.
Deuteronomy — Introductory Remarks to, 131 ; Remarks on xxxi. 19 (p.

132); xxxi. 21, 22, 23 (p. 133); xxxii. 44 (p. 133).
Didactic Poetry, 241, 263, 299, 349, 403.

DiTHYRAMBIC YeRSE, 455.

Dramatic Poetry, 241, 263, 299, 410, 418, 479.
Drums, 54, 96, 98.
Dulcimer, bagpipe, 439.

Ecclesiastes, Book of. Introductory Remarks, 405 ; Remarks on Eccl, ii.

8 ; iii. 4 ; xii. 4 (p. 408).
Edfou, ruins of, 66.
£1^1^, cdhuth, 354, 370.

Egypt — its early history, music of, painting, sculpture, etc., 47, 55, 60, 79.

El Asaffif, an ancient Egyptian monument, 59.

Elegiac Poetry, 241, 255—257, 263, 264, 299, 428.

Elethyia, ruins of, 65, 83.

Elihu, his address to Job, 276.

Eliphaz, his address to Job, 268.

Ellas ar, 37.

Encampment of the Jews, 124.

■604:

INDEX.

a shout, 397, 420.
Epaxodos, a kind of parallelism, 241,

Ephesiaxs, Epistle of Paul to; Introductory Remarks, 473; Remarks on

Eph. V. 19 (p. 473).
Epic Poetry, 263.
Epopee, a kind of poetry, 479,

ESARHADDOX, 40.

Ethax, a Hebrew master of music, 347, 385.
Exrac PoETEY, 263.

Exodus — Introductory Remarks, 101; Remarks on Ex. xv. 1-18 (p. 102);
XV. 20 (p. 104); XT. 21 (p. 106); xix. 13 (p. 106); xix. 16 (p. 109); xix.
19 (p. Ill); XX. 18 (p. Ill); xxxii. 17 (p. 112); xxxiL 18 (p. 113);
xxxii, 19 (p. 114).

EzEKiEL, Book of, Introductory Remarks, etc., 264, 432 ; Remarks on Ezek.
vii. 14; xxyi. 13 (p. 435); xxrii. 25; xxviii. 13; xxxiii. 3-6; xL 44
(p. 436).

Ezra, Book of. Introductory Remarks, 219 ; Remarks on Ezra, ii. 41, 65,
70 (p. 219); iii. 10-13 (p. 220); vil 7, 24 (p. 222); x. 24 (p. 223.)

Feasts, Jewish, 116.

Flute, double and single, Egyptian, etc., 66, 67, 68, 83, 92, 160, 314, 439.

Genesis — Introductory Remarks, 77; Remarks on Gen. iv. 21 (p. 78); xxix.

34 (p. 94) ; xxxi. 27 (p. 95).
iT^in^' g^ttit/i, term in Title of Ps. Tiii. 320, 380.
GoMER, son of Japheth, 46.
Gongs, Indian, 54.
GoRNou, ruins of, 67.

Gradational parallelism in Hebrew poetry, 239, 305, 334,
Greece — its first settlement and early history, etc, 27, 46, 51.
Guitar, in Egypt; dichord guitar, Hebrew, etc., 55, 61, 62, 68, 81, 88-92,
158, 189, 363, 383, 399, 401.

Habakkltk, Book of, Introductory Remarks, 453 ; Remarks on Hab. i. 1-17

(p. 453); iii. 1, 3, 9, 13, 19 (p. 455).
Ham, his settlement and that of his posterity, 27, 30, 35, 233,
3*ibn. hhatil, pipe or flute, 160, 161, 187, 314, 381, 416, 421, 427.
tlib^'T^n? humma^loth, term in the Title of Psahn exx,, 391.
Haran, Laban's place of residence, 59, 69, 80.

Harp, sculptured on the ruins of 2s ineveh ; Egyptian harp, Hebrew ditto.

INDEX.

505

etc., 45, 61, 64, 66, 6Y, 68, 80-86, lOY, 134, 151, 162, 164, 173, 189,

198, 200, 203, 205, 213, 215, 294, 295, 842, 859, 387, 395, 897, 416,

421, 439, 485, 495, 496, 500.
ri*l!2l-2n) hUdUotseroth, straight Hebrew trumpet. 111, 120,192, 196,

209, 2'll, 214, 216, 388, 443, 461.
Hebrew Language, was it the primitive tongue before the dispersion ? 31.
Hebrews, their knowledge of Egyptian music, 71.

Hebrews, Book of, Introductory Remarks, 476; Remarks on Heb. ii. 12;

xii. 19 (p. 477).
Hellenes, successors of the Pelasgi in Greece, 47.
Hemax, master of music under David, 95, 156, 179, 347, 383.
Herculanel^, ruins of, 86, 98.
Hexameter Yerse, 238.
m^H' heydhqdh, shout, 427.

Hieroglyphics, 54.

fi^9ff(fyon, a musical term, 323.
Hindoos, origin of, etc., 49, 50, 51.
Historical Books of the Old Testament, 135.
Historical Books of the New Testament, 460.
History of mankind — general view of, 1 8.
Horn, C|*!p, qcren), Hebrew, 107, 205.

HosEA, Book of. Introductory Remarks, 442 ; Remarks on Hos. ii. 15; v. 8

(p. 443) ; viii. 1 (p. 444).
^r^Hj dance, 104, 398.

LvMBic Verse, 238.

Idyl, a kind of poetry, 241, 299, 410.

Inachts, a Phoenician, 60.

India — early history of, poetry of, inliabitants of Shemitish origin, etc.
50-55.

Inscriptions, Egyptian, Assyrian, Babylonian, etc., 44, 60.

Instruments, musical, of India, Egypt, Antediluvian instruments, 166, 172.

Introverted Parallelism in Hebrew poetry, 239.

Isaiah, Introductory Remarks, 4^3; Remarks on Isa. iii. 16-18; v. 1, 12
(p. 415); xii. 2, 5, 6 (p. 416); xiv. 4-19 (p. 417); xv. 9-11; xviii.
3 (p. 419); xxiii. 15, 16; xxiv. 8, 14, 16; xxvi. 1; xxvii. 2,
(p. 420); XXX. 29, 32; xxxv. 1-10 (p. 421); xxxviii. 20; xlii. 10, 11
(p. 422); xliv. 23; xlviii. 20; xlix. 13; li. 3, 11; lii. 8, 9 ; liv. 1 ; Iv.
12; Iviii. 1: Lxv. 14 (p. 423).

IsHMAEL, death of, etc., 36, 39.

506

INDEX.

IsiAC Table, an Egyptian monument, 61.
Isles of the Gextiles, explanation of, 23.
IsMoxiDES, tomb of, 62.

Jabloxski, learned in Oriental literature, 65.

Japheth, his settlement and that of his posterity, etc., 23, SO, 46.

Javax, father of the Greeks, 46.

Jeduthtjn, master of music under David, 95, 156, 34 Y.
Jephthah's Daughter, a musician, 150, 165.

Jeremiah, Book of, Introductory Remarks, 424; Remarks on Jer. iv. 19-27

(p. 425); vi. 1-17; xx. 13, 16; xxxi. 4 (p. 426); xxxi. 7, 12, 13; xlil

14; xlviii. 33, 36; li. 27, 48 (p. 427).
Job, Book of. Introductory Remarks, 261 ; Remarks on Job i. 21 (p. 265) ;

xvii. 6(p. 292); xxi. 11, 12 (p. 293); xxix. 13; xxx. 9, 31 (p. 294);

xxxriii. 7 (p. 295) ; xxxix. 24, 25 (p. 296).
Joel, Book of. Introductory Remarks, 445; Remarks on Joel ii. 1, 15 (p.

448).

Jonah, Tomb of, 44.

Joseph, when carried into Egypt, his death, etc., 70, 77.

Joshua, Book of. Introductory Remarks to, 136; Remarks on Josh. vi. 4

(p. 137); vi. 5, 6, 8-10, 13, 16, 20 (p. 138).
JuBAL, an antediluvian musician — most ancient, etc., 59, 78, 233.
Jubilee, year of, 108, 118.

Judges, Introductory Remarks, 142 ; Remarks on Judg. iii. 27 (p. 142); v.

1-31 (p. 143); vi. 34; vii. 8, 16, 18-20, 22 (p. 148); xi. 34 (p. 150);

xxi. 21, 23 (p. 151).
I^ip, me, instruments, 199, 203, 209, 214, 216, 452.

^irJ3, hesedh, the father of the Chaldseans, 41.
Kettle-drum, Egyptian, etc., 97.

Kings, Books of, Introductory Remarks, First Book ; Second Book, Intro-
ductory Remarks on each, 186, 190 ; Remarks on I Kings i. 34, 39, 40
(p. 187); i. 41; iv. 32 (p. 188); x. 12 (p. 189); II Kings iii. 15
(p. 190); ix. 13 ; xi. 14 (p. 191); xii. 13 (p. 192).

"liSlZl? kimior, harp, Alexandrine translators' view, etc., 80, 86, 91, 162
179, 189, 193, 209, 294, 295, 350, 359, 378, 387, 395, 436, 485,

Ktvvpa, kinura, harp^ Hebrew kinnor, 91, 92, 4*71, 485.

Kf^apac, kitharas, cithara, 81, 93, 294.

^'T^j^Tj^, kittiyy'iin, explanation of, 25, 26.

Kqa^VTuv, kradzonton, to cry, 112.

Kvfxf3a/iOv a?.a/M^ov, {kumbalon alaladzon,) tinkling cymbal, 471.

INDEX.

507

Laban, a Syrian musician, 43, 59, 95, 105.
Lamech, an ancient poet, 232.

Lamentations of Jeremiah, Introductory Remarks, 428 ; Remarks on

Lam. iii. 31-66 (p. 429); v. 14 (p. 431).
n^D/Ob? lamnatseahh, part of the Title of Psalm iv. 312.
Languages, diversity of, 32.
Language, Babylonian, 31.
Language, Shemitish, 31.
Lashaji, location of, 28.
"^nb' ^^'-'^j Levi, derivation of, 94.

Levites, their connection with the Temple service, 94, 1*79.

Leviticus, Introductory Remarks, 115; Remarks on Lev. ix. 24 (p. 115);

xiii. 24 (p. 116); xxv. 9 (p. 111).
Luke, Gospel of. Introductory Remarks, 464; Remarks on Luke ii. 13, 14

(p. 464); L 46-55, 68-79 (p. 465); vii. 32 (p. 466); xv. 25 (467).
Lute, a musical instrument, 90, 368, 383.
Luxor, ruins of, 61.

Lyre, sculptured upon the ruins of Nineveh ; Hebrew, four-stringed, etc.,
81, 86-88.

Lyric Poetry, 104, 127, 147, 241, 264, 299, 307, 418, 479.
M^NADES, a Thracian tribe, 97.

tnbnTSi makhMalh, a term in the Title of Psalm liii., 362, 383.
Mark, Gospel of, Introductory Remarks, 463 ; Remarks on Mark vi. 22
(p. 463).

5^tT>pil1lj^7 inashroqiytha, Chaldee term for flute, 439.

maik'il, term in the Title of Psalm xxxii., and in other places,

339, 352, 354,362, 370.
Matthew, Gospel of, Introductory Remarks, 461 ; Remarks on Matt, vi, 2;

ix. 23 (p. 461) ; xi. 17 ; xxiv. 31 (p. 462).
Mausoleum, Egyptian, 67.
Medinet-Abu, ruins of, 67.
tibil/P^ m^hholoth, dancing, 105, 338, 349.
Memnonium, ruins of, 67.
Memphis, Pyramids of, in Egypt, etc., 65, 66.
t313?0>"572, m^naanim, sistra, 174, 196, 198, 439.
Menes, king of Egypt, 56.
Mesha, its location, 29.

•niyj^, m^.shoky soundeth, explanation of, 109.

508

INDEX.

tD'^iTlb^^p) m^isiltayim, cymbals, 198, 203, 215, 222.
tSTj^^P' ^niqq^dhem, 21.

tDsTlD/O' '»nktam, a term in the Titles of several Psalms, 328, 365, 366.

minnhn, a musical term in Psalm cl., 400.
Minstrel, ('|^3'^? m^naggen,) 191, 461.
Miriam, a female musician, 104, 106, 134, 150, 241.

MiZMOR, (*n72T-'2) ^ ^erm found in the Titles of several Psalms, 308, 388.

MiZRAiM, his residence and that of his posterity, 28.

Moses, death of, etc., 39, 42, 101.

Music, its effects on Saul's disease, 164.

Music, origin of, Chinese idea of, Rosseau's idea of, 15.

Music, view of by Aristides, Quintilianus, and Pfeiflfer, 15.

Music, views of Kircher, Plutarch, and Soterius, 16.

Music OF THE Hebrews, 57.

Music, antediluvian, Chaldsean, Babylonian, music of Argos and the
Greeks, 43, 79.

Music, Phoenician, Chinese, Indian, Egyptian, etc., 47, 49, 52, 57, 60, 65,
69, 78, 79.

Music, where first used, vocal, used in prophesying, etc., 78.
Music OF the Temple, 95.

labbm, in Title of Psalm ix., 322.

Jj^lHD? to prophesy with instruments of music, 205.

T T

vajSXa, nabla, or vav?M, naida, the Greek term for the Hebrew nebhcl, 157. ^
Nabonassar, era of, 34, 42.

, nagan, to play on a stringed instrument, 81, 312, 420, 422, 431.

^p5, naqahh, a musical term, 161, 436.
n^5? natsahh, 312.

- T

355, nebhel, Hebrew musical instrument, 81, 89, 157, 159, 160, 189, 198,

209, 342, 367, 378, 397, 399, 401, 440, 452.
Necropolis, ruins of, in Egypt, 67.

lni!D^!\5' n^g'inoth, stringed instruments, 80, 161, 295, 312, 316, 364, 370,
372, 375, 422, 455.

Nehemiah, Book of. Introductory Remarks, 224; Remarks on Neh. iv. 18-
20 (p. 224); vii. 1, 44, 67, 73 (p. 225); x. 28; xi. 22, 23 (p. 226); xii.
27-47 (p. 227); xiu. 5, 10 (p. 229).

INDEX.

509

inli'^n!]? n^hmioth, term in the Title of Psalm v, 314.

New Testament, Introductory Remarks, poetry of, etc., 240, 459

NiEBUHR, Travels, 62.

NrwROD, founder of the Babylonian monarchy, 27, 30, 34, 35.
Nineveh, founded by Nimrod, ruins of, inscriptions, etc., 27, 35, 36, 48.
NiNUS, King of Assyria, 27, 40.

NiNYAS, 40.

NoAU, wanderings from Ararat, etc., 21, 30, 43, 44, 59, 70.
NoRDEN, Capt., Travels, 61.

Notation, musical among the Egyptians, Hebrews, Greeks and Romans,
71, 72.

Numbers, Book of, Introductory Remarks, 119; Remarks on Num. x. 2
(p. 119); X. 3 (p. 121); x. 4 (p. 121); x. 5 (p. 122); x. 6 (p. 122); x.
7 (p. 125); X. 8, 9, 10 (p. 126); xxi. 17, 18 (p. 127); xxiii. 21 (p. 128);
xxix. 1 (p. 129); xxxi. 6 (p. 129).

Old Testament, Historical Books of, 135.

Organ, {'2^^'$^ wbh, 92, 93, 107, 134, 195, 203, 294, 295, 400, 401.

Ostmandyas, or Ismonides, tomb of, 62.
OuPNEK-iiAT, a sacred book of the Hindoos, 51.

Paganini Nicolo, Italian violin player, 164.
UavdovQa, pandoura, an Egyptian stringed instrument, 82.
P(l'>'(^i, musical term, 452,

- T

Parallelism in Hebrew Poetry, 239, 403, 413.
Passover, Jewish, 116.
Pastoral Poetry, 241, 410, 450.
Pelasgi, early inhabitants of Greece, 46.
Penitential Psalms, 316.
Pentameter Verse, 238.

Pentateuch, when composed, general view of, etc., 38, 75.
Pentecost, Jewish festival, 116,

Percussion Instruments of Music, Chinese, Egyptian, Hebrew, 50, 54, 96.
I'^'lyl^DS' p^sant^riyn, Chaldee term for psaltery, 440.

Pfeiffer, Travels of, 61.
PniLiE, ruins of, 65.

Ph(enicia, origin of its inhabitants and language, 47, 48, 60.
Pipe of Pan, 68, 92, 93, 134.

Pipe, Egyptian, Hebrew, 68, 160, 187, 314, 416, 436.
Plectrum, sculptured upon the ruins of Nineveh, 82, 83.

dlO

INDEX.

PococKE, Dr. R., his Travels, 61, 6 Y.

Poetical Books of the Old Testament, Introductory Remarks, 231.
Poetry, Hebrew, general view of, 232,

Poetry, Hebrew, 31, 32; examples of, 102, 106, 127, 143, 180, 184, 200,
233, 234, 235, 236, 241, 242, 246, 254, 256, 257, 265, 266, 268, 276,
287, 292-296, 304, 306, 308, 311, 313, 315, 316, 319, 3.21, 323, 325,
326, 327, 329, 330, 333, 335, 337, 338, 340, 342, 345, 347, 349, 350,
352, 355-357, 359, 362-401, 403, 415-418, 421, 422, 425, 429, 433,
438, 443, 446, 450, 453, 465, 480-483, 485, 492, 498, 499.

Primitive Toxgue, 31, 32.

Prophetic Poetry, 241, 245, 307, 413.

Proverbs, Book of, Introductory Remarks, 402 ; Remarks on Prov. xi. 10 ;

XXV. 20 (p. 404).
'ipa7v/ioig e/LLvoig, psalmois emnois, 473.

Psalms of David, Introductory Remarks, 297; Remarks on Ps. i. 1-6
(p. 304); ii. 1-12 (p. 306); iii. 1-8 (p. 308); iv. 1-8 (p. 311); v. 1-12
(p. 3] 3); vi. 1-10 (p. 315); vii. 1-18 (p. 316); viii. 1-9 (p. 319); ix,
1-20 (p. 321); X. 1-18 (p. 323); xii. 1-8 (p. 325); xiii. 1-6 (p. 326);
XV. 49; xvi. 1-11 (p. 327); xviii, xx, xxi, 1-13 (p. 329); xxii. 1-31
(p. 830); xxiv. 1-10 (p. 333); xxv. 1-22 (p. 335); xxx. 1-12 (p. 337;)
xxxii. 1-11 (p. 338); xxxiii. 1-22 (p. 340); xxxv. 27; xxxvii. 1-40
(p. 342) ; xxxix. 1-13 (p. 345) ; xlii. 1-11 (p. 347) ; xliii. 1-5 (p. 349);
xHv. 1-26 (p. 350); xlv. 1-17 (p. 352); xlvi. 1-11 (p. 355); xlvii. 1-
9 (p. 356); xlix. 1-20 (p. 357); 1. 1-23 (p. 359); li. 14; lii. 3, 5 (p.
361); liii. 1-6 (p. 362); liv. 1-7 (p. 363); Iv, Ivi. 1-6 (p. 364); Ivii.
1-11 (p. 365); Hx. 1-17 (p. 367); Lx. 1-12 (p. 369); Lxi. 8; Ixii. 4;
Ixv. 13; Ixvi. 1-20 (p. 370); Ixviii. 1-4, 13-35 (p. 372); Ixxi. 1-24
(p. 375); Ixxv, Ixxvi, Ixxvii. 7; Ixxx, Ixxxi. 1-16 (p. 378); Ixxxii.
2 ; Ixxxiii. 8 ; Ixxxiv. 4, 8 ; Ixxxv. 2 ; Ixxxvii. 1-7 (p. 380) ; Ixxxviii.
1-18 (p. 381); Ixxxix. 1-27 (p. 383); xcii. 1-15 (p. 385); xcv. 1, 2;
xcviii. 1-9 (p. 3S7 ; c. 2; ci. 1; cv. 2; cvi. 12; cviii. 1, 3; cxviii.
14; cxix. 1-8, 169-176 (p. 389); cxx. 1-7 (p. 390); cxxvi. 2; c xxxii.
9, 16; cxxxv. 2 (p. 391); cxxxvi. 1-26 (p. 392); cxxxvii. 1-9 (394);
cxxxviii. 1, 5 ; cxl. 3, 5, 8; cxliii, 6 ; cxliv. 1-15 (p. 395); cxlvii. 1, 7
(p. 397); cxlix. 1-9 (p. 398); cl. 1-6 (p,399); cli. 1-8 (p. 400).

Psaltery, a stringed instrument, 81, 91, 157, 173, 174, 189, 198, 203, 205,
213, 215, 229, 293, 294, 342, 359, 367, 387, 401, 439.

PsAMMETicus, an Egyptian monarch, 60.

PuL, King of Assyria, 40.

, qarna, Chaldee term for the cornet, or horn, 439,

INDEX. 511
'J'^.jy, ^^orn, 107, 110, 138 439, 4G1.

^^r''^]^' 9^y^^^'''^^> Chaldee term for the Hebrew kinnor, and Greek
cithara, 91, 440.

^, ranan, to shout, 116, 203, 294, 296, 315, 380, 391, 404, 420, 457.

^p'n., raqadh, to dance, 293, 408, 416.
Refrain, in Hebrew poetry, 393.

Romans, Epistle of Paul to, Introductory Remarks, 469 ; Remarks on

Rom. X. 9 (p. 469).
5?:)'^, ruah, to shout, to blow, 112, 117, 129, 458.

Ruins, Assyrian, Babylonian, Egyptian, 44;

Russell, Dr. A., Travels, 60.

Ruth, Book of, Introductory Remarks, 152.

Sabbatical Year, Jewish, 118.

sabh^ka, Chaldee term for sackbut, 439.
lakiTLv^, salpinx, Greek term for the Hebrew shophqr, 109, 111, 462, 471,
472.

1a/Li3vK7], satiihuke, saynbukee, Hebrew stringed instrument, 81, 82, 440.

Samuel, Books of. Introductory Remarks, First Book ; Introductory Re-
marks, Second Book; Introductory Remarks, 153, 171 ; Remarks on
I Sam. iv. 5, 6 (p. 154); x. 5 (p. 155); xiii. 3; xvi. 16, 18, 23 (p. 162);
xviii. 6, 7, 10 (p. 165); xix. 9, 20, 21, 23, 24 (p. 167) ; xxi. 11 (p. 168);
xxix. 5; XXX. 16 (p. 169); II Sam. ii. 28 (p. 171); v. 5 (p. 172); vi.
14, 15, 16 (p. 176); vi. 21 ; xv. 10 (p. 177); xviii. 16; xix. 35 p. 178);
XX. 1, 22 (p. 179); xxii. 1-51 (p. 180).

Sanscrit Language, of Shemitish origin, 52.

Sappetic Yerse, 238.

Saul, insanity of, cured by music, 163.

Scale, musical of the Hindoos, 55.

Schools of the Prophets, 155, 168.

selah (nbo or n^iio)? 309, 310, 312, 319, 329, 330, 334, 352, 356, 357,

359, 361, 364, 366, 368, 370, 372, 375, 378, 380, 381, 383, 385, 395,
455.
Semiramis, 40.

D'^llj'^blljj shalishim, a triangular pulsatile Hebrew instrument, 96, 166.
Shaw, Dr., Travels in Egypt, 60.

Shem, his settlement and that of his posterity, etc., 29, 30, 35, 43, 52.
ri^3"'^'lS sheinhiith, term in the Titles of several Psahns, 200, 316, 326.

612

1^ dka:

n sheynorieh, eighth, 200.

'jVritlj? >^^^igg'}yon, term in Title of Psalm viii, 318.

Shinar, land of, 30, 36, 42, 47.

^^•p, Hhlr, song, 96, 132, 148, 199, 209, 213, 381.

iSili' sJtopItar, crooked Hebrew Trumpet, 110, 118, 137, 148, 198, 211

225, 296, 357, 388, 399, 420, 426, 443, 447.
D'^SlUtD' ^liofihannim, term in the Title of Psalm xlv., and found in other,

places, 354, 370, 375, 378.
Shout, {X^'^y reo,) 357.
SiDON, 28.

nn^ilJ? simhhah, mirth, 96.

SiSTRUM, sculptured on the ruins of Egypt, 60, 61, 68, 96.
Song of Solomon, Introductory Remarks, 409 ; Remarks on ch. ii, 12
(p. 412).

Straight Trumpet, Hebrew, 108, 117, 120, 134, 192, 388.

Stringed Instruments of Music, 45, 68, 80, 82, 134, 312.

I,v/Li<ptjvia, su7npho7iia, symphony, 467.

"Zvgiv^, surinx, Pipe of Pan, 93.

Synthetic Parallelism in Hebrew Poetry, 239.

Syria, confounded with Assyria, 43.

Tabernacle, services in, etc., 195, 207.
Tabernacles, feast of, 116.

Tabret, a Hebrew pulsatile musical instrument, 96, 97, 105, 134, 150, 160,
165, 293.

Tambour de Basque, the larger tambourine, 97.
Tambourine, Hebrew pulsatile musical instrument, 96, 97, 134.
Tambura, a Turkish stringed instrument of music, 88, 90, 97.
tUSn? to handle, 80.

- T

taqa, blast (of a trumpet), 121, 399, 435.
Tarshish, its probable locality, 26.

TefSovvL, tebouni, Egyptian term for stringed instruments, 81, 82, 88.
Temple of Solomon, dedication, etc., 194, 204, 207, 221.
Terah, 41.

n^I'^^lil' fo'm^, aloud noise, 117, 122, 129, 400, 426, 452.
Thebes, ruins of, etc., 64, 65, 67, 309.

Thessalonians, First Epistle to, Introductory Remarks, 474 ; Remarks on
I Thess. iv. 16 (p. 474),

INDEX.

513

Timbrel, same as tabret, which see.

rjri' ^<>P^*' 166, 198, 293, 398, 399, 416, 436.

Tpiyovov, trinonon, Egyptian stringed instrument, 82,
Trimeter Verse, 238.

Trumpet, Egyptian, Hebrew, silver, 68, 107, 120, 125, 130, 13Y, 196, 213

474, 483, 489.
Trumpets, feast of, 116, 129.

t^b^Sb^j tselts^lim, cjTubals, 175, 176, 198, 400.
'TvfiTTavijv, tampanon, tympanum, term for the Hebrew toph.

nnnhh, organ, 92, 93, 161, 295, 400, 406, 421, 439.

Ur of tue Ciialdees, 43.

Vedas of India, origin of, etc., 51.
ViLLOTEAU, M., Travels in Egypt, etc., 65. 68.
Viol, 55, 92, 416, 452.
Violoncello, 92.

Wedding, circumstances of in ancient times, 96.

Xi IIoAM Ti, a Chinese emperor, destroys the early literature of tlie em-
pire, 48.
Years, solar and luni-solar, 39.
5^1, yohhel, trumpet, 107, 110, 137.

Cpni t^^V-> yoiiafh elem r^hhnqivi, part of the Title of Psalm

Ivi. 365.

Zkchariah, Book of, Introductory Remarks, 458 ; Remarks on Zech. ii. 10;

iv. 7 ; ix. 9, 14 (p. 458).
ZKPnANiAH, Book of. Introductory Remarks, 456 ; Remarks on Zeph. i. 1 6 ;

ii. 14 (p. 456); iii. 14, 17 (p. 457).
■^.^STj ^•(}?nar, to sing, 148, 319, 375, 387, 392, 395, 397, 412, 416.

tr^^OT' zilurath, song, 104.

ZiN, desert of, 127.

Zoi'iiAR, a friend of Job, 293.

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Lectures ox the Lord's Prayer. l2mo,

cl<Hb. 85 cents.

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MO THERS OF THE WISE AND G 0 OD. By Jabez Burns, D. D. 16mo,
cloth. 75 cents.

THE SIGNET-RING, and its Heavenly Motto. From the German. Illus-
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THE MARRIAGE-RING; or, How to Make Home Happy. From the writ-
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clotai, gilt. 76 cents.

(5»>

GOULD AND LINCOLN,

59 WASHINGTON STEEET, BOSTON,

Would call particular attention to the following valuable works described
in their Catalog-ue of Publications, viz. :

Hugh Miller's Works.
Bayi&e's Works. Walker's Works. Miall's Works. Btmgener's Work*
Annual of Scientific Discovery. Knight's Knowledge is Power.
Krummacher's Suffering Saviour,
Banvard's American Histories. The Aimwell Stories.
■ITewcomb's Works. Tweedie's Works. Chambers's Works. Harris' WorfcaC'
Kitto's Cyclopaedia of Biblical Literature,
lire. Knight's Life of Montgomery. Kitto's History of Palestine.
Whewell's Work. Wayland's Works. Agassiz's Work*.

Williams' Works. Guyot's Works.
^QtlDZ&pson's Better Land. Kimball's Heaven. Valuable Works on MissiOWW
Haven's Mental Philosophy. Buchanan's Modern Atheism.
Cruden's Condensed Concordance. Eadie's Analytical Concordajice*
The Psalmist : a Collection of Hymns,
Valuable School Books. Works for Sabbath Schools.
Memoir of Amos Lawrence,
f oetical Works of Milton, Cowper, Scott. Elegant Miniature Volujaes.
Arvine's Cyclopaedia of Anecdotes.
Bipley's Notes on Gospels, Acts, and Komans.
Sppague's European Celebrities. Marsh's Camel and tho Hallig.
Boget's Thesauriia of English Words.
Haekett's Notes on Acts. M'Whorter'a Yahveh Christ,
Siebold and Stannius's Comparative Anatomy. Marcou's Geological 2t!rap,
Beligious and Miscellaneous Works.
Works in ths various Departments of Literatxire, Scionoe and Art.

DATE DUE

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Music of the Bible;

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