This way of delineating events would be easily transferred to poetry, which is a method of painting objects upon the imagination, with a strength and durability which mere literal expression can by no means effect. And an ALLEGORY (according to Lord KAIMS) is in every respect 'similar to an allegorical painting; except only that words are used instead of colours. The ' effects are precisely the same. An hieroglyphic 'raises two images in the mind; one seen, which represents one not seen: an allegory does the same; the representative subject is described, and resemblance leads us to apply the descrip'tion to the subject represented'.' : Again, in the early state of society men converse much by the aid of action. When they know not how accurately to name an object, they point to it; or, in the absence of the object itself, to its image or resemblance; hence arises the language of action as well as words. Of the Indian orators it is remarked, that they use a great variety of gesticulations and the same is true of the natives of the South Sea Islands, and of all uncivilized nations, in proportion to their vivacity. Nor is this method confined to uncivilized society. With the deaf and dumb, action is employed as a substitute for speech; and on the theatre it forms a favourite species of amusement; for what are the ballet and the pantomime but speaking action? To such a degree of perfection was this art carp. 269. 1 Elements of Criticism, Vol. II. ried by the ancients, that Roscius, the celebrated Roman actor, boasted to Cicero that he could express any sentiment in as great a variety of intelligible gestures as he could of words. Even dancing, which is with us a mere amusement, and in general a very vain one, appears to have been much more dignified in its original; being employed in the religious worship of the Greeks, the Egyptians, and even the Hebrews. Among the former it is supposed to have been an imitation of the motion of the heavenly bodies, So Lucian tells us, that dancing had its rise with the first beginning of all things-for the choral revolution of the stars, and the complicated motions of the planets among the fixed stars, and their regular communion with each other, and well-ordered harmony, are instances of the primeval dancing'.' To this idea our MILTON evidently alludes, when he reckons dancing among the employments of heaven. That day, as other solemn days, they spent Then most, when most irregular they seem3.' That the Hebrews employed dancing in their religious worship is indisputable from the instance of David and others, in the Old Testa Lucian peri Orcheseos, Vol. I. p. 913. Ed. Ben. ment; and it is no less certain that it was practised in the religious services of the Heathens, as it is to this day, in various countries; all their sacred feasts being accompanied with dancing2. But to return from this digression, and keep nearer to our subject, it merits our particular attention that the prophets themselves frequently accompanied their oracles with some symbolical action; and their exhortations were commonly delivered with great animation and violent gestures, such as clapping of the hands, smiting on the thigh, and stamping with the foot; all which actions, perhaps, were commonly used in the sacred dances. Many of these actions, it must be confessed, appear to us extravagant and unaccountable; but this arises from the difference of customs and habits; and many of ours would doubtless have appeared as strange and unaccountable to them : though it might be added, that some of the most celebrated orators of Greece, France, and our own country, have on particular occasions, used the most energetic action. 12 Sam. vi. 14, 16. 1 Chron. xv. 29, &c. 2 It seems more extraordinary that the custom should obtain among a denomination of modern christians; yet we are assured there now exists a chriftian sect at Lebanon in North America, called Shakers, (or shaking quakers) who used at first violent gesticulations in their worship (like the jumpers in Wales) but who now, in public worship, have' a regular, solemn, uniform dance, or genuflection, to as regu'lar, solemn a hymn, which is sung by the elders, and as ' regularly conducted as a proper band of music.' See the New-York Theol. Mag. for Nov. and Dec, 1795. Ezek. vi. 11; xxi. 12, 14. The last source of the metaphorical language of the Scriptures, which I shall distinctly mention is, that God himself was pleased to institute a kind of silent language, both in the works of nature, and in the types of revealed religion. First, in the works of nature: Because that which may be known of God is manifest in them -for the invisible things of him from the crea'tion of the world are clearly seen (being under• stood by the things which are made) even his eternal power and Godhead" The Hebrew Psalmist expresses the same idea in all the charms of poetic language'. The heavens declare the glory of God; And the expansion sheweth the work of his hands, Night after night revealeth knowledge. There is no fpeech, nor language; "Without [these] is their voice heard. Into all the earth is their sounds gone forth; And unto the extremities of the world their sayings; 'In them hath he set a tabernacle for the Sun, Which goeth forth as a bridegroom from his chamber, Rom. i. 19, 20. Psalm xix. 1, &c. 3 This is doubtlefs the meaning of the Hebrew (v) ; our translators erred by following the LXX. and they were misled by their philofophy. 4 So the particle is rendered, Gen. vii. 10. See Poli Synop, in Pfalm. 5 See Job viii. 11. in the Heb. where this particle is twice so rendered. So the apostle Paul quotes this passage, Rom, x. 18. Dr. Durell thinks a letter has been dropped here, and that we should read, as in the preceding verse; but as this is not supported by MSS. Dr. Kennicot rather thinks that the word might signify sound, or report, like a kindred word in Arabic; and this will agree with the radical idea, which is to project, extend, &c. See Parkhurst. To this beautiful object the Psalmist elsewhere compares the Deity himself: 'God is a sun':' i. e. as the sun is the source of light and heat to the terrestrial world, so is God the fountain of wisdom, and of all excellence. From this striking resemblance, the solar luminary was made originally the medium, and afterward the object, of religious worship, which in succeeding ages degenerated to meaner and baser idols. Leaving, however, the abuse of these things, it is sufficiently evident that much of the divine perfections may be learned from the works of creation; though I dare not consider them as images of the divine nature in the manner of its existence, because I conceive the Most High to be, in that respect, a being without parallel, and without similitude. To whom will 'To whom will ye liken God? or what likeness will ye compare unto him2 !' ८ The volume of nature is open to all, but peculiarly so to men of poetic genius: their eyes discover a thousand charms unobserved by others; and this is the grand treasury, whence their best and most striking images are drawn. A different class of beauties unveil themselves to the pious believer, who claims an interest in, and a relation to, their Author. The religious poet possesses both advantages; but the prophet a third, which perfected and crowned the others. * Psalm lxxxiv. 11. 2 Isa. lx. 18. |