POETRY
Of
these
some
have
reckoned
only
the
rises
(accented
syllables),
and
others
count
the
falls
also,
permitting
only
a
certain
number
of
them
to
intervene
between
rises.
This
number
is
made
to
depend
on
the
metrical
value
of
the
syllables,
which,
according
to
some
scholars,
is
determined
by
the
number
of
morw,
oi
time
units,
which
they
contain.
It
should
be
remembered
that
we
are
dealing
with
an
early
form
of
an
ancient
literature,
and
that
this
litera-ture
is
an
Oriental
one.
This
creates
a
very
strong
presumption
against
an
elaborate
and
minute
system
of
metre.
The
Hebrew
language
was
indeed
dominated
by
tradition,
which
made
it
difScult
to
alter
established
practice;
but
in
case
the
tradition
was
one
of
freedom
on
the
part
of
the
writer
to
construct
his
poem
as
he
chose,
it
naturally
operated
to
keep
him
free
from
the
complicated
rules
which
spring
up
in
the
later
periods
of
the
life
of
a
language.
Until
the
contrary
is
shown
on
other
grounds,
it
must
be
assumed
that
the
Hebrew
accent
system,
differing
traditionally
from
Arabic
and
Syriac,
differed
from
them
actually;
and
as
the
traditional
grammatical
forms
depend
largely
upon
the
accent,
the
natural
Inference
is
that
it
is
an
important
feature
of
the
language.
If
so,
it
may
be
supposed
that
it
is
important
also
in
poetry.
The
view
that
seems
best
to
suit
the
facts
as
they
exist,
that
makes
the
smallest
demands
in
the
way
of
de-parture
from
ordinary
prose
style,
and
that
yields
at
the
same
time
results
reasonably
satisfying
to
the
poetic
feeling,
is
this:
the
line
was
composed
of
a
definite
number
of
accents,
or,
as
ordinarily
each
word
had
one
accent,
of
a
definite
number
of
words.
This
view
does
not
fit
all
the
lines
of
every
poem;
but
the
possi-bility
of
exceptions
at
the
will
of
the
writer
is
a
part
of
the
theory.
Moreover,
the
percentage
of
exceptions
is
very
likely
not
greater
than
that
of
probable
cor-ruptions
in
the
text.
It
is
not
to
be
counted
as
an
exception
when,
in
order
to
secure
the
regular
number
of
accents,
two
short
words
must
be
pronounced
as
one,
as
is
so
often
done
for
other
reasons
with
the
insertion
of
a
maqqeph
O,
or
when
a
word
exceptionally
long
and
heavy
must
be
pronounced
with
two
accents
for
the
same
purpose.
(2)
The
next
higher
unit
is
the
group
of
lines
taken
together.
The
name
strophe
might
be
applied
to
all
such
groups,
but
it
is
usually
reserved
for
the
larger
groups.
The
smallest
group
—
the
couplet
or
distich—
exhibits
the
most
characteristic
feature
of
the
poetry
of
the
language,
namely
Farallelism,
a
name
given
by
Lowth
in
1753.
The
lines
are
so
related
to
each
other
that
there
is
a
correspondence
of
parts,
both
in
form
and
in
sense.
It
is
not
confined
exclusively
to
poetry,
for
it
is
nothing
but
the
development
of
the
idea
of
balance
and
euphony
of
parts
which
is
found
in
elevated
prose
style,
especially
such
as
is
uttered
orally.
The
mind
more
easily
grasps
the
thought
of
a
second
clause,
if
fashioned
like
an
earlier
one.
It
is
less
occupied
with
the
form,
for
that
is
already
familiar.
It
is
also,
and
doubtless
for
that
very
reason,
more
agreeable
to
the
ear.
What
Is
desirable
in
prose,
and
often
used
there,
becomes
the
rule
in
poetry,
as
one
may
easily
under-stand
when
one
considers
the
necessity
of
a
uniform
line
for
the
sake
of
easy
utterance
with
musical
accom-paniment.
It
is
by
its
persistence
and
uniformity
that
parallelism
certifies
to
the
poetical
nature
of
a
passage.
This
parallelism
is
of
the
utmost
importance
in
determin-ing
the
meaning
of
a
verse.
While
its
adoption
as
a
poetical
form
has
a
logical
basis,
once
let
it
become
the
rule
for
such
composition,
and
it
cannot
fail
to
operate
to
modify
the
thought
as
well
as
the
form.
What
would
otherwise
appear
to
be
a
careful
choice
of
synonyms,
for
example,
perhaps
to
secure
climacteric
effect,
may
be
simply
the
operation
of
this
principle.
So
the
unusual
position
of
a
word
in
a
clause
may
be
traceable
to
this
rather
than
to
a
desire
to
secure
special
emphasis.
Several
distinct
forms
of
parallelism
have
been
observed.
POETRY
(o)
Synonymous
parallelism.
—
The
thought
of
the
two
lines
is
synonymous,
and
so
are
the
several
terms
by
which
the
thought
is
expressed.
How
shall
I
curae
whom
God
hath
not
cursed?
And
how
shall
I
defy
whom
Jahweh
hath
not
defied?
—
CNu-23»).
(6)
Antithetic
parallelism.
—
The
second
line
expresses
the
same
real
truth
as
the
first,
but
it
does
it
antitheti-cally.
The
form
is
truly
parallel,
and
one
member
of
the
lines
is
synonymous,
the
other
two
contrasted.
This
is
especially
common
in
proverbs.
A
wise
son
maketh
a
glad
father.
But
a
foolish
son
ia
the
heaviness
of
his
mother.
—
(Pr
lO").
(c)
Stair-like
or
ascending
rhythm.
—
The
thought
of
the
first
line
is
repeated
in
part,
or,
if
entirely,
more
briefly,
so
that
the
second
line
can
add
a
further
item
of
thought,
thus
rising
above
the
parallel
line.
Till
thy
people
pass
over,
Jahweh,
Till
thy
people
pass
over,
which
thouhast
purchased.—
(Ex
15i«).
(d)
Synthetic
parallelism.
—
The
thought
of
the
second
line
is
entirely
different
or
supplementary,
none
of
the
first
being
repeated.
The
distich
remains
in
parallelism,
for
the
two
lines
correspond
in
form.
Answer
not
a
fool
according
to
hia
folly,
Lest
thou
also
be
like
unto
him.
—
(Pr
26').
Other
varieties
are
often
singled
out
for
discussion,
and
it
will
not
be
supposed
that
a
typical
form
is
always
to
be
discovered.
The
variations
and
combinations
are
very
numerous,
and
the
study
of
them
is
full
of
interest
and
novelty.
The
two-line
group,
or
distich,
has
been
considered
above,
as
the
simplest
in
which
parallelism
can
be
observed.
It
is
also
by
far
the
commonest.
Three
lines
grouped
in
a
similar
way
are
not
uncommon.
In
this
case
the
first
and
second
may
be
synonymous,
and
the
third
synthetic
to
them;
or
other
combinations
may
be
found.
Moreover,
distiches
may
be
arranged
in
pairs,
with
the
same
parallelism
as
between
single
lines
of
the
distich.
It
often
occurs
that
several
lines
are
grouped
together
so
regularly
that
a
stanza
or
strophe
is
recog-nizable.
It
may
be
marked
off
by
a
line
repeated
as
a
refrain,
or
by
a
special
initial
letter,
in
alphabetical
poems;
but
such
indications
are
not
of
common
occurrence.
Absolute
regularity
in
length
is
not
often
found,
and
scholars
often
attempt
to
secure
it
by
assuming
the
loss
or
insertion
of
a
couplet
or
two.
There
is
also
no
specific
principle
distinct
from
the
parallelism
above
mentioned,
to
form
the
basis
of
a
strophical
division.
It
seems
likely,
then,
that
strophes
are
not
to
be
regarded
as
an
essential
feature
of
Hebrew
poetry,
like
the
stanzas
of
a
hymn
that
is
to
be
sung;
but
that
the
grouping
is
entirely
optional
and
ordinarily
logical
—
a
literary
feature.
Rhyme
and
assonance
are
known
in
the
language,
but
are
not
used
persistently
throughout
a
poem,
and
cannot
be
anticipated
or
reduced
to
rule
when
present.
3.
By
far
the
greater
part
of
the
OT
poetry
is
of
course
religious
and
ethical,
as
the
Psalms,
Proverbs,
and
Job
(see
artt.).
Outside
of
these
books,
however,
is
an
interesting
and
by
no
means
small
amount
of
poetry
which
the
Bible
student
may
profitably
study
for
its
literary
and
historical
value.
In
family
and
social
life,
poetry
evidently
had
a
large
place.
Marriage
occasions
furnished
the
very
best
opportunity
for
the
composition
of
songs,
and
for
their
execution
to
the
accompaniment
of
music.
Such
are
the
songs
in
the
Book
of
Canticles.
The
wedding
song
evidently
furnished
the
model
of
the
passage
Is
S'^-.
Lamentation
for
the
dead
is
also
an
evidence.
The
finest
example
is
that
of
David
over
Saul
and
Jonathan
(2
S
1"*).
A
part
of
a
lament
by
him
over
Abner
is
found
in
2
S
3'»'-.
The
tenderness
and
fitness
of
these
utterances
are
very
different
from
the
stereotyped
dirges
of
which
there
is
notice
in
Jer
9"
(.").
The
char-acter
of
these
may
be
seen
from
the
Book
of
Lamentations,
