LECTURE II.

THE DESIGN AND ARRANGEMENT OF THESE

LECTURES.

The dignity of the subject, and its suitableness to the design of the institution―That Poetry which proceeds from divine inspiration is not beyond the province of criticism-Criticism will enable us to account for the origin of the art, as well as to form a just estimation of its dignity; that the opinion of the divine origin of Poetry was common in Greece—This work purely critical: and consequently theological disquisitions will be avoided-The general distribution of the subject into three parts, the nature of the verse, the style, and the arrangement.

SOCRATES, as we read in Plato', having been frequently admonished in a dream to apply to music; and esteeming himself bound to fulfil a duty which appeared to have been imposed upon him by divine authority, began with composing a hymn to Apollo, and afterwards undertook to translate some of the fables of Æsop into verse. This he did, I apprehend, under the persuasion, that the first-fruits of his poetry (which he esteemed the principal branch of

In Phæd. sub init.

the

the science of music) ought to be consecrated to the immortal Gods; and that it was not lawful for him, who was but little versed in those studies, to descend to lighter subjects, which perhaps might in the main be more agreeable to his genius, before he had discharged the obligations of religion, It is my intention, Gentlemen, to follow the example of this great philosopher; and since the University has honoured me with this office of explaining to you the nature and principles of Poetry, I mean to enter upon it from that quarter whence he thought himself obliged to commence the study and practice of the art. I have determined, therefore, in the first place, to treat of Sacred Poetry, that species, I mean, which was cultivated by the ancient Hebrews, and which is peculiarly appropriated to subjects the most solemn and sublime; that, should my endeavours prove unequal to so great a subject, I may, as it were, with favourable auspices, descend to matters of inferior importance.

"What then is education?-As far as respects the body, it consists in the gymnastic exercises; as far as "respects the mind, it consists in harmony." PLATO de Rep. Lib. II. Author's Note.

I under

I undertake this office, however, with the most perfect conviction, that not only from a regard to duty it ought to be executed with diligence; but from the respectability of that body, at whose command it is undertaken, it ought to be executed with honour and reputation: nor is it merely to be considered what the intent of the institution and the improvement of the students may require, but what will be consistent with the dignity of this University. For, since the University, when it gave its sanction to this species of discipline by a special decree, recommended the study of Poetry, particularly because it might conduce to the improvement of the more important sciences, as well sacred as profane 3, nothing could certainly appear more useful in itself, or more agreeable to the purpose of this institution, and the design of its learned patrons, than to treat of that species of Poetry which constitutes so considerable a part of sacred literature, and excels all other Poetry, not less in the sublimity of the style than in the dignity of the subject.

3 See the Statute relating to the Poetic Lecture.

It would not be easy, indeed, to assign a reason, why the writings of Homer, of Pindar, and of Horace, should engross our attention and monopolize our praise, while those of Moses, of David and Isaiah pass totally unregarded. Shall we suppose that the subject is not adapted to a seminary in which sacred literature has ever maintained a precedence? Shall we say, that it is foreign to this assembly of promising youth, of whom the greater part have consecrated the best portion of their time and labour to the same department of learning? Or must we conclude, that the writings of those men who have accomplished only as much as human genius and ability could accomplish, should be reduced to method and theory; but that those which boast a much higher origin, and are justly attributed to the inspiration of the Holy Spirit, may be considered as indeed illustrious by their native force and beauty, but not as conformable to the principles of science, nor to be circumscribed by any rules of art? It is indeed most true, that sacred Poetry, if we contemplate its origin alone, is far superior to both nature and art; but if we would rightly estimate its excellen

cies, that is, if we wish to understand its power in exciting the human affections, we must have recourse to both: for we must consider what those affections are, and by what means they are to be excited. Moreover, as in all other branches of science, so in Poetry, art or theory consists in a certain knowledge derived from the careful observation of nature, and confirmed by practice and experience; for, men of learning having remarked in things what was graceful, what was fit, what was conducive to the attainment of certain ends, they digested such discoveries as had been casually made, and reduced them to an established order or method: whence it is evident, that art deduces its origin from the works of genius, not that genius has been formed or directed by art; and that it is properly applied in illustrating the works of even those writers, who were either ignorant of its rules, or inattentive to them. Since, then, it is the purpose of sacred Poetry to form the human mind to the constant habit of true virtue and piety, and to excite the more ardent affections of the soul, in order to direct them to their proper end; whoever has a clear insight into the instru

ments,