The Semitic Languages, enumerated on page 16, have certain peculiarities in common:—
They are triliteral, i. e. three consonants enter into the composition of every root. Consonants only are represented by letters; vowels, indicated by points and lines, play a subordinate part. The latter vary according to the relation to be expressed; while the consonant root, which conveys the leading idea, remains for the most part unchanged. Thus, in Arabic, the notion of bloodshed is expressed by the triple root q t l; quatl is murder; quitl, enemy; uqtul means to kill; quatala, he kills. The picturesque compounds, so convenient in the Indo-European languages, are here wanting.
The Semitic verb is deficient in mood-forms, and has in general only two tenses, which represent action completed and action continuing. Case, in the later developments of the different languages, is left undistinguished. Brevity is gained, but at the expense of precision.
Distribution of the Semitic Tongues.—The great divisions of the Semitic family of languages are designated as Northern and Southern Semitic. They include the Arama’ic, Hebræo-Phœnician, and Arabic, which are much more alike than the Aryan tongues. Assyrio-Babylonian occupies a peculiar position between the Northern and Southern Semitic groups.
Aramaic (from the Hebrew Arâm—highlands) was spoken in northern Syria, Mesopotamia, and Babylonia. A dialect of it, the Jews gradually adopted after their return from captivity at Babylon (536 B.C.), retaining the Hebrew as their sacred language, but speaking and writing in Aramaic somewhat modified by Greek. Aramaic, therefore, was the tongue in which our Lord and his disciples conversed.
The Hebræo-Phœnician was spread over Palestine, and included the dialects of the Ammonites, Moabites, and Philis’tines. Samaritan was a development of the Western Aramaic, corrupted by the speech of foreign settlers introduced into the land of Israel by the Assyrians, to replace the Ten Tribes whom they had transplanted beyond the Euphrates.
The softer Arabic, musical by reason of its preponderance of vowel sounds, was carried from Arabia into Africa, where it was long the language of the cultivated Ethiopians, and where it still survives in its Abyssinian derivatives, the Amharic, etc.
The Ancient Hebrew shares the imperfections of the Semitic group to which it belongs. It is one of the oldest members of this family, and was long thought to have been the original language of the human race. Its name is derived by some from Heber, ancestor of Abraham and consequently of the people who spoke the classical tongue of the Old Testament; while by many it is believed to mean belonging to the other side, that is, of the Jordan—an epithet applicable to the Chosen People as coming from beyond that river to dispossess the Canaanitish tribes.
In the days of the patriarch Abraham, whose father dwelt in “Ur of the Chaldees” (see Map, p. 105), about 2000 B.C., the Semitic dialects differed slightly, if at all. Recently separated from the primitive stock, they possessed the same roots, the same grammatical forms and inflections, and conspicuously agreed in regard to rules of order and construction.
The meagre vocabulary and other defects of the Hebrew are counterbalanced by its euphony, simplicity, and power of poetical expression. Conciseness is its crowning merit. A single sonorous word often conveys an idea that would require a clause of four or five words in English. The whole range of literature in other fields affords no such examples of majestic thought, grand imagery, and impetuous, heart-warming outpourings of soul, as the poetry of that sublime Hebrew tongue which was developed by a simple race of shepherds beneath the mild skies of western Asia.
The Hebrew Alphabet.—The Hebrews early profited by the invention of their Phœnician kinsmen, borrowing from them an alphabet which, as may be seen on the opposite page, they changed little from the original. After the Captivity (588-536 B.C.), the more elegant square characters from the Aramaic took the place of the ancient letters; the latter, however, for reasons political as well as religious, were reproduced on the shekels coined during the period of Jewish independence under the Maccabees (168-37 B.C.), by which time the written language was universally expressed in Aramaic characters. (See Land’s “Hebrew Grammar.”)
The oldest Hebrew alphabet (see Table) contained no more than ten or twelve letters; the number was afterward increased to twenty-two—consonants all. These were qualified by vowel sounds, denoted by vowel-points symbol placed over or under the consonants to which they belonged. Capitals there were none.—While some have held that the names of the letters were given them arbitrarily, merely to facilitate the memorizing of the alphabet, others believe that a connection existed between their names and their forms: that, for example, A, called Aleph (ox), was originally a rough picture of an ox’s head; that B was the representation of a house or tent, such being the meaning of its name Beth, etc.
Spirit of Hebrew Poetry.—The most ancient Semitic poetry is found in the pure musical Hebrew of the oldest books of the Bible. Nearly one half of the Old Testament was in verse, mainly lyrical, ranging from the simplest song or dirge to the sublimest strains of prophecy; yet didactic poetry has also a place, for in it were embodied the proverbs of Israel’s wise men.
Other literatures boast of their epics and dramas; but the Hebrew, without either, has exerted a far more exalted influence on the human mind than any other. In vain do we search the Veda and the Avesta for conceptions as grand as those in the Scriptures. God is apprehended in all his majesty by the Hebrew bards, and speaks through them to nations that are yet to be. The Bible poets wrote not merely for the purpose of pleasing; as teachers and prophets, they had a divine mission and a loftier aim. The graces of rhetoric were employed to present their impressive subjects in the strongest and clearest light. Frequent metaphors embellished their style, and striking personifications endowed it with life and energy. Imagery drawn from the picturesque scenes about them,—the hills, the streams, the plains of Palestine,—or from their every-day employments as tillers and herdsmen, they used without stint; while parallelism, whether it consisted in the repetition of the same sentiment or in a contrasting of opposite ideas, was a peculiar beauty of their poetry.
Their language significant and striking, their thoughts lofty and solemn, their tone severely moral, their themes of the deepest interest to man, what wonder that the Hebrew poets tower above the sublimest writers of other times and countries? “Whatever in our literature,” says Taylor, “possesses most of simple majesty and force, whatever is most fully fraught with feeling, whatever draws away the soul from its cleaving to the dust and lifts the thoughts toward a brighter sphere—all such elements we owe directly or indirectly to the Hebrew Scriptures, especially to those parts that are in spirit and form poetic.”
Parallelism has been mentioned as a distinctive feature of Hebrew poetry. This is defined by Bishop Lowth as “a certain equality, resemblance, or relationship between the members of a period, so that things shall answer to things and words to words, as if fitted to each other by a kind of rule or measure.”
Parallelism may be either cumulative, antithetical, or constructive. In the first, a proposition, after having been once stated, is repeated in equivalent words of similar construction, as in Isaiah, lv., 6, 7:—
Antithetical parallelism is similar, except that the two periods correspond with each other by an opposition of sentiments and terms; as in Proverbs, xxvii., 6:—
In the third kind of parallelism, there is neither correspondence nor opposition in the sentiment, but simply a similarity of construction in the two periods, as in Psalm xix., 8, 9:—
There is good reason for believing that the ancient Hebrews had an extensive literature; but out of their “multitude of books,” all that have descended to us are those of the Old Testament. Their secular poetical and prose works are wholly lost.
The Books of Moses.—The earliest Hebrew writer of whom we have positive knowledge was Moses, author of the greater part of the Pentateuch[10] (five volumes—the first five books of the Bible), or, as it was called by the Jews, the Book of the Law.
The first book of the Pentateuch, Genesis (the generation), tells us all that we know of the Creation, the Deluge, the Confusion of languages, the Dispersion, and the lives of the patriarchs, whose history it sketches till the death of Joseph in Egypt, keeping everywhere prominent the relation of Jehovah to the chosen race.
Exodus (the going out) continues the story of the Hebrews from the death of Joseph, relates their oppression under the Pharaoh Ram’eses the Great, their miraculous escape from the land of bondage in the reign of his successor, and the promulgation of the commandments on Mount Sinai. It is in this book that we catch an early glimpse of Hebrew poetry in the Song of Moses and his sister Miriam—a magnificent triumphal ode, the most ancient in any language. The rescued host pour forth in unison their joy and gratitude; while in response the exulting prophetess, timbrel in hand, leads the women of Israel, on the shore of that sea which had engulfed their enemies, to celebrate their deliverance with sacred dance and rapturous verse. (See Exodus, chapter xv.)
Leviticus (the book pertaining to the Levites) consists of regulations relative to worship and sacrifice, together with historical items touching the consecration of Aaron, his first offering, and the destruction of two of his sons for their impiety. Here is developed the theocratic system that lay at the base of Hebrew society.
Numbers takes its name from the numbering of the Israelites in the wilderness of Sinai; it gives an account of this census, and continues their history during thirty-seven years of subsequent wandering, up to their arrival on the borders of the Promised Land. In this book there are several brief specimens of poetry, commemorative of victory, of the digging of a well in the wilderness, etc.
In Deuteronomy (the second law) the law is repeated and explained by Moses in three fervid discourses, just before the entrance of the Hebrews into Canaan. The Pentateuch closes with a simple but inexpressibly grand outburst of the Hebrew legislator in song (chapter xxxii.), the blessings he pronounces upon the twelve tribes, and an account of his death.
Of the facts presented in these first five books of the Old Testament, some are confirmed by hieroglyphic inscriptions and the traditions of different nations; but of the greater part we should have had no knowledge without the inspired narrative. Aside, therefore, from its religious bearing, the Pentateuch is invaluable as an historical record of primeval ages; while its clear, concise, dignified style, rich with noble thoughts expressed in the venerable manner of antiquity, is worthy of its sublime subjects.
The Historical Books.—The Pentateuch is followed by the historical books of Scripture, which, though extending into the silver age, will for convenience’ sake be here considered together. With the Pentateuch they form a complete summary of national history, in which are interwoven religious matters that explain and illustrate it. We may glance briefly at their authorship and contents.
The Book of Joshua, classed with the Pentateuch (the Torah, or Law) under the name of Hexateuch, covers a period of twenty-five years (about 1425 B.C.); it relates to the conquest of Canaan and the partition of that promised land among the twelve tribes, closing with the farewell exhortation and death of the great leader. Judges, ascribed to the Prophet Samuel, continues the history of the nation to about 1100 B.C.; it tells how the Jews, as a punishment for their apostasy, were at different times reduced to servitude by their heathen enemies, and on their repentance delivered by heroes who became their Judges. Ruth, regarded by the ancient Jews as belonging to the Book of Judges, is of unknown date and authorship, though attributed by some to Samuel. It is an exquisite idyl of domestic life, designed to show the origin of King David. (See Chapman’s “Hebrew Idyls.”)
The Books of Samuel, the first portion of which Samuel probably composed himself, give an account of the magistracy of that prophet and the reigns of Saul and David. The Books of the Kings dwell upon the glorious reign of Solomon, and then take us through the divided lines of Israel and Judah, till both were finally overthrown and carried into captivity; Jewish tradition points to Jeremiah as the author of these books. Ezra seems to have written most of the Chronicles, which is supplementary to the Kings; he was also the author of the book that bears his name. This and Nehemiah describe the return of the Jews from their captivity in Babylon, and the restoration of the temple worship at Jerusalem. The Book of Esther is devoted to a touching episode of the reign of Ahasuerus, king of Persia, supposed to be identical with Xerxes, the son of Darius Hystaspis.
The Book of Job is worthy of special mention, as the most artistic specimen of Hebrew genius. Whether this unique poem was the work of Job himself in his later days, or of some other whose name is lost, its author was evidently proficient in all the scientific knowledge of his time. The hero, a native of northern Arabia, whose name has become a synonym for patient suffering, is reduced to the very depths by family bereavements, bodily anguish, and the well-meant reproaches of his friends; yet his faith in God is unshaken, and in the end that faith is amply vindicated and rewarded. (See Dr. Rossiter W. Raymond’s “The Book of Job.”)
Bold imagery, vividness of description, life-like delineations of lofty passion as well as the gentler emotions, combined with master-touches of dramatic art, stamp this poem as the greatest in Oriental literature. Its passages relating to the war-horse, behemoth, and leviathan (chapters xxxix., xl., xli.), are cited by writers on the sublime as among the grandest illustrations of their subject; and its descriptions of the Deity, as manifested in his works, exhibit the noblest conceptions of the Infinite that man’s finite intellect is capable of forming.
The Psalms.—The flourishing period of David (1085-1015 B.C.) ushers in the Augustan age of Hebrew poetry. The Lyric was then carried to perfection by the poet-king himself and his contemporaries in their Psalms,—“those delicate, fragrant, and lovely flowers,” as Luther calls them, “springing up out of all manner of beautiful joyous thoughts toward God and his goodness.” The strains of “Israel’s sweet psalmist,” who began as a shepherd-lad to cultivate the arts of music and poetry, breathe a spirit of plaintive tenderness that distinguishes them from the statelier productions of other contributors to Hebrew psalmody.
A utopian theory of the great Plato, but one that he declared could be carried out only by “a god or some divine one,” was the training of the Grecian youth in odes like the Psalms: and this—the religious instruction of the people—was the very object of the Hebrew lyrics. The plan of the Greek philosopher had been put in practice centuries before his day in Palestine, and on a far grander scale than ever he imagined. In the royal city of Jerusalem, four thousand musicians appointed by David chanted hymns of triumph and praise, to the accompaniment of harp and flute; while in the gorgeous temple of David’s son, the sublime worship of Jehovah challenges description.
For three thousand years, these Hebrew anthems, unapproached by the religious songs of any other age or people, have been the glory of the Jewish and the Christian Church, eloquently testifying that “there has been one people among the nations—one among the millions of the worshippers of stocks—taught of God.”
Many of the Psalms date from David’s time; one (Psalm xc.) carries us as far back as Moses, and others were as late as the Captivity. They were probably arranged as we now have them in the fifth century B.C.; though certain critics refer some of them to the Maccabean period (second century B.C.).
Elegiac Poetry.—King David was also a writer of elegy, that kind of song in which the Hebrew poets and prophets poured out their grief in the unaffected language of nature. Some of his Psalms are beautiful specimens of this species of poetry, especially Psalm xlii., “As the hart panteth after the water-brooks,” composed during his exile among the mountains of Lebanon. Another exquisite and pathetic elegy of this poet, rendered below in English verse by Lowth, is the
LAMENTATION FOR SAUL AND JONATHAN.
Didactic Poetry.—In the golden age, didactic poetry also reached the acme of perfection. The Proverbs that then flowed from the inspired pen of Solomon, prince of didactic writers as his father was of lyric poets, are too well known, with all their richness of practical wisdom, to require more than a passing mention. Expressed concisely in energetic words, according to the different forms of parallelism, these moral precepts are indeed “like apples of gold in baskets of silver.”
Of the same general scope as the Proverbs, and by the same author, is Ecclesiastes, or the Preacher. In this book is shown the vanity of earthly pleasures; and the whole duty of man is summed up in the sentence, “Fear God and keep his commandments.” The Book of Ecclesiastes has been attributed to Solomon’s latter days; the Proverbs, to his prime; while that sweet pastoral, the Song of Songs—singularly beautiful, whether taken literally as an exponent of happy wedded love, or allegorically as delineating the mutual attachment of God and his people—was the joyous outburst of his youth. Solomon was also the author of a thousand canticles and various works on miscellaneous subjects; books of making which, he tells us, there was no end.
Prophetic Poetry of the Golden Age.—The writings of the earlier prophets, florid with high-wrought imagery, revived for a time the waning glories of the golden age. Foremost of this class in eloquence of diction, sublimity of thought, and versatility of genius, stands Isaiah. Majesty united with elaborate finish; a harmony that delights the soul; a variety that imparts freshness without detracting from dignity; simplicity and unvarying purity of language,—conspire to make the lyric verse of “the Evangelical Prophet” the most appropriate embodiment of the awful messages of God to the Jews, the promise of a Messiah and universal peace.
After a career of nearly seventy years, Isaiah sealed his great work with his blood in the reign of the idolatrous Manasseh (698-643 B.C.). His mind has been pronounced “one of the most sublime and variously gifted instruments which the Spirit of God has ever employed to pour forth its Voice upon the world.”
Even the minor prophets, if we except Jonah the oldest, exhibit in their compositions unwonted grandeur and elegance: Hosea, with his sententious style; Amos, “the herdman and gatherer of sycamore fruit;” Joel and Micah; Habakkuk, whose fervent prayer to the Almighty is graced with the loftiest embellishments, and Nahum, perhaps the boldest and most ardent of all.
And so the Golden Age of Hebrew Literature ends. We know only its sacred poetry, and much indeed of this has disappeared.[11] The harvest and vintage songs which wakened the echoes amid the vales of Palestine, the pastorals that accompanied the shepherd’s pipe on the hill-sides of Ephraim, all are lost forever; “the voice of mirth and the voice of gladness, the voice of the bridegroom and the bride,” were forgotten in the streets of Jerusalem, when the land was desolate under the Babylonian and “the daughters of music were brought low.”
The Prophets.—The names of three great prophets—Jeremiah, Ezekiel, and Daniel—illuminate the first page in the history of the decline of Hebrew literature. But in their writings, and notably so in those of the later minor prophets, poetry was evidently on the wane. They lived in a degenerate day. About half of the prophecy of Jeremiah, denouncing the judgment of Heaven on the disobedient people, is poetry; he lacks the pomp and majesty of Isaiah, but excels in stirring the gentler emotions.
His Lamentations are beautiful elegies on the fall of his country and the desecration of the temple; every letter seems “written with a tear and every word the sound of a broken heart.” The verses of the several chapters in the original begin with consecutive letters of the alphabet, that they may be the more easily memorized, for it was intended that the sins and sufferings of the Jewish nation should never be forgotten. Can anything be more touching than the personification of Jerusalem, sitting as a solitary widow on the ground and mourning for her children?
Ezekiel and Daniel were carried captives to Babylon, where they made known their prophetic visions. The former wrote partly in poetry, characterized by a rough vehemence peculiar to himself. The Book of Daniel, in which history is combined with prophecy, is in prose, and a portion of it in the Aramaic language. (Consult Keith’s “Evidence of Prophecy.”)
Another writer of distinguished merit, belonging to this age, was the scribe and priest Ezra (already mentioned), who was permitted to return from Babylon to Jerusalem with a company of his people, 458 B.C. He settled the canon of Scripture, restoring and editing the whole of the Old Testament.
The Apocrypha (secret writings) consist chiefly of the stories of To’bit and Judith, the first and second books of Esdras and of the Maccabees, Ba’ruch, the Wisdom of Solomon, and Ecclesiasticus or the Wisdom of the Son of Sirach. Composed during the three centuries immediately preceding the Christian Era, they bear internal evidence, in their lack of the ancient poetical power, of belonging to an age of literary decline. They were mostly included in the canon of Scripture by the Council of Trent in 1545, but are rejected by Protestants as uninspired.
Ecclesiasticus, best of the Apocryphal books, is full of moral, political, and religious precepts, its object being to teach true wisdom and its style resembling the didactic poetry of Solomon. The following fine passage, versified by Lowth, personifies
WISDOM.
The Talmud.—Our treatise would be incomplete without some notice of the mysterious book whose name heads this paragraph,—the Talmud. Comparatively unknown except in name for centuries, it was repeatedly suppressed in the Dark Ages by popes and kings, as likely to be dangerous to Christianity. (See Dr. Jastrow’s “Dictionary of the Talmud.”)
Talmud means learning. It is essentially a digest of law, civil and criminal, and a collection of traditions orally preserved. It consists of two parts, viz., the Mishna, or earlier text; and the Gemara (ghe-mah’ră), a commentary on the Mishna. The age that gave birth to the Talmud was the period after the Captivity, when a passionate love for their sacred and national writings animated the Jews restored to their country and its institutions. Hundreds of learned men, all great in their day, who treasured in their memories the traditions of a thousand years, contributed to its pages.
The Talmud was a cyclopædia treating of every subject, even down to gardening and the manual arts; it depicts incidentally the social life of the people, not of the Jews alone, but of other nations also. It is enlivened by parables, jests, and fairy-tales, ethical sayings, and proverbs; the style is now poetical, anon sublime; and there may be gathered amid its wilderness of themes “some of the richest and most precious fruits of human thought and fancy.”
After two unsuccessful attempts, the Talmud was finally systemized in a code by the Saint Jehuda (about 200 A.D.). A remarkable correspondence exists between it and the Gospel writings, explained by the fact that both reflect in a measure the same times. (Read Sekles’s “Poetry of the Talmud.”)
EXTRACTS FROM THE TALMUD.
“Turn the Bible and turn it again, for everything is in it.
Bless God for the evil as well as the good. When you hear of a death, say ‘Blessed is the righteous Judge.’
Even when the gates of heaven are shut to prayer, they are open to tears.
When the righteous die, it is the earth that loses. The lost jewel will always be a jewel, but the possessor who has lost it—well may he weep.
Life is a passing shadow, says the Scripture. Is it the shadow of a tower, of a tree? A shadow that prevails for a while? No, it is the shadow of a bird in his flight; away flies the bird, and there is neither bird nor shadow.
Teach thy tongue to say, ‘I do not know.’
If a word spoken in its time is worth one piece of money, silence in its time is worth two.
The ass complains of the cold even in July.
Four shall not enter Paradise: the scoffer, the liar, the hypocrite, and the slanderer. To slander is to murder.
The camel wanted to have horns, and they took away his ears.
Thy friend has a friend, and thy friend’s friend has a friend: be discreet.
The soldiers fight, and the kings are heroes.
Love your wife like yourself, honor her more than yourself. Whoso lives unmarried, lives without joy, without comfort, without blessing. He who forsakes the love of his youth, God’s altar weeps for him. It is woman alone through whom God’s blessings are vouchsafed to a house. She teaches the children, speeds the husband to the place of worship, welcomes him when he returns, keeps the house godly and pure, and God’s blessings rest upon all these things. He who marries for money, his children shall be a curse to him.
Men should be careful lest they cause women to weep, for God counts their tears.
The world is saved by the breath of school-children.
When the thief has no opportunity of stealing, he considers himself an honest man. The thief invokes God while he breaks into the house.
Get your living by skinning carcasses in the street, if you cannot otherwise; and do not say, ‘I am a great man, this work would not befit my dignity.’ Not the place honors the man, but the man the place.
Youth is a garland of roses; age is a crown of thorns.
The day is short and the work is great. It is not incumbent upon thee to complete the work: but thou must not therefore cease from it. If thou hast worked much, great shall be thy reward; for the Master who employed thee is faithful in his payment. But know that the true reward is not of this world.”—Deutsch.
RETURNING THE JEWELS.
“Rabbi Meir, the great teacher, was sitting on the Sabbath-day and instructing the people in the Synagogue. In the meantime, his two sons died; they were both fine of growth and enlightened in the law. His wife carried them into the attic, laid them on the bed, and spread a white cloth over their dead bodies.
In the evening, Rabbi Meir came home. ‘Where are my sons,’ inquired he, ‘that I may give them my blessing?’—‘They went to the Synagogue,’ was the reply.—‘I looked round,’ returned he, ‘and did not perceive them.’
She reached him a cup; he praised the Lord at the close of the Sabbath, drank, and asked again, ‘Where are my sons, that they also may drink of the wine of blessing?’—‘They cannot be far off,’ said she, and set before him something to eat. When he had given thanks after the repast, she said: ‘Rabbi, grant me a request.’—‘Speak, my love!’ answered he.
‘A few days ago, a person gave me some jewels to take care of, and now he asks for them again; shall I give them back to him?’—‘This my wife should not need to ask,’ said Rabbi Meir. ‘Wouldst thou hesitate to return every one his own?’—‘Oh! no,’ replied she, ‘but I would not return them without thy knowledge.’
Soon after she led him to the attic, approached, and took the cloth off the dead bodies. ‘Oh! my sons!’ exclaimed the father sorrowfully, ‘My sons!’ She turned away and wept.
At length she took his hand, and said: ‘Rabbi, hast thou not taught me that we must not refuse to return that which hath been intrusted to our care? Behold, the Lord gave and the Lord hath taken away; praised be the name of the Lord.’
‘The name of the Lord be praised!’ rejoined Rabbi Meir. ‘It is well said: He who hath a virtuous wife hath a greater treasure than costly pearls. She openeth her mouth with wisdom, and on her tongue is the law of kindness.’”
THE PAINTED FLOWERS.
“The power of Solomon had spread his wisdom to the remotest parts of the known world. Queen Sheba, attracted by the splendor of his reputation, visited this poetical king at his own court. There, one day, to exercise the sagacity of the monarch, Sheba presented herself at the foot of the throne: in each hand she held a wreath; the one was composed of natural, and the other of artificial flowers. Art, in constructing the mimetic wreath, had exquisitely emulated the lively hues of nature; so that, at the distance it was held by the queen for the inspection of the king, it was deemed impossible for him to decide, as her question required, which wreath was the production of nature, and which the work of art.
The sagacious Solomon seemed perplexed; yet to be vanquished, though in a trifle, by a trifling woman, irritated his pride. The son of David, he who had written treatises on the vegetable productions ‘from the cedar to the hyssop,’ to acknowledge himself outwitted by a woman, with shreds of paper and glazed paintings! The honor of the monarch’s reputation for divine sagacity seemed diminished, and the whole Jewish court looked solemn and melancholy.
At length an expedient presented itself to the king; and one, it must be confessed, worthy of the naturalist. Observing a cluster of bees hovering about a window, he commanded that it should be opened. It was opened; the bees rushed into the court, and alighted immediately on one of the wreaths, while not a single one fixed on the other. The baffled Sheba had one more reason to be astonished at the wisdom of Solomon.”—D’Israeli.
NOTES ON WRITING, EDUCATION, ETC., AMONG THE HEBREWS.
The art of writing practised by the Hebrews at a very remote period. In primitive times, records of important events cut in stone; the letters sometimes filled with plaster or melted lead. Engraving also practised with the stylus on rough tablets of boxwood, earthenware, or bone. Leather early employed; the Law written on skins (of “clean animals or birds”) in golden characters. The skins rolled round one or two wooden cylinders, the scroll then tied with a thread and sealed. Parchment written on with reed pens, which, together with a knife for sharpening them and an ink of lampblack dissolved in gall-juice, were carried in an inkhorn suspended from the girdle. Letter-writing in vogue from the time of David.
Many ancient Jewish cities far advanced in art and literature. Reading and writing from the first not confined to the learned, for the people were required to write precepts of the Law upon their door-posts, and on crossing the Jordan were commanded to place certain inscriptions on great stones very plainly, that they might be read by all. Scribes in readiness to serve those who could not write. Schools established in different localities in the prophetical age, in which “the sons of the prophets” lived a kind of monastic life, studying their laws and institutions along with poetry and music.
After the Captivity, education recognized as all-important, and at length made compulsory. The Jews in consequence soon noted for learning and scholarship. $2,500,000 paid by Ptolemy Philadelphus (260 B.C.) to seventy Jewish doctors for translating the Old Testament into Greek, at Alexandria; hence the Septuagint, as it is called, or version of the Seventy. By 80 B.C., Palestine filled with flourishing schools. Jerusalem was destroyed because the instruction of the young was neglected—Revere a teacher even more than your father—A scholar is greater than a prophet—common sayings among the Jews. Colleges maintained where lectures were delivered, and the Socratic method of debate was pursued. Every student trained to some trade, the ripest scholars working with their own hands as tent-makers, weavers, carpenters, bakers, cooks, etc. A large library at Jerusalem composed of volumes in history, royal letters, and various works of the prophets. The most learned of the later Platonists the Jew Phi’lo (20 B.C.-50 A.D.), who tried to reconcile the Platonic philosophy with the teachings of the Hebrew Scriptures.
Riddles, enigmas, and play upon words, the chief sources of amusement among the Hebrews. Dice mentioned in the Talmud. Public games unknown. Fishing with nets and hooks, favorite sports. Dancing practised as a religious rite; the stage on which it was performed in the temples styled the choir: each Psalm perhaps accompanied by a suitable dance.