Easton’s Bible Dictionary (1897)
Poetry
Source: Easton’s Bible Dictionary (1897) · View data sources
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Has been well defined as "the measured language of emotion. " Hebrew poetry deals almost exclusively with the great question of man's relation to God. This unified study connects 3 installed resource categories without replacing their source records.
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Easton’s Bible Dictionary (1897)
Source: Easton’s Bible Dictionary (1897) · View data sources
Nave's Topical Bible
Source: Nave's Topical Bible · View data sources
Topic
Nave’s Topical Bible references for ACROSTIC POETRY.
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Nave’s Topical Bible references for POETRY.
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(A.S. and Dutch God; Dan. Gud; Ger. Gott), the name of the Divine Being. It is the rendering (1) of the Hebrew 'El, from a word meaning to be strong; (2) of 'Eloah_, plural _'Elohim. The singular form, Eloah, is used only in poetry. The plural form is more commonly used in all parts of the Bible, The Hebrew word Yahweh (q.v.), the only other word generally employed to denote the Supreme Being, is uniformly rendered in the Authorized Version by "LORD," printed in small capitals. The existence of God is taken for granted in the Bible. There is nowhere any argument to prove it. He who disbelieves this truth is spoken of as one devoid of understanding (Ps. 14:1). The arguments generally adduced by theologians in proof of the being of God are: (1.) The a priori argument, which is the testimony afforded by reason. (2.) The a posteriori argument, by which we proceed logically from the facts of experience to causes. These arguments are, (a) The cosmological, by which it is proved that there must be a First Cause of all things, for every effect must have a cause. (b) The teleological, or the argument from design. We see everywhere the operations of an intelligent Cause in nature. (c) The moral argument, called also the anthropological argument, based on the moral consciousness and the history of mankind, which exhibits a moral order and purpose which can only be explained on the supposition of the existence of God. Conscience and human history testify that "verily there is a God that judgeth in the earth." The attributes of God are set forth in order by Moses in Ex. 34:6, 7. (see also Deut. 6:4; 10:17; Num. 16:22; Ex. 15:11; 33:19; Isa. 44:6; Hab. 3:6; Ps. 102:26; Job 34:12.) They are also systematically classified in Rev. 5:12 and 7:12. God's attributes are spoken of by some as absolute, i.e., such as belong to his essence as Yahweh, Jah, etc.; and relative, i.e., such as are ascribed to him with relation to his creatures. Others distinguish them into communicable, i.e., those which can be imparted in degree to his creatures: goodness, holiness, wisdom, etc.; and incommunicable, which cannot be so imparted: independence, immutability, immensity, and eternity. They are by some also divided into natural attributes, eternity, immensity, etc.; and moral, holiness, goodness, etc.
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(Heb. qinah), an elegy or dirge. The first example of this form of poetry is the lament of David over Saul and Jonathan (2 Sam. 1:17-27). It was a frequent accompaniment of mourning (Amos 8:10). In 2 Sam. 3:33, 34 is recorded David's lament over Abner. Prophecy sometimes took the form of a lament when it predicted calamity (Ezek. 27:2, 32; 28:12; 32:2, 16).
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Has been well defined as "the measured language of emotion." Hebrew poetry deals almost exclusively with the great question of man's relation to God. "Guilt, condemnation, punishment, pardon, redemption, repentance are the awful themes of this heaven-born poetry." In the Hebrew scriptures there are found three distinct kinds of poetry, (1) that of the Book of Job and the Song of Solomon, which is dramatic; (2) that of the Book of Psalms, which is lyrical; and (3) that of the Book of Ecclesiastes, which is didactic and sententious. Hebrew poetry has nothing akin to that of Western nations. It has neither metre nor rhyme. Its great peculiarity consists in the mutual correspondence of sentences or clauses, called parallelism, or "thought-rhyme." Various kinds of this parallelism have been pointed out: (1.) Synonymous or cognate parallelism, where the same idea is repeated in the same words (Ps. 93:3; 94:1; Prov. 6:2), or in different words (Ps. 22, 23, 28, 114, etc.); or where it is expressed in a positive form in the one clause and in a negative in the other (Ps. 40:12; Prov. 6:26); or where the same idea is expressed in three successive clauses (Ps. 40:15, 16); or in a double parallelism, the first and second clauses corresponding to the third and fourth (Isa. 9:1; 61:10, 11). (2.) Antithetic parallelism, where the idea of the second clause is the converse of that of the first (Ps. 20:8; 27:6, 7; 34:11; 37:9, 17, 21, 22). This is the common form of gnomic or proverbial poetry. (See Prov. 10-15.) (3.) Synthetic or constructive or compound parallelism, where each clause or sentence contains some accessory idea enforcing the main idea (Ps. 19:7-10; 85:12; Job 3:3-9; Isa. 1:5-9). (4.) Introverted parallelism, in which of four clauses the first answers to the fourth and the second to the third (Ps. 135:15-18; Prov. 23:15, 16), or where the second line reverses the order of words in the first (Ps. 86:2). Hebrew poetry sometimes assumes other forms than these. (1.) An alphabetical arrangement is sometimes adopted for the purpose of connecting clauses or sentences. Thus in the following the initial words of the respective verses begin with the letters of the alphabet in regular succession: Prov. 31:10-31; Lam. 1, 2, 3, 4; Ps. 25, 34, 37, 145. Ps. 119 has a letter of the alphabet in regular order beginning every eighth verse. (2.) The repetition of the same verse or of some emphatic expression at intervals (Ps. 42, 107, where the refrain is in verses, 8, 15, 21, 31). (Comp. also Isa. 9:8-10:4; Amos 1:3, 6, 9, 11, 13; 2:1, 4, 6.) (3.) Gradation, in which the thought of one verse is resumed in another (Ps. 121). Several odes of great poetical beauty are found in the historical books of the Old Testament, such as the song of Moses (Ex. 15), the song of Deborah (Judg. 5), of Hannah (1 Sam. 2), of Hezekiah (Isa. 38:9-20), of Habakkuk (Hab. 3), and David's "song of the bow" (2 Sam. 1:19-27).
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