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النشر الإلكتروني

THE BOOK OF ZEPHANIAH.

INTRODUCTORY REMARKS.

THIS book was written B. C. 640-609. Zephaniah is supposed to have been contemporary with Jeremiah, and his prophecies resemble those of that seer. Some critics maintain that this composition is an abridgment of that of Jeremiah; but it is evident from the contents that the prophecies of Zephaniah preceded those of Jeremiah (cf. Jer. ii. 5, 20, 22, with Zeph. i. 4, 5, 9).

The inhabitants of Judah had become contaminated with idolatry and other heinous sins, and Zephaniah was commissioned to charge upon them their revolting wickedness, to announce the destruction awaiting them, and urge them to repentance. He then foretells the final discomfiture of their enemies, and promises that the Jews shall be blessed of Heaven.

The style of this prophet is not characterized by the abruptness, impetuosity, and sublimity of some of his contemporaries. He seems to possess qualities which belong to all, though not strikingly developed. He is calm, grave, solemn, and sometimes vehement and furious. Zephaniah is poetical, but his writings do not exhibit the highest beauties of refined poetry.

There are three or four allusions to music in the book. Chapter i. 16, trumpet. This is the shophar, or war trumpet. The writer is speaking of the judgments which were to fall upon Judah and Jerusalem. The trumpet indicates war. Their enemies shall destroy them. Chapter ii. 14, sing. Here is a terrific idea. The prophet is speaking of the destruction of

Nineveh.

After describing its utter desolation, he declares that the cormorant and bittern shall sing in the windows. The original is a derivative of shir, usually translated to sing. Chapter iii. 14, sing-shout. A derivative of ranan is used for sing (vid. Rem. on Lev. ix. 24). This is the language of triumph. Israel was eventually to exult over her enemies, and shout for victory. Verse 17, singing. The original of this is also a derivative of ranan, indicating rejoicing under the blessings of God.

THE BOOK OF ZECHARIAH.

INTRODUCTORY REMARKS.

THE prophecies contained in this book were made B. C. 520-518. Zechariah was undoubtedly one of the captives who returned to Jerusalem on account of the decree of Cyrus. He prophesied concerning the restoration of the temple, the incarnation of the Messiah, the war of the Romans against the Jews, and the final coming of Christ. Some parts of the book are obscure, from the fact, doubtless, that its predictions are not yet all fulfilled. Zechariah is considered as next to Isaiah in the evangelical character of his prophecies. The book is quite prosaic, but the language is pure, and the style natural and adapted to the subjects discussed, being in the historical parts very simple, while in the prophetical portions it is elevated and often in the highest degree sublime (vid. Dr. Blayney's translation of Zech. Prel. Dis. pp. 15, 16). The writer, in some of his flights of inspiration, is exceedingly vivid, and inspires the reader with the most exalted emotions.

There are a few allusions to music in the book. Chap. ii. 10, sing. The original is a derivative of ranan (vid. Rem, on Lev.

ix, 24). Verse 10 in our translation is verse 14 in Hebrew. The prophet here calls upon Zion to sing and rejoice in view of the restoration of the temple. Chapter iv. 7, shoutings. This refers to the great joy which would occur at the completion of the temple. The original is not a musical term. It means noise, tumult, vociferations. Chap. ix. 9, 14. Shout-blow the trumpet.—The original of shout is a derivative of rua (yan), meaning to make a noise, or tumult. The prophet foresees the Saviour approaching Jerusalem, amid the acclamations of the people, as described in the Gospels. In v. 14, Jehovah is represented as defending his people. He will blow the trumpet (crooked, or war trumpet), and call out warriors to defend them from their foes. This is the last allusion to music in the Old Testament.

THE NEW TESTAMENT.

INTRODUCTORY REMARKS.

IN connection with our general remarks on Hebrew poetry, we have already shown that the poetic effusions of the New Testament have the same grand characteristics as those of the Old, the principal of which is different forms of parallelism (vid. p. 240, supra). It should be remarked that much of the poetry of the New Testament, with the exception of quotations from the Old, is of a prosaic character. Some of it, like the sermon on the mount, is didactic, and not highly poetic, if it can be considered as at all partaking of that character. The incarnation of Christ, his crucifixion, his resurrection from the dead, the final judgment, a heaven of blessedness, the pit of woe, and other exciting themes, elevate the imagination to the highest point, and are eminently poetical; but the subjects are not always described in that vivid and sententious style which is so prevalent in the Old Testament. The sermon on the mount has evidently characteristics of poetry, though not in the highest degree. The same is true of the parables, some of which exhibit great beauty, elegance, and sublimity. The writings of Paul are somewhat poetical; but it is the closing part of the New Tes tament the Apocalypse-where we perceive the most splendid flights of imagination.

THE HISTORICAL BOOKS.

INTRODUCTORY REMARKS.

THESE are the Gospels-Matthew, Mark, Luke, and John, -and the Acts of the Apostles. The design of the former is to establish the truth that Jesus is the Messiah, and thus confirm the Christian's faith in the Son of God, and to refute the calumnies of opposers to piety. Matthew, Mark, and Luke describe the works and doctrines of Christ in Galilee, while John gives an account of his actions and tenets at Jerusalem and in Judæa.

The music of this part of the sacred volume is of a later age than that which we have been considering. When the New Testament was prepared, music, and the arts and sciences generally, had reached a high state of improvement.

THE GOSPEL BY MATTHEW.

INTRODUCTORY REMARKS.

THIS book was probably written about 37 or 38 years after Christ, though some eminent scholars place it at a much later date. It is maintained by some critics that it was originally written in Hebrew or Syro-Chaldaic, and by others that it was composed in Greek. The former opinion is sustained by the highest authority, and is probably the correct one. From numerous references to this Gospel by the Apostolic Fathers and their successors, its authenticity is fully established. Its style is simple, perspicuous, impressive, and energetic.

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