Dict: all - poet

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POETRY, HEBREW - P>@ - Lyrical poetry .
Of the three kinds of poetry which are illustrated by the Hebrew literature, the lyric occupies the foremost place. That literature abounds with illustrations of all forms of Lyrical poetry, in its most manifold and wide-embracing compass, from such short ejaculations as the songs of the two Lamechs and Psal 15, 117 and others, to the longer chants of victors and thanksgiving, like the songs of Deborah and David. Judg 5; Psal 18. The Shemitic nations have nothing approaching to an epic poem, and in proportion to this defect the lyric element prevailed more greatly, commencing in the pre
- Mosaic times, flourishing in rude vigor during the earlier periods of the judges, the heroic age of the Hebrews, growing with the nation’s growth and strengthening with its strength, till it reached its highest excellence in David, the warrior poet, and from thenceforth began slowly to decline. Gnomic poetry .
The second grand division of Hebrew poetry is occupied by a class of poems which are peculiarly Shemitic, and which represent the nearest approaches made by the people of that race to anything like philosophic thought. Reasoning there is none: we have only results, and those rather the product of observation and reflection than of induction or argumentation. As lyric poetry is the expression of the poet’s own feelings and impulses, so gnomic poetry is the form in which the desire of communicating knowledge to others finds vent. Its germs are the floating proverbs which pass current in the mouths of the people, and embody the experiences of many with the wit of one. The utterer of sententious sayings was to the Hebrews the wise man, the philosopher. Of the earlier isolated proverbs but few examples remain. Dramatic poetry .
It is impossible to assert that no form of the drama existed among the Hebrew people. It is unquestionably true, as Ewald observes, that the Arab reciters of romances will many times in their own persons act out a complete drama in recitation, changing their voice and gestures with the change of person and subject. Something of this kind may possibly have existed among the Hebrews; still there is no evidence that it did exist, nor any grounds for making even a probable conjecture with regard to it. But the mere fact of the existence of these rude exhibitions’ among the Arabs and Egyptians of the present day is of no weight when the question to be decided is whether the Song of Songs was designed to be so represented, as a simple pastoral drama, or whether the book of Job is a dramatic poem or not. Inasmuch as it represents an action and a progress, it is a drama as truly and really as any poem can be which develops the working of passion and the alter-nations of faith, hope, distrust, triumph and confidence and black despair, in the struggle which it depicts the human mind as engaged in while attempting to solve one of the most intricate problems it can be called upon to regard. It is a drama as life is a drama, the most powerful of all tragedies but that it is a dramatic poem, intended to be represented upon a stage, or capable of being so represented, may be confidently denied. One characteristic of Hebrew poetry, not indeed peculiar to it, but shared by it in common with the literature of other nations, is its intensely national and local coloring. The writers were Hebrews of the Hebrews, drawing their inspiration from the mountains and rivers of Palestine, which they have immortalized in their poetic figures, and even while uttering the sublimest and most universal truths never forgetting their own nationality in its narrowest and intensest form. Examples of this remarkable characteristic the Hebrew poets stand thick upon every page of these writings, and in striking contrast with the vague generalizations of the indian philosophic poetry. About one third of the Old Testament is poetry in the Hebrew
a large part of Job, Psalms, Proverbs, Ecclesiastes, the Song of Solomon, besides a great part of the prophets. Fragments of poetry are also found in the historical books. (The form which biblical poetry takes is not of rhyme and metre
the rhythm of quantity in the syllables
as with us, but the rhythm of the thought
there usually being two corresponding members to each distich or verse, which is called a parallelism. To some extent there is verbal rhythm. Sometimes there were alliterations, as in the 119th Psalm, which is divided up into sections, one for each letter of their alphabet, and each of the eight verses in a section begins with the same letter in the Hebrew; and chap. 31, vs. 10-31, of the book of Proverbs is an alphabetical acrostic in praise of "the virtuous woman." The poetry of the Hebrews, in its essential poetic nature, stands in the front rank. It abounds in metaphors and images and in high poetic feeling and fervor.
ED.)

easton:

Poetry @ 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 kjv@Psalms:93:3 kjv@Psalms:94:1; kjv@Proverbs:6:2), or in different words Psalms:22-23 kjv@Psalms:28, 114, etc.); or where it is expressed in a positive form in the one clause and in a negative in the other kjv@Psalms:40:12; kjv@Proverbs:6:26); or where the same idea is expressed in three successive clauses kjv@Psalms:40:15-16); or in a double parallelism, the first and second clauses corresponding to the third and fourth kjv@Isaiah:9:1 kjv@Isaiah:61:10-11).

(2.) Antithetic parallelism, where the idea of the second clause is the converse of that of the first kjv@Psalms:20:8 kjv@Psalms:27:6-7 kjv@Psalms:34:11 ; 37:9,17, 21, 22). This is the common form of gnomic or proverbial poetry. (
See Proverbs:10-15.)

(3.) Synthetic or constructive or compound parallelism, where each clause or sentence contains some accessory idea enforcing the main idea kjv@Psalms:19:7-10 kjv@Psalms:85:12; kjv@Job:3:3-9; kjv@Isaiah:1:5-9).

(4.) Introverted parallelism, in which of four clauses the first answers to the fourth and the second to the third kjv@Psalms:135:15-18; kjv@Proverbs:23:15-16), or where the second line reverses the order of words in the first kjv@Psalms: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: kjv@Proverbs:31:10-31; Lamentations:1-2 kjv@Lamentations:3, 4; Psalms:25,34, 37, 145. Psalms: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 Psalms:42,107, where the refrain is in verses, 8, 15, 21, 31). (Comp. also kjv@Isaiah:9:8-10:4; kjv@Amos:1:3 kjv@Amos:1:6, 9, 11, 13; 2:1,4, 6.)

(3.) Gradation, in which the thought of one verse is resumed in another Psalms:121). Several odes of great poetical beauty are found in the historical books of the Old Testament, such as the song of Moses Exodus:15), the song of Deborah Judges:5), of Hannah ( 1Samuel:2), of Hezekiah kjv@Isaiah:38:9-20), of Habakkuk Habakkuk:3), and David's "song of the bow" ( kjv@2Samuel:1:19-27).

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naves:

POET @
- Greek kjv@Acts:17:28; kjv@Titus:1:12
-
See POETRY
-
See PSALMS
-
See SONGS

POETRY @

- ACROSTIC kjv@Psalms:25; 34; 37; 111; 112; 119; 145; kjv@Proverbs:31:10-31; kjv@Lamentations:1; 2; 3; 4; 5

- DIDACTIC .Moses' song Deuteronomy:32 .
See Job, Proverbs, Song of Solomon, and all the books of prophecy .
See PSALMS,_DIDACTIC

- ELEGY .Upon the death of Saul kjv@2Samuel:1:19-27 .Upon the death of Abner kjv@2Samuel:3:33-34 .
See ELEGY

- EPIC .Moses' song kjv@Exodus:15:1-19 .Miriam's song kjv@Exodus:15:21 .Song of Deborah Judges:5

- LYRICS, SACRED .Moses' and Miriam's songs Exodus:15 .Hannah's Songs:1Samuel:2:1-10 .The song .Of Elizabeth kjv@Luke:1:42-45 .Of Mary kjv@Luke:1:46-55 .Of Zacharias kjv@Luke:1:68-79 .The Psalms, which see

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strongs:

H1864 <STRHEB>@ דּרום dârôm daw-rome' Of uncertain derivation; the south; {poet} the south wind: - south.

H4448 <STRHEB>@ מלל mâlal maw-lal' A primitive root; to speak (mostly poetical) or say: - {say} {speak} utter.

H5031 <STRHEB>@ נביאה nebîy'âh neb-ee-yaw' Feminine of H5030; a prophetess or (generally) inspired woman; by implication a poetess; by association a prophet's wife: - prophetess.

G2211 <STRGRK>@ Ζηνᾶς Zēnas dzay-nas' Probably contracted from a poetic form of G2203 and G1435; Jove given; Zenas a Christian: - Zenas.

G2795 <STRGRK>@ κινέω kineō kin-eh'-o From κίω kiō (poetic for [εἶμι eimi to go]); to stir (transitively) literally or figuratively: - (re-) move (-r) way.

G3107 <STRGRK>@ μακάριος makarios mak-ar'-ee-os A prolonged form of the poetical μάκαρ makar (meaning the same); supremely blest; by extension fortunate well off: - blessed happy (X -ier).

G4163 <STRGRK>@ ποιητής poiētēs poy-ay-tace' From G4160; a performer; specifically a poet: - doer poet.

G4396 <STRGRK>@ προφήτης prophētēs prof-ay'-tace From a compound of G4253 and G5346; a foreteller (prophet); by analogy an inspired speaker; by extension a poet: - prophet.