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Rh are to be the constituent parts according to which strophes of a like cipher shall be measured! A strophe only becomes a strophe by virtue of its symmetrical relation to others, to the ear it must have the same time, to the eye the same form and it must consequently represent the same number of lines (clauses). The fact of these clauses, according to the special characteristic of Hebrew poetry, moving on with that rising and falling movement which we call parallelism until they come to the close of the strophe where it gently falls to rest, is a thing sui generis, and, within the province of the strophe, somewhat of a substitute for metre; but the strophe itself is a section which comes to thorough repose by this species of rhythmical movement. So far, then, from placing the rhythm on one leg only, we give it its two: but measure the strophe not by the two feet of the Masoretic verses or even couplets of verses, but by the equal, or symmetrically alternating number of the members present, which consist mostly of two feet, often enough however of three, and sometimes even of four feet. Whether and how a psalm is laid out in strophes, is shown by seeing first of all what its pauses are, where the flow of thoughts and feelings falls in order to rise anew, and then by trying whether these pauses have a like or symmetrically correspondent number of stichs (e.g., 6. 6. 6. 6 or 6. 7. 6. 7) or, if their compass is too great for them to be at once regarded as one strophe, whether they cannot be divided into smaller wholes of an equal or symmetrical number of stichs. For the peculiarity of the Hebrew strophe does not consist in a run of definite metres closely united to form one harmonious whole (for instance, like the Sapphic strophe, which the four membered verses, Isa 16:9-10, with their short closing lines corresponding to the Adonic verse, strikingly resemble), but in a closed train of thought which is unrolled after the distichic and tristichic ground-form of the rhythmical period. The strophe-schemata, which are thus evolved, are very diverse. We find not only that all the strophes of a poem are of the same compass (e.g., 4. 4. 4. 4), but also that the poem is made up of symmetrical relations formed of strophes of different compass. The condition laid down by some, that only a poem that consists of strophes of equal