The lessons of the passage are two: that the people of God are something distinct from civilisation, though this be universal and absorbent as a very Babylon; and that the resources of civilisation are not even in material strength the highest in the universe, but God has in His armoury weapons heedless of men's cunning, and in His armies agents impervious to men's bribes. Every civilisation needs to be told, according to its temper, one of these two things. Is it hypocritical? Then it needs to be told that civilisation is not one with the people of God. Is it arrogant? Then it needs to be told that the resources of civilisation are not the strongest forces in God's universe. Man talks of the triumph of mind over matter, of the power of culture, of the elasticity of civilisation; but God has natural forces, to which all these are as the worm beneath the hoof of the horse: and if moral need arise, He will call His brute forces into requisition. _Howl ye, for the day of Jehovah is near; as destruction from the Destructive does it come._ There may be periods in man's history when, in opposition to man's unholy art and godless civilisation, God can reveal Himself only as destruction.
II. THE TYRANT (xiv. 3-23).
To the prophecy of the overthrow of Babylon there is annexed, in order to be sung by Israel in the hour of her deliverance, a _satiric ode_ or _taunt-song_ (Heb. _mashal_, Eng. ver. _parable_) upon the King of Babylon. A translation of this spirited poem in the form of its verse (in which, it is to be regretted, it has not been rendered by the English revisers) will be more instructive than a full commentary. But the following remarks of introduction are necessary. The word _mashal_, by which this ode is entitled, means comparison, _similitude_ or _parable_, and was applicable to every sentence composed of at least two members that compared or contrasted their subjects. As the great bulk of Hebrew poetry is sententious, and largely depends for rhythm upon its parallelism, _mashal_ received a general application; and while another term--_shîr_--more properly denotes lyric poetry, _mashal_ is applied to rhythmical passages in the Old Testament of almost all tempers: to mere predictions, proverbs, orations, satires or taunt-songs, as here, and to didactic pieces. The parallelism of the verses in our ode is too evident to need an index. But the parallel verses are next grouped into strophes. In Hebrew poetry this division is frequently effected by the use of a refrain. In our ode there is no refrain, but the strophes are easily distinguished by difference of subject-matter. Hebrew poetry does not employ rhyme, but makes use of assonance, and to a much less extent of alliteration--a form which is more frequent in Hebrew prose. In our ode there is not much either of assonance or alliteration. But, on the other hand, the ode has but to be read to break into a certain rough and swinging rhythm. This is produced by long verses rising alternate with short ones falling. Hebrew verse at no time relied for a metrical effect upon the modern device of an equal or proportionate number of syllables. The longer verses of this ode are sometimes too short, the shorter too long, variations to which a rude chant could readily adapt itself. But the alternation of long and short is sustained throughout, except for a break at ver. 10 by the introduction of the formula _And they answered and said_, which evidently ought to stand for a long and a short verse if the number of double verses in the second strophe is to be the same as it is--seven--in the first and in the third.
The scene of the poem, the Underworld and abode of the shades of the dead, is one on which some of the most splendid imagination and music of humanity has been expended. But we must not be disappointed if we do not here find the rich detail and glowing fancy of Virgil's or of Dante's vision. This simple and even rude piece of metre, liker ballad than epic, ought to excite our wonder not so much for what it has failed to imagine as for what, being at its disposal, it has resolutely stinted itself in employing. For it is evident that the author of these lines had within his reach the rich, fantastic materials of Semitic mythology, which are familiar to us in the Babylonian remains. With an austerity, that must strike every one who is acquainted with these, he uses only so much of them as to enable him to render with dramatic force his simple theme--the vanity of human arrogance.[75]