The prophets had to go amongst men, even if it were at the risk of life, and deliver the Divine message. They had to use every device to make it telling, striking in at every opportunity and giving line upon line, precept upon precept, here a little and there a little. They did not disdain the homeliest means, if it served the purpose. A prophet would go about in public carrying a yoke on his neck, like a beast of burden, or lie a whole year on his side, to attract attention to some important truth. More than once we find a prophet setting up a board in the market-place, with only a few words written on it, into which he had condensed his message, that the passers-by might read it.
On the other hand, when it was appropriate, they did not spare themselves the trouble of cultivating the graces of style by which words are made attractive and impressive.[25] The prophetic books are almost as artistic as poems. Their literary form is not exactly poetry, though now and then it crosses its own boundary and becomes poetical. It is a kind of rhythmical prose, governed by laws of its own, which it carefully observes. All the prophets are not, indeed, equally careful. Some of them appear to have been too completely carried away with the message which they had to deliver to think much of the way of delivering it. But these were not the strongest of the prophets; and it is worth observing, that those who took the most pains about the form in which what they had to say was couched have been the most successful prophets in this sense, that they have been most read by subsequent generations.
At the head of them all, in this respect, stands Isaiah. If the book of an ordinary reader of the Bible were examined, it would be found, I imagine, that Isaiah is thumbed far more than any other portion of the prophetical writings; and this is due not only to the divinely evangelical character of his message, but also to the nobly human style of his language.[26] All the resources of poetry and eloquence are at his command. Every realm of nature ministers to his stores of imagery; and his language ranges through every mode of beauty and sublimity, being sometimes like the pealing of silver bells, and sometimes like the crashing of avalanches, and sometimes like the songs of seraphim. He is generally supposed to have been a native of Jerusalem and to have spent his life within its walls. So identified, indeed, is he with it, that he is coming to be called Isaiah of Jerusalem; and a recent expounder of his prophecies says that Jerusalem was more to him than Athens to Demosthenes, Rome to Juvenal, or Florence to Dante. But, at some period of his life, he must have had ample experience also of a country life; because the aspects of the country are mirrored in his pages with incomparable charm.
He lets us see nature, as it existed in his day, both wild in the forest and wilderness, and cultivated around the abodes of men; and he paints for us the figures of the country people themselves and the labours they went forth to. We see in his pages the trees of the wood moved by the wind; the willows by the water-courses; the fresh branches sprouting from the stock of the pollard oak or terebinth. We hear the doves mourning from the depths of the thicket, and see the roe, chased by the hunter, disappearing within its shelter, and even the schoolboy rifling the birds' nests so ruthlessly that "there was none that moved the wing or opened the mouth or peeped." We see the swarms of bees and flies resting on the branches in the summer heat; the ploughshare lying in the furrow; the tow and the distaff; the ox turning its head to be patted by the hand of its owner, and the ass trotting off at feeding-time to its master's crib. The prophet looks with a specially observant and sympathetic eye on the toils of men--the woodman thinning the trees of the forest; the carpenter, with saw and axe, turning to his own uses the sycamore and the cedar; the builder among his bricks and stones; and the farmer, on the exposed height of the threshing-floor, winnowing his corn with the shovel and the fan. As is usual in the Bible, the shepherd is portrayed with special honour, whether he calls out his neighbours to frighten away the lion from his flock or is seen gathering the lambs in his arms and carrying them in his bosom. But most of all does the poet-prophet love to linger in the vineyard, marking accurately all the operations of the vine-dresser and all the stages of the growth of the vines. We see the tearing up of the hillside with the mattock, the accumulation of soil, the gathering out of the stones, the construction of the winepress and the watch-tower. Then we see the roots planted and growing from stage to stage--from that "afore the harvest, when the bud is perfect and the sour grape is ripening in the flower," to that when the vineyard is ringing with the songs of the vintage and the gleaners are picking the last relics from the outermost branches.