Jeremiah : Being The Baird Lecture for 1922. George Adam Smith

These Duhm alleges—and this is all that he finds in them—reveal Jeremiah as a man of modest, tender, shrinking temper, “no ruler of spirits, a delicate observer, a sincere exhorter and counsellor, a hero only in suffering and not in attack.”51 Every passage of the Book, which presents him in any character beyond this—as an advocate for the Law or as a didactic prophet—is the dream of a later age, definitely separable from his own Oracles not more by its inconsistence with the temper displayed in these than by its prose form; for in prose, according to Duhm, Jeremiah never prophesied. On the evidence we have reviewed this also is not credible. That Jeremiah never passed from verse to prose when addressing his people is a theory at variance with the practice of other poets of his [pg 041] race; and the more unlikely in his case, who was not only a poet but a prophet, charged with truths heavier than could always be carried to the heart of his nation upon a single form of folk-song. Not one of the older prophets, upon whom at first he leant, but used both prose and verse; and besides there had burst upon his young ear a new style of prophetic prose, rhythmical and catching beyond any hitherto publicly heard in Israel. At least some portions of our Book of Deuteronomy were discovered in the Temple a few years after his call, and by order of King Josiah were being recited throughout Judah. Is it probable that he, whose teaching proves him to have been in sympathy with the temper and the practical purpose of that Book, should never have yielded to the use of its distinctive and haunting style?

      It is true that, while the lyrics which are undoubtedly the prophet's own are terse, concrete, poignant and graceful, the style of many—not of all—of the prose discourses attributed to him is copious, diffuse, and sometimes cold. But then it is verse which is most accurately gripped by the memory and firmly preserved in tradition; it is verse, too, which best guards the original fire. Prose discourses, whether in their first reporting or in their subsequent tradition more readily tend to dilate and to relax their style. Nor is any style of prose so open as the Deuteronomic to additions, [pg 042] parentheses, qualifications, needless recurrence of formulas and favourite phrases, and the like.

      Therefore in the selection of materials available for estimating the range and character of Jeremiah's activities as a prophet, we must not reject any prose Oracles offered by the Book as his, simply because they are in prose. This reasonable caution will be of use when we come to consider the question of the authenticity of such important passages as those which recount his call, or represent him as assisting in the promulgation of Deuteronomy, and uttering the Oracle on the New Covenant.52

      But, while it has been necessary to reject as groundless the theory that Jeremiah was exclusively a poet of a limited temper and a single form of verse and was not the author of any of the prose attributed to him, we must keep in mind that he did pour himself forth in verse; that it was natural for a rural priest such as he, aiming at the heart of what was mainly a nation of peasants, to use the form or forms of folk-song most familiar to them53—in fact [pg 043] the only literary forms with which they were familiar; and that in all probability more of the man himself comes out in the poetry than in the prose which he has left to us. By his native gifts and his earliest associations he was a poet to begin with; and therefore the form and character of his poetry, especially as revealing himself, demand our attention.

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      From what has been said it is clear that we must not seek too high for Jeremiah's rank as a poet. The temptation to this—which has overcome some recent writers—is due partly to a recoil from older, unjust depreciations of his prophetic style and partly to the sublimity of the truths which that mixed style frequently conveys. But those truths apart, his verse was just that of the folksongs of the peasants among whom he was reared—sometimes of an exquisite exactness of tone and delicacy of feeling, but sometimes full both of what are metrical irregularities according to modern standards, and of coarse images and similes. To reduce the metrical irregularities, by such arbitrary methods as Duhm's, may occasionally enhance the music and sharpen the edge of an Oracle yet oftener dulls the melody and weakens the emphasis.54 The figures again [pg 044] are always simple and homely, but sometimes even ugly, as is not infrequent in the rural poetries of all peoples. Even the dung on the pastures and the tempers of breeding animals are as readily used as are the cleaner details of domestic life and of farming—the house-candle, the house-mill, the wine skins, the ornaments of women, the yoke, the plough, and so forth. And there are abrupt changes of metaphor as in our early ballads, due to the rush of a quick imagination and the crowd of concrete figures it catches.

      Some of Jeremiah's verse indeed shows no irregularity. The following, for instance, which recalls as Hosea loved to do the innocence and loyalty of Israel's desert days, is in the normal Qînah rhythm of lines with alternately three and two accents each. The two first lines are rhymed, the rest not.

      II. 2f.:—

      The troth of thy youth I remember,

      Thy love as a bride,

      Thy follow of Me through the desert,

      The land unsown.

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      Holy to the Lord was Israel,

      Of His income the firstling,

      All that would eat it stood guilty,

      Evil came on them.

      Or II. 32:—

      Can a maiden forget her adorning,

      Or her girdle the bride?

      Yet Me have My people forgotten,

      Days without number.

      How fine hast thou fashioned thy ways,

      To seek after love!

      Thus 't was thyself55 to [those] evils

      Didst train56 thy ways.

      Yea on thy skirts is found blood

      Of innocent57 souls.

      Not only on felons(?) I find it,58

      But over all these.

      Here again is a passage which, with slight emendations and these not arbitrary, yields a fair constancy of metre (IV. 29–31):—

      From the noise of the horse and the bowmen

      All the land is in flight,

      They are into the caves, huddle in thickets,

      And are up on the crags.59

      Every town of its folk is forsaken,

      With none to inhabit.

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      All is up! Thou destined to ruin,(?)60

      What doest thou now

      That thou deck'st thee in deckings of gold

      And clothest in scarlet,61

      And with stibium widenest thine eyes?

      In vain dost thou prink!

      Though satyrs, they utterly loathe thee,

      Thy life are they after.

      For voice as of travail I hear,

      Anguish as hers that beareth,

      The voice of the Daughter of Ṣion agasp,

      She spreadeth her hands:

      “Woe unto me, but it faints,

      My life to the butchers!”

      On the other hand here is a metre,62 for the irregularities of which no remedy is offered by alternative readings in the Versions, but Duhm and others reduce these only by padding the text with particles and other terms. Yet these very irregularities have reason; they suit the meaning to be expressed. Thus while some of the couplets are in the Qînah metre, it is instructive that the first three lines are all short, because they are mere ejaculations—that is they belong to the [pg 047] same class of happy irregularities as we recalled in Shakespeare's blank verse.

      Israel a slave!