The Court of the Gentiles, Discourse · Part 1 · Book 3 · Chapter 1
CHAP. I. Of Pagan Poeſie, and its Traduction from ſacred Oracles.
Poeſie the moſt ancient of Human Literature. Divine Poeſie moſt ancient, and the Idea of Human: which is proved 1. by Autoritie, 2. by Artificial Demonſtration: 1. from the firſt Poets, Linus, Orpheus, Homer, and Heſiod. 2. From the Original occaſion of all Poeſie, viz. God's Miracles and Apparitions in, and for his Church. 3. From its Impulſive cauſe, viz. Admiration. 4. From the agreement betwixt Divine and Pagan Poeſie in their main end, viz. Worſhip. 5. From the parallel betwixt Divine Poeſie and Pagan, in their forme of production; which was by Divine Enthuſiaſme. Plato's deſcription of Poetick Enthuſiaſme, as parallel to Divine Enthuſiaſme. The Greek Rapſodiſt parallel to the Jewiſh Pſalmodiſt. 1 Sam. 10.5,6. Poeſie not an Art, but Divine Afflation. 6. The Traduction of pagan Poeſie from Divine Oracles, is proved from its Matter; which is either Theologick, Philoſophick, or Hiſtorick. 7. Laſtly, the ſame is demonſtrated from the parts of Poeſie; which is either Eicaſtick, or Phantaſtick; and both from ſacred Symbols and Oracles.
§. 1. VVE have diſpatcht, in the foregoing Books, two chief parts of Philologie; namely the original of Languages, and Pagan Theologie. We now proceed to a third branch thereof, viz. Poeſie; with indeavors to demonſtrate its derivation from ſacred Oracles. Poeſie the moſt ancient part of human Literature.Firſt, that Poeſie was the moſt ancient of all Artificial Literature, eſpecially amongſt the Grecians, is generally affirmed by the Learned; and we have for it the Teſtimonie of Strabo, lib. 1. where he undertakes to prove, that Proſe is onelyonly an imitation of Poeſie &c. Thus alſo Voſſius, (de Hiſtor. Graecis lib 1. cap. 1. pag. 7.) aſſerts, and proves, that the Greek Hiſtorians and Philoſophers were after the Poets. So alſo Jackſon (on the Autoritie of the Scripture) gives it, as from unqueſtionable Antiquitie, that all other ſet ſpeech, whether Hiſtorical, or Rhetorical, was but the progenie of Poeſie, falling in latter times from its wonted ſtate. And indeed its evident from the thing it ſelf, that all the ancient Learning of the Grecians, both Hiſtorie, Moralitie, Philoſophie, and Theologie, was delivered in Poeſie. Hence Orpheus, and other Poets were anciently ſtiled foreign, Teachers, becauſe they taught men Theologie, and Moralitie &c. Whence alſo the ancient Diſcourſes of the Philoſophers were ſtiled foreign, Songs, &c. becauſe they delivered their precepts of Philoſophie in verſe. So Pythagoras, and the reſt of the Philoſophers of his Sect: yea, among the Latins, carmina were uſed for moral Precepts; as Stillingf. Orig. S. Book 1. chap. 4.
§. 2. That Divine Poeſie was moſt ancient, and the ſpring or Idea of Human.As Poeſie was the firſt piece of artificial Diſcourſe amongſt the Pagans, particularly the Grecians; ſo tis as certain, that Divine Poeſie preceded Human; yea, that the latter was but a corrupt imitation of the former. We have the original, forme, and mode of Scripture. Poeſie laid open to us by Ioſeph Scaliger, Animadverſiones in Euſeb. Chron. (fol. 6.7. edit. 1658.) We find not (ſaith he) in the Pſalter, or Lamentations any Cantick bound up by Laws of Metre, but the Diſcourſe is meerly Proſe, animated by a Poetick character. — OnelyOnly the Cantick of Moſes in the laſt Chap. of Deuteronomie, the Proverbs of Solomon, and almoſt all the Book of Job, are bound up under the neceſſitie of Rithme; which Rithme is like two Dimetrian Jambicks, with a Tinnulus to the ears. — The Cantick of Moſes is a Rithme drawing near unto a Tetrameter Jambick, not unto an Hexameter Heroick, as Joſephus will have it. — Yea, there is no Hexameter or Pentameter to be found in the Sacred Bibles: neither does the Rithme in them conſiſt of any exact Modes; but the Rithme is ſometimes ſhorter, ſometimes longer, according to the capacitie of the ſentence &c. Thus much for the judgement of Joſ. Scal. touching Scripture Poeſie, its ſeveral Modes, &c. That Moſes was the moſt ancient of all Poets is proved by Joſephus, l. 2. contra Appion: as Mariana in his Preface to Geneſis. We find Moſes's Prayer deliver'd in a kind of poeſie, Pſal. 90. Alſo Moſes's Song, upon Gods delivering the Iſraelites out of the hands of Pharaoh Exod. 15.1. Then ſang Moſes &c. which was ſeconded by the Song of Miriam ver. 20. Likewiſe Jobs Diſcourſes are, for the moſt part, in Verſe. All which pieces of Divine Poeſie are much more ancient than any piece of Pagan Poeſie: and we need no way doubt, but that the latter was, by I know not what artificial Satanick imitation, the Product of the former; as it may be demonſtrated, both by Inartificial and Rational Argumentation.
§. 3. Teſtimonies to prove the Traduction of Pagan Poeſie from Divine Oracles.As for Inartificial Arguments or Autoritie, we ſhall begin with that of Tertullian (Apolog. cap. 47.) Who is there, ſaies he, of the Poets who hath not drank of the prophets fountain &c? Thus Jackſon, in his learned Diſcourſe of the Authoritie of the Scriptures, proves at large, that the moſt of thoſe fabulous Narrations, and feigned ſtories, mention'd by Heathen Poets, had their original platforme, as alſo their main foundation and riſe from ſome real iſsue of Divine Power; and therefore may be referred to ſome hiſtorical relation of ſacred writ. So Jackſ. of the Scriptures fol. 27. Albeit the events, which the moſt ancient Poets relate, through long diſtance of time ſeem moſt ſtrange to us, yet is the ground ſuch, as upon better ſearch, may alwaies be referred to ſome Hiſtorical Truth; which yielded ſtuffe to Poetick ſtructure, as day ſpectacles doe unto night Viſions. Again the ſame Jackſon, fol. 34. ſpeaks more fully thus: Continually, whileſt we compare ancient Poets or ſtories with the Book of Geneſis, and other Volumes of ſacred Antiquitie, theſe ſacred Books give us the patterne, of the waking thoughts of ancient Times. And the Heathen Poems, with other fragments of Ethnick writings, contain the Dreams and Fancies which ſucceeding Ages, by hearſay and broken Reports, had conceived concerning the ſame or like matters. For any judicious man, from the continual and ſerious obſervation of this Regiſter of Truth, may find out the original, at leaſt of all the principal Heads, or common places of Poetick fictions, or ancient Traditions; which, it cannot be imagined, they ſhould ever have come into any mans fancie, unles from the Imitation of ſome hiſtorical Truth, or the Impulſion of great events, ſtirring up Admiration &c. The like, the ſaid Author addes, fol. 49. where he proves, that the Poets have borrowed their beſt ſtage attire from the glorious wardrobe of Iſrael. And again fol. 56. The Sacred Antiquitie of Jewrie was to other Nations, as Nilus to Egypt, the main ſtream or principal river. Thus Jackſon: of which more hereafter.
§. 4. Artificial Demonſtration.Wee proceed to the Artificial or Rational Demonſtration of our Aſsertion, touching the Traduction of Pagan Poeſie from Divine; which we ſhall indeavor to make good, from the firſt Authors, Occaſions, Ends, Principles, and Parts of all Pagan Poeſie. 1. From the firſt authors of Poeſie amongſt the Grecians.As for the firſt Authors of Pagan Poeſie, they are generally ſuppoſed to have been the Grecians: but as for the time when Poeſie began to take root amongſt them, 'tis ſomewhat uncertain. Carion, in his Chron. lib. 2. makes Linus to be the firſt of the Greek Poets, who taught Hercules Letters and Muſick, &c. His words are theſe: What time Linus flouriſhed in, we may gather thence, Linus, the firſt of the Greek Poets, traduced the choiceſt of his Poeſie from ſacred Oracles and Operations.that he is ſaid to teach Hercules Letters, and Muſick; who when young being chid, fell into a paſſion of anger, and thence threw the Table, wherein he he drew his letters, at Linus's head; with which blow he died. They ſay that Linus was the firſt that brought Learning into Greece from Phenicia &c. Hence we may ſafely conjecture, firſt that Linus was by birth a Phenician: for ſuch the ancient Hercules Tyrius his Scholar was, as before. 2. That Linus alſo lived about the time the Cananites were expelled Canaan by Joſhua. For about this time Hercules Tyrius alſo lived; who tranſplanted ſome Colonies of theſe Cananites or Phenicians into Africa, Spain, and ſuch parts as bordered on the Midland Sea; whence the chief parts of Joſhua's atchievements, are by the Mythologiſt transferred to him; as before: (unles we make this Hercules diſtinct from, and after Hercules Tyrius) 3. Whence alſo it appears that the choiceſt materials of Linus's Poemps were of ſacred Original. For he being a Phenician, and living about that time, wherein God wrought ſo great wonders in behalf of the Iſraelites, he could not but have ſome Notices thereof. Yea, we have reaſon enough to conclude, that moſt of his Mythologie, or fabulous Narrations touching the Gods, their foreign, Genealogie, and exploits were but broken Traditions, and Imitations of ſome ſacred Perſons, Exploits, and Stories in the Jewiſh Church. And albeit we have few Reliques of his Poems, yet what remains ſeems to owe its original to the ſacred Fountain, opened amongſt the Iſraelites; eſpecially that moſt celebrated Verſe
foreign
Its eaſie for God to atchieve all things; and with him nothing is impoſsible. This Golden Verſe, we may preſume, Linus gained from the Divine Oracles, or his own obſervations of Gods Divine power in and with his Church.
§. 5. Orpheus's Poeſie derived from ſacred Scripture.Next to Linus follows Orpheus, whom Carion (lib. 2. touching the ancient Learning of the Jones) makes to be Linus's Auditor, and companion of the Argonauts. This Orpheus is ſaid alſo to have writ the wars of the Titans, and the Expedition of the Argonauts. Orpheo, qui ſub Judicibus floruiſſe a quibuſdam dicitur, circa Cadmi tempus, qui ab illo edoctus. Sandford de Deſcenſu l. 1. §. 22.Its reported alſo, that he was torne in pieces by the women in Thracia, out of a ſuperſtition; becauſe he had changed their Laws. Thus Carion. Some make the Poetick Age to begin with Orpheus. Its certain he was a great Promotor, if not the firſt Inventor of the foreign, Generation of the Gods. Juſtin Martyr ſtiles him foreign, the firſt Teacher of Polytheiſme. He was a great Inſtrument the Devil imploied for the erecting of Idolatrie, together with Melampus, Muſaeus, Arion, Methymnaeus, Amphion of Thebes, and Eumolpus the Thracian; who were all great Promotors of Idolatrie, as well as of Poeſie; whereof, we need no way doubt, but that they received the original Idea from the Jewiſh Church. For, that Orpheus was in Egypt, is generally confeſt: whence, as 'tis ſaid alſo, he brought moſt of his ſuperſtitious Rites and Cuſtomes into Greece; wherein thoſe who were initiated, were called foreign. Thus Sanford, de Deſcenſ. l. 1. §. 22. Orpheus is ſaid to be the firſt that brought into Greece the Sacreds of father Bacchus; who alſo, as Diodorus reports, Diodor. l. 1.at the ſame time, and with the ſame indeavor, brought in the myſteries of Hades; according to thoſe things which he had drunk in in Egypt, from the ſacred Hebraick Scriptures foreign, imitating theſe things, but other things framing of himſelf. Thus Sandford. Now that the Egyptian Rites, and ſuperſtitions were of Jewiſh extract originally, is elſewhere proved. They ſay alſo that Orpheus traduced much of his Learning from Phoenicia: which we may very juſtly ſuppoſe, if that hold true, which we have before mention'd out of Carion, that Linus was his Praeceptor. This ſeems farther evident from that Philoſophick Tradition fathered on Orpheus, foreign, of water Slime was made: which was a great Phenician Tradition, as it appears by the fragments of Sanchoniathon; wherein we find mention of this foreign; which he makes to be the ſame with his foreign, in the Phenician Tongue foreign mod, the firſt matter or Chaos, out of which all things were framed. Now that this Phenician maxime (as the moſt part of their Learning) was originally derived from the Jewiſh Oracles, has been elſewhere ſufficiently demonſtrated.
Orpheus (according to Euſebius) Euſeb. ex Tim. Chron. foreign,makes mention of the firſt Creation of man out of the Earth; as alſo of the infuſion of the rational Soul by God. And Suidas atteſts, Suidas. in foreign.that Orpheus held, there was a certain Countrey foreign inviſible, foreign: following herein the Traditions of Moſes. This Orpheus was very skilful in Muſick, as well as Poeſie; which gave him a mighty advantage on the Thracians and Macedonians, for the Civilizing of them: whence 'twas fabled, that he drew men and trees after him, i.e. by the Noveltie and pleaſingnes of his Muſick, and Poeſie, he inſinuated his Moral Precepts into the minds of men; and drew them to a chearful embracing of the ſame. This alſo he derived from the Church of God; as elſe-where. So Voſsius de Philoſophorum Sectis C. 3. §. 4. ſpeaks concerning him: Orpheus was a Thracian. Many have writ in the dayes of old, foreign, Poems according to the Doctrine of Orpheus. Suidas, in foreign, enumerates ſome of them. The chiefeſt of theſe was named Onomacritus; who lived in the times of Piſiſtratus's Sons. Of whom Tatianus, contra gentes, thus ſpeaketh: foreign &c. Orpheus was contemporary with Hercules. But the Poems that paſſe under his name, are ſaid to have been compoſed by Onomacritus the Athenian, who lived under the Government of Piſiſtratus's ſons, about the 50 Olympiad. There are many Fragments of the foreign, which Henry Stephanus, in his Philoſophick Poeſie, hath collected together. But the moſt famous fragment is that in Juſtin Martyr; in which there is ſomewhat of Abraham, and the Moſaick Tables of the Decalogue.
§. 6. Homer's choiceſt notions from Scripture.Next to Orpheus we may adde Homer; who lived about 150 years after the Trojan war, not far from the Age of the Prophet Eſaiah, as Carion Chron. lib. 2. That Homer was in Egypt, is generally confeſt by ſuch as have written his life, Soe alſo Grotius on Mat. 10.28. ſaies, that Homer was in Egypt is evident &c. Yea Sandford Deſcenſ. l. 2. §. 37. thinks that Homer was born, and bred in Egypt. Egyptum — ubi & natum Homerum cum Heliodoro ſuſpicor, & eruditum plane videor. Sandf. Deſcenſ. l. 1. §. 37.That Homer had many of his Fictions from ſome real Scripture Tradition, which he gathered up whileſt he was in Egypt, we may ſafely conjecture, even from his ſtile and the Affinitie of many of his expreſſions with the Scripture Language. Thus Ralegh, Hiſt. Part. 1. B. 1. C. 6. Sect. 7. It cannot be doubted, but that Homer had read over all the Books of Moſes, as by places ſtolne thence, almoſt word for word, may appear; of which Juſtin Martyr remembreth many, in the Treatiſe Converted by Mirandula. For the more full evidence whereof ſee Duports Gnomologia, or parallel 'twixt Homer and the Scripture; alſo Bogan's Homerus Hebraïzans.
§. 7. Heſiods Poems from Scripture.Next to Homer follows Heſiod; who is ſaid to live, 100 years after Homer, ſomewhat before the Babylonian Captivitie. Carion (Chron. lib. 2.) tels us, he was a Prieſt of the Muſes Temple in Helicon. His Poems contain partly Diſcourſes of Moralitie, partly a deſcription of the year, or, as we phraſe it, a Calendar: for ſuch was the Learning of the Ethnick Prieſts. — He received the chiefeſt part of his Learning from the Phenicians and Egyptians; unto whom many of the Grecians ſailed. They write that Heſiod being old was ſlain &c. That Heſiod received ſome of his choiceſt Traditions from the ſacred Oracles, if not immediatly yet originally, will appear probable to any that ſhall take the pains to draw up the parallel. I ſhall only mention a particular or two; as his deſcription of the Chaos foreign &c. firſt of all the Chaos was produced, &c. where he ſeems to give a deſcription of the firſt matter or Chaos, exactly parallel to the Moſaick Delineation thereof, Gen. 1.2. And indeed the whole of his foreign or Genealogie of the Gods ſeemeth to be but a corrupt Imitation of Divine Perſons, Actions, and ſtories, as before.
§. 8. A ſecond Demonſtration from the firſt occuſion of all Poeſie; which was the ſtupendous works of God.Having demonſtrated the Traduction of Pagan Poeſie from Divine Oracles, by ſhewing what recourſe the firſt Inventors thereof had to the Phenicians, Egyptians, and originally to the Jews; we now proceed to a ſecond Demonſtration, namely to evince the ſame from the original ground (ſtiled in the Scholes the procatartick cauſe) of all Poeſie; which we doubt not but to prove, was one and the ſame both in Divine and Human Poeſie. As to the original ground and firſt occaſion of all Poeſie, it ſprang from the ſtupendous Miracles, and affecting Providences, which God vouchſafed the infant ſtate of his Church and People, for their ſecuritie and incouragement. Illuſtres illae Moſis Victoriae adhuc recenti memoria celebres magis inaotuiſſe putandae ſuat, &c. Sandford de Deſcenſ. l. 1. §. 12.For (as hereafter) the firſt Ages, after Gods delivering his People out of the Egyptian bondage, being filled up with admirable effects, and wonderful paſſages of Providence, which God was pleaſed to afford the infant ſtate of his Church, for the confirmation of her Faith, and to give the whole world ocular demonſtrations or ſenſible experiments of his Deitie, and Providence; the ſenſe and apprehenſion of ſuch wondrous iſſues of Providence, could not but make a deep impreſſe, on the tender and ſoft Affections of his own People, in whoſe behalf theſe ſignal providences were vouchſafed. Now the Church, in this her Childiſh ſtate, (like Children who are much affected with wonders) being ſtruck with the ſenſe of theſe prodigious Appearances of Divine power in her behalf; and having her Affections much ſtirred and moved hereby, was not able to contain her ſelf within bounds, (for Affections melted are very diffuſive) without venting her ſelf in Poetick Hymnes and Raptures. For Affections are the greateſt Wits that may be, and delight to vent themſelves in Poeſie; which is a Witty Art, or rather paſsion; and therefore the moſt expreſsive of extraordinarie and choicer Affections. Alas! who ſo dull or flegmatick, but can, upon ſome more than ordinary experiments of Divine Providence, find ſome poetick ſtrains to vent his more warme and melted Affections in and by? Thus much Experience learnes us, that where any extraordinary occaſion happens for the moving the Affections, eſpecially Admiration, Love, Joy, or Sorrow; there this Poetick vein is moſt pregnant and ripe. For as ſpeech was given to man for the communicating his conceptions or mind unto others; ſo Poeſie (which is the moſt witty and affectionate ſpeech) ſeems for the more lively repreſentation of our choicer Apprehenſions and Affections, ſtirred up by ſome extraordinary events or experiments of Providence. This ſeems to be the genuine and original ground or occaſion of all Poeſie, eſpecially ſacred. For we find in Scripture, that the People of God, having received ſignal and unexpected deliverance, found no more proper method for the celebrating of the ſame, than by ſpiritual Hymnes or Pſalmes, which are Divine Poeſie. Of this ſort were the Songs of Moſes and Miriam, Exod. 15.1.20. which, ſo far as we can learn, were the firſt pieces of Poeſie the world was made partaker of, and what the occaſion hereof was, is very plain; viz. Gods wonderful deliverance, vouchſafed the children of Iſrael at the red ſea. So likewiſe we find many other parcels of Sacred Scripture, which were intended as commemorations of ſignal providences written in verſe. Thus was it uſual with thoſe Divine Writers, upon any extraordinary Experiments or Obſervations of Divine Providence, to give lively expreſſions thereof by extemporary Hymnes, or Poems, as Judg. 5. 1 Sam. 2. Luk. 1.46.68. with other Scriptural Hymnes and Songs, which were the ordinary effects of extrordinary and aſtoniſhing Providences.
And as this gave the firſt occaſion or riſe to all Divine Poeſie, ſo alſo to all human and pagan. For what was it, that at firſt brought in the uſe of Poeſie amongſt the ancient Heathen, but certain Experiments and Traditions of the ſtupendous operations of God, which the firſt fabulous Poets Linus, Orpheus, Homer, and Heſiod, having gleaned up in Phenicia and Egypt, made the foundation and matter of their poetick fictions. This before we (§. 3.) hinted out of Iackſon, who proves, that the chiefeſt part of thoſe fabulous Narrations, and feigned ſtories, with which the firſt Poets ſtuffed their Writings, had their foundation in, and riſe from thoſe extraordinarie iſſues of Divine Providence, which the great God vouchſafed in the behalf of his Church &c. To which we may adde, that Satan (who greatly affects to be Iehova's Ape) not onelyonly adulterated the miraculous Providences of God, by turning them all into Grecian Fables, but alſo counterfeited the like, thereby to render himſelf the more venerable. We have a full inſtance hereof in the Egyptian Magicians, who counterfeited the miracles done by Moſes. Thus alſo, as God vouchſafed his Church and People many glorious Apparitions and manifeſtations of himſelf, either by the ſecond Perſon in the Trinitie his aſſuming a tranſient corporeal forme; or by created Angels, as Gen. 28.17,18,19. where Iacob had an Apparition of God, and thence called the place Bethel &c. So alſo the Devil, in imitation of God's Apparitions, appeared in ſenſible formes and ſhapes to his Devoti, who therefore erected their Baetylia, or pillars of Stone, in commemoration of their Demon's Apparition, and that in imitation of Jacob's Bethel; as before c. 7. §. 8. Thus Iackſon, on the Scriptures, fol. 34. Whence came this conceit, of God's appearing in ſenſible ſhapes, into Homer's, and other ancient Poets heads? ſurely, as God had ſpoken in divers manners unto the old world, ſo he appeared in divers formes unto the Iſraelites. And as the Devils had counterfeited Gods manner of ſpeaking to his People, ſo did they the manner of his, or his Angels Apparitions. Thus did the Devil appear in the ſhape of Caſtor and Pollux to the Romans &c. By which we come to underſtand whence the Poets foreign Epiphanies, or Apparitions of their Gods had their Original. Proportionable whereto, it would be no difficult matter to ſhew, how the chief Heads or common places of Poetick figments had their foundation and riſe from ſome ſacred ſtorie of perſons or things taken up, by I know not what, Satanick imitation and Tradition. But of this more hereafter.
§. 9. 3. Demonſtr. from the Impulſive cauſe of all Poeſie, which was Admiration.Having gone through the Procatartick cauſe, or occaſional ground of all Poeſie, both Divine and Human, we now proceed to its Impelling cauſe; thence to demonſtrate the derivation of Human Poeſie from Divine. As the prodigious aſtoniſhing Providences and Apparitions of God, in the behalf of his Church, were the firſt occaſion of all Poeſie both Human and Divine; Divine Poeſie from Admiration.ſo the immediate impulſive cauſe thereof was Admiration, with other ſuitable Affections. And look by how much the more ſtupendous and amazing the Objects of Admiration are, by ſo much the more violent will its impulſion on the Soul be. Whence it could not be, but that the aſtoniſhing amazing Providences of God, vouchſafed to his Infant Church, ſhould fill the world with great admiration, and other Affections correſpondent therewith: and hence the Soul being impelled by Admiration, found no way ſo proper to vent it ſelf, as by Poetick Raptures, and Hymnes. Thus it was with Divine Poets; and thus alſo with Pagan. And by how much the more admirable the Subject to be expreſſed was, by ſo much the more ſtudious and accurate theſe firſt Poets were, to deliver their matter in ſuch a forme and manner, as ſhould be moſt acceptable and pleaſing. Hence we find the more Affectionate parts of Divine Scripture, to be delivered in Verſe; which method was alſo imitated by the firſt Ethnick Poets: whence Jackſon, on the Scriptures, fol. 43. obſerves, that the reaſon why Divine Poems are ſo rare now adaies is, becauſe the World being ſo far degenerate and drencht in Atheiſme, our Senſes are not moved with the admirable products of God's power; nor our minds bent to obſerve the waies of his Wiſdom, ſo as to be ſtricken with the true Admiration of them. Whereas in the Worlds Infancie (when Atheiſme had ſo little rooting) the Senſes and minds of men were more ſtruck with the Admirable Experiments of Divine power; whence flowed deep Admiration, and commotion of Affections, which are very witty and natural Poets. Neither was it Admiration in general onelyonly, which we make to be the firſt impulſive cauſe of Ethnick Poeſie, Ethnick Poeſie from Admiration of Divine Operations.but a particular Admiration of thoſe great amazing providences, which alſo gave the firſt occaſion to Divine Poeſie. For the firſt Greek Poets, Linus, Orpheus, &c. living in the Ages immediately following (if not in the ſame) thoſe, wherein God wrought ſuch Miracles for his people the Iſraelite, we cannot rationally preſume, but that they muſt have ſome Notices of thoſe miraculous Operations of God, which could not but fill them with Admiration, and thence impel them to vent the ſame in their Poetick ſtrains, as before.
§. 10. 4. Demonstr: The parallel betwixt Pagan Poeſie and Divine, as to their ends.The Traduction of pagan Poeſie from Divine, may be farther demonſtrated from their parallel Ends and Deſignes. We might draw the parallel betwixt Pagan Poeſie and Divine, in many ſecondarie lower ends: as they both agree in this, that they were intended, by their firſt Inventors, 1. to give lively colors and repreſentations unto things: 2. to expreſſe our choiceſt conceivings, and moſt raiſed Affections, in the moſt pleaſing and taking manner &c. But to let paſſe all lower ends; the Agreement of Ethnick Poeſie with Divine in the ſupreme end, though in relation to a different Object, ſufficiently argues the Traduction of the former from the latter. The main end and ſupreme intendment of Divine Poeſie was, to celebrate the great name of God, appearing in the ſtupendous operations of his hands; and thereby to maintain his Adoration and Worſhip in the world. This is evident by all the ſacred Hymnes, Pſalmes, and other Poetick ſtrains in Scripture. Now that all Ethnick Poeſie had, at leaſt in its firſt riſe, the ſame ſupreme end, though miſplaced on a falſe object, or Idol, is evident. Strabo (lib. 1.) acquaints us, that the great deſigne of their firſt Poets, was foreign &c. gentlie to allure and draw on the people to a Reverence and Adoration of the Gods. And indeed the Greek Idolatries and Superſtitions were never formed or ſhaped to any perfect ſtature, till the Poets came into play, namely Linus, Orpheus, Amphion &c. eſpecially Orpheus, who, by the noveltie and pleaſingnes of his Poeſie, mixed with Muſick, inſenſibly drew, and inveagled the minds of men into Idolatrie. This ſeems apparently the deſigne, not onelyonly of Orpheus, but alſo of the reſt of the firſt Poets; wherein indeed they proved very ſucccesful: as it appears by their Poetick Theologie, which conſiſts of nothing elſe but of fabulous Traditions of their Gods &c, in order to the advancement of their Idolatrous worſhip and Superſtition. Thus, as Divine Poeſie was calculated for the promoting of the true worſhip of God, ſo Pagan for the Devils worſhip: yea, the latter ſeems to have been wholly taken up in imitation of, and derivation from the former. For the Devil knew full well, that God, out of infinite condeſcendings to the infant ſtate of his Church, was pleaſed to communicate to them this extraordinarie gift of Poetick Raptures and Hymnes, thereby to render his Service more agreeable to them: therefore he, out of an ambitious humor, woulds needs play God's Ape herein, and communicate to his Devoti a Diabolick gift of Enthuſiaſtick Poeſie, thereby to render his Idolworſhip more delight ſome and taking. Thus, as God was wont to deliver his ſacred Oracles in Ecſtatick Poeſie, ſo alſo the Devil his in Diabolick Enthuſiaſmes: and both one and t'other conſpired in their ſupreme End, which was the Eſtabliſhment of their Service, and the Advancement of their Names. OnelyOnly the Devil, and his Idolizers, acted herein the parts onelyonly of Blaſphemers, Uſurpers, and Apes of God. But of this more in the following Section.
§. 11. 5. Demonſtr. From their parallel Forme or Mode of Compoſure, which was by Enthuſiaſme.A fifth Demonſtration, to evince the Traduction of the firſt pagan Poeſie from Divine, may be fetcht from their agreement in the forme and mode of Production or Compoſure. We know, that the Forme or Mode, wherein the firſt Divine Poeſie was delivered, was Enthuſiaſtick. So the Songs of Moſes, and Miriam, Exod. 15.1 were by Divine Afflation, or Extemporarie Enthuſiaſme. So 1 Sam. 10.5,6. 1 Sam. 10.5.6.we find there mention made of a Muſick and Poetick meeting of the Prophets, atttended with Enthuſiaſtick Inſpirations, and Prophecyings. It is conceived by ſome, that thoſe who are ſaid to prophecie at theſe Meetings, were ſome of the chiefeſt of them; who having their minds inwardly inſpired, and agitated by an Enthuſiaſtick Divine Afflation, were thereby enabled to compoſe extemporarie Hymnes: ſo that being under a Divine Ecſtaſie, they were tranſported, beyond the ordinarie capacitie of their natural Fancies, into a Rapture, for the compoſing of ſuch Hymnes, as might moſt conduce to the celebrating the Name and Honor of God. Hymni Paeanibus ſimillimi. Jul. Scalig. poet. l. 1. c. 45.Such alſo were the Songs of Deborah and Barak, of Eſaias, Si meon, and Anna, Luk. 2.25.36.Luk. 2.25.36. And we find the like exerciſe of this gift in the Church at Corinth, 1 Cor. 14.26.1 Cor. 14.26. where it ſeems evident, that thoſe Hymnes or Pſalmes, there mentioned, were extemporarie, (as Grotius obſerves,) i.e. proceeding from an Enthuſiaſtick Afflation, or Divine Inſpiration. Yea, Mede (Diatribe 1. pag. 177.) interprets propheſying 1 Cor. 11.5. 1 Cor. 11.5.to be ſinging of Pſalmes, or Divine Hymnes; with this Obſervation, that a Poet and Prophet were anciently termes equivalent, becauſe Prophecies, both Divine and Heathen, were delivered in Poeſie. Now, in imitation of this ancient mode, or forme of Divine Poetick Enthuſiaſme, (or Enthuſiaſtick Poeſie,) the Devil alſo vouchſafed his Poets (eſpecially ſuch as were immediately imployed in his Worſhip and Service) a Diabolick Afflation, or Enthuſiaſme. Thus the Dithyrambus, or Song dedicated to Bacchus, was a kind of Enthuſiaſtick Rapture: and the Corybantes that ſang it, are deſcribed as perſons Ecſtatick, or rather phrenetick, and mad. So Strabo, lib. 10. foreign: Enthuſiaſme ſeems to have a kind of Divine afflation, and to come near the Prophetick kind. Yea indeed, as in the Jewiſh Church a Poet and a Prophet were termes equipollent, ſo alſo in the Pagans Temple. Tit. 1.12.Whence Paul Tit. 1.12. cals the Cretian Poet a Prophet. So amongſt the Latines, Vates ſignifies both a Poet, and Prophet; becauſe the Heathen Prieſts and Prophets (in imitation of the Jewiſh) delivered their Oracles and Prophecies, for the moſt part, in verſe. And 'tis evident the Heathens conceited their Poets to be divinely inſpired, whilſt they uttered Oracles from, and Hymnes unto their Gods: for they were herein tranſported, beyond the power of ſenſe or Reaſon, ſuitable to many Ecſtatick Diabolick Enthuſiaſts of latter Ages. Refert Pauſanias in Phocaicis, primum omnium & praecipuum certamen in Pythiis corum fuiſſe, qui in Apollinis honorem foreign canerent. Quippe ut foreign Baccho, Dianae foreign Cereri; ita foreign Apollini proprius fuit, & primus qui in ejus laudem ſolum modo concinnabatur. Dickinſ. Delph. Phaeniciz. cap. 6.Theſe Enthuſiaſtick Poets had Hymnes of all ſorts; ſome dedicated to their particular Gods, as foreign to Diana, foreign to Ceres, foreign to Bacchus, foreign to Apollo, foreign to Adonis.
The chief of theſe Grecian Hymnes was Paean, which conſiſted chiefly of that ſolemne Acclamation foreign, Ie, Ie, whereunto ſome prefixed Eleleu, and ſo ſung Eleleu Ie, which is the very ſame with the Hebrew Hallelujah. Epinicia erant, quae in certaminibus victori canebant. Paeanes, quibus gratulabantur Diis immortalibus pro victoria. Jul. Scalig. Poet. lib 1. cap. 44.Thus Sandford, de deſcenſu l. 1. §. 5. This whole mode of acclamation, whether we pronounce it Eleleu jou, or Eleleu Hie, was taken from the Hebrew Sacreds, viz. from Hallelujah. For we may not but confeſſe, that the Greeks, in their common ſacreds, of Hallelu made Eleleu, and of Jah, Hie; the Accent being traduced on the firſt letter, according to the Grecian mode. Thus alſo Dickinſon, Delph. Phoeniciz. c 6. Before Paean, they were wont to pronounce the ſolemne foreign, or acclamation, foreign; to which they added foreign, or foreign. That foreign or foreign, is the ſame with foreign Jah, Gods name, is evident from that of Heſychius. foreign.Now what can we imagine this Eleleu Ie, or Eleleu Iou, in the beginning to have been, but the Hebrew foreign Hallelu jah: which formule of words the Hebrews were often wont to uſe in their Hymnes; in the beginning, by way of exhortation; in the end, as an acclamation. In imitation whereof, the Greek foreign, was both the foreign, i.e. the exhortation of the Paeaniſme; as alſo foreign, and foreign, the Epode, and Acclamation, with which the Hymne was concluded. See more of this in what precedes B. 2. c. 4. §. 2. 3. and c. 9. §. 1. The Grecians had alſo their ſolemne Hymnes for their Gods: ſome dedicated to the propitious Gods, which the old Greeks called foreign, and the Latins properly indigitamenta, and carmina calatoria; others they had to their Vejoves, or laeva numina, which the Greeks called foreign, and the Latins Carmina Averruncalia. Thus the old Romans had their Aſsamenta; which were Hymnes particularly made and ſung to the honor of ſome peculiar God; whence the Aſſamenta Janualia, Junonia, &c. Theſe Diabolick Hymnes ſome, on probable conjectures, conceive to have been inſpired by Satan (as many other parts in Pagan Worſhip) in imitation of thoſe Enthuſiaſtick Hymnes, which were in uſe amongſt the ſacred Prophets and Poets, as before 1 Sam. 10.5,6. See more of this Stillingfleet Origin. S. Book 2. chap. 2.
§. 12. Plato's diſcourſe of Enthuſiaſtick Poeſie examined and parallelized with Divine Poeſie.But none treats more accurately and fully of Ethnick Poeſie, its original forme or mode of production, than Plato; whoſe Diſcourſe hereof, being examin'd and parallelized with Divine Poeſie, will give us a full Demonſtration, that the former was but a corrupt imitation of the latter. Plato indeed, ſuppoſeth all Poeſie to have been, in its original, foreign, an Enthuſiaſtick imitation, or Divine Enthuſiaſme; whereof he treats at large in his Io: where, being about to explicate the Divine force of Poeſie, under the perſon of a certain Rhapſodus named Io, he ſhews, that Poeſie came not by Art, but foreign, by certain Divine Enthuſiaſme &c. Now that this whole Diſcourſe of Plato, touching the original of Poeſie, was but a Satanick imitation of and derivation from ſacred Poeſie and Oracles, we ſhall endeavor to evince from the Severals thereof.
1. The Greek Rhapſodiſt from the Jewiſh Pſalmodiſt.The very Title of this Diſcourſe carries ſomewhat of Sacred and Divine in it. For foreign is but the contract of foreign, the name which the Grecians gave to God, anſwerable to the Hebrew Jah, as before. Plato in Ione, foreign non ſolos cantatores, aut recitatores foreign, ſed & interpretes agnoſcit. Eoſdem verò non modo foreign, ſed foreign quoque dictos legere eſt: foreign, & foreign: quippe cum Scipionibus prodibant rubris, qui Iliadem profitebantur. Jul. Scal. Poet. l. 1. cap. 41.This Io, Plato makes to be foreign, one of their Rapſodi, (who were alſo called foreign, becauſe they carried rods, which were the Enſignes of their Art,) whoſe Office it was to recite and interpret Heroick Verſes, eſpecially thoſe of Homer, as Serranus obſerves here. And Strabo, lib. 1. giving us an account of the original of the Grecian foreign Rhapſodies, ſaies, that they were Poems which were ſung foreign, on the rod, or wand, i.e. the Rhapſodiſts, holding a Rod, or branch of Laurel in their hands, (as Plutarch) ſung Homers Iliads to the Harpe, as Heſiod's foreign. For Poems amongſt the old Greeks were (as the ſame Strabo lib. 1.) but foreign, Leſſons fit to be ſung by the Rhapſodiſts. Whence their foreign, and our Engliſh Rhapſodies. Thus much for Plato's Rhapſodiſt, which ſeems exactly parallel to, and but an Ape of, the Jewiſh Pſalmodiſt, whoſe office it was to ſing thoſe ſacred Hymnes or Pſalmes, which were compoſed by the Prophets, upon ſome Muſick inſtrument. This alſo ſeems to have been the office of the Sons of the Prophets. By which it ſeems very probable, that the Greek Rhapſodies and Rhapſodiſts, were but Satanick Imitates of the Hebrew Pſalmodies, and Pſalmodiſts &c. Yea, the very name foreign, whence Rhapſodie comes, owes its origination to the Hebrew foreign Ode, as before.
2. Poeſie an art of imitation.But to paſſe on to the inwards and heart of Plato's Diſcourſe touching Poeſie, its original &c. Firſt he ſhews (in his Io, fol. 532.) that Poeſie was foreign, a graphick Art, or Art of Imitation. I am apt to think, he hereby refers to the true original of all Poeſie; namely, that it was but an artificial imitation of Divine Poeſie, and Oracles. For he could not but know that the main figments of the Greek Poets, were but dark ſhadows or artificial imitations of real ſtories, conveyed to them by Oriental Traditions. Without doubt Plato, who lived ſo long with the Jews in Egypt, could not but know, that moſt of thoſe fictions, wherewith the Poets had filled up their writings, were but imitations of real effects and ſtories, exhibited in thoſe Oriental parts, eſpecially amongſt the Jews: whence he ſtiles all Poeſie a Graphick Art, or Artificial imitation, i.e. of real Events, Perſons, and Things, conveyed to them by Oriental Tradition.
3. Poeſie, not an Art, but Divine Afflation.The principal thing that Plato undertakes to prove is, that Poeſie properly is not an Art, either Natural, or Acquired, but foreign, a Divine power, or Afflation; ſuch as was in Euripides's his ſtone, called foreign (ſaith he) foreign. Plato Jo. fol. 533. Whence he addes, that Poets being rapt into an ecſtatick furie, like unto that of Bacchus his Prieſts, were wont to Verſifie. By which we ſee how the Devil, in the Effuſion of his Poetick Oracles, affected an Imitation of Gods Divine Afflation, or Enthuſiaſme, vouchſafed his Prophets. Thence Plato (Jo fol. 538.) addes, that a Poet was a volatile, yet ſacred Perſon, foreign; neither could he verſifie before he was, foreign, enthuſiaſtically inſpired by God. He farther addes, that he muſt be foreign phrenetick and ecſtatick. Which is exactly parallel to the Scriptures character of ſacred Poets and Prophets; and their ecſtatick enthuſiaſmes. Yea, yet farther, he ſaies: Theſe Poets could not verſifie by Art, foreign, but this facultie came by a Divine Afflation, according to the Impulſe of their Muſe. And he proves, it could not come by Art; becauſe Art extends it ſelf to all under that kind &c. Wherefore he addes, that God uſeth Poets as Inſtruments, foreign, But 'tis God himſelf that ſpeaks in them. Hence ſaies he, 'Tynnichus compoſed the Poean, and ſtiles it foreign. And laſtly, he concludes with a pretty Allegorie, concerning a long chain or ſeries of ecſtatick Poets, drawn by Apollo, or their Muſe, which way he liſted, foreign, but God by all theſe draweth the ſoul, which way he liſteth, &c. Plato here (as Serranus obſerves) makes God, under the aſſumed names of Apollo and Muſa, foreign the principal and firſt efficient of all Poeſie, by virtue of whoſe Divine Inſpiration, the moſt unskilful if good men, ſometimes are inabled to verſifie: whence that common Proverb, An Orator is made, but not a Poet. Iccirco igitur invocant poctae Muſas ut furore imbuti peragant quod opus erat. Jul. Scalig. Poet. l. 1 c. 2.Hence alſo that of Plato, foreign, Poeſie is an enthuſiaſtick Madneſſe and Imitation. The like is aſſerted by Ariſtotle, Rhetor. lib, 3. cap. 7. foreign, wherefore enthuſiaſme is very agreeable to Poeſie: for Poeſie is a Divine Rapture. Thence alſo it was, that Homer begins his Iliads with foreign, calling upon his Muſe for Divine Inſpiration, with confeſſion afterwards, foreign, that all Propheſie and Divine Inſpiration is from God. So Ovid.
Eſt Deus in nobis agitante caleſcimus illo,
Impetus hic ſacrae ſemina mentis habet.
To ſum up this Demonſtration. Its evident, by all that has been laid down, that Pagan Poeſie, according to its Original Forme, Mode, or manner of Production, was judged to be, not ſo much an Artificial or Natural Art, but the Product of a Divine Afflation, or Inſpiration; though indeed it were no other than the iſſue of Diabolick Enthuſiaſme; whereby the Devil, under the names of Apollo, Muſa, &c. vented his Effuſions and Oracles in imitation of that Divine Poeſie and prophecie, wherein the ſacred Oracles and Hymnes of God, were delivered by his prophets, under Divine Afflation or Enthuſiaſme.
§. 13, Sixth Demonſtration from the matter of Pagan Poeſie. Theologick. Primum eum Theologorum: cujuſmodi Orpheus & Amphion quorum opera tam Divina fuerint, ut brutis …ebus etiam mentem addidiſſe tredantur Jul. Scal. Poet. l. 1. c. 2. Philoſophick.A ſixth rational Argument to evince the Traduction of Pagan Poeſie from Sacred Oracles, may be drawn from its matter; which may be diſtributed into Theologick, Philoſophick, and Hiſtorick. The firſt and original matter of Poeſie was Theologick; namely, touching the foreign, the Genealogies of the Gods, their Metamorphoſes, Apparitions, Oracles, and VVorſhip; which were all taken up, and brought in by Satan, the God of this World, in Imitation of the true God, his Apparitions, Oracles, and VVorſhip, as has been at large demonſtrated in the foregoing Book. This Theologick Poeſie was introduced by Orpheus, Amphion, and thoſe other great Promoters of Idolatrie as before, §. 5. &c. 2. As for Philoſophick Poeſie, 'tis either, 1. foreign Phyſiologick; which treats of the origine of the Univerſe, the Chaos, the Principles of Nature, &c. Of which ſort are (beſides ſomewhat in Heſiod of the Chaos) the Poems of Empedocles, Nicander, Aratus, Lucretius, &c. All which Poetick Phyſiologizings were but corrupt imitations of, and Traditions from Moſes's deſcription of the Creation, Gen. 1. as it ſhall be made evident in the following Chapter. 2. Another branch of Philoſophick Poeſie is foreign Ethick; which treats of Perſonal Morals; of which Phocylidess, Pythagoras, Theognis, and others writ; who, we need no way doubt, received their choiceſt Materials from the Divine Ethicks of Moſes, Job, David, and Solomon. 3. As for foreign Oeconomick Poeſie, taught by Heſiod, &c. alſo 4. foreign Politick Poeſie, uſed by Solon Tirteus, &c. 'tis as evident they had their Original from Moſes's Oeconomicks, and Politicks: of which hereafter. 3. We now come to Hiſtorick Poeſie; which is either Mythologick, ſimple, or mixt; and all but traduced and borrowed from Divine Stories, as in the following Chapter.
§. 14. Seventh Demonſtration from the ſeveral kinds of Pagan Poeſie.Laſtly, I ſhall a little conſider the ſeveral kinds of Pagan Poeſie, and thence endeavor to demonſtrate its Traduction from Divine Poeſie and Prophecie. Plato gives Poeſie a threefold Diſtribution. 1. Into foreign, a ſimple narration: 2. foreign, into mimetick Poeſie. 3. foreign, into that which is mixt of both. Thus Plato de Repub. 3. fol. 392. We ſhall treat only of Mimetick Poeſie: which the Platoniſts diſtribute into foreign Eicaſtick, and foreign Phantaſtick. Eicaſtick Poefie its original and parts.The Original of Eicaſtick Poeſie they make to be this. Oration or ſpeech was given by God to man, as a companion of his Reaſon, to the intent that he might the more variouſly and happily expreſſe his conceptions, either for Neceſſitie, or common Converſation, as in civil Diſcourſe; or for delight and ornament, as in Poeſie: which was at firſt inſtituted, as well to delight, as to teach; or elſe to teach with delight; according to that of Horace,
Docere volunt & delectare poetae.
And the delights or ſuavities, which attend the teachings of Poeſie, ariſe from its Eicaſtick Art or skill in Imitation: whence alſo Eicaſtick Poeſie received its origination; namely, foreign from foreign, to make; and foreign, from foreign, an Image; becauſe its main uſe lies in framing Images, and pleaſing repreſentations of perſons or Things. Now this Image-making Poeſie, ſeems evidently an imitation of ſacred Images, Figures, and Types, ſo common in the Jewiſh Church. Yea (as we have elſewhere proved) all the Egyptian Hieroglyphicks, and Grecian Symbols, or Images, ſeem no other than corrupt Imitates of Jewiſh Types, and Figures. That Eicaſtick Poeſie had its original from Sacred Types, may be evinced from the ſeverals thereof, as from Epicks, Lyricks, Epigrammes; but eſpecially from Comedies, and Tragedies. Of Comedies and Tragedies, their original &c.For a Comedie, as the name imports, was a ſong or hymne ſung in their villages: and a Tragedie (according to the import of its name) a Poem ſung at the ſacrificing of a goat, &c. and both alluſions to the Jewiſh Feſtivals and hymnes, whence they were borrowed, as elſewhere. Laertius tels us, that about the 50th Olympiad, Theſpis began to preſent Tragedies &c. And the people were much taken with the Noveltie of the thing; for as yet there were no contentions therein. At laſt Solon abſolutely forbad him to teach or act Tragedies; conceiving their falſitie hurtful, &c. by which it appears that Tragedies and Comedies came not in uſe, 'till after the Jewiſh Learning was diffuſed thorough Greece. Phantaſtick Poeſie.2. Phantaſtick Poeſie is that, which altogether feigns things; and thoſe for the moſt part uncomely, or at leaſt things comely in an uncomely manner. Such are your Romances, which ſo much pleaſe the wanton wits and humours of this corrupt Age. This kind of Poeſie was greatly diſliked by Plato (de Rep: lib. 3. fol. 385.) who much diſproved three things particularly in theſe Phantaſtick Poets. 1. The Subject of their Poeſie; which, ſaith he, is not the truth it ſelf, but ſome foreign Idols only. 2. The Forme of their Poems. 3. foreign, the manner of their ſinging, or foreign. Whence he makes a Law in his Ideal Common wealth, that ſuch Romantick Poets, inaſmuch as they corrupted the Simplicitie and Gravitie of Morals, ſhould have no room in his Common wealth; but ſhould be, though with an honorable diſmiſſion, expelled. So Plato de Repub. 10. foreign. That no one embrace this kind of mimetick Poeſie, becauſe it corrupted moral converſation. This Mimetick Poeſie Plato ſtiles Tragick: whereof he makes Homer to be the firſt Parent. His own words are theſe: foreign. May we not then make all the Mimetick Poets to ſpring from Homer, who imitated the Idols or pictures of virtue, and of other things on which they verſified, but never touched on the truth. This made Plato ſo much crie down Homer, and Heſiod; becauſe they wholly buſied themſelves about the phantaſmes or pictures of Truth, but regarded not the Truth it ſelf. Yea, he comes to this general concluſion, foreign, that all Poets were but Hypocrites, or Stage. plaiers, in that they onelyonly perſonated things, and embraced foreign, falſe Images and Idols without ever handling foreign, the true Affections of things. That which made Plato ſo ſevere againſt theſe phantaſtick Romantick Poets, was their dwelling wholly upon Fables, without regard to thoſe original Traditions or ſacred Ideas of Truth, from whence theſe Fables were derived.
Thus we have ſhewn, how the ancient Heathen Poets ſtole their choiceſt Poetick Fictions, both matter, and forme, from the ſacred Oracles; according to that great Aphoriſme of Juſtin Martyr, who, ſpeaking of the Gentile Poets, ſaies: foreign: We think not the ſame with others; but they all imitating ours, (i.e. the Scriptures) ſpeak the ſame with us. That the Poets had many figments and Fables, in imitation of the Jewiſh Meſſias his Nativitie, Paſſion, and Aſcenſion up to Heaven, ſee what follows chap. 5. §. 7. 8. Alſo their fictions of the Creation and firſt Chaos &c, ſee chap. 3. Their fables of Adam his ſtate of Innocence &c, ſee chap. 4. Their figments of Man's Fall &c, ſee chap. 5. Their fictions of Noah's floud, ſee chap. 6. Farther, what their Fables were of the worlds conflagration, laſt Judgment &c, ſee chap. 7. Laſtly, their fabulous narrations of the Giants wars &c, ſee chap. 8.