words and sentiments, that the remote or figurative sense is scarcely permitted to glimmer through it. On the other hand, the figurative sense is more frequently found to beam forth with so much perspicuity and lustre, that the literal sense is quite cast into the shade, or becomes indiscernible. Sometimes the principal or figurative idea is exhibited to the attentive eye with a constant and equal light; and sometimes it unexpectedly glares upon us, and breaks forth with sudden and astonishing coruscations, like a flash of lightning bursting from the clouds. But the mode or form of this figure which possesses the chief beauty and elegance, is, when the two images, equally conspicuous, run, as it were, parallel throughout the whole poem, mutually illustrating and correspondent to each other. The learned author has illustrated these observations by instances selected from Psalms ii, and lxxii. He adds, that the mystical allegory is, on account of the obscurity resulting from the nature of the figure, and the style of the composition, so agreeable to the nature of the prophecy, that it is the form which it generally, and indeed lawfully, assumes, as best adapted to the prediction of future events. It describes events in a manner exactly conformable to the intention of prophecy; that is, in a dark, disguised, and intricate manner, sketching out, in a general way, their form and outline; and seldom descending to a minuteness of description and exactness of detail. ALLELUIA, or HALLELU-JAH, הללו־יה, _praise the Lord_; or, _praise to the Lord_: compounded of הללו, _praise ye_, and יה, _the Lord_. This word occurs at the beginning, or at the end, of many Psalms. Alleluia was sung on solemn days of rejoicing: “And all her streets shall sing Alleluia,” says Tobit, speaking of the rebuilding of Jerusalem, Tob. xiii, 18. St. John, in the Revelation, xix, 1, 3, 4, 6, says, “I heard a great voice of much people in heaven, who cried, Alleluia; and the four living creatures fell down, and worshipped God, saying, Alleluia.” This expression of joy and praise was transferred from the synagogue to the church. At the funeral of Fabiola, “several psalms were sung with loud alleluias,” says Jerom, in _Epitaphio Paulæ_, “The monks of Palestine were awaked at their midnight watchings, with the singing of alleluias.” It is still occasionally used in devotional psalmody.