The essential question, then, with regard to Ezekiel’s vision is, What revelation of God or what ideas respecting God did it serve to impress on the mind of the prophet? It may help us to answer that question if we begin by considering certain affinities which it presents to the great vision which opened the ministry of Isaiah. It must be admitted that Ezekiel’s experience is much less intelligible as well as less impressive than Isaiah’s. In Isaiah’s delineation we recognise the presence of qualities which belong to genius of the highest order. The perfect balance of form and idea, the reticence which suggests without exhausting the significance of what is seen, the fine artistic sense which makes every touch in the picture contribute to the rendering of the emotion which fills the prophet’s soul, combine to make the sixth chapter of Isaiah one of the most sublime passages in literature. No sympathetic reader can fail to catch the impression which the passage is intended to convey of the awful majesty of the God of Israel, and the effect produced on a frail and sinful mortal ushered into that holy Presence. We are made to feel how inevitably such a vision gives birth to the prophetic impulse, and how both vision and impulse inform the mind of the seer with the clear and definite purpose which rules all his subsequent work. The point in which Ezekiel’s vision differs most strikingly from Isaiah’s is the almost entire suppression of his subjectivity. This is so complete that it becomes difficult to apprehend the meaning of the vision in relation to his thought and activity. Spiritual realities are so overlaid with symbolism that the narrative almost fails to reflect the mental state in which he was consecrated for the work of his life. Isaiah’s vision is a drama, Ezekiel’s is a spectacle; in the one religious truth is expressed in a series of significant actions and words, in the other it is embodied in forms and splendours that appeal only to the eye. One fact may be noted in illustration of the diversity between the two representations. The scenery of Isaiah’s vision is interpreted and spiritualised by the medium of language. The seraphs’ hymn of adoration strikes the note which is the central thought of the vision, and the exclamation which breaks from the prophet’s lips reveals the impact of that great truth on a human spirit. The whole scene is thus lifted out of the region of mere symbolism into that of pure religious ideas. Ezekiel’s, on the other hand, is like a song without words. His cherubim are speechless. While the rustling of their wings and the thunder of the revolving wheels break on his ear like the sound of mighty waters, no articulate voice bears home to the mind the inner meaning of what he beholds. Probably he himself felt no need of it. The pictorial character of his thinking appears in many features of his work; and it is not surprising to find that the import of the revelation is expressed mainly in visual images.