which represents a hunter in the act of harpooning the hippopotamus, the tall papyrus reeds are the plants that are signified by this word, which occurs in no other place in the Scriptures.

Nothing can be more accurate than this description of the habits of the animal. I have now before me a number of sketches by Mr. T. Baines, representing various incidents in the life of the hippopotamus; and in one or two of them, the little islands that stud the river, as well as the banks themselves, are thickly clothed with reeds mixed with papyrus, the whole being exactly similar to those which are represented in the conventional style of Egyptian art. These spots are the favourite haunts of the hippopotamus, which loves to lie under their shadow, its whole body remaining concealed in the water, and only the eyes, ears, and nostrils appearing above the surface.

As reference will be made to this painting when we come to the Leviathan, it will be as well to describe it in detail. In order that the reader should fully understand it, I have had it translated, so to speak, from the conventional outline of Egyptian art into perspective, exactly as has been done with the Assyrian and Egyptian chariots.

In the foreground is seen the hunter, standing on a boat that closely resembles the raft-boat which is still in use in several parts of Africa. It is made of the very light wood called ambatch, by cutting down the requisite number of trees, laying them side by side so that their bases form the stern and their points the bow of the extemporized boat. They are then firmly lashed together, the pointed ends turned upwards, and the simple vessel is complete, It is, in fact, nothing more than a raft of triangular shape, but the wood is so buoyant that it answers every purpose.

In his hand the hunter grasps the harpoon which he is about to launch at the hippopotamus. This is evidently the same weapon which is still employed for that purpose. It consists of a long shaft, into the end of which a barbed iron point is loosely inserted. To the iron point is attached one end of a rope, and to the other end, which is held in the left hand of the harpooner, a float of ambatch wood is fastened.

When the weapon is thrown, the furious struggles of the wounded animal disengage the shaft of the harpoon, which is regained by the hunter; and as it dashes through the water,

throwing up spray as it goes, the ambatch float keeps the end of the rope at the surface, so that it can be seen as soon as the animal becomes quieter. Sometimes it dives to the bottom, and remains there as long as its breath can hold out; and when it

"He lieth under the shady trees, in the covert of the reed, and fens."-JOB xl. 21.
(The attitude of the Hippopotamus is copied from the painting.)

comes up to breathe, it only pushes the nostrils out of the water under the shadow of the reeds, so that but for the float it might manage to escape.

In the meantime, guided by the float, the hunter follows the course of the animal, and, as soon as it comes within reach of his weapon, drives another spear into it, and so proceeds until the animal dies from loss of blood. The modern hunters never

throw a second harpoon unless the one already fixed gives way, mainly employing a spear to inflict the last wounds. But if we may judge from this painting, the Egyptian hunter attached a new rope with every cast of his weapon, and, when the hippopotamus became weak from its wounds, gathered up the ropes and came to close quarters.

In the bow of the boat is the hunter's assistant, armed with a rope made lasso-wise into a noose, which he is throwing over the head of the hippopotamus, whose attitude and expression show evidently, in spite of the rudeness of the drawing, the impotent anger of the weakened animal.

Behind the hippopotamus are the tall and dense reeds and papyrus under the shelter of which the animal loves to lie, and on the surface of the water float the beautiful white flowers of the lotus.

In the Egyptian painting, the artist, in spite of the conventionalities to which he was bound, has depicted the whole scene with skill and spirit. The head and open mouth of the hippopotamus are remarkably fine, and show that the artist who drew the animal must have seen it when half mad with pain, and half dead from loss of blood.

The enormous strength of the hippopotamus is shown in verses 16, 18, the last of which passages requires a little explanation. Two different words are used here to express the bones of the animal. The first is derived from a word signifying strength, and means the "strong bones," i.e. those of the legs. These are hollow, and are therefore aptly compared to tubes or pipes of copper. The second term is thought by some Hebraists to refer to the rib-bones, which are solid, and therefore are not likened to tubes, but to bars of iron.

The 23d verse has been translated rather variously. The Authorized Version can be seen by reference to a Bible, and another translation, that of the Jewish Bible, is given on page 320. A third, and perhaps the best rendering of this passage is given by the Rev. W. Drake, in Smith's "Dictionary of the Bible:" "Lo, the river swelleth proudly against him, yet he is not alarmed; he is securely confident though a Jordan burst forth against his mouth."

In all probability reference is here made to the annual rising of the Nile, and the inundations which it causes.

In some