ich partly contain doctrine, and partly manners, and also exhortations to both: of which the first nine Chapters are as a preface full of grave sentences and deep mysteries, to assure the hearts of men to the diligent reading of the parables that follow: which are left as a precious jewel to the Church, of those three thousand parables mentioned in 1Ki 4:32 and were gathered and committed to writing by Solomon's servants and incited by him.
The Synagogue reckons up thirteen divine attributes according to ex. Psa 34:6. (שׁלשׁ עשׂרה מדּות), to which, according to an observation of Kimchi, correspond the thirteen הלּל of this Psalm. It is, however, more probable that in the mind of the poet the tenfold halaluw encompassed by Hallelujah's is significative; for ten is the number of rounding off, completeness, exclusiveness, and of the extreme of exhaustibleness. The local definitions in Psalm 150:1
are related attributively to God, and designate that which is heavenly, belonging to the other world, as an object of praise. קדשוּ (the possible local meaning of which is proved by the קדשׁ and קדשׁ קדשׁים of the Tabernacle and of the Temple) is in this passage the heavenly היכל; and רקיע עזּו is the firmament spread out by God's omnipotence and testifying of God's omnipotence (Psalm 68:35
), not according to its front side, which is turned towards the earth, but according to the reverse or inner side, which is turned towards the celestial world, and which marks it off from the earthly world. The third and fourth hălalu give as the object of the praise that which is at the same time the ground of the praise: the tokens of His גּבוּרה, i.e., of His all-subduing strength, and the plenitude of His greatness (גּדלו equals גּדלו), i.e., His absolute, infinite greatness. The fifth and sixth hălalu bring into the concert in praise of God the ram's horn, שׁופר, the name of which came to be improperly used as the name also of the metallic חצצרה (vid., on Psalm 81:4
), and the two kinds of stringed instruments (vid., Psalm 33:2
), viz., the nabla (i.e., the harp and lyre) and the kinnor (the cithern), the ψαλτήριον and the κιθάρα (κινύρα). The seventh hălalu invites to the festive dance, of which the chief instrumental accompaniment is the תּף (Arabic duff, Spanish adufe, derived from the Moorish) or tambourine. The eighth hălalu brings on the stringed instruments in their widest compass, מנּים (cf. Psalm 45:9
) from מן, Syriac menı̂n, and the shepherd's pipe, עגב (with the Gimel raphe equals עוּגב); and the ninth and tenth, the two kinds of castanets (צלצלי, construct form of צלצלים, singular צלצל), viz., the smaller clear-sounding, and the larger deeper-toned, more noisy kinds (cf. κύμβαλον ἀλαλάζον, 1 Corinthians 13:1
), as צלצלי שׁמע (pausal form of שׁמע equals שׁמע, like סתר in Deuteronomy 27:15
, and frequently, from סתר equals סתר) and צלצלי תרוּעה are, with Schlultens, Pfeifer, Burk, Kster, and others, to be distinguished.
THE BOOK OF PROVERBS. Commentary by A. R. Faussett
I. The Nature and Use of Proverbs.—A proverb is a pithy sentence, concisely expressing some well-established truth susceptible of various illustrations and applications. The word is of Latin derivation, literally meaning for a word, speech, or discourse; that is, one expression for many. The Hebrew word for "proverb" (mashal) means a "comparison." Many suppose it was used, because the form or matter of the proverb, or both, involved the idea of comparison. Most of the proverbs are in couplets or triplets, or some modifications of them, the members of which correspond in structure and length, as if arranged to be compared one with another. They illustrate the varieties of parallelism, a distinguishing feature of Hebrew poetry. Compare Introduction to Poetical Books. Many also clearly involve the idea of comparison in the sentiments expressed (compare Pr 12:1-10; 25:10-15; 26:1-9). Sometimes, however, the designed omission of one member of the comparison, exercising the reader's sagacity or study for its supply, presents the proverb as a "riddle" or "dark saying" (c