iz., 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" (compare Pr 30:15-33; 1:6; Ps 49:4). The sententious form of expression, which thus became a marked feature of the proverbial style, was also adopted for continuous discourse, even when not always preserving traces of comparison, either in form or matter (compare Pr 1:1-9:18). In Eze 17:1; 24:3, we find the same word properly translated "parable," to designate an illustrative discourse. Then the Greek translators have used a word, parabola ("parable"), which the gospel writers (except John) employ for our Lord's discourses of the same character, and which also seems to involve the idea of comparison, though that may not be its primary meaning. It might seem, therefore, that the proverbial and parabolic styles of writing were originally and essentially the same. The proverb is a "concentrated parable, and the parable an extension of the proverb by a full illustration." The proverb is thus the moral or theme of a parable, which sometimes precedes it, as in Mt 19:30 (compare Pr 20:1); or succeeds it, as in Mt 22:1-16; Lu 15:1-10. The style being poetical, and adapted to the expression of a high order of poetical sentiment, such as prophecy, we find the same term used to designate such compositions (compare Nu 23:7; Mic 2:4; Hab 2:6).
Though the Hebrews used the same term for proverb and parable, the Greek employs two, though the sacred writers have not always appeared to recognize a distinction. The term for proverb is, paroimia, which the Greek translators employ for the title of this book, evidently with special reference to the later definition of a proverb, as a trite, sententious form of speech, which appears to be the best meaning of the term. John uses the same term to designate our Saviour's instructions, in view of their characteristic obscurity (compare Pr 16:25-29, Greek), and even for his illustrative discourses (Pr 10:6), whose sense was not at once obvious to all his hearers. This form of instruction was well adapted to aid the learner. The parallel structure of sentences, the repetition, contrast, or co