origin of these several parts may be drawn from these forms found in them? We connect with this the conception of Ewald, who sees represented in the several parts of the collection the chief points of the history of proverbial poetry. The “Proverbs of Solomon,” Prov 10:1-22:16, appear to him to be the oldest collection, which represents the simplest and the most ancient kind of proverbial poetry. Their distinguishing characteristics are the symmetrical two-membered verse, complete in itself, containing in itself a fully intelligible meaning, and the quick contrast of thesis and antithesis. The oldest form of the technical proverb, according to Ewald, is, according to our terminology, the antithetic distich, such as predominates in 10:1-22:16. Along with these antithetic distichs we find here also others of a different kind. Ewald so considers the contrast of the two members to be the original fundamental law of the technical proverb, that to him these other kinds of distichs represent the diminution of the inner force of the two-membered verse, the already begun decay of the art in its oldest limits and laws, and the transition to a new method. In the “Proverbs of Solomon,” chap. 25-29, of the later collection, that rigorous formation of the verse appears already in full relaxation and dissolution: the contrast of the sense of the members appears here only exceptionally; the art turns from the crowded fulness and strength of the representation more to the adorning of the thought by means of strong and striking figures and forms of expression, to elegant painting of certain moral conditions and forms of life; and the more the technical proverb is deprived of the breath of a vigorous poetic spirit, so much the nearer does it approach to the vulgar proverb; the full and complete symmetry of the two members disappears, less by the abridgment of one of them, than by the too great extension and amplification of the two-membered proverb into longer admonitions to a moral life, and descriptions relating thereto. So the proverbial poetry passes essentially into a different form and manner. “While it loses in regard to internal vigorous brevity and strength, it seeks to gain again by means of connected instructive exposition, by copious description and detailed representation; breaking up its boldly delineated, strong, and yet simply beautiful form, it rises to oratorical display, to attractive eloquence, in which, indeed, though the properly poetical and the artistic gradually disappears, yet the warmth and easy comprehension are increased.” In chap. 1-9, the introduction of the older collection, and Pro 22:17-24,
