[6] Solomon could not have been more than sixty years of age when he died, yet it was not till he was "_old_" that his wives "turned away his heart from the Lord his God" (1 Kings xi. 4).
On the whole, then, we conclude that in this Book Solomon is taken as the Hebrew type of wisdom, the wisdom which is based on large and varied experience; and that this experience is here dramatized, in so far as the writer could conceive it, for the instruction of a race which from first to last, from the fable of Jotham to the parables of our Lord, were accustomed to receive instruction in fictitious and dramatic forms. Its author was not Solomon, but one of "the wise" whose name can no longer be recovered; it was written, not in the time of Solomon, _i.e._ about 1000 B.C., but some five or six centuries later: and it was addressed not to the wealthy and peaceful citizens whose king held his court in Jerusalem, but to their degenerate and enfeebled descendants during the period of the Persian supremacy.[7]
[7] "It may be regarded as beyond doubt that it was written under the Persian domination" (Delitzsch).
* * * * *
Doubtless many of the prevailing misapprehensions of the meaning, authorship, and animating spirit of the Book are due, in some measure, to the singular form into which it is thrown. It belongs to what is known as the Chokma, _i.e._ the Gnomic school, as opposed to the Lyrical school of Hebrew poetry. The Jewish, like Oriental literature in general, early assumed this form, which seems to have a natural affinity with the Eastern mind. Grave men, who made a study of life or who devoted themselves to a life of study, were likely to be sententious, to compress much thought into few words, especially in the ages in which writing was a somewhat rare accomplishment, or in which, as in the Hebrew schools, instruction was given by a living voice. No doubt they began with coining sage or witty aphorisms, generally lit up with a happy metaphor, each of which was complete in itself. Such sayings, as memorable and portable, no less than as striking for beauty and "matterful" for meditation, would commend themselves to an age in which books were few and scarce. They are to be found in abundance in the proverbs of all ancient races, and in the Book of Proverbs which bears the name of Solomon, and many of the more didactic and elaborate Psalms; while the Book of Job preserves many of the sayings current among the Arabs and the Egyptians. But with the Hebrews this literary mode took what is, so far as I am aware, a singular and unparalleled development, from the time of Solomon onwards, rising to its highest pitch in the Book of Job, and sinking to its lowest--within the limits of the Canon at least--in the cramping over-ingenuities of the acrostic Psalms, and in such proverbs as those attributed to Agur the son of Jakeh.
This development has not as yet, I think, attracted the attention it deserves; at least I have nowhere met with any formal recognition of it. Yet, undoubtedly, while at first the Hebrew sages were content to compress much wit or wisdom into the small compass of a _gnome_, which they polished like a gem, leaving each to shine by its own lustre and to make its own unaided impression, there rose in process of time men who saw new and great capacities in this ancient literary form, and set themselves to string their gems together, to arrange their own or other men's proverbs so aptly and artistically that they enhanced each other's beauty, while at the same time they compelled them to carry a logical and continuous stream of thought, to paint an elaborate picture, to build up a lofty yet breathing personification (that of Wisdom, for example, in Proverbs viii.), to describe a lengthened and varied ethical experience (as in Ecclesiastes), and even to weave them into a large and sublime poem, like that of Job, which has never been excelled. The reluctance with which this form lends itself to the nobler functions of literature, the immense difficulty of the instrument which many of the Hebrew poets wielded, will become apparent to any one who should try the experiment. We have a goodly collection of proverbs, drawn from many sources, foreign as well as native, in the English tongue. Let any man endeavour so to set or arrange them, or a selection from them, as to produce a fine poem on a lofty theme, and he at least will not underrate the difficulty of the task, even though we should concede to him the right to _make_ proverbs where he could not find them to his mind. Yet to many of the finest Hebrew poets the very restrictions of this form seem to have possessed a charm such as the far less rigid and encumbering laws of the sonnet, or even of the triolet and other fanciful poetic wares of modern times, have exerted on the minds of many of our own poets.[8] A careful student of the Chokma school might even, I believe, trace the growth of this art, from its small beginnings in the earlier gnomic sayings of the Wise, to its culmination in the Book of Job; and, in so doing, would confer a boon on all students of Holy Writ.[9]