The land is constructed as a paradisical garden, but like Eden after Man's fall, Xanadu is isolated by walls. The finite properties of the constructed walls of Xanadu are contrasted with the infinite properties of the natural caves through which the river runs. So twice five miles of fertile ground With walls and towers were girdled round: And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree; And here were forests ancient as the hills, Enfolding sunny spots of greenery. There are some small variations in different versions of this text. The version published in reads:.
While the holograph copy handwritten by Coleridge himself the Crewe manuscript, shown at the right says:. And here were gardens bright with sinuous rills, . The poem expands on the gothic hints of the first stanza as the narrator explores the dark chasm in the midst of Xanadu's gardens, and describes the surrounding area as both "savage" and "holy". Yarlott interprets this chasm as symbolic of the poet struggling with decadence that ignores nature.
From the dark chasm a fountain violently erupts, then forms the meandering river Alph, which runs to the sea described in the first stanza. Fountains are often symbolic of the inception of life, and in this case may represent forceful creativity. And from this chasm, with ceaseless turmoil seething, As if this earth in fast thick pants were breathing, A mighty fountain momently was forced: Amid whose swift half-intermitted burst Huge fragments vaulted like rebounding hail, Or chaffy grain beneath the thresher's flail: And 'mid these dancing rocks at once and ever It flung up momently the sacred river.
Five miles meandering with a mazy motion Through wood and dale the sacred river ran, Then reached the caverns measureless to man, And sank in tumult to a lifeless ocean: Kubla Khan hears voices of the dead, and refers to a vague "war" that appears to be unreferenced elsewhere in the poem. Yarlott argues that the war represents the penalty for seeking pleasure, or simply the confrontation of the present by the past: Though the exterior of Xanadu is presented in images of darkness, and in context of the dead sea, we are reminded of the "miracle" and "pleasure" of Kubla Khan's creation.
The vision of the sites, including the dome, the cavern, and the fountain, are similar to an apocalyptic vision.
Together, the natural and man-made structures form a miracle of nature as they represent the mixing of opposites together, the essence of creativity: The shadow of the dome of pleasure Floated midway on the waves; Where was heard the mingled measure From the fountain and the caves. It was a miracle of rare device, A sunny pleasure-dome with caves of ice! The narrator turns prophetic, referring to a vision of an unidentified "Abyssinian maid" who sings of "Mount Abora". Harold Bloom suggests that this passage reveals the narrator's desire to rival Khan's ability to create with his own.
A damsel with a dulcimer In a vision once I saw: Could I revive within me Her symphony and song, To such a deep delight 'twould win me, That with music loud and long, I would build that dome in air, That sunny dome! The subsequent passage refers to unnamed witnesses who may also hear this, and thereby share in the narrator's vision of a replicated, ethereal, Xanadu. Harold Bloom suggests that the power of the poetic imagination, stronger than nature or art, fills the narrator and grants him the ability to share this vision with others through his poetry.
The narrator would thereby be elevated to an awesome, almost mythical status, as one who has experienced an Edenic paradise available only to those who have similarly mastered these creative powers: And all who heard should see them there, And all should cry, Beware! His flashing eyes, his floating hair! Weave a circle round him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise. One theory says that "Kubla Khan" is about poetry and the two sections discuss two types of poems.
The poem celebrates creativity and how the poet is able to experience a connection to the universe through inspiration. As a poet, Coleridge places himself in an uncertain position as either master over his creative powers or a slave to it. The poet is separated from the rest of humanity after he is exposed to the power to create and is able to witness visions of truth. This separation causes a combative relationship between the poet and the audience as the poet seeks to control his listener through a mesmerising technique.
The Preface then allows for Coleridge to leave the poem as a fragment, which represents the inability for the imagination to provide complete images or truly reflect reality. The poem would not be about the act of creation but a fragmentary view revealing how the act works: Through use of the imagination, the poem is able to discuss issues surrounding tyranny, war, and contrasts that exist within paradise. The poet, in Coleridge's system, is able to move from the world of understanding, where men normally are, and enter into the world of the imagination through poetry.
When the narrator describes the "ancestral voices prophesying war", the idea is part of the world of understanding, or the real world. As a whole, the poem is connected to Coleridge's belief in a secondary Imagination that can lead a poet into a world of imagination, and the poem is both a description of that world and a description of how the poet enters the world. The water imagery is also related to the divine and nature, and the poet is able to harness tap into nature in a way Kubla Khan cannot to harness its power.
Towards the end of , Coleridge was fascinated with the idea of a river and it was used in multiple poems including "Kubla Khan" and "The Brook". In his Biographia Literaria , he explained, "I sought for a subject, that should give equal room and freedom for description, incident, and impassioned reflections on men, nature, and society, yet supply in itself a natural connection to the parts and unity to the whole. Such a subject I conceived myself to have found in a stream, traced from its source in the hills among the yellow-red moss and conical glass-shaped tufts of bent, to the first break or fall, where its drops become audible, and it begins to form a channel".
Additionally, many of the images are connected to a broad use of Ash Farm and the Quantocks in Coleridge's poetry, and the mystical settings of both Osorio and "Kubla Khan" are based on his idealised version of the region. However, the styles are very different as one is heavily structured and rhymed while the other tries to mimic conversational speech. What they do have in common is that they use scenery based on the same location, including repeated uses of dells, rocks, ferns, and a waterfall found in the Somerset region.
When considering all of The Picture and not just the excerpt, Coleridge describes how inspiration is similar to a stream and that if an object is thrown into it the vision is interrupted. The Tatars ruled by Kubla Khan were seen in the tradition Coleridge worked from as a violent, barbaric people and were used in that way when Coleridge compared others to Tatars. They were seen as worshippers of the sun, but uncivilised and connected to either the Cain or Ham line of outcasts. However, Coleridge describes Khan in a peaceful light and as a man of genius.
He seeks to show his might but does so by building his own version of paradise. The description and the tradition provide a contrast between the daemonic and genius within the poem, and Khan is a ruler who is unable to recreate Eden. Though the imagery can be dark, there is little moral concern as the ideas are mixed with creative energies.
Nature, in the poem is not a force of redemption but one of destruction, and the paradise references reinforce what Khan cannot attain. Although the Tatars are barbarians from China, they are connected to ideas within the Judaeo Christian tradition, including the idea of Original Sin and Eden. The place was described in negative terms and seen as an inferior representation of paradise, and Coleridge's ethical system did not connect pleasure with joy or the divine.
The river, Alph, replaces the one from Eden that granted immortality [ citation needed ] and it disappears into a sunless sea that lacks life. The image is further connected to the Biblical, post-Edenic stories in that a mythological story attributes the violent children of Ham becoming the Tatars, and that Tartarus, derived from the location, became a synonym for hell.
Coleridge believed that the Tatars were violent, and that their culture was opposite to the civilised Chinese. The land is similar to the false paradise of Mount Amara in Paradise Lost , especially the Abyssinian maid's song about Mount Abora that is able to mesmerise the poet. In the manuscript copy, the location was named both Amora and Amara, and the location of both is the same.
In post-Milton accounts, the kingdom is linked with the worship of the sun, and his name is seen to be one that reveals the Khan as a priest. This is reinforced by the connection of the river Alph with the Alpheus, a river that in Greece was connected to the worship of the sun. As followers of the sun, the Tatar are connected to a tradition that describes Cain as founding a city of sun worshippers and that people in Asia would build gardens in remembrance of the lost Eden.
In the tradition Coleridge relies on, the Tatar worship the sun because it reminds them of paradise, and they build gardens because they want to recreate paradise. Kubla Khan is of the line of Cain and fallen, but he wants to overcome that state and rediscover paradise by creating an enclosed garden. The dome, in Thomas Maurice's description, in The History of Hindostan of the tradition, was related to nature worship as it reflects the shape of the universe.
Coleridge, when composing the poem, believed in a connection between nature and the divine but believed that the only dome that should serve as the top of a temple was the sky. He thought that a dome was an attempt to hide from the ideal and escape into a private creation, and Kubla Khan's dome is a flaw that keeps him from truly connecting to nature. Maurice's History of Hindostan also describes aspects of Kashmir that were copied by Coleridge in preparation for hymns he intended to write.
The work, and others based on it, describe a temple with a dome. The use of dome instead of house or palace could represent the most artificial of constructs and reinforce the idea that the builder was separated from nature. However, Coleridge did believe that a dome could be positive if it was connected to religion, but the Khan's dome was one of immoral pleasure and a purposeless life dominated by sensuality and pleasure. The narrator introduces a character he once dreamed about, an Abyssinian maid who sings of another land.
She is a figure of imaginary power within the poem who can inspire within the narrator his own ability to craft poetry. The connection between Lewti and the Abyssinian maid makes it possible that the maid was intended as a disguised version of Mary Evans , who appears as a love interest since Coleridge's poem The Sigh.
Evans, in the poems, appears as an object of sexual desire and a source of inspiration. The figure is related to Heliodorus 's work Aethiopian History , with its description of "a young Lady, sitting upon a Rock, of so rare and perfect a Beauty, as one would have taken her for a Goddess, and though her present misery opprest her with extreamest grief, yet in the greatness of her afflection, they might easily perceive the greatness of her Courage: A Laurel crown'd her Head, and a Quiver in a Scarf hanged at her back". She is similar to John Keats's Indian woman in Endymion who is revealed to be the moon goddess, but in "Kubla Khan" she is also related to the sun and the sun as an image of divine truth.
In addition to real-life counterparts of the Abyssinian maid, Milton's Paradise Lost describes Abyssinian kings keeping their children guarded at Mount Amara and a false paradise, which is echoed in "Kubla Khan". In the Crewe manuscript, the earlier unpublished version of the poem, the Abyssinian maid is singing of Mount Amara, rather than Abora. It was a natural fortress, and was the site of the royal treasury and the royal prison.
The sons of the Emperors of Abyssinia, except for the heir, were held prisoner there, to prevent them from staging a coup against their father, until the Emperor's death. Mount Amara was visited between and by the Portuguese priest, explorer and diplomat Francisco Alvares — , who was on a mission to meet the Christian king of Ethiopia. His description of Mount Amara was published in , and appears in Purchas, his Pilgrimes , the book Coleridge was reading before he wrote "Kubla Khan".
The custome is that all the male child of the Kings, except the Heires, as soone as they be brought up, they send them presendly to a very great Rock, which stands in the province of Amara, and there they pass all their life, and never come out from thence, except the King which reignith departeth their life without Heires. Mount Amara also appears in Milton's Paradise Lost:. In fact the Blue Nile is very far from the other three rivers mentioned in Genesis 2: There are many sources attributed to "Kubla Khan" for the style, imagery, and topic.
As noted above, the description of the size and landscape of Xanadu and of the Pleasure Dome was taken directly from Purchas, who took it from the description of Marco Polo, who had visited Xanadu. Coleridge may also have been influenced by the surrounding of Culbone Combe and its hills, gulleys, and other features including the "mystical" and "sacred" locations in the region.
Also, the name "Alph" could connect to the idea of being an alpha or original place. Much of the poem could have been influenced by Coleridge's opium dream or, as his friend and fellow poet Robert Southey joked, "Coleridge had dreamed he had written a poem in a dream". It is possible that the dream affected Coleridge's later mood and caused him to enter into a depression, influencing the ideas in his writing that followed the dream night.
Of these ideas, Coleridge's emphasised the vastness of the universe and his feeling overwhelmed by how little the universe seemed to him. The poem could have provided Coleridge with the idea of a dream poem that discusses fountains, sacredness, and even a woman singing a sorrowful song. In terms of spelling, Coleridge's printed version differs from Purchas's spelling, which refers to the Tartar ruler as "Cublai Can", and from the spelling used by Milton, "Cathaian Can".
The Abyssinian maid is derived from many figures in Coleridge's life, including women who Coleridge admired in some way: The person who was the closest match to the figure was Evans, the subject of Coleridge's Lewti. The poem's claim that the narrator would be inspired to act if the song of the maid could be heard was a belief that Coleridge held regarding Evans after she became unattainable to him.
According to some critics, the second stanza of the poem, forming a conclusion, was composed at a later date and was possibly disconnected from the original dream. Before the poem was published, it was greatly favoured by Byron, who encouraged Coleridge to publish the poem,  and it was admired by many people including Walter Scott. However, the immediate response to the collection was to ignore Christabel and "Kubla Khan" or simply to attack "Kubla Khan". Many of the attacks started as a new generation of critical magazines, including Blackwood's Edinburgh Magazine , Edinburgh Review , and Quarterly Review , were established at the beginning of the 19th century.
The critics were more provocative than those of the previous generation, and much of the bad reception was based on Coleridge's timing of publication and his own political views, much of which contrasted with those of the critics, than actual content. Another reason for negative reviews was a puff piece written by Byron about the Christabel publication. I fear lest it should be discovered by the lantern of typography and clear reducing to letters, no better than nonsense or no sense. The first of the negative reviews was written by William Hazlitt , literary critic and Romantic writer.
He reviewed the collection of poems for 2 June Examiner , and, in his analysis, he attacked the fragmentary nature of the work and argued, "The fault of Mr Coleridge is, that he comes to no conclusion With regard to the former, which is professedly published as a psychological curiosity, it having been composed during sleep, there appears to us nothing in the quality of the lines to render this circumstance extraordinary.
Coleridge of a reverend friend of ours, who actually wrote down two sermons on a passage in the Apocalypse, from the recollection of the spontaneous exercise of his faculties in sleep. To persons who are in the habit of poetical composition, a similar phenomenon would not be a stranger occurrence, than the spirited dialogues in prose which take place in dreams of persons of duller invention than our poet, and which not unfrequently leave behind a very vivid impression. Coleridge's statements on the origin of the poem were considered again by various critics with an emphasis on how the origins affected the merits of the poem.
In an anonymous review for the July Literary Panorama , the reviewer claimed, "'Kubla Khan' is merely a few stanzas which owe their origin to a circumstance by no means uncommon to persons of a poetical imagination It should however be recollected, that in sleep the judgment is the first faculty of the mind which ceases to act, therefore, the opinion of the sleeper respecting his performance is not to be trusted, even in his waking moments.
Coleridge's two hundred lines were all of equal merit with the following which he has preserved, we are ready to admit that he has reason to be grieved at their loss. Review "A frank, heartfelt, and honest account Atria Books September 16, Language: There's a Light After the Lime on your Kindle in under a minute.
Don't have a Kindle? Try the Kindle edition and experience these great reading features: Share your thoughts with other customers. Write a customer review. Read reviews that mention mason betha pastor mason god bless pastor mason betha music industry reading this book read this book bought this book welcome back young person got saved young people praise god bless pastor thank god young man recommend this book put this book many people changed his life.
Showing of 48 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Quite an inspirational book!!!!
5. The Poetical Books | omyhukocow.tk
This book really inspired me to be a better person. The greatest moments in this book are the times when he mentions how diligently he tried to conserve the things that God was telling him to get rid of. For example, he tells one story of how God told him to give his car away This book offers grest insight into the life of a superstar and the drastic differences between being a clergyman.
Definitely a book that our youth could relate since it gives a detailed look into the life of someone who lived a life similar to the one's of many musicians they often idolize. One person found this helpful. I admit I bought the book out of curiousity. I guess I thought I was going to judge him.
However, the words spoken by Mason has changed me. He is a true man of God who followed God's voice at a time when he really had the world in his hands. I was one who would sit and watch the videos and envy the lifestyle the entertainers appear to have, however, this book has made me see what the Bible has said all along, "What profits a man to gain the world and then lose his soul. This book is for the young, the old, the saved and lost.
This book was written by God through Mason. I will continue to pray for him and his ministry. Mase penned an autobiography soon after he announced to the world that he had given up music to be a pastor circa Fast forward to , and Mase is totally contradicting himself: In his book he vowed to leave music behind and serve the Lord. Why is he in G-Unit now? Why did he say he never wanted to rap again and he comes out with "Welcome Back? As a whole, this book is poorly written.
These five poetical books are concerned with individuals , as such. The seventeen have to do with the Hebrew race. These five have to do with the human heart. There are stretches of unexcellable poetry in the writings of the prophets, which we shall come to later …. It must not be thought to imply that they are simply the product of human imagination.
Especially too they concern themselves with the experiences of the godly , in the varying vicissitudes of this changeful life which is ours under the sun … Song of Solomon— Bliss through Union. While Hebrew poetry occurred throughout Old Testament history, there were three primary periods of poetic literature. As noted previously, Christ, the Messiah, is the heart of all the Bible. With the two disciples on the Emmaus road who were so saddened and perplexed over the events of the previous days as the crucifixion, death, and reports of the resurrection, the resurrected Savior came along side and explained the things concerning Himself in all the Scriptures Luke Then later when he appeared to the eleven and He said: With this in mind, before launching into the overview of each of these poetical books, it would be well to get their Christological perspective.
Regarding this element Geisler writes:. Whereas the foundation was laid for Christ in the Law and preparation was made for Christ in the books of History, the books of Poetry reveal the aspiration for Christ in the hearts of the people. They aspired to a life fulfilled in Christ in both an explicit and an implicit way, both consciously and unconsciously.
The following list will serve as an overall guide to the Christ-centered aspirations of the poetical books:. Song of Solomon—aspiration for union in love with Christ. Hebrew poetry, so characteristic of the wisdom literature of the Old Testament Job, Psalms, Proverbs, Ecclesiastes, and Song of Solomon , is unlike English poetry which emphasizes rhyme and meter. Hebrew poetry relies on other characteristics for its impact. Parallelism is the chief characteristic of biblical poetry, but it has other features that distinguish it from the typical prose or narrative we find in the rest of Scripture.
First, there a relatively greater conciseness or terseness of form, and second there is a greater use of certain types of rhetorical devices. These are parallelism, rhythm, a rich use of imagery, and figures of speech. There are three kinds of poetry: In contrast to English verse which manipulates sound and emphasizes rhyme and meter, Hebrew poetry repeats and rearranges thoughts rather than sounds.
Synonymous --the thought of the first line is basically repeated in different words in the second line 2: Antithetical --the thought of the first line is emphasized by a contrasting thought in the second line 1: Synthetic --the second line explains or further develops the idea of the first line 1: Climactic --The second line repeats with the exception of the last terms Emblematic --One line conveys the main point, the second line illuminates it by an image Like the Hebrew language itself, Hebrew poetry uses vivid images, similes, metaphors, and other rhetorical devices to communicate thoughts and feelings.
Some of these are as follows:. This is the simplest of all the figures of speech. A simile is a comparison between two things that resemble each other in some way cf. This occurs when there is only an implied comparison between two things in which the name of one thing is used in place of the other cf. This is the use of exaggeration or over statement to stress a point Ps. This refers to the use or repetition of words that are similar in sound, but not necessarily in sense or meaning in order to achieve a certain effect. This can only be observed by those who can read the original Hebrew text.
This involves the use of redundancy for the sake of emphasis. This may occur with the use of words or sentences. May the name of the God of Jacob set you securely on high! The use of a question to confirm or deny a fact Ps. This occurs where one noun is used in place of another because of some relationship or type of resemblance that different objects might bear to one another Ps.
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While we know the title of this book obviously comes from its main character, Job, and that he was an historical person Ezek. Commentators have suggested Job himself, Elihu, Moses, Solomon, and others. It is important to distinguish between the date of writing and of the events of the book. Regarding the date, Ryrie writes;. The date of the events in the book and the date of the writing of the book are two different matters. The events may have taken place in a patriarchal society in the second millennium B. Several facts support this dating: Three principal views exist concerning the date of writing: On the other hand, the book shares characteristics of other wisdom literature e.
Set in the time of Abraham, Isaac, Jacob, and Joseph, the Book of Job derives its name from its chief character, a man called Job, who, experiencing extreme suffering the loss of wealth, family and health , struggles with the question of why? Earlier attempts to determine an etymology of the name have given way to evidence from a well-attested west Semitic name in the second millennium found in the Amarna Letters, Egyptian Execration texts, Mari, Alalakh, and Ugaritic documents.
The book wrestles with the age-old question: Why do righteous men suffer, if God is a God of love and mercy? It clearly teaches the sovereignty of God and the need for man to acknowledge such. All suffering is due to sin. Elihu, however, declared that suffering is often the means of purifying the righteous. This book deals with the theoretical problem of pain and disaster in the life of the godly.
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It undertakes to answer the question, Why do the righteous suffer? This answer comes in a threefold form: Even though man is unable to see the issues of life with the breadth and vision of the Almighty; nevertheless God really knows what is best for His own glory and for our ultimate good. A further purpose is certainly to demonstrate the conflict of the ages between God and Satan and to show the relationship of suffering to this conflict.
In the end, it demonstrates the truth of Romans 8: For there is no one like him on the earth, a blameless and upright man fearing God and turning away from evil. And he still holds fast his integrity, although you incited Me against him, to ruin him without cause. Yes, all that a man has he will give for his life. Nevertheless I will argue my ways before Him.
Christ is seen in several ways in Job. Job acknowledges a Redeemer The Book of Psalms is not only the largest book of the Bible, but it perhaps the most widely used book in Scripture because of the way it speaks to the human heart in all of our experiences in life. Again and again sighing is turned into singing through prayer and praise. For the most part, though the texts of the psalms do not designate their authors, the titles do often indicate the author of the various psalms.
The following chart designates the authors of these psalms as they are found in the titles: Authorship of the Psalms. The Psalms are really five books in one. Each of the following book division concludes with a doxology while Psalm occupies the place of the doxology and forms an appropriate conclusion to the entire collection. This correspondence to the Pentateuch may be seen in the following outline: Psalms about praise and the Word of God —corresponds to Deuteronomy. As to their types, the following illustrates a generally agreed upon set of categories:.
Lament or Petition , either individual Ps. Thanksgiving or Praise , either individual Ps. Enthronement hymns of Yahweh: The psalms may also be classified according to special themes as: With their very broad chronological range, the wide thematic arrangement, and the many different audiences living under a variety of conditions, the psalms reflect a multitude of moods and experiences that make them extremely relevant to the reader regardless of the day in which he lives.
Revelations of Divine Love/Catalogue
Regarding the date of the various psalms, Archer writes:. Of these, the earliest would naturally be Ps. The Davidic psalms would have originated between and b. It is hard to date the descendants of Korah and the two Ezrahites who are mentioned; presumably they were pre-exilic. Of the psalms not carrying titles, some were undoubtedly Davidic e.
No convincing evidence, however, has been offered for the dating of any of the psalms later than approximately b. A shortened form is Tillim. Only one psalm is designated Tehillah praise , but praise is the heart of the psalms. The psalms provide us with a message of hope and comfort through the common theme of worship.
They are, in essence, an antidote to fear and complaining. They are an expression of the worship, faith, and spiritual life of Israel. As a collection of a psalms they naturally cover a great variety of feelings, circumstances and themes. This means it is difficult to make any generalizations about a theme or purpose, but it is safe to say that all the psalms embody a personal response on the part of the believer toward the goodness and grace of God.
But whether the psalmist is occupied with a mournful or a joyous theme, he is always expressing himself as in the presence of the living God. There are a few psalms, of course, which mostly contain the thoughts and revelations of God Himself, such as Ps.
Many of the psalms survey the Word of God, His attributes, and are Messianic in their scope in anticipation of the coming Messiah. In thought, worship , is certainly a key word as expressed in the theme above. In this regard, praise , which occurs some times and some form of the word bless, blessing, bless , occurs over a times in the NASB. How do you list key verses in a book like psalms where nearly everyone is bound to have his or her own special verses that have been dear to their heart, but the following is a suggestion:.
By keeping it according to Your word. As with the verses, so we also face difficulty in selecting key chapters, but the following are suggested. Psalm 1, 22, 23, 24; 37; 78; ; ; , and Psalm beautifully unites to central themes of praise and worship. Though the titles to the psalms do sometimes point to the subject or author of the psalm, like David or Korah, the text of the psalms does not. Rather, the focus seems to be more on the people of God in their worship and walk with Lord.
Many of the psalms are Messianic and speak of the person and work of Christ. They fall into falling categories:. These psalms are less obviously messianic. The psalmist in some way is a type of Christ cf. Perhaps, in this case Jesus and the apostles were applying familiar psalmic expressions to their experiences e. According to 1 Kings 4: And while he wrote most of proverbs in this book, later chapters indicate that he was not the only author of the book.
Three sections of the proverbs are ascribed to Solomon; chapters 1: However, the proverbs in the latter section Chapter 30 is specifically attributed to Agur, son of Jakeh, and As a book of wisdom, Proverbs is not an historical book but rather the product of the school of wisdom in Israel. Proverbs obviously gets it name from its contents—short sayings or maxims that convey truth in a pointed and pithy way.
As a pithy saying, a proverb centers in a comparison or an antithesis. The title comes from the fact this writing is a compendium of moral and spiritual instruction designed to enable one to live wisely. As suggested by the title and the meaning of the term proverb , the theme and purpose of the book is wisdom for living through special instruction on every conceivable issue of life: No book is more practical in terms of wisdom for daily living than Proverbs.