In Hebrew poetry there are some principles about which no doubt exists. _First_, its dominant feature is Parallelism, Parallelism of meaning, which, though found in all human song, is carried through this poetry with a constancy unmatched in any other save the Babylonian. The lines of a couplet or a triplet of Hebrew verse may be Synonymous, that is identical in meaning, or Supplementary and Progressive, or Antithetic. But at least their meanings respond or correspond to each other in a way, for which no better name has been found than that given it by Bishop Lowth more than a century and a half ago, “Parallelismus Membrorum.”(41) _Second_, this rhythm of meaning is wedded to a rhythm of sound which is achieved by the observance of a varying proportion between stressed or heavily accented syllables and unstressed. That is clear even though we are unable to discriminate the proportion in every case or even to tell whether there were fixed rules for it; the vowel-system of our Hebrew text being possibly different from what prevailed in ancient Hebrew. But on the whole it is probable that as in other primitive poetries(42) there were no exact or rigorous rules as to the proportion of beats or stresses in the single lines. For the rhythm of sense is the main thing—the ruling factor—and though the effort to express this in equal or regularly proportioned lines is always perceptible, yet in the more primitive forms of the poetry just as in some English folk-songs and ballads the effort did not constantly succeed. The art of the poet was not always equal to the strength of his passion or the length of his vision, or the urgency of his meaning. The meaning was the main thing and had to be beat out, even though to effect this was to make the lines irregular. As I have said in my Schweich Lectures: “If the Hebrew poet be so constantly bent on a rhythm of sense this must inevitably modify his rhythms of sound. If his first aim be to produce lines each more or less complete in meaning, but so as to run parallel to its fellow, it follows that these lines cannot be always exactly regular in length or measure of time. If the governing principle of the poetry requires each line to be a clause or sentence in itself, the lines will frequently tend, of course within limits, to have more or fewer stresses than are normal throughout the poem.”