Side by side with materials derived from written sources, the book of Genesis contains narratives which, at all events in the first instance, must have resembled the traditions and poems orally recited in Arab lands, and commemorating the heroes and forefathers of the tribe. Thus there are two Abrahams; the one an Abraham who has been born in one of the centres of Babylonian civilisation, who is the ally of Amorite chieftains, whose armed followers overthrow the rearguard of the Elamite army, and whom the Hittites of Hebron address as ‘a mighty prince’; the other is an Abraham of the Bedâwin camp-fire, a nomad whose habits are those of the rude independence of the desert, whose wife kneads the bread while he himself kills the calf with which his guests are entertained. It is true that in actual Oriental life the simplicity of the desert and the wealth and culture of the town may be found combined in the same person; that in modern Egypt Arab shêkhs may still be met with who thus live like wild Bedâwin during one part of the year, and as rich and civilised townsmen during another part of it; while in the last century a considerable portion of Upper Egypt was governed by Bedâwin emirs, who realised in their own persons that curious duality of life and manners which to us Westerns appears so strange. But it is also true that the spirit and tone of the narratives in Genesis differ along with the character ascribed in them to the patriarch: we find in them not only the difference between the guest of the Egyptian Pharaoh and the entertainer of the angels, but also a difference in the point of view. The one speaks to us of literary culture, the other of the simple circle of wandering shepherds to whose limited experience the story-teller has to appeal. The story may be founded on fact; it may be substantially true; but it has been coloured by the surroundings in which it has grown up, and archæological proof of its historical character can never be forthcoming. At most, it can be shown to be true to the time and place in which its scene is laid, and so contains nothing which is inconsistent with known facts.