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which passage Zephaniah rests his description). בּכפתּריה, upon the knobs of the pillars left standing when the palaces were destroyed (kaphtōr; see at Amo 9:1). The reference to the pelican, a marsh bird, is not opposed to the tsiyyâh of Zep 2:13, since Nineveh stood by the side of streams, the waters of which formed marshes after the destruction of the city. קול ישׁורר cannot be rendered “a voice sings,” for shōrēr, to sing, is not used for tuning or resounding; but yeshōrēr is to be taken relatively, and as subordinate to קול, the voice of him that sings will be heard in the window. Jerome gives it correctly: vox canentis in fenestra. There is no necessity to think of the cry of the owl or hawk in particular, but simply of birds generally, which make their singing heard in the windows of the ruins. The sketching of the picture of the destruction passes from the general appearance of the city to the separate ruins, coming down from the lofty knobs of the pillars to the windows, and from these to the thresholds of the ruins of the houses. Upon the thresholds there is chōrebh, devastation (= rubbish), and no longer a living being. This is perfectly appropriate, so that there is no necessity to give the word an arbitrary interpretation, or to alter the text, so as to get the meaning a raven or a crow. The description closes with the explanatory sentence: “for He has laid bare the cedar-work,” i.e., has so destroyed the palaces and state buildings, that the costly panelling of the walls is exposed. ‘Arzâh is a collective, from ‘erez, the cedar-work, and there is no ground for any such alteration of the text as Ewald and Hitzig suggest, in order to obtain the trivial meaning “hews or hacks in pieces,” or the cold expression, “He destroys, lays bare.” In Zep 2:15 the picture is rounded off. “This is the city,” i.e., this is what happens to the exulting city. עלּיזה, exulting, applied to the joyful tumult caused by the men - a favourite word with Isaiah (cf. Isa 22:2; Isa 23:7; Isa 24:8; Isa 32:13). The following predicates from היּושׁבת to עוד are borrowed from the description of Babel in Isa 47:8, and express the security and self-deification of the mighty imperial city. The Yod in ‘aphsı̄ is not paragogical, but a pronoun in the first person; at the same time, ‘ephes is not a preposition, “beside me,” since in that case the negation “not one” could not be omitted, but “the non-existence,” so that אפסי = איני, I am absolutely no further (see at Isa 47:8). But how has this