Ecc 12:2-5 | KD | STEP | “Ere the sun becomes dark, and the light, and the moon, and the stars, and the clouds return after the rain.” Umbreit, Elster, and Ginsburg find here the thought: ere death overtakes thee; the figure under which the approach of death is described being that of a gathering storm. But apart from other objections ( vid ., Gurlitt, “zur Erlk. d. B. Koheleth,” in Sutd. u. Krit . 1865), this idea is opposed by the consideration that the author seeks to describe how man, having become old, goes forth (חלך, ) to death, and that not till does he reach it. Also Taylor’s view, that what precedes is as a dirge expressing the feelings experienced on the day of a person’s death, is untenable; it is discredited already by this, that it confuses together the days of evil, , and the many days of darkness, i.e. , the long night of Hades, ; and besides, it leaves unanswered the question, what is the meaning of the clouds returning after the rain. Hahn replies: The rain is death, and the return is the entrance again into the nothingness which went before the entrance into this life. Knobel, as already Luther and also Winzer (who had made the exposition of the Book of Koheleth one of the labours of his life), sees in the darkening of the sun, etc., a figure of the decay of hitherto joyful prosperity; and in the clouds after the rain a figure of the cloudy days of sorrow which always anew visit those who are worn out by old age. Hitz., Ewald, Vaih., Zöckl., and Tyler, proceeding from thence, find the unity of the separate features of the figure in the comparison of advanced old age, as the winter of life to the rainy winter of the (Palestinian) year. That is right. But since in the sequel obviously the marasmus senilis of the separate parts of the body is set forth in allegorical enigmatic figures, it is asked whether this allegorical figurative discourse does not probably commence in Ecc 12:2. Certainly the sun, moon, and stars occur also in such pictures of the night of judgment, obscuring all the lights of the heavens, as at ; but that here, where the author thus ranks together in immediate sequence והךּ ... השּׁ, and as he joins the stars with the moon, so the light with the sun, he has not connected the idea of certain corresponding things in the nature and life of man with these four emblems of light, is yet very improbable. Even though it might be impossible to find out that which is represented, yet this would be no decisive argument against the significance of the figures; the canzones in Dante’s Convito , which he there himself interprets, are an example that the allegorical meaning which a poet attaches to his poetry may be present even where it cannot be easily understood or can only be conjectured. The attempts at interpreting these figures have certainly been wholly or for the most part unfortunate. We satisfy ourselves by registering only the oldest: their glosses are in matter tasteless, but they are at least of linguistic interest. A Barajtha, Shabbath 151-152 a , seeking to interpret this closing picture of the Book of Koheleth, says of the sun and the light: “this is the brow and the nose;” of the moon: “this is the soul;” of the stars: “this the cheeks.” Similarly, but varying a little, the Midrash to Lev. c. 18 and to Koheleth: the sun = the brightness of the countenance; light = the brow; the moon = the nose; the stars = the upper part of the cheeks (which in an old man fall in). Otherwise, but following the Midrash more than the Talmud, the Targum: the sun = the stately brightness of thy countenance; light = the light of thine eyes; the moon = the ornament of thy cheeks; the stars = the apple of thine eye. All the three understand the rain of wine (Talm. בכי), and the clouds of the veil of the eyes (Targ.: “thy eye-lashes”), but without doing justice to אחר שׁוב; only one repulsive interpretation in the Midrash takes these words into account. In all these interpretations there is only one grain of truth, this, viz., that the moon in the Talm. is interpreted of the נשׁמה, anima , for which the more correct word would have been נפשׁ; but it has been shown, Psychol . p. 154, that the Jewish, like the Arab. psychology, reverses terminologically the relation between רוח (נשׁמה), spirit, and נפשׁ, soul. The older Christian interpretations are also on the right track. Glassius (as also v. Meyer and Smith in “The portraiture of old age”) sees in the sun, light, etc., emblems of the interna microcosmi lumina mentis ; and yet better, Chr. Friedr. Bauer (1732) sees in a representation of the thought: “ere understanding and sense fail thee.” We have elsewhere shown that חיים רוח (נשׁמת) and חיּה נפשׁ (from which nowhere חיים נפשׁ) are related to each other as the principium principians and principium principatum of life ( Psychol . p. 79), and as the root distinctions of the male and female, of the predominantly active and the receptive ( Psychol . p. 103). Thus the figurative language of is interpreted in the following manner. The sun is the male spirit רוח (which, like שׁמשׁ, is used in both genders) or נשׁמה, after , a light of Jahve which penetrates with its light of self-examination and self-knowledge the innermost being of man, called by the Lord, (cf. ), “the light that is in thee.” The light, viz., the clear light of day proceeding from the sun, is the activity of the spirit in its unweakened intensity: sharp apprehension, clear thought, faithful and serviceable memory. The moon is the soul; for, according to the Heb. idea, the moon, whether it is called ירח or לבנה is also in relation to the sun a figure of the female (cf. Gen 37:9., where the sun in Joseph’s dream = Jacob-Israel, the moon = Rachel); and that the soul, viz., the animal soul, by means of which the spirit becomes the principle of the life of the body ( ), is related to the spirit as female σκεῦος ἀστηενέστερον, is evident from passages such as , where the spirit supports the soul ( animus animam ) with its consolation. And the stars? We are permitted to suppose in the author of the book of Koheleth a knowledge, as Schrader has shown, of the old Babyl.-Assyr. seven astral gods, which consisted of the sun, moon, and the five planets; and thus it will not be too much to understand the stars, as representing the five planets, of the five senses (Mish. הרגּשׁות, later הוּשׁים, cf. the verb, ) which mediate the receptive relation of the soul to the outer world ( Psychol . p. 233). But we cannot see our way further to explain patholo.-anatom., as Geier is disposed to do: Nonnulli haec accommodant ad crassos illos ac pituosos senum vapores ex debili ventriculo in cerebrum adscendentes continuo, ubi itidem imbres (נשׁם) h.e. destillationes creberrimae per oculos lippientes, per nares guttatim fluentes, per os subinde excreans cet., quae sane defluxiones, tussis ac catharri in juvenibus non ita sunt frequentia, quippe ubi calor multo adhuc fortior, consumens dissipansque humores . It is enough to understand עבים of cases of sickness and attacks of weakness which disturb the power of thought, obscure the consciousness, darken the mind, and which ahhar haggěshěm, after they have once overtaken him and then have ceased, quickly again return without permitting him long to experience health. A cloudy day is = a day of misfortune, ; Zep 1:15; an overflowing rain is a scourge of God, ; ; and one visited by misfortune after misfortune complains, : “Deep calleth unto deep at the noise of thy waterspouts: all thy waves and thy billows are gone over me.”

‏ Ecclesiastes 12:2-5

Ecc 12:2 “Ere the sun becomes dark, and the light, and the moon, and the stars, and the clouds return after the rain.” Umbreit, Elster, and Ginsburg find here the thought: ere death overtakes thee; the figure under which the approach of death is described being that of a gathering storm. But apart from other objections (vid., Gurlitt, “zur Erlk. d. B. Koheleth,” in Sutd. u. Krit. 1865), this idea is opposed by the consideration that the author seeks to describe how man, having become old, goes forth (חלך, Ecc 12:5) to death, and that not till Ecc 12:7 does he reach it. Also Taylor’s view, that what precedes Ecc 12:5 is as a dirge expressing the feelings experienced on the day of a person’s death, is untenable; it is discredited already by this, that it confuses together the days of evil, Ecc 12:1, and the many days of darkness, i.e., the long night of Hades, Ecc 11:8; and besides, it leaves unanswered the question, what is the meaning of the clouds returning after the rain. Hahn replies: The rain is death, and the return is the entrance again into the nothingness which went before the entrance into this life. Knobel, as already Luther and also Winzer (who had made the exposition of the Book of Koheleth one of the labours of his life), sees in the darkening of the sun, etc., a figure of the decay of hitherto joyful prosperity; and in the clouds after the rain a figure of the cloudy days of sorrow which always anew visit those who are worn out by old age. Hitz., Ewald, Vaih., Zöckl., and Tyler, proceeding from thence, find the unity of the separate features of the figure in the comparison of advanced old age, as the winter of life to the rainy winter of the (Palestinian) year. That is right. But since in the sequel obviously the marasmus senilis of the separate parts of the body is set forth in allegorical enigmatic figures, it is asked whether this allegorical figurative discourse does not probably commence in Ecc 12:2. Certainly the sun, moon, and stars occur also in such pictures of the night of judgment, obscuring all the lights of the heavens, as at Isa 13:10; but that here, where the author thus ranks together in immediate sequence והךּ ... השּׁ, and as he joins the stars with the moon, so the light with the sun, he has not connected the idea of certain corresponding things in the nature and life of man with these four emblems of light, is yet very improbable. Even though it might be impossible to find out that which is represented, yet this would be no decisive argument against the significance of the figures; the canzones in Dante’s Convito, which he there himself interprets, are an example that the allegorical meaning which a poet attaches to his poetry may be present even where it cannot be easily understood or can only be conjectured.

The attempts at interpreting these figures have certainly been wholly or for the most part unfortunate. We satisfy ourselves by registering only the oldest: their glosses are in matter tasteless, but they are at least of linguistic interest. A Barajtha, Shabbath 151-152 a, seeking to interpret this closing picture of the Book of Koheleth, says of the sun and the light: “this is the brow and the nose;” of the moon: “this is the soul;” of the stars: “this the cheeks.” Similarly, but varying a little, the Midrash to Lev. c. 18 and to Koheleth: the sun = the brightness of the countenance; light = the brow; the moon = the nose; the stars = the upper part of the cheeks (which in an old man fall in). Otherwise, but following the Midrash more than the Talmud, the Targum: the sun = the stately brightness of thy countenance; light = the light of thine eyes; the moon = the ornament of thy cheeks; the stars = the apple of thine eye. All the three understand the rain of wine (Talm. בכי), and the clouds of the veil of the eyes (Targ.: “thy eye-lashes”), but without doing justice to אחר שׁוב; only one repulsive interpretation in the Midrash takes these words into account. In all these interpretations there is only one grain of truth, this, viz., that the moon in the Talm. is interpreted of the נשׁמה, anima, for which the more correct word would have been נפשׁ; but it has been shown, Psychol. p. 154, that the Jewish, like the Arab. psychology, reverses terminologically the relation between רוח (נשׁמה), spirit, and נפשׁ, soul.

The older Christian interpretations are also on the right track. Glassius (as also v. Meyer and Smith in “The portraiture of old age”) sees in the sun, light, etc., emblems of the interna microcosmi lumina mentis; and yet better, Chr. Friedr. Bauer (1732) sees in Ecc 12:2 a representation of the thought: “ere understanding and sense fail thee.” We have elsewhere shown that חיים רוח (נשׁמת) and חיּה נפשׁ (from which nowhere חיים נפשׁ) are related to each other as the principium principians and principium principatum of life (Psychol. p. 79), and as the root distinctions of the male and female, of the predominantly active and the receptive (Psychol. p. 103). Thus the figurative language of Ecc 12:3 is interpreted in the following manner. The sun is the male spirit רוח (which, like שׁמשׁ, is used in both genders) or נשׁמה, after Pro 20:27, a light of Jahve which penetrates with its light of self-examination and self-knowledge the innermost being of man, called by the Lord, Mat 6:23 (cf. 1Co 2:11), “the light that is in thee.” The light, viz., the clear light of day proceeding from the sun, is the activity of the spirit in its unweakened intensity: sharp apprehension, clear thought, faithful and serviceable memory. The moon is the soul; for, according to the Heb. idea, the moon, whether it is called ירח or לבנה is also in relation to the sun a figure of the female (cf. Gen 37:9., where the sun in Joseph’s dream = Jacob-Israel, the moon = Rachel); and that the soul, viz., the animal soul, by means of which the spirit becomes the principle of the life of the body (Gen 2:7), is related to the spirit as female σκεῦος ἀστηενέστερον, is evident from passages such as Psa 42:6, where the spirit supports the soul (animus animam) with its consolation. And the stars? We are permitted to suppose in the author of the book of Koheleth a knowledge, as Schrader ^{▼▼Vid., “Sterne” in Schenkel’s Bibl Lex. and Stud. u. Krit. 1874.} has shown, of the old Babyl.-Assyr. seven astral gods, which consisted of the sun, moon, and the five planets; and thus it will not be too much to understand the stars, as representing the five planets, of the five senses (Mish. הרגּשׁות, ^{▼▼Thus the five senses are called, e.g., Bamidbar rabba, c. 14.} later הוּשׁים, cf. the verb, Ecc 2:25) which mediate the receptive relation of the soul to the outer world (Psychol. p. 233). But we cannot see our way further to explain Ecc 12:2 patholo.-anatom., as Geier is disposed to do: Nonnulli haec accommodant ad crassos illos ac pituosos senum vapores ex debili ventriculo in cerebrum adscendentes continuo, ubi itidem imbres (נשׁם) h.e. destillationes creberrimae per oculos lippientes, per nares guttatim fluentes, per os subinde excreans cet., quae sane defluxiones, tussis ac catharri in juvenibus non ita sunt frequentia, quippe ubi calor multo adhuc fortior, consumens dissipansque humores. It is enough to understand עבים of cases of sickness and attacks of weakness which disturb the power of thought, obscure the consciousness, darken the mind, and which ahhar haggěshěm, after they have once overtaken him and then have ceased, quickly again return without permitting him long to experience health. A cloudy day is = a day of misfortune, Joe 2:2; Zep 1:15; an overflowing rain is a scourge of God, Eze 13:13; Eze 38:22; and one visited by misfortune after misfortune complains, Psa 42:7 : “Deep calleth unto deep at the noise of thy waterspouts: all thy waves and thy billows are gone over me.” Ecc 12:3

To the thought: Ere the mind and the senses begin to be darkened, and the winter of life with its clouds and storms approaches, the further details here following stand in a subordinate relation: “That day when the watchers of the house tremble, and the strong men bow themselves, and the grinders rest, because they have become few, and the women looking out of the windows are darkened.” Regarding בּיּום with art.: eo (illo)tempore, vid., under Sol 8:8. What follows is regarded by Winzer, with Mich., Spohr, and partly Nachtigal, as a further description of the night to which old age, Ecc 12:2, is compared: Watchers then guard the house; labourers are wearied with the labours and cares of the day; the maids who have to grind at the mill have gone to rest; and almost all have already fallen asleep; the women who look out from the windows are unrecognisable, because it has become dark. But what kind of cowardly watchers are those who “tremble,” and what kind of (per antiphrasin) strong men who “bow themselves” at evening like children when they have belly-ache! Ginsburg regards Ecc 12:2-5 as a continuation of the description of the consequences of the storm under which human life comes to an end: the last consequence is this, that they who experience it lose the taste for almonds and the appetite for locusts. But what is the meaning of this quaint figure? it would certainly be a meaningless and aimless digression. Taylor hears in this verse the mourning for the dead from Ecc 12:2, where death is described: the watchers of the house tremble; the strong men bow themselves, viz., from sorrow, because of the blank death has made in the house, etc.; but even supposing that this picture had a connection in Ecc 12:2, how strange would it be! - the lookers out at the windows must be the “ladies,” who are fond of amusing themselves at windows, and who now - are darkened. Is there anything more comical than such little ladies having become darkened (whether externally or internally remains undetermined)? However one may judge of the figurative language of Ecc 12:2, Ecc 12:3 begins the allegorical description of hoary old age after its individual bodily symptoms; interpreters also, such as Knobel, Hitz., and Ewald, do not shrink from seeking out the significance of the individual figures after the old Haggadic manner. The Talm. says of shomrē habbayith: these are the loins and ribs; of the anshē hehhayil: these are the bones; of harooth baarǔbboth: these, the eyes. The Midrash understand the watchers of the house, of the knees of the aged man; the men of strength, of his ribs or arms; the women at the mill, of the digestive organs (המסס, ^{▼▼This hamses is properly the second stomach of the ruminants, the cellular caul.} the stomach, from omasum); those who have become few, of the teeth; the women looking out at the window, of the eyes; another interpretation, which by harooth thinks of the lungs, is not worth notice.

Here also the Targ. principally follows the Midrash: it translates the watchers of the house by “thy knees;” strong men by “thine arms;” the women at the mill by “the teeth of thy mouth;” the women who look out at the window by “thine eyes.” These interpretations for the most part are correct, only those referable to the internal organs are in bad taste; references to these must be excluded from the interpretation, for weakness of the stomach, emphysema of the lungs, etc., are not appropriate as poetical figures. The most common biblical figures of the relation of the spirit or the soul to the body is, as we have shown, Psychol. p. 227, that of the body as of the house of the inner man. This house, as that of an old man, is on all sides in a ruinous condition. The shomrē habbayith are the arms terminating in the hands, which bring to the house whatever is suitable for it, and keep away from it whatever threatens to do it injury; these protectors of the house have lost their vigour and elasticity (Gen 49:24), they tremble, are palsied (יזעוּ, from זוּע, Pilp. זעזע, bibl. and Mishn.: to move violently hither and thither, to tremble, to shake), ^{▼▼Vid., Friedr. Delitzsch’s Indogerm.-Sem. Stud. p. 65f.} so that they are able neither to grasp securely, to hold fast and use, nor actively to keep back and forcibly avert evil. Anshē hěhhayil designates the legs, for the shoqē haish are the seat of his strength, Psa 147:10; the legs of a man in the fulness of youthful strength are like marble pillars, Sol 5:15; but those of the old man hith'authu (Hithpa. only here) have bowed themselves, they have lost their tight form, they are shrunken (כּרעות, Job 4:4, etc.) and loose; 4 Macc. 4:5 calls this τὴν ἐκ τοῦ γήρως νωθρότητα ποδῶν ἐπικύφοον. To maidens who grind (cf. טח בר, Num 11:8 and Isa 47:2) the corn by means of a hand-mill are compared the teeth, the name of which in the old language is masc., but in the modern (cf. Pro 29:19), as also in the Syr. and Arab., is fem.; the reference of the figure to these instruments for grinding is not to be missed; the Arab. ṭḥinat and the Syr. ṭaḥonto signify dens molaris, and we now call 6 of the 32 teeth Mahlzähne (molar teeth, or grinders); the Greeks used for them the word μύλαι (Psa 57:7, lxx). Regarding בּטלוּ, lxx ἤργησαν (= ἀερτοὶ ἐγενήθησαν) ^{▼▼We find a similar allegory in Shabbath 152 a. The emperor asked the Rabbi Joshua b. Chananja why he did not visit בי אבידן (a place where learned conversation, particularly on religious subjects, was carried on). He answered: “The mount is snow (= the hair of the head is white), ice surrounds me (= whiskers and beard on the chin white), its (of my body) dogs bark not (the voice fails), and its grinders (the teeth) grind not.” The proper meaning of בי אבידן, Levy has not been able clearly to bring to light in his Neuhebr. u. Chald. W.B.}

The clause מעטוּ כּי (lxx ὃτι ὠλιγώθησαν) assigns the reason that the grinders rest, i.e., are not at work, that they have become few: they stand no longer in a row; they are isolated, and (as is to be supposed) are also in themselves defective. Taylor interprets mi'etu transitively: the women grinding rest when they have wrought a little, i.e., they interrupt their labour, because on account of the occurrence of death, guests are now no longer entertained; but the beautiful appropriate allegory maintains its place against this supposed lamentation for the dead; also מעט does not signify to accomplish a little (Targ.), but to take away, to become few (lxx, Syr., Jerome, Venet. Luther), as such as Pih. as Ecc 10:10, קהה, to become blunt. And by הראות בּא we are not to think, with Taylor, of women such as Sidera’s mother or Michal, who look out of the window, but of the eyes, more exactly the apples of the eyes, to which the orbita (lxx ἐν ταῖς ὀπαῖς; Symm. διὰ τῶν ὀπῶν) and the eyelids with the eye-lashes are related as a window is to those who look out; ארבּה (from ארב, R. רב, to entwine firmly and closely) is the window, consisting of a lattice of wood; the eyes are, as Cicero (Tusc. i. 20) calls them, quasi fenestrae animi; the soul-eyes, so to speak, without which it could not experience what sight is, look by means of the external eyes; and these soul-bodily eyes have become darkened in the old man, the power of seeing is weakened, and the experiences of sight are indistinct, the light of the eyes is extinguished (although not without exception, Deu 34:7). Ecc 12:4

From the eyes the allegory proceeds to the mouth, and the repugnance of the old man to every noise disturbing his rest: “And the doors to the street are closed, when the mill sounds low; and he rises up at the voice of a bird; and all the daughters of song must lower themselves.” By the door toward the street the Talm. and Midrash understand the pores or the emptying members of the body, - a meaning so far from being ignoble, that even in the Jewish morning prayer a Beracha is found in these words: “Blessed art Thou, O Lord our God, King of the world, who hast wisely formed man, and made for him manifold apertures and cavities. It is manifest and well known before the throne of Thy Majesty, that if one of these cavities is opened, or one of these apertures closed, it is impossible for him to exist and to stand before Thee; blessed art Thou, O Lord, the Physician of the body, and who doest wondrous words!” The words which follow הטּ ... בּשׁ are accordingly to be regarded as assigning a reason for this closing: the non-appearance of excretion has its reason in defective digestion in this, that the stomach does not grind (Talm.: וגו בשרקבן ^{▼▼Cf. Berachoth 61 b: The stomach (קורקבן) grinds. As hamses is properly the caul of the ruminant, so this word קוּרקבן is the crop (bibl. מראה) of the bird.} בשביל). But the dual דּלתים suggests a pair of similar and related members, and בּשּׁוּק a pair of members open before the eyes, and not such as modesty requires to be veiled. The Targum therefore understands the shutting of the doors properly; but the mills, after the indication lying in הטּ grinding maids, it understands of the organs of eating and tasting, for it translates: “thy feet will be fettered, so that thou canst not go out into the street; and appetite will fail thee.” But that is an awkward amalgamation of the literal with the allegorical, which condemns itself by this, that it separates the close connection of the two expressions required by בּשׁפל, which also may be said of the reference of dlt' to the ears, into which no sound, even from the noisy market, penetrates (Gurlitt, Grätz). We have for דלתים a key, already found by Aben Ezra, in Job 41:2, where the jaws of the leviathan are called פּניו דּלתי; and as Herzf. and Hitz. explain, so Samuel Aripol in his Commentary, which appeared in Constantinople, 1855, rightly: “He calls the jaws דלתים, to denote that not two דלתות in two places, but in one place, are meant, after the manner of a door opening out to the street, which is large, and consists of two folds or wings, דלתות, which, like the lips (השׂפתים, better: the jaws), form a whole in two parts; and the meaning is, that at the time of old age the lips are closed and drawn in, because the teeth have disappeared, or, as the text says, because the noise of the mill is low, just because he has no teeth to grind with.” The connection of סגּרוּ and בּשׁפל is, however, closer still: the jaws of an old man are closed externally, for the sound of the mill is low; i.e., since, when one masticates his food with the jaws of a toothless mouth, there is heard only a dull sound of this chewing (Mumpfelns, vid., Wiegand’s Deut. W.B.), i.e., laborious masticating. He cannot any more crack or crunch and break his food, one hears only a dull munching and sucking. - The voice of the mouth (Bauer, Hitz., Gurlitt, Zöckl.) cannot be the meaning of קול הט; the set of teeth (Gurlitt indeed substitutes, Ecc 12:3, the cavity of the mouth) is not the organ of voice, although it contributes to the formation of certain sounds of words, and is of importance for the full sound of the voice. בּשּׁוּק, “to the street,” is here = on the street side; שׁפל is, as at Pro 16:19, infin. (Symmachus: ἀχρειωθείσης τῆς φωνῆς; the Venet.: ἐν τῷ ταπεινῶσθαι τὴν φωνήν), and is to be understood after Isa 29:4; טחנה stands for רחים, as the vulgar Arab. tahûn and matḥana instead of the antiquated raḥâ. Winzer now supposes that the picture of the night is continued in 4 b: et subsistit (vox molae)ad cantum galli, et submissius canunt cantatrices (viz., molitrices). Elster, with Umbreit, supposes the description of a storm continued: the sparrow rises up to cry, and all the singing birds sink down (flutter restlessly on the ground). And Taylor supposes the lament for the dead continued, paraphrasing: But the bird of evil omen [owl, or raven] raises his dirge, and the merry voice of the singing girls is silent.

These three pictures, however, are mere fancies, and are also evidently here forced upon the text; for יקוט קול cannot mean subsistit vox, but, on the contrary (cf. Hos 10:14), surgit (tollitur) vox; and יקום לקול cannot mean: it (the bird) raises itself to cry, which would have required יקום לתת קולו, or at least לקּול, after למלחמה קום, etc.; besides, it is to be presumed that צפור is genit., like קול עוגב and the like, not nom. of the subj. It is natural, with Hitz., Ewald, Heiligst., Zöck., to refer qol tsippor to the peeping, whispering voice (“Childish treble” of Shakespeare) of the old man (cf. stiphtseph, Isa 29:4; Isa 38:14; Isa 10:14; Isa 8:19). But the translation: “And it (the voice) approaches a sparrow’s voice,” is inadmissible, since for ל קום the meaning, “to pass from one state to another,” cannot be proved from 1Sa 22:13; Mic 2:8; קום signifies there always “to rise up,” and besides, qol tahhanah is not the voice of the mouth supplied with teeth, but the sound of the chewing of a toothless mouth. If leqol is connected with a verb of external movement, or of that of the soul, it always denotes the occasion of this movement, Num 16:34; Eze 27:28; Job 21:12; Hab 3:16. Influenced by this inalienable sense of the language, the Talm. explains צף ... ויקום by “even a bird awakes him.” Thus also literally the Midrash, and accordingly the Targ. paraphrasing: “thou shalt awaken out of thy sleep for a bird, as for thieves breaking in at night.” That is correct, only it is unnecessary to limit ויקוּם (or rather ויקום, ^{▼▼Vav with Cholem in H. F. Thus rightly, according to the Masora, which places it in the catalogue of those words which occur once with a higher (יקום) and once with a lower vowel (yקוּם), Mas. fin. 2a b, Ochlaweochla, No. 5; cf. also Aben Ezra’s Comm. under Psa 80:19; Zachoth 23 a, Safa berura 21 b (where Lipmann is uncertain as to the meaning).} which accords with the still continued subordination of Ecc 12:4 to the eo die quo of Ecc 12:3) to rising up from sleep, as if it were synonymous with ויעור: the old man is weak (nervously weak) and easily frightened, and on account of the deadening of his senses (after the figure of Ecc 12:2, the darkening of the five stars) is so liable to mistake, that if even a bird chirps, he is frightened by it out of his rest (cf. hēkim, Isa 14:9).

Also in the interpretation of the clause haשׁיר ... וישּׁחוּ, the ancients are in the right track. The Talm. explains: even all music and song appear to him like common chattering (שׂוּחה or, according to other readings, שׂיחה); the proper meaning of ychsw is thus Haggad. twisted. Less correctly the Midrash: בנות השיר are his lips, or they are the reins which think, and the heart decides (on this curious psychol. conception, cf. Chullin 11 a, and particularly Berachoth 61 a, together with my Psychol. p. 269). The reference to the internal organs if à priori improbable throughout; the Targ. with the right tact decides in favour of the lips: “And thy lips are untuned, so that they can no more say (sing) songs.” In this translation of the Talm. there are compounded, as frequently, two different interpretations, viz., that interpretation of בן השׁ, which is proved by the כל going before to be incorrect, because impossible; and the interpretation of these “daughters of song” of “songs,” as if these were synonymous designations, as when in Arab. misfortunes are called banatu binasan, and the like (vid., Lane’s Lex. I p. 263); בּת קול, which in Mish. denotes a separate voice (the voice of heaven), but in Syr. the separate word, may be compared. But ישׁחוּ (fut. Niph. of שׁחח) will not accord with this interpretation. For that בן השׁ denotes songs (Hitz., Heiligst.), or the sound of singing (Böttch.), or the words (Ewald) of the old man himself, which are now softened down so as to be scarcely audible, is yet too improbable; it is an insipid idea that the old man gives forth these feeble “daughters of song” from his mouth. We explain ישׁחו of a being bowed down, which is external to the old man, and accordingly understand benoth hashshir not of pieces of music (Aq. πάντα τὰ τῆς ᾠδῆς) which must be lowered to pianissimo, but according to the parallel already rightly acknowledge by Desvoeux, 2Sa 19:36, where the aged Barzillai says that he has now no longer an ear for the voice of singing men and singing women, of singing birds (cf. בּר זמירא of a singing bird in the Syrian fables of Sophos, and banoth of the branches of a fruit tree, Gen 49:22), and, indeed, so that these are a figure of all creatures skilled in singing, and taking pleasure in it: all beings that are fond of singing, and to which it has become as a second nature, must lower themselves, viz., the voice of their song (Isa 29:4) (cf. the Kal, Psa 35:14, and to the modal sense of the fut. Ecc 10:10, יגּבּר, and Ecc 10:19, ישׂמּח), i.e., must timidly retire, they dare not make themselves heard, because the old man, who is terrified by the twittering of a little bird, cannot bear it. Ecc 12:5

From this his repugnance to singing, and music, and all loud noises, progress in the description is made to the difficulty such aged men have in motion: “Also they are afraid of that which is high; and there are all kinds of fearful things in the way ... .” The description moves forward in a series of independent sentences; that שׁ בּיּום to which it was subordinate in Ecc 12:3, and still also in Ecc 12:4, is now lost sight of. In the main it is rightly explained by the Talm., and with it the Midrash: “Even a little hillock appears to him like a high mountain; and if he has to go on a journey, he meets something that terrifies him;” the Targ. has adopted the second part of this explanation. גּבהּ (falsely referred by the Targ. to the time lying far back in the past) is understood neut.; cf. 1Sa 16:7. Such decrepid old men are afraid of (ייראוּ, not videbunt, as the lxx, Symm., Ar., and the Venet. translate, who seem to have had before them the defective יראו) a height, - it alarms them as something unsurmountable, because their breath and their limbs fail them when they attempt it; and hathhhattim (plur. of the intensifying form of hat, consternatio, Job 41:25), i.e., all kinds of formidines (not formido, Ewald, §179 a, Böttch. §762, for the plur. is as in salsilloth, 'aph'appim, etc., thought of as such), meet them in the way. As the sluggard says: there is a lion in the way, and under this pretence remains slothfully at home, Pro 24:13; Pro 22:13, so old men do not venture out; for to them a damp road appears like a very morass; a gravelly path, as full of neck-breaking hillocks; an undulating path, as fearfully steep and precipitous; that which is not shaded, as oppressively hot and exhausting-they want strength and courage to overcome difficulties, and their anxiety pictures out dangers before them where there are none.

The allegory is now continued in individual independent figures: “And the almond tree is in blossom.” The Talm. explains וין הש of the haunch-bone projecting (from leanness); the Midrash, of the bones of the vertebral column, conceived of as incorruptible and as that round which will take place the future restoration of the human body, - probably the cross bone, os sacrum, ^{▼▼The Jewish opinion of the incorruptible continuance of this bone may be connected with the designation os sacrum; the meaning of this is controverted, vid., Hyrtl’s Anatomie, §124.} inserted between the two thigh bones of the pelvis as a pointed wedge; cf. Jerome in his Comm.: quidam sacram spinam interpretantur quod decrescentibus natium cornibus spina accrescat et floreat; לוּז is an Old Heb., Aram., and Arab. name of the almond tree and the almond nut (vid., under Gen 30:37), and this, perhaps, is the reason of this identification of the emblematic שׁקד with לוז (the os sacrum, or vertebra magna) of the spine. The Targ. follows the Midrash in translating: the רישׁ שׁז (the top of the spine) will protrude from leanness like an almond tree (viz., from which the leaves have been stripped). In these purely arbitrary interpretations nothing is correct but (1) that שׁקד is understood not of the almond fruit, but of the almond tree, as also at Jer 1:11 (the rod of an almond tree); (2) that ינאץ (notwithstanding that these interpreters had it before them unpointed) is interpreted, as also by the lxx, Syr., Jerome, and the Venet., in the sense of blossoming, or the bursting out of blossoms by means of the opening up of the buds. Many interpreters understand שׁקר of almond fruit (Winzer, Ewald, Ginsb., Rödiger, etc.), for they derive ינאץ from נאץ, as Aben Ezra had already done, and explain by: fastidit amygdalam (nucem), or fastidium creat amygdala. But (1) ינאץ for ינאץ (Hiph. of נאץ, to disdain, to treat scornfully) is a change of vowels unexampled; we must, with such an explanation, read either ינּאץ, fastiditur (Gaab), or ינאץ; (2) almond nuts, indeed, belong to the more noble productions of the land and the delicacies, Gen 43:11, but dainties, κατ ̓ ἐξ, at the same time they are not, so that it would be appropriate to exemplify the blunted sensation of taste in the old man, by saying that he no more cracks and eats almonds. The explanation of Hitzig, who reads ינאץ, and interprets the almond tree as at Sol 7:9 the palm, to denote a woman, for he translates: the almond tree refuses (viz., the old man), we set aside as too ingenious; and we leave to those interpreters who derive ינאץ from נאץ, and understand השקד ^{▼▼Abulwalîd understands שקר and חגב sexually, and glosses the latter by jundub (the locust), which in Arab. is a figure of suffering and patience.} of the glans penis (Böttch., Fürst, and several older interpreters), to follow their own foul and repulsive criticism. ינאץ is an incorrect reading for ינץ, as at Hos 10:14, קאם for קם, and, in Prov., ראשׁ for רשׁ (Gesen. §73. 4); and besides, as at Sol 6:11, הנצוּ, regular Hiph. of נצץ (נוּץ, Lam 4:15), to move tremblingly (vibrate), to glisten, blossom (cf. נוס, to flee, and ניסן, Assyr. nisannu, the flower-month). Thus deriving this verbal form, Ewald, and with him Heiligst., interprets the blossoming almond tree as a figure of the winter of life: “it is as if the almond tree blossomed, which in the midst of winter has already blossoms on its dry, leafless stem.” But the blossoms of the almond tree are rather, after Num 17:2-8, a figure of special life-strength, and we must thus, thrown back to ינאץ from נאץ (to flourish), rather explain, with Furrer (in Schenkel’s B. L.), as similarly Herzf.: the almond tree refuses, i.e., ceases, to blossom; the winter of old age is followed by no spring; or also, as Dale and Taylor: the almond tree repels, i.e., the old man has no longer a joyful welcome for this messenger of spring. But his general thought has already found expression in Ecc 12:2; the blossoming almond tree must be here an emblem of a more special relation. Hengst. supposes that “the juniper tree (for this is the proper meaning of שקד) is in bloom” is = sleeplessness in full blossom stands by the old man; but that would be a meaningless expression. Nothing is more natural than that the blossoming almond tree is intended to denote the same as is indicated by the phrase of the Latin poet: Intempestivi funduntur vertice cani (Luther, Geiger, Grot., Vaih., Luzz., Gurlitt, Tyler, Bullock, etc.).

It has been objected that the almond blossoms are not pure white, but according to the variety, they are pale-red, or also white; so that Thomson, in his beautiful Land and the Book, can with right say: “The almond tree is the type of old age whose hair is white;” and why? “The white blossoms completely cover the whole tree.” Besides, Bauer (1732) has already remarked that the almond blossoms, at first tinged with red, when they are ready to fall off become white as snow; with which may be compared a clause cited by Ewald from Bodenstedt’s A Thousand and One Days in the Orient: “The white blossoms fall from the almond trees like snow-flakes.” Accordingly, Dächsel is right when he explains, after the example of Zöckler: “the almond tree with its reddish flower in late winter, which strews the ground with its blossoms, which have gradually become white like snow-flakes, is an emblem of the winter of old age with its falling silvery hair.”

From the change in the colour of the hair, the allegory now proceeds to the impairing of the elasticity of the highs and of their power of bearing a load, the malum coxae senile (in a wider than the usual pathological sense): “And the grasshopper (i.e., locust, חגב, Samar. חרגבה = חרגּל, Lev 11:22) becomes a burden.” Many interpreters (Merc., Döderl., Gaab, Winz., Gesen., Winer, Dale) find in these words הח ויס the meaning that locust-food, or that the chirping of grasshoppers, is burdensome to him (the old man); but even supposing that it may at once be assumed that he was a keen aeridophagus (locusts, steeped in butter, are like crabs (shrimps) spread on slices of butter and bread), or that he had formerly a particular delight in the chirping of the τέττιξ, which the ancients number among singing birds (cf. Taylor, l.c.), and that he has now no longer any joy in the song of the τέττιξ, although it is regarded as soothing and tending to lull to rest, and an Anacreon could in his old days even sing his μακαρίζομέν σε τέττιξ, - yet these two interpretations are impossible, because הס may mean to burden and to move with difficulty, but not “to become burdensome.” For the same reason, nothing is more absurd than the explanation of Kimchi and Gurlitt: Even a grasshopper, this small insect, burdens him; for which Zöckl., more naturally: the hopping and chirping of the grasshopper is burdensome to him; as we say, The fly on the wall annoys him. Also Ewald and Heiligstedt’s interpretation: “it is as if the locust raised itself to fly, breaking and stripping off its old husk,” as inadmissible; for הסתבל can mean se portare laboriose, but not ad evolandum eniti; the comparison (Arab.) tahmmal gains the meaning of hurry onwards, to proceed on an even way, like the Hebr. השכים, to take upon the shoulder; it properly means, to burden oneself, i.e., to take on one’s back in order to get away; but the grasshopper coming out of its case carries away with it nothing but itself. For us, such interpretations - to which particularly, the advocates of the several hypotheses of a storm, night, and mourning, are constrained - are already set aside by this, that according to the allegory וין השׁ, הח ויס must also signify something characteristic of the body of an old man. The lxx, Jerome, and Ar. translate: the locust becomes fat; the Syr.: it grows. It is true, indeed, that great corpulence, or also a morbid dropsical swelling of the belly (ascites), is one of the symptoms of advanced old age; but supposing that the (voracious) locust might be en emblem of a corpulent man, yet הסתבל means neither to become fat nor to grow. But because the locust in reality suggests the idea of a corpulent man, the figure cannot at the same time be intended to mean that the old man is like a skeleton, consisting as it were of nothing but skin and bone (Lyra, Luther, Bauer, Dathe); the resemblance of a locust to the back-bone and its joints (Glassius, Köhler, Vaih.) is not in view; only the position of the locusts’s feet for leaping admits the comparison of the prominent scapulae (shoulder-blades); but shoulder-blades (scapulae alatae), angular and standing out from the chest, are characteristics of a consumptive, not of a senile habit. Also we must cease, with Hitz., Böttch., Luzz., and Gratz, to understand the figure as denoting the φαλλός to be now impotent; for relaxation and shrinking do not agree with hctbl, which suggests something burdensome by being weighty.

The Midrash interprets החגב by “ankles,” and the Targ. translates accordingly: the ankles (אסתּורי, from the Pers. ustuwâr, firm) of thy feet will swell-unsuitably, for “ankles” affords no point of comparison with locusts, and they have no resemblance to their springing feet. The Talm., glossing החגב by “these are the buttocks” (nates) (cf. Arab. 'ajab, the os coccygis, Syn. 'ajuz, as the Talm. עגבות interchanges with עבוז), is on the right track. There is nothing, indeed, more probably than that הגב is a figure of the coxa, the hinder region of the pelvis, where the lower part of the body balances itself in the hip-joint, and the motion of standing up and going receives its impulse and direction by the muscular strength there concentrated. This part of the body may be called the locust, because it includes in itself the mechanism which the two-membered foot for springing, placed at an acute angle, presents in the locust. Referred to this coxa, the loins, יסתבל has its most appropriate meaning: the marrow disappears from the bones, elasticity from the muscles, the cartilage and oily substance from the joints, and, as a consequence, the middle of the body drags itself along with difficulty; or: it is with difficulty moved along (Hithpa. as pass., like Ecc 8:10); it is stiff, particularly in the morning, and the old man is accustomed to swing his arms backwards, and to push himself on as it were from behind. In favour of this interpretation (but not deciding it) is the accord of חגב with עגב = κόκκυξ (by which the os coccygis is designated as the cuckoo’s bone). Also the verbal stem (Arab.) jaḥab supplies an analogous name: not jaḥab, which denotes the air passage (but not, as Knobel supposes, the breath itself; for the verb signifies to separate, to form a partition, Mish. מחיצח), but (Arab.) jaḥabat, already compared by Bochart, which denotes the point (dual), the two points or projections of the two hip-bones (vid., Lane’s Lex.), which, together with the os sacrum lying between, form the ring of the pelvis.

From the weakening of the power of motion, the allegory passes on to the decay of sensual desires, and of the organs appertaining thereto: “And the caper-berry fails ... .” The meaning “caper” for האב is evidence by the lxx (ἡ κάππαρις, Arab. alkabar), the Syr., and Jerome (capparis), and this rendering is confirmed by the Mishnic אביונות, which in contradistinction to תמרות, i.e., the tender branches, and קפריסין, i.e., the rind of fruit, signifies the berry-like flower-buds of the caper bush, ^{▼▼The caper-bush is called in the Mish. צלף, and is celebrated, Beza 25 a, cf. Shabbath 30 b (where, according to J. S. Bloch’s supposition, the disciple who meets Gamaliel is the Apostle Paul), on account of its unconquerable life-power, its quick development of fruit, and manifold products. The caper-tree is planted, says Berachoth 36a, “with a view to its branches;” the eatable branches or twigs here meant are called שיתי (שותי). Another name for the caper-tree is נצפה, Demai i. 1, Berachoth 36 a, 40 b; and another name for the bud of the caper-blossom is פרחא רבוטיתא, Berachoth 36b (cf. Aruch, under the words aviyonoth and tselaph).} according to Buxtorf. This Talm. word, it is true, is pointed אביונות; but that makes no difference, for אביּונה is related to אביונה merely as making the word emphatic, probably to distinguish the name of the caper from the fem. of the adj. אביון, which signifies avida, egena. But in the main they are both one; for that נביּונה may designate “desire” (Abulwalîd: ^{▼▼In his Dictionary of Roots (kitâb el-utṣûl), edited by Neubauer, Oxford 1873-4.} aliradat; Parchon: התאוה; Venet.: ἡ ὄρεξις; Luther: alle Lust), or “neediness,” “poverty” (the Syr. in its second translation of this clause), is impossible, because the form would be unexampled and incomprehensible; only the desiring soul, or the desiring, craving member (vid., Kimchi), could be so named. But now the caper is no named, which even to this day is used to give to food a more piquant taste (cf. Plutarch’s Sympos. vi. qu. 2). It is also said that the caper is a means of exciting sexual desire (aphrodisiacum); and there are examples of its use for this purpose from the Middle Ages, indeed, but none from the records of antiquity; Pliny, Hist. Nat. xx. 14 (59), knew nothing of it, although he speaks at length of the uses and effects of the capparis. The Talm. explains האבי by חמדה, the Midrash by תאוה, the Targ. by משכבא, interpreting the word directly without reference to the caper in this sense. If haaviyonah thus denotes the caper, we have not thence to conclude that it incites to sexual love, and still less are we, with the Jewish interpreters, whom Böttch. follows, to understand the word of the membrum virile itself; the Arab. name for the caper, 'itar, which is compared by Grätz, which has an obscene meaning, designates also other aromatic plants. We shall proceed so much the more securely if we turn away from the idea of sexual impulse and hold by the idea of the impulse of self-preservation, namely, appetite for food, since אביון (from אבה, the root-meaning of which, “to desire,” is undoubted ^{▼▼Vid., Fried. Delitzsch’s Indogerman.-Sem. Stud. I p. 62f. Also the Arab. âby in the language of the Negd means nothing else.)} denotes a poor man, as one who desires that which is indispensable to the support of life; the caper is accordingly called aviyonah, as being appetitiva, i.e., exciting to appetite for food, and the meaning will not be that the old man is like a caper-berry which, when fully ripe, bursts its husks and scatters its seed (Rosenm., Winer in his R. W., Ewald, Taylor, etc.), as also the lxx, Symm. (καὶ διαλυθῇ ἡ ἐπίπονος, i.e., as Jerome translates it,et dissolvetur spiritus fortitudo, perhaps ἐπίτονος, the strength or elasticity of the spirit), and Jerome understand the figure; but since it is to be presupposed that the name of the caper, in itself significant, will also be significant for the figure: capparis est irrita sive vim suam non exerit (ותפר as inwardly trans. Hiph. of פרר, to break in pieces, frustrate), i.e., even such means of excitement as capers, these appetite-berries, are unable to stimulate the dormant and phlegmatic stomach of the old man (thus e.g., Bullock). Hitzig, indeed, maintains that the cessation of the enjoyment of love in old age is not to be overlooked; but (1) the use of artificial means for stimulating this natural impulse in an old man, who is here described simply as such, without reference to his previous life and its moral state, would make him a sensualist; and (2) moral statistics show that with the decay of the body lust does not always (although this would be in accordance with nature, Gen 17:17; Rom 4:19) expire; moreover, the author of the Book of Koheleth is no Juvenal or Martial, to take pleasure, like many of his interpreters, in exhibiting theres venereae.

And in view of the clause following, the ceasing from nourishment as the last symptom of the certain approach of death is more appropriate than the cessation from sexual desire: “For,” thus the author continues after this description of the enfeebled condition of the hoary old man, “man goeth to his everlasting habitation, and the mourners go about the streets.” One has to observe that the antequam of the memento Creatoris tui in diebus junvetutis tuae is continued in Ecc 12:6 and Ecc 12:7. The words 'ad asher lo are thrice repeated. The chief group in the description is subordinated to the second 'ad asher lo; this relation is syntactically indicated also in Ecc 12:4 by the subjective form ויקום, and continues logically in Ecc 12:5, although without any grammatical sign, for ינאצו and ותפר are indicative. Accordingly the clause with כּי, Ecc 12:5, will not be definitive; considerately the accentuation does not begin a new verse with כּי: the symptoms of marasmus already spoken of are here explained by this, that man is on his way to the grave, and, as we say, has already one foot in it. The part. חלך is also here not so much the expression of the fut. instans (iturus est), like Ecc 9:10, as of the present (Venet.: ἄπεισι); cf. Gen 15:2, where also these two possible renderings stand in question. “Everlasting house” is the name for the grave of the dead, according to Diodorus Sic. i. 51, also among the Egyptians, and on old Lat. monuments also the expression domus aeterna is found (vid., Knobel); the comfortless designation, which corresponds ^{▼▼The Syr. renders beth 'olam by domus laboris sui, which is perhaps to be understood after Job 3:17.} to the as yet darkened idea of Hades, remained with the Jews in spite of the hope of the resurrection they had meanwhile received; cf. Tob. 3:6; Sanhedrin 19 a, “the churchyard of Huṣal;” “to be a churchyard” (beth 'olam); “at the door of the churchyard” (beth 'olam), Vajikra rabba, c. 12. Cf. Assyr. bit 'idii = עד בּית of the under-world (Bab.-Assyr. Epic, “Höllenfahrt der Istar,” i. 4).

The clause following means that mourners already go about the streets (cf. סבב, Sol 3:3, and Pil. Sol 3:2; Psa 59:7) expecting the death of the dying. We would say: the undertaker tarries in the neighbourhood of the house to be at hand, and to offer his services. For hassophdim are here, as Knobel, Winz., and others rightly explain, the mourners, saphdanin (sophdanin), hired for the purpose of playing the mourning music (with the horn שיפורא, Moëd katan 27 b, or flute, חלילים, at the least with two, Kethuboth 46 b; cf. Lat. siticines) and of singing the lament for the dead, qui conducti plorant in funere (Horace, Poet. 433), along with whom were mourning women, מקוננות (Lat. praeficae) (cf. Buxtorf’s Lex. Talm. col. 1524 s.), - a custom which existed from remote antiquity, according to 2Sa 3:31; Jer 34:5. The Talm. contains several such lamentations for the dead, as e.g., that of a “mourner” (ההוא ספדנא) for R. Abina: “The palms wave their heads for the palm-like just man,” etc.; and of the famed “mourner” Bar-Kippuk on the same occasion: “If the fire falls upon the cedar, what shall the hyssop of the walls do?” etc. (Moëd katan 25 b) ^{▼▼Given in full in Wiss. Kunst Judenth. p. 230ff. Regarding the lament for the dead among the Haurans, vid., Wetzstein’s treatise on the Syrian Threshing-Table in Bastian’s Zeitsch. für Ethnologie, 1873.} - many of the ספנים were accordingly elegiac poets. This section of Ecc 12:5 does not refer to the funeral itself, for the procession of the mourners about the bier ought in that case to have been more distinctly expressed; and that they walked about in the streets before the funeral (Isa 15:3) was not a custom, so far as we know. They formed a component part of the procession following the bier to the grave in Judea, as Shabbath 153 a remarks with reference to this passage, and in Galilee going before it; to mourn over the death, to reverse it, if possible, was not the business of these mourners, but of the relatives (Hitz.), who were thus not merely called הסופדים. The Targ. translates: “and the angels will go about, who demand an account of thee, like the mourning singers who go about the streets, to record what account of thee is to be given.” It is unnecessary to change כּסופד into כּספר (intar scribarum). According to the idea of the Targumist, the sophdim go about to collect materials for the lament for the dead. The dirge was not always very scrupulously formed; wherefore it is said in Berachoth 26 a, “as is the estimate of the dead that is given, so is the estimate of the mourners (singers and orators at the funeral), and of those who respond to their words.” It is most natural to see the object of the mourners going about in their desire to be on the spot when death takes place. ^{▼▼The Arab. funeral dirge furnishes at once an illustration of “and the mourners go about the streets.” What Wetzstein wrote to me ought not, I believe, to be kept from the reader: “In Damascus the men certainly take part in the dirge; they go about the reservoir in the court of the house along with the mourning women, and behave themselves like women; but this does not take place in the villages. But whether the 'going about the streets’ might seem as an evidence that in old times in the towns, as now in the villages, the menaṣṣa (bed of state) was placed with the mourning tent in the open street without, is a question. If this were the case, the sôphdim might appear publicly; only I would then understand by the word not hired mourners, but the relatives of the dead.” But then מטּה, as at Psa 26:6 מזבח, ought to have been joined to סבב as the object of the going about.}