Ecc 12:4 | KD | STEP | 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 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 , 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, , 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 , infin. (Symmachus: ἀχρειωθείσης τῆς φωνῆς; the Venet.: ἐν τῷ ταπεινῶσθαι τὴν φωνήν), and is to be understood after ; 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, ; ; ; ). 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 ; 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; ; ; 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, which accords with the still continued subordination of to the eo die quo of ) 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 , 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, ). 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, , 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, ), 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 ( ) (cf. the Kal , , and to the modal sense of the fut. , יגּבּר, and , 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.

‏ Ecclesiastes 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.