Armenia in comments -- Book: Psalms (tPs) Սաղմոս
Searched terms: aram
tPs 19:1 (Heb.: 19:2-4) The heavens, i.e., the superterrestrial spheres, which, so far as human vision is concerned, are lost in infinite space, declare how glorious is God, and indeed אל, as the Almighty; and what His hands have made, i.e., what He has produced with a superior power to which everything is possible, the firmament, i.e., vault of heaven stretched out far and wide and as a transparency above the earth (Graeco-Veneta τάμα =ἔκταμα, from רקע, root רק, to stretch, τείνειν), distinctly expresses. The sky and firmament are not conceived of as conscious beings which the middle ages, in dependence upon Aristotle (vid., Maimonides, More Nebuchim ii. 5), believed could be proved fro this passage, cf. Neh 9:6; Job 38:7. Moreover, Scripture knows nothing of the "music of the spheres" of the Pythagoreans. What is meant is, as the old expositors correctly say, objectivum vocis non articulatae praeconium. The doxa, which God has conferred upon the creature as the reflection of His own, is reflected back from it, and given back to God as it were in acknowledgment of its origin. The idea of perpetuity, which lies even in the participle, is expanded in Psa 19:3. The words of this discourse of praise are carried forward in an uninterrupted line of transmission. הבּיע (fr. נבע, Arab. nb‛, root נב, to gush forth, nearly allied to which, however, is also the root בע, to spring up) points to the rich fulness with which, as from an inexhaustible spring, the testimony passes on from one day to the next. The parallel word חוּה is an unpictorial, but poetic, word that is more Aramaic than Hebrew (= הגּיד). אמשׁ also belongs to the more elevated style; the γνωστὸν τοῦ Θεοῦ deposited in the creature, although not reflected, is here called דּעת. The poet does not say that the tidings proclaimed by the day, if they gradually die away as the day declines, are taken up by the night, and the tidings of the night by the day; but (since the knowledge proclaimed by the day concerns the visible works of God by day, and that proclaimed by the night, His works by night), that each dawning day continues the speech of that which has declined, and each approaching night takes up the tale of that which has passed away (Psychol. S. 347, tr. p. 408). If Psa 19:4 were to be rendered "there is no speech and there are no words, their voice is inaudible," i.e., they are silent, speechless witnesses, uttering no sound, but yet speaking aloud (Hengst.), only inwardly audible but yet intelligible everywhere (Then.): then, Psa 19:5 ought at least to begin with a Waw adversativum, and, moreover, the poet would then needlessly check his fervour, producing a tame thought and one that interrupts the flow of the hymn. To take Psa 19:4 as a circumstantial clause to Psa 19:5, and made to precede it, as Ewald does, "without loud speech...their sound has resounded through all the earth" (341, d), is impossible, even apart from the fact of אמר not meaning "Loud speech" and קוּם hardly "their sound." Psa 19:4 is in the form of an independent sentence, and there is nothing whatever in it to betray any designed subordination to Psa 19:5. But if it be made independent in the sense "there is no loud, no articulate speech, no audible voice, which proceeds from the heavens," then Psa 19:5 would form an antithesis to it; and this, in like manner, there is nothing to indicate, and it would at least require that the verb יצא should be placed first. Luther's rendering is better: There is no language nor speech, where their voice is not heard, i.e., as Calvin also renders it, the testimony of the heavens to God is understood by the peoples of every language and tongue. But this ought to be אין לשׁון or אין שׂפה ro אין (Gen 11:1). Hofmann's rendering is similar, but more untenable: "There is no speech and there are no words, that their cry is not heard, i.e., the language of the heavens goes forth side by side with all other languages; and men may discourse ever so, still the speech or sound of the heavens is heard therewith, it sounds above them all." But the words are not בּלי נשׁמע (after the analogy of Gen 31:20), or rather בּלי ישּׁמע (as in Job 41:8; Hos 8:7). בּלי with the part. is a poetical expression for the Alpha privat. (Sa2 1:21), consequently כלי נשׁמע is "unheard" or "inaudible," and the opposite of נשׁמע, audible, Jer 31:15. Thus, therefore, the only rendering that remains is that of the lxx., Vitringa, and Hitzig: There is no language and no words, whose voice is unheard, i.e., inaudible. Hupfeld's assertion that this rendering destroys the parallelism is unfounded. The structure of the distich resembles Psa 139:4. The discourse of the heavens and the firmament, of the day (of the sky by day) and of the night (of the sky by night), is not a discourse uttered in a corner, it is a discourse in speech that is everywhere audible, and in words that are understood by all, a φανερόν, Rom 1:19. Psalms 19:4 tPs 19:4 (Heb.: 19:5-7) Since אמר and דברים are the speech and words of the heavens, which form the ruling principal notion, comprehending within itself both יום and לילה, the suffixes of קוּם and מלּיהם must unmistakeably refer to השׁמים in spite of its being necessary to assign another reference to קולם in Psa 19:4. Jer 31:39 shows how we are to understand קו in connection with יצא. The measuring line of the heavens is gone forth into all the earth, i.e., has taken entire possession of the earth. Psa 19:5 tells us what kind of measuring line is intended, viz., that of their heraldship: their words (from מלּה, which is more Aramaic than Hebrew, and consequently more poetic) reach to the end of the world, they fill it completely, from its extreme boundary inwards. Isaiah's קו, Psa 28:1-9 :10, is inapplicable here, because it does not mean commandment, but rule, and is there used as a word of derision, rhyming with צו. The ὁ φθόγγος αὐτῶν of the lxx (ὁ ἦχος αὐτῶν Symm.) might more readily be justified, inasmuch as קו might mean a harpstring, as being a cord in tension, and then, like τόνος (cf. τοναία), a tone or sound (Gesenius in his Lex., and Ewald), if the reading קולם does not perhaps lie at the foundation of that rendering. But the usage of the language presents with signification of a measuring line for קו when used with יצא (Aq. κανών, cf. Co2 10:13); and this gives a new thought, whereas in the other case we should merely have a repetition of what has been already expressed in Psa 19:4. Paul makes use of these first two lines of the strophe in order, with its very words, to testify to the spread of the apostolic message over the whole earth. Hence most of the older expositors have taken the first half of the Psalm to be an allegorical prediction, the heavens being a figure of the church and the sun a figure of the gospel. The apostle does not, however, make a formal citation in the passage referred to, he merely gives a New Testament application to Old Testament language, by taking the all-penetrating praeconium coelorum as figure of the all-penetrating praeconium evangelii; and he is fully justified in so doing by the parallel which the psalmist himself draws between the revelation of God in nature and in the written word.
The reference of בּהם to השׁמים is at once opposed by the tameness of the thought so obtained. The tent, viz., the retreat (אהל, according to its radical meaning a dwelling, from אהל, cogn. אול, to retire from the open country) of the sun is indeed in the sky, but it is more naturally at the spot where the sky and the קצה תבל meet. Accordingly בהם has the neuter signification "there" (cf. Isa 30:6); and there is so little ground for reading שׁם instead of שׂם, as Ewald does, that the poet on the contrary has written בהם and not שׁם, because he has just used שׂם (Hitzig). The name of the sun, which is always feminine in Arabic, is predominantly masculine in Hebrew and Aramaic (cf. on the other hand Gen 15:17, Nah 3:17, Isa 45:6, Mal 4:2); just as the Sabians and heathen Arabs had a sun-god (masc.). Accordingly in Psa 19:6 the sun is compared to a bridegroom, who comes forth in the morning out of his חפּה. Joe 2:16 shows that this word means a bride-chamber; properly (from חפף to cover) it means a canopy (Isa 4:5), whence in later Hebrew the bridal or portable canopy (Talmud. בּית גּננא), which is supported by four poles and borne by four boys, at the consecration of the bridal pair, and then also the marriage itself, is called chuppa. The morning light has in it a freshness and cheerfulness, as it were a renewed youth. Therefore the morning sun is compared to a bridegroom, the desire of whose heart is satisfied, who stands as it were at the beginning of a new life, and in whose youthful countenance the joy of the wedding-day still shines. And as at its rising it is like a bridegroom, so in its rapid course (Sir. 43:5) it is like a hero (vid., on Psa 18:34), inasmuch as it marches on its way ever anew, light-giving and triumphant, as often as it comes forth, with גּבוּרה (Jdg 5:31). From one end of heaven, the extreme east of the horizon, is its going forth, i.e., rising (cf. Hos 6:3; the opposite is מבוא going in = setting), and its circuit (תּקוּפה, from קוּף = נקף, Isa 29:1, to revolve) על־קצותם, to their (the heavens') end (= עד Deu 4:32), cf. 1 Esdr. 4:34: ταχὺς τῷ δρόμῳ ὁ ἥλιος, ὅτι στρέφεται ἐν τῷ κύκλῳ τοῦ οὐρανοῦ καὶ πάλιν ἀποτρέχει εἰς τὸν ἑαυτοῦ τόπον ἐν μιᾷ ἡμέρᾳ. On this open way there is not נסתּר, anything hidden, i.e., anything that remains hidden, before its heat. חמּה is the enlightening and warming influence of the sun, which is also itself called חמּה in poetry. Psalms 19:7