They take the timbrel<\/em> ] Rather, they sing to<\/strong>, i. e. to the accompaniment of, the timbrel and the lute;<\/strong> lit. they lift up<\/em> the voice, cf. Psa 49:4<\/span>. The timbrel is the tambourine.<\/p>\n the sound of the organ<\/em> ] Rather, of the pipe,<\/strong> Gen 4:21<\/span>, cf. Isa 5:12<\/span>.<\/p>\n They take the timbrel – <\/B>They have instruments of cheerful music in their dwellings; and this is an evidence that they are not treated as the friends of Job had maintained. Instead of being, as they asserted, overwhelmed with calamity, they are actually happy. They have all that can make them cheerful, and their houses exhibit all that is usually the emblem of contentment and peace. Rosenmuller and Noyes suppose this to mean, They sing to the timbrel and harp; that is, they raise up (<\/span> ys’u<\/I>) the voice to accompany the timbrel. Dr. Good renders it, They rise up to the tabor and harp, and trip merrily to the sound of the pipe. So Wemyss. It is literally, They rise up with the tabor; and the word voice may be understood, and the meaning may be that they accompany the timbrel with the voice. The Vulgate and the Septuagint, however, render it, they Take up the timbrel. Dr. Good supposes that the allusion is to the modes of dancing; to their raising themselves in an erect position, and then changing their position – advancing and retreating as in alternate dances, and quotes the following exquisite piece of poetry as illustrating it:<\/P> Now pursuing, now retreating,<\/P> Now in circling troops they meet;<\/P> To brisk notes, in cadence meeting.<\/P> Glance their many-twinkling feet.<\/P> Still, it seems to me, that the exact idea has not been expressed. It is this, They raise, or elevate (<\/span> ys’u<\/I>) scil<\/I>. themselves; that is, they become exhilarated and excited at the sound of music. It is in their dwellings, and it is one of the indications of joy. Instead of lamentations and wo, as his friends said there would be in such dwellings, Job says that there was there the sound of music and mirth; that they exhilarated themselves, and were happy. On the word rendered timbrel (<\/span> toph<\/I>) and the word harp (<\/span> knnor<\/I>), see the notes at Isa 5:12<\/span>.<\/P> At the sound of the organ – <\/B>The word organ we now apply to an instrument of music which was wholly unknown in the time of Job. With us it denotes an instrument consisting of pipes, which are filled with wind, and of stops touched by the fingers. It is the largest and most harmonious of the wind instruments, and is blown by bellows. That such an instrument was known in the time of Job, is wholly improbable, and it is not probable that it would be used for the purposes here referred to if it were known. Jerome renders it, organ; the Septuagint, <\/SPAN><\/span> psalmou<\/I>, the sound of a song; Noyes, pipe; Lee, lyre; Good and Wemyss, pipe. The Hebrew word (<\/span> <\/I>ugab<\/I>) is derived from <\/span> <\/I>agab<\/I> – to breathe, to blow; and it is manifest that the reference is to some wind instrument. Various forms of wind instruments were early invented, and this is expressly mentioned as having been early in use. Thus, it is said of Jubal Gen 4:21<\/span>, He was the father of all such as handle the harp and organ – <\/span> <\/I>ugab<\/I>. It was probably at first a rude reed or pipe, which came ultimately to be changed to the fife and flute. It is here mentioned merely as an instrument exciting hilarity, and in the mere use of such an instrument there can be nothing improper. Job does not mean, evidently, to complain of it as wrong. He is simply showing that the wicked live in ease and prosperity, and are not subjected to trials and calamities as his friends maintained.<\/P> <\/p>\n Verse 12<\/span>. They take the timbrel and harp<\/B><\/I>] yisu<\/I>, they rise<\/I> up<\/I> or lift themselves up<\/I>, probably alluding to the rural exercise of dancing.<\/P> <\/P> toph, which we translate timbrel<\/I>, means a sort of drum<\/I>, such as the tom-tom<\/I> of the Asiatics.<\/P> <\/P> kinnor may mean something of the harp<\/I> kind.<\/P> <\/P> ugab, organ, means nothing like the instrument now called the organ<\/I>, though thus translated both by the Septuagint<\/I> and Vulgate<\/I>; it probably means the syrinx<\/I>, composed of several unequal pipes, close at the bottom, which when blown into at the top, gives a very shrill<\/I> and lively<\/I> sound. To these instruments the youth are represented as dancing joyfully<\/I>. Mr. Good<\/I> translates: “They trip merrily to the sound of the pipe.” And illustrates his translation with the following verse: – <\/P> “Now pursuing, now retreating,<\/P> Now in circling troops they meet;<\/P> To brisk notes in cadence beating,<\/P> Glance their many twinkling feet<\/I>.”<\/P> The original is intended to convey the true notion of the gambols of the rustic nymphs and swains on festival occasions, and let it be observed that this is spoken of the children of those who say unto God, “Depart from us; for we desire not the knowledge of thy ways. What is the Almighty, that we should serve him? and what profit should we have if we pray unto him ?” Job 21:14-15<\/span>. Is it any wonder that the children of such parents should be living to the flesh, and serving the lusts of the flesh? for neither they nor their parents know God, nor pray unto him.<\/P> <\/p>\n 12. take<\/B>rather, “lift upthe voice” (sing) to the note of [UMBREIT].<\/P> timbrel<\/B>rather,”tambourine.” <\/P> organ<\/B>not the modern”organ,” but the “pipe” (Ge4:21<\/span>). The first clause refers to stringed, the latter, to windinstruments; thus, with “the voice” all kinds of music areenumerated.<\/P><\/p>\n They take the timbrel and harp<\/strong>,…. Not the children, but the parents of them; these took these instruments of music into their hands, and played upon them while their children danced; thus merrily they spent their time: or, as Jarchi and Aben Ezra, they lift up the voice with the tabret and harp; that is, while they played on these with their hands, they sung songs with their mouths; they used both vocal and instrumental music together, to make the greater harmony, and give the greater pleasure, like those in Am 6:5<\/span>;<\/p>\n and rejoice at the sound of the organ<\/strong>; a musical instrument, very pleasant and entertaining, from whence it has its name in the Hebrew tongue; but of what form it was cannot be with certainty said; that which we now so call is of later invention, and unknown in those times: probably Job may have respect to Jubal, the inventor of this sort of music, and others of the posterity of Cain before the flood, who practised it, and were delighted in it; in which they were imitated and followed by wicked men after it, and in Job’s time, Ge 4:21<\/span>.<\/p>\n 12 They raise their voice with the playing of timbrel aud harp,<\/p>\n And rejoice at the sound of the pipe<\/p>\n 13 They enjoy their days in prosperity,<\/p>\n And in a moment they go down to Sehol.<\/p>\n 14 And yet they said to God: “Depart from us!<\/p>\n We desire not the knowledge of Thy ways.<\/p>\n 15 What is the Almighty, that we should serve Him? – <\/p>\n And what doth it profit us that we should importune Him?” – <\/p>\n 16 Lo! they have not their prosperity by their own hand,<\/p>\n The thought of the wicked be far from me!<\/p>\n is to be supplied to in Isa 42:11<\/span>, and instead of with of the musical accompaniment (as Psa 4:1<\/span>, Psa 49:5<\/span>), it is to be read after the Masora with Kimchi, Ramban, Ralbag, and Farisol,<\/p>\n (Note: The Masora observes (not occuring thus elsewhere), and accordingly this is distinguished in the Masoretic (alphabetic list of words which take at one time the prefix and at another the prefix ) , from , which occurs elsewhere. The Targ. has read ; the reading of Raschi and Aben-Ezra is questionable.)<\/p>\n but not with Rosenm. to be explained: personaut velut tympano et cythera ,<\/em> but: they raise their voice as the timbrel and harp sound forth simultaneously; , as Isa 18:4<\/span> (which is to be transl.: during the clear warmth of the sunshine, during the dew-clouds in the heat of harvest). (Arabic duff<\/em>, Spanish adufe<\/em>) is ( ), , (Arab. canare<\/em>) <\/strong> <\/strong> or ) Dan 3:5<\/span>), or , Job 30:31<\/span> (from , flare;<\/em> vid., on Gen 4:21<\/span>), the Pan-pipe (Targ. from a similar root , whence the name of the ambubajae<\/em>). In Job 21:13<\/span><\/em> and Keri<\/em> gives the more usual (Job 36:11<\/span>) in place of the Chethib<\/em> , though occurs in Isa 65:22<\/span> without this Keri;<\/em> signifies consument<\/em>, and usu deterent:<\/em> they use up their life, enjoy it to the last drop. In connection with this one thinks of a coat which is not laid aside until it is entirely worn out. It is therefore not, as the friends say, that the ungodly is swept away before his time (Job 15:32<\/span>), also a lingering sickness does not hand him over to death (Job 18:13<\/span>), but , in a moment (comp Job 34:20<\/span>, not: in rest, i.e., freedom from pain, which never signifies), they sink down to Hades ( acc<\/em>. loci<\/em>). The matter does not admit of one’s deriving the fut<\/em>. here, as Job 39:22<\/span>, Job 31:34<\/span>, from the Niph<\/em>. of the verb , terrore percelli ;<\/em> it is to be referred to or (Aram. for ), which is the only certain example of a Hebrew verb Pe Nun<\/em> ending with , whose fut<\/em>. , Psa 38:3<\/span>, also (Pro 17:10<\/span>, Jer 21:13<\/span>), instead of , and in the inflexion its sti (after the analogy of , Isa 33:12<\/span>) is doubled; as an exception (vid., Psalter<\/em>, ii. 468), the lengthening of the short vowel ( , Olsh. 83 b<\/em>) by Silluk<\/em> does not take place, as e.g., by Athnach, Job 34:5<\/span>.<\/p>\n The fut. consec<\/em>. , in which Job 21:14<\/span> is continued, does not here denote temporally that which follows upon and from something else, but generally that which is inwardly connected with something else, and even with that which is contradictory, and still occurring at the same time, exactly as Gen 19:9<\/span>, 2Sa 3:8<\/span>, comp Ew. 231, b<\/em>: they sink down after a life that is completely consumed away, without a death-struggle, into Hades, and yet they denied God, would not concern themselves about His sways (comp. the similar passage, Isa 58:2<\/span>), and accounted the service of God and prayer ( , precibus adire <\/em>) as useless. The words of the ungodly extend to Job 21:15<\/span><\/em>; according to Hirz., Hlgst., Welte, and Hahn, Job 21:16<\/span><\/em> resumes the description: behold, is not their prosperity in their hand? i.e., is it not at their free disposal? or do they not everywhere carry it away with them? But Job 21:16<\/span><\/em> is not favourable to this interrogative rendering of (= ). Schlottm. explains more correctly: behold, their prosperity is not in their power; but by taking not only Job 21:16<\/span><\/em> (like Schnurrer), but the whole of Job 21:16<\/span>, as an utterance of an opponent, which is indeed impossible, because the declining of all fellowship with the godless would be entirely without aim in the mouth of the opponent. For it is not the fnends who draw the picture of the lot of the punishment of the godless with the most terrible lines possible, who suggest the appearance of looking wishfully towards the godless, but Job, who paints the prosperity of the godless in such brilliant colours. On the other hand, both sides are agreed in referring prosperity and misfortune to God as final cause. And for this very reason Job thinks that , which he makes the godless, in Job 21:14<\/span>, Job 21:15<\/span>, express in their own words, so horrible.<\/p>\n Job 21:16<\/span><\/em> is therefore to be taken as Job’s judgment, and Job 21:16<\/span><\/em> as the moral effect which it produces upon him. introduces the true relation of things, signifies, as Job 20:21<\/span>, their prosperity, and (the emphatic position of is to be observed) that this is not in their<\/em> hand, i.e., arbitrary power, or perhaps better: that it is not by their own hand, i.e.,that it is not their own work but a gift from above, the gift even of the God whom they so shamelessly deny. That God grants them such great and lasting prosperity, is just the mystery which Job is not able to bring forth to view, without, however, his abhorrence of this denying of God being in the slightest degree lessened thereby. Not by their own hand, says he, do they possess such prosperity – the counsel ( similar to Job 5:13<\/span>, Job 10:3<\/span>, Job 18:7<\/span>: design, principle, and general disposition, or way of thinking) of the wicked be far from me, i.e., be it far from me that so I should speak according to their way of thinking, with which, on the contrary, I disavow all fellowship. The relation of the clauses is exactly like Job 22:18<\/span>, where this formula of detesation is repeated. is, according to the meaning, optative or precative (Ew. 223, b<\/em>, and Ges. 126, 4*), which Hahn and Schlottm. think impossible, without assigning any reason. It is the perf<\/em>. of certainty, which expresses that which is wished as a fact, but with an emotional exclamative accent. In ancient Arabic it is a rule to use the perf. as optative; and also still in modem Arabic (which often makes use of the fut. matead of the perf.), they say e.g., la can <\/em>, i.e., he must never have been! The more detestable the conduct of the prosperous towards Him to whom they owe their prosperity is, the sooner, one would think, the justice of God would be called forth to recompense them according to their deeds, but – <\/p>\n Second strophe – Contrary to all desert, and defiant of God, the wicked attain to the highest earthly good, not through themselves, but by the agency of God-a divine enigma from which the soul recoils, but without suspense of faith<\/em>, Job 21:12-16<\/span>.<\/p>\n 12<\/strong>. They take- <\/strong> Literally, They lift up <\/em> (the voice) with the tabret, <\/em> etc. The timbrel – Toph, <\/em> (comp. Gen 31:27<\/span>,) appears to have been a small hand drum, such as was known among the ancient Egyptians, Assyrians, and Hebrews. It is still in use in the East, and is called by the Arabians, doff; <\/em> in Spanish, adufe. <\/em> The ancient Egyptian drum, according to Engel, was from two to three feet in length, and covered with parchment, like our own, and was beaten by the hands at both ends. <\/p>\n The harp <\/strong> Kinnor, <\/em> supposed by Wilkinson to have been the lyre, was probably the earliest musical instrument invented by man. Gen 4:21<\/span>. The annexed engraving is of one of the figures in an Egyptian painting discovered in a tomb at Beni-Hassan. It represents the arrival and introduction of one of a company of foreigners to the owner of the tomb, who was evidently one of the principal officers of the reigning Pharaoh. Wilkinson surmises that they may be Jews, and not improbably of the family of Jacob. All the men wear beards, contrary to the custom of the Egyptians. The last two accompany a laden ass, one of them holding a bow and club, the other (as in the engraving) a lyre, which he plays with the plectrum. <\/em> ( Ancient Egyptians, <\/em> ii, p. 296.) See note, Gen 47:2<\/span>. Organ <\/strong> , ‘<\/em> hougab, <\/em> was a perforated wind instrument of some kind, probably the pipe. (Gen 4:21<\/span>.) It seems to have been known to most ancient nations. There has been discovered in the ruins of Susa a figure in baked clay representing a female playing upon a pipe. (ENGEL, Music of Most Ancient Nations, <\/em> p. 77.) Thus we have the three different representative kinds of musical instruments: first, of percussion; secondly, stringed instruments; and, thirdly, wind instruments.<\/p>\n Job 21:12 They take the timbrel and harp, and rejoice at the sound of the organ.<\/p>\n Ver. 12. They take the timbrel and the harp<\/strong> ] They take them, and are taken with them, being melted in sensual delights, which wise men slight. The philosopher told the fiddlers that he could be merry without music. Aristotle said, Jupiter is happy, and yet no musician. One in Plutarch saith of the Scythians, that though they had no music nor vines among them, yet they had God. It is here alleged, as a piece of their lasciviousness and luxury, that they took or touched the timbrel, &c. Not but that music is lawful, for this is the gift of God, and a noble art; but the abuse of it is here noted, as likewise Isa 5:12 Amo 6:5<\/span> . See Trapp on “<\/em> Isa 5:12 “<\/em> See Trapp on “<\/em> Amo 6:5 “<\/em> These wicked and their children lived in pleasure upon earth (which is not a place for such a purpose; God did not cast man out of one paradise that he might make himself another), Jas 5:5<\/span> , and were like the people of Tombutum, in Africa, who are said to spend their whole time in singing and dancing. It is not good for men to take pleasure in pleasure, to spend too much time in it, as Solomon did, and afterwards Cleopatra. It was not simply a sin in Esau to go a hunting; but yet the more he used it the more profane he waxed, and came at length to contemn his birthright. <\/p>\n <\/p>\n They rejoice at the sound of the organ<\/strong> ] Their mirth was merely carnal; they did rather revel than rejoice. Their cheerfulness did not end in thankfulness; their music made them not more heavenly minded, as it did that late learned and holy Mr Esty, who when he sat and heard a sweet concert of music, seemed upon this occasion carried up for the time beforehand to the place of his rest, saying very passionately, What music may we think there is in heaven! (Dr Hall, Art of Div. Medit.) The instrument here mentioned hath its name (as Mercer noteth) Ab amore, oblectatione, et lusu,<\/em> from love, delight, and sport. Amabit sapiens, cupient caeteri,<\/em> saith Seneca.<\/p>\n organ. Hebrew. ‘ugab = a wind instrument. Compare Gen 4:21. Gen 30:31. Psa 150:4. <\/p>\n Gen 4:21, Gen 31:27, Isa 5:12, Isa 22:13, Amo 6:4-6 <\/p>\n Reciprocal: Job 27:14 – children Ecc 2:8 – musical instruments Isa 30:32 – every place Dan 6:18 – and passed Amo 6:5 – to the<\/p>\n They take the timbrel and harp, and rejoice at the sound of the organ. 12. And they themselves pass their days in gladness, surrounded with all the charms of life. They take the timbrel ] Rather, they sing to, i. e. to the accompaniment of, the timbrel and the lute; lit. they lift up the … Continue reading “Exegetical and Hermeneutical Commentary of Job 21:12”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13379","post","type-post","status-publish","format-standard","hentry","category-commentary"],"_links":{"self":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/13379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/comments?post=13379"}],"version-history":[{"count":0,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/posts\/13379\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/media?parent=13379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/categories?post=13379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.biblia.work\/bible-commentary\/wp-json\/wp\/v2\/tags?post=13379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Fuente: The Cambridge Bible for Schools and Colleges<\/b><\/i><\/h4>\n
Fuente: Albert Barnes’ Notes on the Bible<\/b><\/i><\/h4>\n
<\/P> Fuente: Adam Clarke’s Commentary and Critical Notes on the Bible<\/b><\/i><\/h4>\n
Fuente: Jamieson, Fausset and Brown’s Commentary Critical and Explanatory on the Whole Bible <\/b><\/i><\/h4>\n
Fuente: John Gill’s Exposition of the Entire Bible<\/b><\/i><\/h4>\n
Fuente: Keil & Delitzsch Commentary on the Old Testament<\/b><\/i><\/h4>\n
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Fuente: Whedon’s Commentary on the Old and New Testaments<\/b><\/i><\/h4>\n
Fuente: Whedon’s Commentary on the Old and New Testaments<\/b><\/i><\/h4>\n
Fuente: John Trapp’s Complete Commentary (Old and New Testaments)<\/b><\/i><\/h4>\n
Fuente: Companion Bible Notes, Appendices and Graphics<\/b><\/i><\/h4>\n
Fuente: The Treasury of Scripture Knowledge<\/b><\/i><\/h4>\n","protected":false},"excerpt":{"rendered":"