The Graeco-Veneta also renders קאת with πελεκάν, - the Peshito, however, with Syr. chouette), but the pelican, the "long-necked water-bird" (Damiri after the lexicon el-‛Obâb of Hasan ben-Mohammed el-Saghani).
bûm the latter (bum) is an onomatopoetic name of the owl, and the former (k[uk[) does not even signify the owl or horned-owl (although the small horned-owl is called um kuéik in Egypt, and in Africa abu kuéik vid., the dictionaries of Bocthor and Marcel s.v. qûq (here and in Leviticus 11:18 Deuteronomy 14:17 Isaiah 34:17), and כוס by Arab. In harmony with the lxx, Saadia (as also the Arabic version edited by Erpenius, the Samaritan Arabic, and Abulwald) renders קאת by Arab. (Note: The lxx renders it: I am like a pelican of the desert, I am become as a night-raven upon a ruined place (οἰκοπέδῳ). קאת (construct of קאת or קאת from קאה, vid., Isaiah, at Isaiah 34:11-12), according to the lxx, is the pelican, and כּוס is the night-raven or the little horned-owl. Continuous straining of the voice, especially in connection with persevering prayer arising from inward conflict, does really make the body waste away. It is unnecessary, with Bttcher, to draw מקּול אנחתי to Psalm 102:5.
On the cleaving of the bones to the flesh from being baked, i.e., to the skin (Arabic bašar, in accordance with the radical signification, the surface of the body equals the skin, from בשׂר, to brush along, rub, scrape, scratch on the surface), cf. The verb שׁכח is followed by מן of dislike. The heart is said to dry up when the life's blood, of which it is the reservoir, fails. נחרוּ is, as in Psalm 69:4, Niphal: my bones are heated through with a fever-heat, as a hearth with the smouldering fire that is on it. מוקד (Arabic mauḳid) signifies here, as in other instances, a hearth.
The reading כּמו קד (in the Karaite Ben-Jerucham) enriches the lexicon in the same sense with a word which has scarcely had any existence. Concerning the Beth in בעשׁן, vid., on Psalm 37:20. The poet also allies himself with earlier Psalms, such as Psalm 22, Psalm 69, and Psalm 79:1-13, although himself capable of lofty poetic flight, in return for which he makes us feel the absence of any safely progressive unfolding of the thoughts.įrom this point onward the Psalm becomes original. 1 Samuel 1:15.Īs in the case already with many of the preceding Psalms, the deutero-Isaianic impression accompanies us in connection with this Psalm also, even to the end and the further we get in it the more marked does the echo of its prophetical prototype become. עטף signifies to pine away, languish, as in Psalm 61:3, Isaiah 57:16 and שׁפך שׂיחו to pour out one's thoughts and complaints, one's anxious care, as in Psalm 142:3, cf. The song of the עני is, however, certainly a national song the poet is a servant of Jahve, who shares the calamity that has befallen Jerusalem and its homeless people, both in outward circumstances and in the very depth of his soul. It is to be taken, too, just as personally as it sounds, and the person is not to be construed into a nation. Psalm 101:1-8 utters the sigh: When wilt Thou come to me? and Psalm 102 with the inscription: Prayer for an afflicted one when he pineth away and poureth forth his complaint before Jahve, prays, Let my prayer come unto Thee. Prayer of a Patient Sufferer for Himself and for the Jerusalem That Lies in Ruins