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 are at least manifestly designed for music. The Tephilla of Habbakuk, Hab 3, the only portion of Scripture in which סלה occurs out of the Psalter, as an exception has the למנצח at the end. Including the three סלה of this tephilla, the word does not occur less than 74 times in the Old Testament. Now as to the meaning of this musical nota bene, 1st, every explanation as an abbreviation, - the best of which is = סב למעלה השּׁר (turn thyself towards above i.e., towards the front, O Singer! therefore: da capo) - is to be rejected, because such abbreviations fail of any further support in the Old Testament. Also 2ndly, the derivation from שׁלה = סלה silere, according to which it denotes a pause, or orders the singers to be silent while the music strikes up, is inadmissible, because סלה in this sense is neither Hebrew nor Aramaic and moreover in Hebrew itself the interchange of שׁ with ס (שׁריון, סריון) is extremely rare. There is but one verbal stem with which סלה can be combined, viz., סלל or סלה (סלא). The primary notion of this verbal stem is that of lifting up, from which, with reference to the derivatives סלּם a ladder and מסלּה in the signification an ascent, or steps, 2Ch 9:11, comes the general meaning for סלה, of a musical rise. When the tradition of the Mishna explains the word as a synonym of נצח and the Targum, the Quinta, and the Sexta (and although variously Aquila and sometimes the Syriac version) render it in accordance therewith “for ever (always),” - in favour of which Jerome also at last decides, ''Ep. ad Marcellam “quid sit Sela”'', - the original musical signification is converted into a corresponding logical or lexical one. But it is apparent from the διάψαλμα of the lxx (adopted by Symm., Theod., and the Syr.), that the musical meaning amounts to a strengthening of some kind or other; for διάψαλμα signifies, according to its formation (-μα = -μενον), not the pause as Gregory of Nyssa defines it: ἡ μεταξὺ τῆς ψαλμῳδιάς γενμένη κατὰ τὸ ἀθρόον ἐπηρέμησις πρὸς ὑποδοχὴν τοῦ θεόθεν ἐπικρινομένου νοήματος, but either the interlude, especially of the stringed instruments, (like διαύλιον [διαύλειον], according to Hesychius the interlude of the flutes between the choruses), or an intensified playing (as διαψάλλειν τριγώνοις is found in a fragment of the comedian