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 shoves the cart into the mud. Is it then thus decided that אפניו is a dual? It may be also like אשׂריו, the plur. especially in the adverbial expression before us, which readily carried the abbreviation with it (vid., Gesen. Lehrgebr. §134, Anm. 17). On this supposition, Orelli interprets אפן from אפן, to turn, in the sense of turning about, circumstances, and reminds of this, that in the post-bibl. Heb. this word is used as indefinitely as τρόπος, e.g., באופן מה, quodammodo (vid., Reland's Analecta Rabbinica, 1723, p. 126). This late Talm. usage of the word can, indeed, signify nothing as to the bibl. word; but that אפנים, abbreviated אפנים, can mean circumstances, is warranted by the synon. אודות. Aquila and Theodotion appear to have thus understood it, for their ἐπὶ ἁρμόζουσιν αὐτῷ, which they substitute for the colourless οὕτως of the lxx, signifies: under the circumstances, in accordance therewith. So Orelli thus rightly defines: “אפנים denote the âḥwâl, circumstances and conditions, as they form themselves in each turning of time, and those which are ascribed to דבר by the suffix are those to which it is proper, and to which it fits in. Consequently a word is commended which is spoken whenever the precise time arrives to which it is adapted, a word which is thus spoken at its time as well as at its place (van Dyk, fay mahllah), and the grace of which is thereby heightened.” Aben Ezra's explanation, על פנים הראויים, in the approved way, follows the opinion of Abulwalîd and Parchon, that אפניו is equivalent to פניו (cf. aly wajhihi, sua ratione), which is only so far true, that both words are derived from R. פן, to turn. In the figure, it is questionable whether by תּפּוּחי זהב, apples of gold, or gold-coloured apples, are meant (Luther: as pomegranates and citrons); thus oranges are meant, as at Zec 4:12. הזּהב denotes golden oil. Since כסף, besides, signifies a metallic substance, one appears to be under the necessity of thinking of apples of gold; cf. the brazen pomegranates. But (1) apples of gold of natural size and massiveness are obviously too great to make it probable that such artistic productions are meant; (2) the material of