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 rendered: then it snows on Zalmon; and the snowing is either an emblem of the glistening spoil that falls into their hands in such abundance, or it is a figure of the becoming white, whether from bleached bones (cf. Virgil, Aen. v. 865: albi ossibus scopuli; xii. 36: campi ossibus albent; Ovid, Fasti i. 558: humanis ossibus albet humus) or even from the naked corpses (2Sa 1:19, על־בּמותיך חלל). Whether we consider the point of comparison to lie in the spoil being abundant as the flakes of snow, and like to the dazzling snow in brilliancy, or in the white pallid corpses, at any rate בּצלמון is not equivalent to כּבצלמון, but what follows “when the Almighty scatters kings therein” is illustrated by Zalmon itself. In the one case Zalmon is represented as the battle-ground (cf. Psa 110:6), in the other (which better corresponds to the nature of a wooded mountain) as a place of concealment. The protasis בפרשׂ וגו favours the latter; for פּרשׂ signifies to spread wide apart, to cause a compact whole - and the host of “the kings” is conceived of as such - to fly far asunder into many parts (Zec 2:10, cf. the Niph. in Eze 17:21). The hostile host disperses in all directions, and Zalmon glitters, as it were with snow, from the spoil that is dropped by those who flee. Homer also (Iliad, xix. 357-361) likens the mass of assembled helmets, shields, armour, and lances to the spectacle of a dense fall of snow. In this passage of the Psalm before us still more than in Homer it is the spectacle of the fallen and far seen glistening snow that also is brought into the comparison, and not merely that which is falling and that which covers everything (vid., Iliad, xii. 277ff.). The figure is the pendant of the figure of the dove.