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 1Ki 22:38. It is more natural, with Simonis, to refer מנּהוּ back to לשׁון (a word which is usually fem., but sometimes perhaps is masc., Psa 22:16; Pro 26:28); and, since side by side with ממּנוּ only מנהוּ occurs anywhere else (Ew. §263, b), to take it in the signification pars ejus (מן from מנן = מגה, after the form גּז, חן, קץ, of the same meaning as מגה, מנת, Psa 63:11), in favour of which Hupfeld also decides. What is now described in Psa 68:25-28, is not the rejoicing over a victory gained in the immediate past, nor the rejoicing over the earlier deliverance at the Red Sea, but Israel's joyful celebration when it shall have experienced the avenging and redemptive work of its God and King. According to Psa 77:14; Hab 3:6, הליכות appears to be God's march against the enemy; but what follows shows that the pompa magnifica of God is intended, after He has overcome the enemy. Israel's festival of victory is looked upon as a triumphal procession of God Himself, the King, who governs in holiness, and has now subjugated and humbled the unholy world; בּקּדשׁ as in Psa 68:18. The rendering “in the sanctuary' is very natural in this passage, but Exo 15:11; Psa 77:14, are against it. The subject of ראוּ is all the world, more especially those of the heathen who have escaped the slaughter. The perfect signifies: they have seen, just as קדּמוּ, they have occupied the front position. Singers head the procession, after them (אחר, an adverb as in Gen 22:13; Exo 5:1) players upon citherns and harps (נגנים, participle to נגּן), and on either side virgins with timbrels (Spanish adufe); תּופפות, apocopated ''part. Poel with the retension of ē (cf. שׁוקקה, Psa 107:9), from תּפף, to strike the תּף (Arab. duff''). It is a retrospective reference to the song at the Sea, now again come into life, which Miriam and the women of Israel sang amidst the music of timbrels. The deliverance which is now being celebrated is the counterpart of the deliverance out of Egypt. Songs resound as in Psa 68:27, “in gatherings of the