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 metropolis of all nations. When the fulness of the Gentiles is thus come in, then shall all and each one as well singing as dancing say (supply יאמרוּ): All my fountains are in thee. Among the old translators the rendering of Aquila is the best: καὶ ᾄδοντες ὡς χοροί· πᾶσαι πηγαὶ ἐν σοί, which Jerome follows, et cantores quasi in choris: omnes fontes mei in te. One would rather render cholaliym, “flute-players” (lxx ὡς ἐν αὐλοῖς); but to pipe or play the flute is חלּל (a denominative from חליל),   1Ki 1:40, whereas to dance is חלל (Pilel of חוּל); it is therefore = מחוללים, like לצצים, Hos 7:5. But it must not moreover be rendered, “And singers as well as dancers (will say);” for “singers” is משׁררים, not שׁרים, which signifies cantantes, not cantores. Singing as dancing, i.e., making known their festive joy as well by the one as by the other, shall the men of all nations incorporated in Zion say: All my fountains, i.e., fountains of salvation (after Isa 12:3), are in thee (O city of God). It has also been interpreted: my looks (i.e., the object on which my eye is fixed, or the delight of my eyes), or: my thoughts (after the modern Hebrew עיּן of spiritual meditation); but both are incongruous. The conjecture, too, of Böttcher, and even before him of Schnurrer (Dissertationes, p. 150), כל־מעיני, all who take up their abode (instead of which Hupfeld conjectures מעיני, all my near-dwellers, i.e., those who dwell with me under the same roof), is not Hebrew, and deprives us of the thought which corresponds to the aim of the whole, that Jerusalem shall be universally regarded as the place where the water of life springs for the whole of mankind, and shall be universally praised as this place of fountains.