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 whole nation is assembled before the Lord at the threshold of the temple, so that it is buried under the ruins of the falling building, in consequence of the blow upon the top, which shatters the temple to its very foundations. The Lord appears at the altar, because here at the sacrificial place of the nation the sins of Israel are heaped up, that He may execute judgment upon the nation there. נצּב על, standing at (not upon) the altar, as in 1Ki 13:1. He gives commandment to smite the top. The person who is to do this is not mentioned; but it was no doubt an angel, probably the המּלאך המּשׁחית, who brought the pestilence as a punishment at the numbering of the people in the time of David (2Sa 24:15-16), who smote the army of the Assyrian king Sennacherib before Jerusalem (2Ki 19:35), and who also slew the first-born of Egypt (Exo 12:13, Exo 12:23); whereas in Eze 9:2, Eze 9:7, He is represented as accomplishing the judgment of destruction by means of six angels. Hakkaphtōr, the knob or top; in Exo 25:31, Exo 25:33, ff., an ornament upon the shaft and branches of the golden candlestick. Here it is an ornament at the top of the columns, and not “the lintel of the door,” or “the pinnacle of the temple with its ornaments.” For the latter explanation of kaphtōr, which cannot be philologically sustained, by no means follows from the fact that the antithesis to the kaphtōr is formed by the sippı̄m, or thresholds of the door. The knob and threshold simply express the contrast between the loftiest summit and the lowest base, without at all warranting the conclusion that the saph denotes the base of the pillar which culminated in a knob, or kaphtōr, the top of the door which rested upon a threshold. The description is not architectural, but rhetorical, the separate portions of the whole being individualized, for the purpose of expressing the thought that the building was to be shattered to pieces in summo usque ad imum, a capite ad calcem. Would we bring out more clearly the idea which lies at the foundation of the rhetorical mode of expression, we have only to think of the capital of the pillars Jachin and Boaz, and that with special reference to their significance, as symbolizing the stability of the temple. The smiting of these pillars, so that they fall to the ground, individualizes the destruction of the temple, without there being any necessity in consequence to think of these pillars as supporting the roof of the temple hall. The