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 an occupation regarded by primitive peoples as a species of black-art, and by Semitic nomads held in contempt.

On the names in these vv. see the interesting discussion of Lenorm. Orig.$2$ i. 192 ff.—The alliterations, Yābāl—Yûbāl—Tûbal, are a feature of legendary genealogies: cf. Arab. Habîl and Ḳabîl, Shiddîd and Shaddâd, Mâlik and Milkân, etc. (Lenorm. 192). (G ) and both suggest (Heb. and Phœn.), which means primarily 'ram,' then 'ram's horn' as a musical instrument (Ex. 19$13$), and finally 'joyous music' (in the designation of the year of Jubilee). On a supposed connexion of with  in the sense of 'herdsman,' see above, p. 103.— is a Japhetic people famous in antiquity for metal-working (see on 10$2$); and it is generally held that their heros eponymus supplies the name of the founder of metallurgy here; but the equation is doubtful. A still more precarious combination with a word for smith (tum['=a]l, dubalanza, etc.) in Somali and other East African dialects, has been propounded by Merker (Die Masai, 306). The compound (written in Oriental MSS as one word) may mean either 'Tubal [the] smith' (in which case [we should expect ] is probably a gloss), or 'Tubal of (the family of) Cain.' G has simply ; but see the footnote. Tuch and others adduce the analogy of the, the first workers in iron and brass, and the makers of Saturn's scythe (Strabo, XIV. ii. 7); and the pair of brothers who, in the Phœnician legend, were .— (G ) seems to have been a mythological personage of some importance. A goddess of that name is known to have been worshipped by the Phœnicians. In Jewish tradition she figures as the wife of Noah (Ber. R.), as a demon, and also as a sort of St. Cecilia, a patroness of vocal music (T$J$: cf. Lag. OS, 180, 56: [Nestle, MM, 10]).

23, 24. The song of Lamech.—A complete poem in three distichs, breathing the fierce implacable spirit of revenge that forms the chief part of the Bedouin's code of honour. It is almost universally assumed (since Herder) that it commemorates the invention of weapons by Tubal-cain, and is accordingly spoken of as Lamech's 'Sword Song.' But the

23. The Introd. of the song is imitated in Is. 28$23$ 32$9$; cf. also Dt. 32$1$. The words and  are almost exclusively poetical.—On the form , see G-K. § 46 f.— is perf. of experience (Dav. § 40 (c); Dri. T. § 12), rather than of single completed action, or of certainty (IEz. De. Bu. al.).— is not recitative, but gives the reason for the call to attention.—] On this use of see BDB, s.v. 5, f.: G []