Page:Keil and Delitzsch,Biblical commentary the old testament the pentateuch, trad James Martin, volume 1, 1885.djvu/122

 was the first to prepare the way for polygamy, by which the ethical aspect of marriage, as ordained by God, was turned into the lust of the eye and lust of the flesh. The names of the women are indicative of sensual attractions: Adah, the adorned; and Zillah, either the shady or the tinkling. His three sons are the authors of inventions which show how the mind and efforts of the Cainites were directed towards the beautifying and perfecting of the earthly life. Jabal (probably = jebul, produce) became the father of such as dwelt in tents, i.e., of nomads who lived in tents and with their flocks, getting their living by a pastoral occupation, and possibly also introducing the use of animal food, in disregard of the divine command (Gen 1:29). Jubal (sound), the father of all such as handle the harp and pipe, i.e., the inventors of stringed and wind instruments. כּנּור a guitar or harp; עוּגב the shepherd's reed or bagpipe. Tubal-Cain, “ hammering all kinds of cutting things (the verb is to be construed as neuter) in brass and iron;” the inventor therefore of all kinds of edge-tools for working in metals: so that Cain, from קין to forge, is probably to be regarded as the surname which Tubal received on account of his inventions. The meaning of Tubal is obscure; for the Persian Tupal, iron- scoria, can throw no light upon it, as it must be a much later word. The allusion to the sister of Tubal-Cain is evidently to be attributed to her name, Naamah, the lovely, or graceful, since it reflects the worldly mind of the Cainites. In the arts, which owed their origin to Lamech's sons, this disposition reached its culminating point; and it appears in the form of pride and defiant arrogance in the song in which Lamech celebrates the inventions of Tubal-Cain (Gen 4:23, Gen 4:24): “'' Adah and Zillah, hear my voice; ye wives of Lamech, hearken unto my speech: Men I slay for my wound, and young men for my stripes. For sevenfold is Cain avenged, and Lamech seven and seventy-fold.” The perfect הרגתּי is expressive not of a deed accomplished, but of confident assurance ( Ges. §126, 4; Ewald, §135 c''); and the suffixes in חבּרתי and פּצעי are to be taken in a passive sense. The idea is this: whoever inflicts a wound or stripe on me, whether man or youth, I will put to death; and for every injury done to my person, I will take ten times more vengeance than that with which God promised to avenge the murder of my ancestor Cain. In this song, which contains in its rhythm, its strophic arrangement of