Keil & Delitzsch on Isaiah 3:2

A historical reference excerpt for this verse. Read it alongside the biblical text and other available sources.

Commentary on the Old Testament
C. F. Keil & F. Delitzsch · 19th-century historical commentary
Source: BibleWord.ai's local reference edition of this named work.

"Hero and man of war, judge and prophet, and soothsayer and elder; captains of fifty, and the highly distinguished, and counsellors, and masters in art, and those skilled in muttering." As the state had grown into a military state under Uzziah-Jotham, the prophet commences in both vv. with military officers, viz., the gibbor, i.e., commanders whose bravery had been already tried; the "man of war" (ish imlchâmâh), i.e., private soldiers who had been equipped and well trained (see Eze 39:20); and the "captain of fifty" (sar Chamisshim), leaders of the smallest divisions of the army, consisting of only fifty men (pentekontarchos, Kg2 1:9, etc.). The prominent members of the state are all mixed up together; "the judge" (shophet), i.e., the officers appointed by the government to administer justice; "the elder" (zâkēn), i.e., the heads of families and the senators appointed by the town corporations; the "counsellor" (yōetz), those nearest to the king; the "highly distinguished" (nesu panim), lit., those whose personal appearance (panim) was accepted, i.e., welcome and regarded with honour (Saad.: wa'gı̄h, from wa'gh, the face of appearance), that is to say, persons of influence, not only on account of their office, but also on account of wealth, age, goodness, etc.; "masters in art" (Chacam Charâshim: lxx σοφὸς ἀρχιτέκτων ), or, as Jerome has very well rendered it, in artibus mechanicis exercitatus easque callide tractans (persons well versed in mechanical arts, and carrying them out with skill). In the Chaldean captivities skilled artisans are particularly mentioned as having been carried away ( Kg2 24:14.; Jer 24:1; Jer 29:2); so that there can be no doubt whatever that Charâshim (from Cheresh) is to be understood as signifying mechanical and not magical arts, as Gesenius, Hitzig, and Meier suppose, and therefore that Chacam Charâshim does not mean "wizards," as Ewald renders it (Chărâshim is a different word from Chârâshim, fabri, from Chârâsh, although in Ch1 4:14, cf., Neh 11:35, the word is regularly pointed חרשׁים even in this personal sense). Moreover, the rendering "wizards" produces tautology, inasmuch as masters of the black art are cited as nebon lachash, "skilled in muttering." Lachash is the whispering or muttering of magical formulas; it is related both radically and in meaning to nachash, enchantment (Arabic nachs, misfortune); it is derived from lachash, sibilare, to hiss (a kindred word to nâchash; hence nâchâsh, a serpent). Beside this, the masters of the black art are also represented as kosem, which, in accordance with the radical idea of making fast, swearing, conjuring, denoted a soothsayer following heathen superstitions, as distinguished from the nabi, of false Jehovah prophet (we find this as early as Deu 18:10, Deu 18:14). (Note: According to the primary meaning of the whole thema, which is one of hardness, rigidity, firmness, aksama (hi. of kâsam) signifies, strictly speaking, to make sure, i.e., to swear, either by swearing to the truth and certainty of a thing, or by making a person swear that he will do or not do a certain thing, by laying as it were a kasam upon him. The kal, on the other hand (kasama), gets its meaning to divide from the turn given to the radical idea in the substantive kism, which signifies, according to the original lexicographers, something fixed (= nası̄b), definite, i.e., a definite portion. There is just the same association of ideas in ‛azama as in aksama, namel…

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