Attributed commentary excerpt
Keil & Delitzsch on Isaiah 54:11
A historical reference excerpt for this verse.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.
"O thou afflicted, tossed with tempest, not comforted, behold, I lay thy stones in stibium, and lay thy foundations with sapphires; and make thy minarets of ruby, and thy gates into carbuncles, and all thy boundary into jewels." At the present time the church, of which Jerusalem is the metropolis, is sunk in misery, driven with tempest like chaff of the threshing-floor ( Hos 13:3), without comfort; because till now it has waited in vain for any act of consolation on the part of God, and has been scorned rather than comforted by man (סערה is a part. kal, not pual; and נחמה 3rd pers. praet. like נעזבה, Isa 62:12, and רחמה, Hos 1:6; Hos 2:3). But this will be altered; Jerusalem will rise again from the dust, like a glorious building of God. Jerome makes the following apt remark on Isa 54:11: "in stibio, i.e., in the likeness of an elegant woman, who paints her eyes with stibium; referring to the beauty of the city." Pūkh is eye-black (kohl, cf., kâchal, Eze 23:40), i.e., a sooty compound, the chief component of which was powdered antimony, or else manganese or lead, and with which oriental women coloured their eyebrows, and more particularly the eyelids both above and below the eyes, that the beauty of the latter might be all the more conspicuous ( Kg2 9:30). The classic φῦκος, fucus, has a meaning foreign to the Hebrew word, viz., that of rouge for the cheeks. If, then, stibium (antimony), or any blackening collyrium generally, served the purpose of mortar in the rebuilding of Jerusalem, the stones of its walls (not its foundation-stones, אדניך, which is the reading adopted by Ewald, but, on the contrary, the visible stones of its towering walls) would look like the eyes of a woman shining forth from the black framework of their painted lids, i.e., they would stand out in splendour from their dark ground. The Beth in bassappı̄rı̄m indicates the means employed. Sapphires serve as foundation-stones, for the foundation of Jerusalem stands as immoveably firm as the covenant of God. The sapphire blue is the colour of the heaven, of revelation, and of the covenant. The shemâshōth, however, i.e., the minarets which stand out like rays of the sun, and also the gates, have a red appearance. Red is the colour of blood, and hence of life and of imperishableness; also the colour of fire and of lightning, and hence of wrath and victory. Jehovah makes the minarets of "ruby." The Sept. and Jerome adopt the rendering iaspidem (a jasper); at any rate, כּדכד (which is the proper way of writing the word: Ewald, 48, c) (Note: The first כ is dagessatum, the second raphatum: see Norzi. The word forms one of the eighteen which have a dagesh after a word ending with a vowel sound (בלא מבטל בתר יה וא דגשין): see Masora Magna on Dan 5:11, and Heidenheim's הטעמים משפטי, 41a. The object is to secure greater euphony, as in ככרכמישׁ (הלא), Isa 10:9, which is one of the eighteen words.) is a red sparkling jewel (from kidkēd; cf., kı̄dōd, scintilla). The arches of the gates He forms of אקדּח אבני, stones of fiery splendour (from qâdach, to burn: hence qaddachath, πυρετός), that is to say, or carbuncle stones (from carbunculus, a small red-hot coal), like ruby, garnet, etc. Jerome has adopted the false rendering lapides sculptos, after Symm. λίθοι γλυφῆς (from קדח = קדד, findere?). The accusative of the predicate כדכד is interchanged with עקדח לבני, and then with לאבני־חפץ, to denote the materia ex qua. The whole territory (precinct) of Jerusalem is turned…
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