contrast. But the assumption that the point of comparison is change, not destruction, cannot be maintained: the figures represent the slow but inevitable destruction wrought by the elements on the greatest mountains, on rocks, and on the solid earth. And if the poet had intended to contrast the slow but certain changes of nature with the hopelessness of man's lot, how many more appropriate illustrations, in which nature seems to come forth as with new life from the dead, were at his command! Raschi, who also considers the relation of the clauses to be antithetical, is guided by the right perception when he interprets: even a mountain that is cast down still brings forth fruit, and a rock removed from its place, even these are not without some signs of vitality in them, יבּול = (יבוּל) יעשׂהבוּל, which is indeed a linguistic impossibility. The majority of expositors are therefore right when they take the waw, Job 14:19, similarly to Job 5:7; Job 11:12; Job 12:11, as waw adaequationis. With this interpretation also, the connection of the clause with what precedes by ואוּלם (which is used exactly as in Job 1:11; Job 11:5; Job 12:7, where it signifies verum enim vero or attamen) is unconstrained. The course of thought is as follows: With unsparing severity, and even beyond the measure of my guilt, hast Thou caused me to suffer punishment for my sins, but (nevertheless) Thou shouldst rather be gentle and forbearing towards me, since even that which is firmest, strongest, and most durable cannot withstand ultimate destruction; and entirely in accordance with the same law, weak, frail man (אנושׁ) meets an early certain end, and at the same time Thou cuttest off from him every ground of hope of a continued existence. The waw, Job 14:19, is consequently, according to the sense, more quanto magis than sic, placing the things to be contrasted over against each other. הר־נופL is a falling, not a fallen (Ralbag) mountain; and having once received the impetus, it continues gradually to give way; Renan: s'effondre peu à peu. Carey,
