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therefore to be explained according to Job 29:22, or more universally according to Deu 12:30. It may seem remarkable that the music here strikes in forte; but music can on its part, in mournfully shrill tones, also bewail the folly of the world.
Psa 49:14, so full of eschatological meaning, now describes what becomes of the departed. The subject of שׁתּוּ (as in Psa 73:9, where it is Milra, for שׁתוּ) is not, as perhaps in the case of ἀπαιτοῦσιν, Luk 12:20, higher powers that are not named; but שׁוּת (here שׁתת), as in Psa 3:7, Hos 6:11; Isa 22:7, is used in a semi-passive sense: like a herd of sheep they lay themselves down or they are made to lie down לשׁאול (thus it is pointed by Ben-Asher; whereas Ben-Naphtali points לשׁאול, with a silent Shebâ), to Hades = down into Hades (cf. Psa 88:7), so that they are shut up in it like sheep in their fold. And who is the shepherd there who rules these sheep with his rod? מות ירעם. Not the good Shepherd (Psa 23:1), whose pasture is the land of the living, but Death, into whose power they have fallen irrecoverably, shall pasture them. Death is personified, as in Job 18:14, as the king of terrors. The modus consecutivus, ויּרדּוּ, now expresses the fact that will be realized in the future, which is the reverse side of that other fact. After the night of affliction has swiftly passed away, there breaks forth, for the upright, a morning; and in this morning they find themselves to be lords over these their oppressors, like conquerors, who put their feet upon the necks of the vanquished (the lxx well renders it by κατακυριεύσουσιν). Thus shall it be with the upright, whilst the rich at their feet beneath, in the ground, are utterly destroyed. לבּקר has Rebia magnum, ישׁרים has Asla-Legarme; accordingly the former word does not belong to what follows (in the morning, then vanishes...), but to what precedes. צוּר or ציר (as in Isa 45:16) signifies a form or image, just as צוּרה (Arab. tsûrat) is generally used; properly, that which is pressed in or pressed out, i.e., primarily something moulded or fashioned by the pressure of the hand (as in the case of the potter, יצר) or by means of some instrument that impresses and cuts the material. Here the word is used to denote materiality or corporeity, including the whole outward appearance (φαντασία, Act 25:23). The לו which refers to