present onwards, which we should express by the present tense. The coming one is called Eloah (not Jehovah, as in Deu 33:2, and the imitation in Jdg 5:4), a form of the name Elohim which only occurs in poetry in the earlier Hebrew writings, which we find for the first time in Deu 32:15, where it is used of God as the Creator of Israel, and which is also used here to designate God as the Lord and Governor of the whole world. Eloah, however, comes as the Holy One (qâdōsh), who cannot tolerate sin (Hab 1:13), and who will judge the world and destroy the sinners (Hab 3:12-14). As Eloah and Qâdōsh are names of one God; so “from Teman” and “from the mountain of Paran” are expressions denoting, not two starting-points, but simply two localities of one single starting-point for His appearance, like Seir and the mountains of Paran in Deu 33:2. Instead of Seir, the poetical name of the mountainous country of the Edomites, Teman, the southern district of Edomitish land, is used per synecdochen for Idumaea generally, as in Oba 1:9 and Amo 1:12 (see p. 168). The mountains of Paran are not the Et-Tih mountains, which bounded the desert of Paran towards the south, but the high mountain-land which formed the eastern half of that desert, and the northern portion of which is now called, after its present inhabitants, the mountains of the Azazimeh (see comm. on Num 10:12). The two localities lie opposite to one another, and are only separated by the Arabah (or deep valley of the Ghor). We are not to understand the naming of these two, however, as suggesting the idea that God was coming from the Arabah, but, according to the original passage in Deu 33:2, as indicating that the splendour of the divine appearance spread over Teman and the mountains of Paran, so that the rays were reflected from the two mountainous regions. The word Selâh does not form part of the subject-matter of the text, but shows that the music strikes in here when the song is used in the temple, taking up the lofty thought that God is coming, and carrying it out in a manner befitting the majestic appearance, in the prospect of the speedy help of the Lord. The word probably signified elevatio, from sâlâh = sâlal, and was intended to indicate the strengthening of the musical accompaniment, by the introduction, as is supposed, of a blast from the trumpets blown by the priests,
