.עוּגָב This instrument may, on account of its age, have in truth deserved a higher place. It stands among the instruments which were invented by Jubal; but beyond that, it occurs only three times in the Old Testament; twice in the Book of Job, the oldest that we have, and once in the last Psalm.3 It is variously translated by the Seventy. In Job, they have paluos; in the books of Moses, zivάou; and in the Psalms, Goyavov. In the 151st Psalm, they also have this same word voya vov, as have likewise, the Syriac and Arabic. It is true, from the Greek word, which in this translation, occurs only once for , we cannot determine with much certainty and confidence, that ugabh was an organ-work, and accordingly the flute of Pan;5 for the word ooyuvov is a general appellation for all instruments, as Hesychius very clearly says. It also otherwise stands for the Hebrew. From what I have previously said, it will likewise be born in mind, that and i have sometimes been translated by "oyavov. In forming our judgment then of this instrument, shall we rely altogether upon the radical Hebrew word? To do so, especially in regard to instruments, which did not even so much as originate with the Hebrews, is indeed very unsafe. We obtain nothing from the radical word, except that means an agreeable an admirable thing, as Simonis has defined it. Let us proceed, however, a little further, and look into the Arabic. In this language, a means to blow into. In a certain sense, therefore, the Hebrew word may designate an organ-work. It is by this verb, that the Arabic translator of the New Testament explains the Greek quolovodɛ. The late Simonis seeks, in the form, for the idea of things connected together; and accordingly, be here finds what is commonly assumed; namely, that 23 had the figure of the pipe or flute of 1 Gen. 4:21. 2 Job 21. 12. 30: 31. 3 Ps. 150: 4. 4 See the words above, p. 368. 5 [Usually called the Syrinx Panos, or Panis. TR.] 6 Boysen's Beyträge zu einem richtigen System, etc. I. Th. p. 344, 7 1 Cor. 5: 2. 8 Arcan. form. p. 207. Coll. 438. [I have not this work at hand; but I find the thought under the word in his lexicon.-"Secundum alios constabat tibiis dilectis, i. e. suaviter et jucunde sonantibus, iisque (vi formae) continuo junctis," etc. TR.] Pan, as it appears in number 14.' If I may be permitted farther to increase these merely probable reasons, with one conjecture or another; why then the great age of this flute of Pan, may be brought to bear upon the ugabh. This flute is so old, that the profane writers do not really know to whom it should be ascribed. Some ascribe it to Pan; who, "-Primus calamos coniungere plures Instituit-."2 Athenaeus3 ascribes it to Marsyas and Silenus. Pindar1 ascribes it to Mercury: Παρθένος αὐλῶν τεῦχεν πάμφωνον This antiquity seems to justify us in venturing to seek for it among the more ancient instruments of the Orientals; especially so, as it is still common among the Turks and in the East; as Niebuhr saw such an one made of reeds in the hands of a peasant, at Cairo. It is there called muschal, is put more in the form of a half-moon,6 and is said often to have 14 or 15 reeds. Formerly, it ordinarily had seven. On ancient monuments, however, we find it composed of a greater number; and the Shepherd of Theocritus has one of nine reeds. So much then is certain; namely, that the ugabh belongs among the shawms; and probably it consisted of several reeds. Perhaps even, it is 1 [The editor of the Comprehensive Commentary, on Gen. 4: 21, supposes it to have been the Pipe of Pan, and he has given a cut of it accordingly. TR.] 2 Virgil. Ecl. 2. 3 Loc. c. Lib. IV. p. 184. 4 Od. XII. de Pallade, 5 Reisebeschr. I. Th. p. 181. [Alex. Russell, in his Nat. Hist. of Aleppo, also speaks of this instrument. "The syrinx, or Pan's pipe, is still a pastoral instrument in Syria; it is known also in the city, but very few of the performers can sound it tolerably well. The higher notes are clear and pleasing, but the longer reeds are apt, like the dervise's flute, to make a hissing sound, though blown by a good player. The number of reeds of which the syrinx is composed, varies in different instruments, from five to twenty-three." Vol. I. p. 155, 156, Lond. 1794. TR.] 6 De La Valle T. I. p. 61. 88. 7 Est mihi disparibus septem compacta cicutis fistula.—Virgil Ec. 2. 8 Συρίγγ ̓ ἔχω ἔννεάφωνον.—Id. 8. 6 Foster found such a pipe in the Friendly Islands, which consisted of ten reeds. See Foster's Reise Um die Welt, I. B. p. 343. [Compare note 3. p. 391. TR.] VOL. VI. No. 20. 51 the preceding ; in which case, the old name ugabh gradually disappeared, and more modern appellations came in vogue. Only in thinking of this instrument, one must never allow his mind to revert to the ordinary organ-work of the present day. As this last never occurs in the Sacred Scriptures, the investigation of its origin does not belong to this treatise. The production of musical sounds, indeed, by the confinement of air, seems not to have been altogether unknown to the ancients. The instruments, however, that we meet with, of this kind, were water-organs, rather than air-ones. Kircher speaks of a on, taken out of R. Hannose, and rightly suggests that the Greek name üdoavios has here been disfigured. From this very word, however, I see that the ancient Hebrews may have had nothing of the kind. I infer this from Athenaeus, who places this instrument in opposition to the nablium and describes it as unknown at Alexandria.1 As to others, water-organs were very well known; and a variety of them are explained in the writings of the ancient Mathematicians.2 Among the instruments struck with the hands, and one of the best known and the most common, stands the . If all instruments were as easy to decipher, as this, it would have been much gain to us in this department. In regard to it, not only the radical word,3 but all the ancient translations and the still 1 L. IV. p. 174, 175. [If I rightly understand my author, there is room to dispute the correctness of what he says about the hydraulis' being unknown at Alexandria. It is usually said that this instrument was invented by Ctesibius an Alexandrian, and at Alexandria. The last, however, is questioned. See the reference. TR.] 2 For them, see the excellent edition of the Veter. Mathemat. published at Paris, 1693, fol. and among them, Herouis Spiritalia, p. 227. [Kircher's opinion of the ancient hydraulis, as well as that of Vitruvius and Vossius, together with a drawing of what the latter conceives to have been the ancient form of this instrument, as described by Vitruvius, may be found in Hawkin's Hist. Music, Vol. I. p. 186 seq. 195, etc., Lond. 1776. See also, Burney, I. 512. Kircher, with all his fancifulness, admits the ancient hydraulis to have been far inferior to the modern organ. TR.] living oriental languages speak one and the same meaning. The Seventy and the other Greek translators render it by ruunavov; the Arabic has duf for it; but the Syriac always has ND. The Greek Tuμnavor,1 used also in the masculine, tuunavos, is, as well as the Latin topia and tympanum,3 manifestly from the oriental. That the Arabic word is thence derived there is no doubt. It is a fact, the confirmation of which may be found in Golius. It was an instrument of wood, hollowed out, covered over with leather, and struck with the hands,-a species of drum; yet not such as ours, but the adúfe of the Spaniards, a name literally derived from the East, and which they have preserved ever since the times of the Moors. These drums were as little of one kind with the ancients, as they are with us. There are various species of them in the East, at the present day. As regards the n in particular, we are told that Laban wished to accompany Jacob with its sound.5 Miriam the sister of Moses and the females with her, accompanied their song of victory with the sound of this instrument. Job was acquainted with it, and David employed it in all the festivities of religion. Isaiah adduces it as an instrument employed by voluptuaries, but left in silence on the breaking in of wars and desolations.10 The occasion where this instrument is found mentioned, is always a joyful one; and for the most part, those who play upon it are females, who, on this very account, have the name of nipin niphy," drum-beating women. Nowhere, however, is it mentioned as employed in battles or other warlike transactions. In regard to it, we should recur as little in thought, to our martial or soldier's, as to our kettledrum. On the other hand, from these circumstances, it is probable, that we must recognize it in the tympanum, which was appropriately employed in dances, attestations of joy, at festivities, and on such like occasions. There was one known, which was made by merely stretching leather over one side of a wooden hoop. We find it in the hands of Cybele and her priests. IV. Bochart, Hieroz. P. I. L. II. c. 49. p. 548. Geogr. Sac. L. II. c. p. 718. 2 Suidas. 4 Lex. Arab. p. 480. 6 Ex. 15: 20. 8 2 Sam. 6: 5. 10 Isa. 34: 8. 3 Le Moyne Varia S. p. 471. 5 Gen. 31: 27. 7 Job 17: 6. 21: 12. 9 Isa. 5: 12. 11 Ps. 68: 26. It had the form of a sieve,' and is frequently to be met with on ancient monuments. In particular, we find it at the feasts of Bacchus and in the hands of both male and female Bacchantes, for whose diversions it was very well adapted. In this latter use, Suidas? describes it as an instrument made out of wood and drawn over with leather; and Montfaucon3 gives the same idea of it. There is even now, no instrument more common in the East, than this. We find it among most nations, even the wild I will mention only the Negroes of the Gold Coast1 and the Slave Coast. As used among the Arabians, we find a description of it in Niebuhr: "It is," says he, "a broad hoop, covered on one side, with a stretched skin. In the rim, there are usually thin round pullies or wheels of metal which also make some noise, when this drum held on high with one hand on the lower side, is struck with the fingers of the other hand. No musical instrument is perhaps so much employed in Turkey as this. When the females in their harems, dance, or sing, the time is always beat upon this instrument. It is called döff. No one will, I think, fail here to recognize the adúfe, the ancient. This, therefore, as given in figure 16th, is the instrument that belongs to the representations of the Hebrew playing-women, and not the kettle-drum, (Paucke,) which is generally hung about them; although I will not attempt to deny that this was known to the more ancient Hebrews. At least, we do not fail to recognize it in the East. The following instrument, fig. 17, either single or double, is sometimes common in still greater numbers in those regions. When they are not too large, they are hung obliquely around over the body. Niebuhr found them in Persia, and remarks that without them the Orientals never dance or sing. They are of wood or copper. On one side they were perfectly round, on the other, flat, and 1 Isidore, Orig. L. II. c. 21. "Tympanum est pellis vel corium ligno ex una parte extensum, est enim pars media in similitudinem cribri." 2 Τύμπανον, ἐκ δερμάτων, ἐστὶ γινόμενον καὶ κρουον (κρουόμενον Κ.) ὃ κατεῖχον αἱ Βάκχαι, 3 Ant. Expl. T. III. p. 346. Suppl. Tom. III. p. 197. 4 Allgem. Hist. der Reis. Th. IV. p. 158. 5 The same work, p. 322. Reisebeschr. Th. I. p. 181. 7 Reisebeschr. Th. II. pp. 84, 173. |