Ps. CXXXIX. 9.
Jahveh ‘makes the Dawn flying’ (literally for flight), as the prophet Amos (IV. 13) says. The prophet speaks in this verse of the regular phenomena of nature, not of exceptional physical changes, which would allow us to take ʿêphâ as obscuration, as in Job X. 22; it is therefore best to keep to the sense of flying. Joel (II. 2) says, ‘As the Dawn, spreading out her wings over the mountains.’[[327]] Accordingly the Dawn or the Sun is a bird, and the Persian expression murġ-i-saḥar ‘Bird of the Dawn’ becomes intelligible. When the sun sets, the runner has stumbled and fallen to the ground; or the bird gliding through the air has lost its power of flight and fallen into the sea. Hence comes the use of ‘to fall’ of the setting sun: cadit sol, and in Homer:[[328]]—
Ἐν δ’ ἔπες’ Ὠκεανῷ λαμπρὸν φαὸς Ἢελίοιο,
ἔλκον νύκτα μέλαιναν ἐπὶ ζείδωρον ἄρουραν.
And in Arabic they say of the setting of the sun, wajabat al-shams, or habaṭat al-shams,[[329]] verbs which are synonymous with waḳaʿa, ‘to fall.’ We then understand (passing again to Hebrew) Isaiah’s exclamation (XIV. 12), ‘How art thou fallen from heaven, Light-bringer, son of the Dawn!’
As the rising Dawn is said to spread out her wings, so the setting evening sun drops her[[330]] pinions, bends her wings downwards. This expression, a relic of the mythic view, is retained in the Arabic language. The Arab says of the setting sun, janaḥat; but although this verb according to the lexicons denotes inclinavit in general, yet there can be no doubt that this inclinatio was originally something special, namely the bending of the wings, from whose name janâḥ, indeed, the above denominative verb is formed. Ḥassân b. Thâbit,[[331]] a poet contemporary with Moḥammed, says, ‘The sun of the day bent herself (i.e. bent her wings) that she might set’ (wa-ḳad janaḥat shams-al-nahâri litaġribâ). But when wings are attributed to the Night, the basis of the conception is quite different from that which gives wings to the Sun or the Dawn. In this case the thought is of covering and hiding.[[332]] In this sense are to be understood such phrases as kâna-l-leyl nâshiran ajniḥat al-ẓalâm, ‘Night unfolded the wings of darkness,’ or kâna-l-leyl ḳad asbala ʿala-l-châfiḳeyni ajniḥat al-ẓalâm, ‘Night had thrown down over the ends of the earth the wings of darkness.’[[333]] The frequent expression fî junḥ or jinḥ al-leyl certainly belongs to this category. Lexicographers who translate the word junḥ pars noctis, even on the authority of native lexicons, e.g. al-Jauharî, who explains it as ṭâʾifâ minhu ‘a portion of it,’[[334]] are mistaken. It must rather signify ‘under the wings of Night,’ which is also supported by the fact that, besides junḥ al-leyl, fî junḥ al-ẓalâm is also found,[[335]] where wings only can be understood.[[336]]
From all this it is easy to perceive that the solar figures of the myth are brought into connexion with the idea of swiftness, flight, and constant marching forwards; for rapid motion is one of the chief attributes of the Sun which naturally present themselves to the eye and the mind. From this mythical view of the rapid running of the Sun may also be explained a feature in the German mythology which Holtzmann[[337]] leaves unexplained. ‘The Osterhase [Easter-hare],’ he says, ‘is inexplicable to me; probably the hare is the animal of Ostara [the goddess]; on the picture of Abnoba a hare is present.’ If Ostara, as Holtzmann proves, is the sun or the sunrise, then the hare is easily explained as indicating the quick-footed sun. The connexion of ideas required to bring the hare into connexion with this view is one that needs no proof. In the hieroglyphs also, when there is free choice among various phonetic signs (e.g. with the vowel u), the figure of the hare is generally chosen when the word expresses a rapid motion.[[338]] So the Red Indians, in calling their Kadmus a great white hare, may have been influenced (independently of the false popular etymology of the word michabo[[339]]) by the conception of the Sun as a swift-footed hare.[[340]]
Abraham and his wife Sarah (the princess or queen of heaven—the Moon as we shall see) expel Hagar (Gen. XVI. 6). The Moon is jealous of Hagar. What does Hagar signify in this Hebrew myth? The cognate Arabic language offers the most satisfactory basis of interpretation of this name. Hajara, the root of the name Hâgâr, denotes ‘to fly,’ and yields the word hijrâ, ‘flight,’ especially known from the flight of Moḥammed from Mecca to Medina. The mythic designation Hâgâr is consequently only one of the names of the Sun in a feminine form. The battle of the two figures of the night-sky against Hagar is again that inexhaustible theme of all mythology, the battle of Day with Night. With respect to this particular name the Arabic language gives us still further light. While ġaṭasha denotes both ‘to be dark’ and ‘to move slowly,’ the hot noonday sun is described by the Arabs by the participle of the verb from which we have explained the name Hagar, al-hâjirâ or al-hijîrâ ‘the flying one.’ That this is not mere chance, but is connected with the mythical order of ideas from which we deduced the designation Hâgâr for the Sun, is further confirmed by the word barâḥi or birâḥ, also denoting ‘flight’ (from the Hebrew and Arabic root brḥ ‘to flee’), and yet belonging to the nomenclature of the Sun.
The case is the same with the ‘fugitive and vagabond’ life of Cain; after the conquest of Abel the Sun wanders from place to place, and leads a life of unrest and motion till night comes. A reminiscence of the solar significance of Cain is even found in the Agâdâ, which makes the sign granted for the safety of Cain to consist in the brightening of the sun; or, according to another interpretation, in a horn, which grew up on him from the moment of the promise.[[341]] It is well known that the sun’s rays were mythologically called horns,—a meaning which the language preserved.
§ 6. With this group of Solar figures of the Hebrew mythology which are exhibited as wandering or rapidly marching forward,[[342]] I also class some others whose names alone lead us to recognise this mythological character. First and foremost we must consider a word which has been retained in the language beyond the mythical stage: the Hebrew shachar, Arabic saḥar, ‘morning, dawn.’ This word is doubtless connected with the verb sâchar, which denotes constant moving, wandering.[[343]] The Arabic sâḥir ‘magician’ is the same word as the Hebrew sôchêr ‘merchant,’ both signifying originally those who are always travelling about from place to place. The Hebrew verb shachêr ‘to seek’ relates originally to the movement of one who has lost something and goes about looking for it. Although in the course of this chapter I shall devote a special connected disquisition to Jacob’s sons, yet I must here pick out a few beforehand to incorporate them in the class of solar figures whose characteristic feature is that here discussed. To this class belongs e.g. Âshêr, the name of a son of Jacob by his concubine Zilpah. The name cannot be explained (according to Gen. XXX. 13) as the ‘Happy,’ or ‘Bringer of Happiness,’ since this signification of the root (‘to be happy’) is only secondary to the fundamental meaning—applied, not original. Language does not form originally expressions for ethical notions of this kind, any more than the notion itself rises without contact with something sensual, which may subsequently be transferred to the ethical. The Arabic words for similar ideas spring up in a similar way, e.g. muṣliḥ ‘successful’ denotes properly ‘one who penetrates through something,’ &c. The root of Âshêr, in Hebrew âshar, in Arabic athara (whence athar ‘a trace’), originally denoted to march, go forwards (Prov. IX. 6); intensively ashshêr, to make some one go forward, to lead, and as a noun, ashûr ‘way, path.’ From the same root comes also the relative pronoun asher, which originally signified place, (compare the Aramaic athar ‘place’); but we know that expressions which serve as exponents of the category of relation, both in time and space, generally start from the conception of space, as is clearly seen in the Hebrew shâm, indicating originally the idea of place, ‘there’ but also transferred to the expression of the idea of time, ‘then.’[[344]] We see the same quite as clearly in the employment of the Aramaic athar in the combination bâthar (from ba-athar) to denote after, afterwards, properly on the spot.[[345]]