v. 90 Ο´, Θ. Οἱ σεβόμενοι, used of proselytes of the gate in Acts xvii. 17, may have this meaning here also, as coming last, and in connection with τὸν θεὸν τῶν θεῶν, a possible reference to the "gods of the nations." Gaster's Aramaic has nothing answering to σβόμενοι. Grotius suggests "יראי אלהים ut Job i. I, 8, ii. 3," where θεοσεβής is the word.
The writer deems the evidence of language to point on the whole to a Semitic rather than to a Greek base. The difficulty of balancing the indications however of the original language is shewn by the names of important authorities which may be ranged on either side, Ball, Rothstein, and Swete regarding the Semitic as probable; Westcott, Schürer, and Fritzsche holding a similar opinion as to the Greek.
When a Semitic original is pronounced for, the further question arises, was it Hebrew or Aramaic? The grounds unfortunately appear too indecisive to warrant a distinct choice between these alternatives.
Style.
This is the only one of the three Additions which takes a devotional and poetical form. The Song has perhaps exceeded the others in the great estimation accorded to it. The frequent liturgical use made of it is both a sign and a cause of this.
The style of the Greek is Hellenistic, and is not out of character with the versions of which it is a part; nor in particular with the Book of Daniel with which it is incorporated. It is spirited, interesting, and agreeable, mainly Hebraic in the character of its thought and cast of its language.
The Prayer may possibly be accused of the needless repetition of similar sentiments; especially in vv. 4, 5, and 8 as to God's truth and justice; and in vv. 6 and 7 as to Israel's disobedience, which are somewhat over-insisted upon. But perhaps this may be attributed to earnest pleading. It is instructive to compare and contrast Daniel's Prayer, chap. ix., remembering that a different person would naturally have a different style; a consideration which may also help to account for the change we are conscious of when we pass from the prayer of Azarias to the Song which purports to he the composition of the Three.
The principle on which πᾶς is inserted in some verses and omitted in others does not seem clear. Rhythmical considerations do not sufficiently account for it. Something other than style seems to have influenced its use; but what that something may have been it is difficult to discern. Nor does the principle seem clearer in the Aramaic than in the Greek.
The poem has a simple yet majestic structure, with a refrain apt to linger in the ear, either in Greek or English, Εὐλογεῖτε, ὑμνεῖτε, καὶ ὑπρυψοῦτε αὐτὸν εἰς τοὺς αἰῶνας, "Bless ye the Lord, praise Him, and magnify Him for ever." In Gaster's Aramaic the refrain is slightly varied, לצלמא being used where God is addressed, בצלמא where His creatures are exhorted. Dr. Gaster understands the former to mean "for ever," but the latter "in the world."[[22]] This distinction, if a just one, is entirely obliterated in the versions. In the Vulgate however the refrain sounds less agreeably, for "superexaltate " is a cumbrous word for frequent repetition. It is one of those exaggerated compounds of which the translator of Daniel seems to have been too fond, such as "superlaudabilis," "supergloriosus" (v. 52), "deambulo" and "discoöperio" (Sus. vv. 8, 32). This inconvenience was evidently felt in liturgical use, as in the Roman Breviary and Missal the repetition of "superexaltate" is avoided. Psalm cxxxvi. affords a biblical instance of a refrain similarly repeated at the end of each verse; and Deut. xxvii. 15-26 may be regarded as containing a liturgical repetition of another species.
[22] Proc. Sac. Bibl. Archæol. 1895, p. 80.