| 21. Linguistic Exegesis The narrative begins with the temporal adverb beadin {בֵּאדַ֜יִן | bē-ʾă-ḏayin} ‘then’, marking sequence in the story. The noun guvrayya {גֻּבְרַיָּ֣א | guḇ-ray-yā} ‘the men’ is specified by the demonstrative illekh {אִלֵּ֗ךְ | ʾil-lēḵ} ‘these’. The verb kefitu {כְּפִ֙תוּ֙ | kə-pi-ṯû} ‘they were bound’ uses the Peal perfect to indicate completed action. A series of clothing terms—bə-sarbalēhōn {בְּסַרְבָּלֵיהוֹן֙ | bə-sar-bal-ê-hōn}, paṭtišēhōn {פַּטִּישֵׁיה֔וֹן | paṭ-ti-šê-hōn}, wə-karbəlāthōn {וְכַרְבְּלָתְה֖וֹן | wə-kar-bə-lāṯ-hōn}, û-lə-bušēhōn {וּלְבוּשֵׁיה֑וֹן | û-lə-bu-šê-hōn}—emphasizes their full attire before the peril. The conjunction û-rəmiū {וּרְמִ֕יו | û-rə-mî-û} ‘and they were thrown’ introduces the action of casting. The spatial phrase lə-gōʾ ʾat-tûn nūrāʾ yā-qid-tāʾ {לְגוֹ־אַתּ֥וּן נוּרָ֖א יָקִדְתָּֽא | lə-gōʾ ʾat-tûn nū-rāʾ yā-qid-tāʾ} ‘into the midst of the burning fire furnace’ uses two construct chains (gōʾ-ʾat-tûn and nūrāʾ-yā-qid-tāʾ) to heighten the contrast between clothing and heat. |