| 5. Linguistic Exegesis The narrative begins with va’aru {וַאֲר֣וּ | va-ʾa-rû} ‘and behold’, an interjection that signals a new vision. Cheivah tiniyana {חֵיוָה תִנְיָנָ֜ה | ḥē-wâh tin-nî-yan-nâh} ‘another second beast’ establishes apposition to heighten dramatic shift. Damya ledov {דָּמְיָ֣ה לְדֹ֗ב | dā-mî-yâ le-ḏôb} introduces a simile “like a bear,” anchoring the figure’s form. The Hophal hqimat {הֳקִמַ֔ת | hô-qî-maṯ} ‘was raised up’ emphasizes passive elevation, followed by utlat il’in befummah bein shinnah {וּתְלָ֥ת עִלְעִ֛ין בְּפֻמַּ֖הּ בֵּ֣ין שִׁנַּ֑הּ | u-tĕ-lāṯ ʿil-ʿîn bə-pum-māh bêyn šin-nāh} locating three ribs in its mouth between its teeth to underscore predatory detail. The sequence vechen amrin lah {וְכֵן אָמְרִין לַ֔הּ | wə-ḵên ’ăm-rîn la-h} ‘and thus they said to it’ frames direct speech, with imperatives kumi akhuli {ק֥וּמִֽי אֲכֻ֖לִי | kû-mî ’ăḵu-lî} ‘arise, devour’ conveying urgent command. This structure preserves the vision’s rhythm, linking form, posture, and command in the apocalyptic narrative. |