| 22. Linguistic Exegesis The verse is structured as three coordinated clauses, each introduced or linked by kai {καὶ | kaí} “and,” forming a rhythmic catalogue of what will cease within the city. The first and third clauses share the subject phōnē {φωνὴ | phōnḗ} “sound,” each followed by a series of genitives (kitharōdōn, mousikōn, aulētōn, salpistōn {κιθαρῳδῶν, μουσικῶν, αὐλητῶν, σαλπιστῶν | kitharōdōn, mousikōn, aulētōn, salpistōn}) or by the single genitive mylou {μύλου | mylou} “of a mill,” which specify the type of sound that is disappearing. The middle clause shifts to a personal subject, pas technitēs pasēs technēs {πᾶς τεχνίτης πάσης τέχνης | pas technitēs pasēs technēs} “every craftsman of every craft,” where the repetition of pas {πᾶς | pas} has a distributive force, emphasizing exhaustive removal of all skilled labor. Each clause contains the strong negation construction ou mē {οὐ μὴ | ou mē} plus an aorist subjunctive—akousthē {ἀκουσθῇ | akousthē} “might be heard” or heurethē {εὑρεθῇ | heurethē} “might be found”—which in this context expresses categorical, future exclusion rather than mere possibility. The recurring prepositional phrase en soi eti {ἐν σοὶ ἔτι | en soi eti} “in you any longer” (with soi {σοὶ | soi} referring to the personified city) binds the three clauses together and locates the desolation within her sphere. In translation, the repeated structure is preserved by keeping parallel clauses (“shall never be heard in you any longer,” “shall never be found in you any longer”), which mirrors the Greek’s anaphoric pattern and highlights the comprehensive and irreversible nature of the judgment. |