And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD, neither consider the operation of his hands.

And the harp and the lute, the tabret and the pipe, and wine, are in their feasts; but they regard not the work of Jehovah, neither have they considered the operation of his hands.

The harp, and the lyre, and the timbrel, and the pipe, and wine are in your feasts: and the work of the Lord you regard not, nor do you consider the works of his hands.

And harp and lyre, tambour and flute, and wine are in their banquets; but they regard not the work of Jehovah, nor do they see the operation of his hands.

And harp, and psaltery, tabret, and pipe, And wine, have been their banquets, And the work of Jehovah they behold not, Yea, the work of His hands they have not seen.

And corded instruments and wind-instruments and wine are in their feasts: but they give no thought to the work of the Lord, and they are not interested in what his hands are doing.

And the harp and the psaltery, the tabret and the pipe, And wine, are in their feasts; But they regard not the work of the LORD, Neither have they considered the operation of His hands.

The harp, lyre, tambourine, and flute, with wine, are at their feasts; but they do not regard the work of the LORD, neither have they considered the operation of his hands.

Harp and lyre and timbrel and pipe, as well as wine, are at your feasts. But you do not respect the work of the Lord, nor do you consider the works of his hands.

Et est cythara, lyra, tympanum, tibia, et vinum, in conviviis eorum; opus autem Iehovae non respiciunt; nec opus manuum ejus considerant.

And the harp. He adds the instruments of pleasures by which men addicted to intemperance provoke their appetite. These might be different from ours, but they belonged to music. Now, Isaiah does not blame music, for it is a science which ought not to be despised; but he describes a nation swimming in every kind of luxury, and too much disposed to indulge in pleasures. This is sufficiently evident from what follows. And they regard not the work of the Lord As if he had said, "They are as constant in luxurious indulgence, and as much devoted to it, as if this had been the purpose for which they were born and reared; and they do not consider why the Lord supplies them with what is necessary." Men were not born to eat and drink, and wallow in luxury, but to obey God, to worship him devoutly, to acknowledge his goodness, and to endeavor to do what is pleasing in his sight. But when they give themselves up to luxury, when they dance, and sing, and have no other object in view than to spend their life in the highest mirth, they are worse than beasts: for they do not consider for what end God created them, in what manner he governs this world by his providence, and to what end all the actions of our life ought to be directed. Having stated this meaning, which appears to me to be natural, I consider nothing more to be necessary; for I cannot adopt the ingenious expositions of some authors, such as, when they explain the work of God to mean the law; nor did I intend to state every opinion which others have maintained. It is enough to know that all who are addicted to gormandizing are here subjected by the Prophet to the reproach of voluntarily becoming like brute beasts, when they do not direct their minds to God, who is the author of life.

The prophet proceeds to state still further the extent of their crimes. This verse contains an account of their dissipated habits, and their consequent forgetfulness of God. That they commonly had musical instruments in their feasts, is evident from many passages of the Old Testament; see Amos 6:5-6. Their feasts, also, were attended with songs; Isaiah 24:8-9.
The harp - - כנור kinnôr. This is a well-known stringed instrument, employed commonly in sacred music. It is often mentioned as having been used to express the pious feelings of David; Psalm 32:2; Psalm 43:4; Psalm 49:5. It is early mentioned as having been invented by Jubal; Genesis 4:21. It is supposed usually to have had ten strings (Josephus, "Ant." B. x. ch. xii. Section 3). It was played by the hand; 1-Samuel 16:23; 1-Samuel 18:9. The "root" of the word כנור kinnôr, is unknown. The word "kinnor" is used in all the languages cognate to the Hebrew, and is recognized even in the Persian. It is probable that the instrument here referred to was common in all the oriental nations, as it seems to have been known before the Flood, and of course the knowledge of it would be extended far. It is an oriental name and instrument, and from this word the Greeks derived their word κινύρα kinura. The Septuagint renders it κιθάρα kithara and κινύρα kinura.
Once they substitute for it ὄργανον organon, Psalm 136:2; and five times ψαλτήριον psaltērion, Genesis 4:20; Psalm 48:4; Psalm 80:2; Psalm 149:3; Ezekiel 26:13. The harp - כנור kinnôr - is not only mentioned as having been invented by Jubal, but it is also mentioned by Laban in the description which be gives of various solemnities, in regard to which he assures the fleeing Jacob that it had been his wish to accompany him with all the testimonials of joy - 'with music - תף tôph and כנור kinnôr;' Genesis 31:27. In the first age it was consecrated to joy and exultation. Hence, it is referred to as the instrument employed by David to drive away the melancholy of Saul 1-Samuel 16:16-22, and is the instrument usually employed to celebrate the praises of God; Psalm 33:1-2; Psalm 43:4; Psalm 49:5; Psalm 71:22-23. But the harp was not only used on sacred occasions. Isaiah also mentions it as carried about by courtezans Isaiah 23:16, and also refers to it as used on occasions of gathering in the vintage, and of increasing the joy of the festival occasion.
So also it was used in military triumphs. Under the reign of Jehoshaphat, after a victory which had been gained over the Moabites, they returned in triumph to Jerusalem, accompanied with playing on the כנור kinnôr;" 2-Chronicles 20:27-28. The harp was generally used on occasions of joy. Only in one place, in Isaiah Isaiah 16:11, is it referred to as having been employed in times of mourning. There is no ancient figure of the כנור kinnôr that can be relied on as genuine. We can only say that it was an instrument made of sounding wood, and furnished with strings. Josephus says that it was furnished with ten strings, and was played with the plectrum ("Ant." B. viii. ch. x.) Suidas, in his explanation of it, makes express mention of strings or sinews (p. 318); and Pollux speaks of goats' claws as being used for the plectrum. David made it out of the ברושׁ berôsh, or fir, and Solomon out of the almug. Pfeiffer supposes, that the strings were drawn over the belly of a hollow piece of wood, and that it had some resemblance to our violin. But it is more probable that the common representation of the harp as nearly in the form of a triangle, with one side or the front part missing, is the correct one. For a full discussion of the subject, see Pfeiffer on the Music of the ancient Hebrews, "Bib. Repos." vol. vi. pp. 366-373. Montfaucon has furnished a drawing of what was supposed to be the ancient כנור kinnôr, which is represented in the book. But, after all, the usual form is not quite certain.
Bruce found a sculpture of a harp resembling that usually put into the hands of David, or nearly in the form of a triangle, and under circumstances which led him to suppose that it was as old as the times of Sesostris.
And the viol - נבל nebel. From this word is derived the Greek word νάβλα nabla, and the Latin nablium and nabla. But it is not very easy to form a correct idea of this instrument. The derivation would lead us to suppose that it was something in the shape of a "bottle," and it is probable that it had a form in the shape of a leather bottle, such as is used in the East, or at least a vessel in which wine was preserved; 1-Samuel 10:3; 1-Samuel 25:18; 2-Samuel 16:1. It was at first made of the ברושׁ berôsh or fir; afterward it was made of the almug tree, and occasionally it seems to have been made of metal; 2-Samuel 6:5; 1-Chronicles 13:8. The external parts of the instrument were of wood, over which strings were drawn in various ways. Josephus says it had twelve strings ("Ant." B. viii. ch. x.) He says also that it was played with the fingers. - "Ibid." Hesychius and Pollux reckon it among stringed instruments. The resonance had its origin in the vessel or the bottom part of the instrument, upon which the strings were drawn. According to Ovid, this instrument was played on with both hands:
Quaravis mutus erat, voci favisse putatur
Piscis, Aroniae fabula nora lyrae.
Disce etiam duplice genialia palma
Verrere.
De Arte Amandi, lib. iii. 327.
According to Jerome, Isodorus, and Cassiodorus, it had the form of an inverted Greek Delta δ d. Pfeiffer supposes that this instrument was probably the same as is found represented on ancient monument. The belly of the instrument is a wooden bowl, having a small hole in the under part, and is covered over with a stretched skin, which is higher in the middle than at the sides. Two posts, which are fastened together at the top by a cross piece, pass obliquely through this skin. Five strings pass over this skin, having a bridge for their support on the cross piece. The instrument has no pins or screws, but every string is fastened by means of some linen wound with it around this cross piece. The description of this instrument is furnished by Niebuhr ("Thess." i. p. 179). It is played on in two ways, either by being struck with the finger, or by a piece of leather, or perhaps a quill hung at its side and drawn across the strings. It cannot with certainty be determined when this instrument was invented, or when it came into use among the Hebrews. It is first mentioned in the time of Saul 1-Samuel 10:5, and from this time onward it is frequently mentioned in the Old Testament. It was used particularly in the public worship of God; 2-Samuel 6:5; 1-Kings 10:12; 2-Chronicles 20:28; 2-Chronicles 29:25; 1-Chronicles 15:16; 1-Chronicles 16:5. It was usually accompanied with other instruments, and was also used in festivals and entertainments; see "Bib. Repos." vol. vi. pp. 357-365. The usual form of representing it is shown in the preceding cut, and is the form in which the lyre appears on ancient monuments, in connection with the statues of Apollo.
The drawing in the book is a representation of a lyre from a Jewish shekel of the time of Simon Maccabeus, and may have been, not improbably, a form in frequent use among the Jews.
Niebuhr has furnished us with an instrument from the East, which is supposed to bare a very near resemblance to that which is referred to by Isaiah. This instrument is represented by the picture in the book.
The tabret - תף tôph. This was one of the instruments which were struck with the hands. It was the kettle-drum of the ancients, and it is more easy to determine its form and use than it is of most of the instruments used by the Hebrews. The Septuagint and other Greek translators render it by τύμπανον tumpanon. This word, as well as the Latin tympanum, is manifestly derived from the Hebrew. The Arabic word "duf" applied to the same instrument is also derived from the same Hebrew word. It was an instrument of wood, hollowed out, and covered over with leather and struck with the hands - a species of drum, This form of the drum is used by the Spaniards, and they have preserved it ever since the time of the Moors. It was early used. Laban wished to accompany Jacob with its sound; Genesis 31:27. Miriam, the sister of Moses, and the females with her, accompanied the song of victory with this instrument; Exodus 15:20.
Job was acquainted with it Job 17:6; Job 21:12, and David employed it in the festivities of religion; 2-Samuel 6:5. The occasions on which it is mentioned as being used are joyful occasions, and for the most part those who play on it are females, and on this account they are called 'drum-beating women' Psalm 68:26 - in our translation, 'damsels playing with timbrels,' In our translation it is rendered "tabret," Isaiah 5:12; 1-Samuel 10:5; Genesis 31:26; Isaiah 24:8; Isaiah 30:32; 1-Samuel 18:6; Ezekiel 38:13; Jeremiah 31:4; Job 17:6; "tabering," Nahum 2:7; and "timbrel," Psalm 81:2; Exodus 15:20; Job 21:12; Psalm 149:3; Psalm 150:4; Judges 11:34; Psalm 68:25. It is no where mentioned as employed in war or warlike transactions. It was sometimes made by merely stretching leather over a wooden hoop, and thus answered to the instrument known among us as the tambourine. It was in the form of a sieve, and is often found on ancient monuments, and particularly in the hands of Cybele. In the East, there is now no instrument more common than this.
Niebuhr (Thes i. p. 181) has given the following description of it: 'It is a broad hoop covered on one side with a stretched skin. In the rim there are usually thin round pullies or wheels of metal which make some noise, when this drum, held on high with one hand, is struck with the fingers of the other hand. No musical instrument perhaps is so much employed in Turkey as this. When the females in their harems dance or sing, the time is always beat on this instrument. It is called doff.' See "Bib. Repos." vol. vi. pp. 398-402. it is commonly supposed that from the word "toph, Tophet" is derived - a name given to the valley of Jehoshaphat near Jerusalem, because this instrument was used there to drown the cries of children when sacrificed to Moloch.
And pipe. - חליל châlı̂yl. This word is derived either from חלל châlal, "to bore through," and thence conveys the idea of a flute bored through, and furnished with holes ("Gesenius"); or from חלל châlal, "to leap" or "to dance;" and thence it conveys the idea of an instrument that was played on at the dance. - "Pfeiffer."
The Greek translators have always rendered it by αὐλός aulos. There are, in all, but four places where it occurs in the Old Testament; 1-Kings 1:40; Isaiah 5:12; Isaiah 30:29; Jeremiah 48:36; and it is uniformly rendered "pipe or pipes," by our translators. The origin of the pipe is unknown. It was possessed by most ancient nations, though it differed much in form. It was made sometimes of wood, at others of reed, at others of the bones of animals, horns, etc. The "box-wood" has been the common material out of which it was made. It was sometimes used for plaintive music (compare Matthew 9:23); but it was also employed in connection with other instruments, while journeying up to Jerusalem to attend the great feasts there; see the note at Isaiah 30:29. Though employed on plaintive occasions, yet it was also employed in times of joy and pleasure. Hence, in the times of Judas Maccabeus, the Jews complained 'that all joy had vanished from Jacob, and, that the flute and cithera were silent;' 1 Macc. 3:45; see "Bib. Repos." vol. vi. pp. 387-392. The graceful figures (shown in the book) will show the manner of playing the flute or pipe among the Greeks. It was also a common art to play the double flute or pipe, in the East, in the manner represented in the book. In the use of these instruments, in itself there could be no impropriety. That which the prophet rebuked was, that they employed them not for praise, or even for innocent amusement, but that they introduced them to their feasts of revelry, and thus made them the occasion of forgetting God. Forgetfulness of God, in connection with music and dancing, is beautifully described by Job:
They send forth their little ones like a flock,
And their children dance;
They take the timbrel and harp,
And rejoice at the sound of the organ;
They spend their days in mirth,
And in a moment go down to the grave.
And they say unto God -
'Depart from us;
For we know not the knowledge of thy ways.
What is the Almighty, that we should serve him?
And what profit should we have if we pray unto him?'
Job 21:11-15.
In their feasts - 'The Nabathaeans of Arabia Petrea always introduced music at their entertainments (Strabo, xvi.), and the custom seems to have been very general among the ancients. They are mentioned as having been essential among the Greeks, from the earliest times; and are pronounced by Homer to be requisite at a feast:
Μολπή τ ̓ ὀρχηστύ; τε τά γάρ τ ̓ ἀναθήματα δαιτός.
Molpē t' orchēstu; te ta gar t' anathēmata daitos.
Odyssey i. 152.
Aristoxenus, quoted by Plutarch, "De Musica," says, that 'the music was designed to counteract the effects of inebriety, for as wine discomposes the body and the mind, so music has the power of soothing them, and of restoring their previous calmness and tranquility.' "See Wilkinsoh's Manners and Customs of the Ancient Egyptians," vol. ii. pp. 248, 249.
But they regard not - The reproof is especially, that they forget him in their entertainments. They employ music to inflame their passions; and amid their songs and wine, their hearts are drawn away from God. That this is the tendency of such feasts, all must know. God is commonly forgotten in such places; and even the sweetest music is made the occasion for stealing the affections from him, and of inflaming the passions, instead of being employed to soften the feelings of the soul, and raise the heart to God.
The operation of his hands - The work of his hands - particularly his dealings among the people. God is round about them with mercy and judgment, but they do not perceive him.

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the (r) work of the LORD, neither consider the operation of his hands.
(r) They do not regard the provident care of God over them, nor for what end he has created them.

And the harp, and the viol, the tabret, and pipe,.... Instruments of music; some struck with a bow or quill, or touched with the fingers; and others blown with the mouth:
and wine are in their feasts; so that they lived jovially and merrily, like sons of Bacchus, more than like the people of God:
but they regard not the work of the Lord, neither consider the operation of his hands; meaning not the law, as the Targum and Kimchi, which was the work of the Lord, and the writing of his hands; rather, as Aben Ezra, the punishment inflicted on the ten tribes being carried into captivity; or else the works of creation and providence, and the daily mercies of life; or, best of all, the great work of redemption by Christ, and the conversion of sinners, both among Jews and Gentiles, by the preaching of his Gospel; for this refers to the Jews in the times of Christ and his apostles, which immediately preceded their utter destruction; and those sins here mentioned were the cause of it. See Psalm 28:5.

Music was common at ancient feasts (Isaiah 24:8-9; Amos 6:5-6).
viol--an instrument with twelve strings [JOSEPHUS, Antiquities, 8.10].
tabret--Hebrew, toph, from the use of which in drowning the cries of children sacrificed to Moloch, Tophet received its name. Arabic, duf. A kettle drum, or tambourine.
pipe--flute or flageolet: from a Hebrew root "to bore through"; or else, "to dance" (compare Job 21:11-15).
regard not . . . Lord--a frequent effect of feasting (Job 1:5; Psalm 28:5).
work . . . operation--in punishing the guilty (Isaiah 5:19; Isaiah 10:12).

Isaiah 5:12 describes how they go on in their blindness with music and carousing: "And guitar and harp, kettle-drum, and flute, and wine, is their feast; but they regard not the work of Jehovah, and see not the purpose of His hands." "Their feast" is so and so (משׁתּיהם is only a plural in appearance; it is really a singular, as in Daniel 1:10, Daniel 1:16, and many other passages, with the Yod of the primary form, משׁתּי = משׁתּה, softened: see the remarks on עלה at Isaiah 1:30, and עשׂיה at Isaiah 22:11); that is to say, their feast consisted or was composed of exciting music and wine. Knobel construes it, "and there are guitar, etc., and wine is their drink;" but a divided sentence of this kind is very tame; and the other expression, based upon the general principle, "The whole is its parts," is thoroughly Semitic (see Fleischer's Abhandlungen ber einige Arten der Nominalapposition in den Sitzungsberichten der schs. Gesellschaft der Wissenschaft, 1862). Cinnor (guitar) is a general name for such instruments as have their strings drawn (upon a bridge) over a sounding board; and nebel (the harp and lyre) a general name for instruments with their strings hung freely, so as to be played with both hands at the same time. Toph (Arab. duff) is a general name for the tambourin, the drum, and the kettle-drum; Chaill (lit. that which is bored through) a general name for the flute and double flute. In this tumult and riot they had no thought or eye for the work of Jehovah and the purpose of His hands. This is the phrase used to express the idea of eternal counsel of God (Isaiah 37:26), which leads to salvation by the circuitous paths of judgment (Isaiah 10:12; Isaiah 28:21; Isaiah 29:23), so far as that counsel is embodied in history, as moulded by the invisible interposition of God. In their joy and glory they had no sense for what was the most glorious of all, viz., the moving and working of God in history; so that they could not even discern the judgment which was in course of preparation at that very time.

The harp - They give up themselves wholly to luxury. The work - What God hath lately done, and is yet doing, and about to do among them; his grievous judgments, partly inflicted, and partly threatened, which required another course of life.