Abstract
In this article, a supplementary yet original contribution is made to the ongoing attempts at refining ways of comparative-philosophical conceptual clarification of Qohelet’s claim that הבל הכל in 1:2 (and 12:8). Adopting and adapting the latest analytic metaphysical concerns and categories for descriptive purposes only, a distinction is made between הבל as property of הכל and the properties of הבל in relation to הכל. Involving both correlation and contrast, the second-order language framework is hereby extended to a level of advanced nuance and specificity for restating the meaning of the book’s first-order language on its own terms, even if not in them. Contribution: By considering logical, ontological, mereological and typological aspects of property theory in dialogue with appearances of הכל and of הבל in Ecclesiastes 1:2 and 12:8 and in-between, a new way is presented in the quest to explain why things in the world of the text are the way they are, or why they are at all.
Highlights
The major concern here is how Qohelet related הבלto הכל, a problem was succinctly formulated by Lohfink (1989:201–216) in a highly influential related publication entitled: Koh 1, 2 ‘alles ist Windhauch’ – universale oder anthropologische Aussage?: Koh l,2, der erste Satz des Buches, Motto und Rahmenvers zugleich, ist subtil gebaut
Once הבלis seen as () a propertyהכלand as such distinguished from the properties of ( הבלin relation to )הכל, in comparative-philosophical terms it follows that in the world of the text certain objects can be said to instantiate or exemplify הבלas a property of הכל
In this study it was argued that the concepts of הבלand הכל can be fruitfully clarified through correlation and contrast thereof in comparative-metaphysical terms with reference to the second-order term property already in different ways implicit and explicit in the associated research
Summary
One of the fundamental associated comparative-philosophical foci in research on הבלin Qohelet is its appearance as הכל הבלto form and inclusion to the book as a whole (1:2 and 12:8) with the traditional archaic English rendering as most readers have come to know it:.ב ֲה ֵבל ֲה ָב ִלים ָא ַמר ק ֹ ֶה ֶלת ֲה ֵבל ֲה ָב ִלים ַהּכ ֹל ָה ֶבל .ח ֲה ֵבל ֲה ָב ִלים ָא ַמר ַהּקֹו ֶה ֶלת ַהּכ ֹל ָה ֶבלMost of the research concerned with these verses is primarily focussed on the word הבלas first-order term of art and second-order essentially contested concept (Fox 2019:559–563; Sneed 2017:879–894; Weeks 2020:248–260; cf. Mokoena 2019 and classically Fox 1986:409–427).
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