The Hebrew Word hmmd and the Root d-m-m I 375 the root from which it derives indicates lack of sound, while the word itself (in some passages, at least) denotes a slight sound. As a solution to this asymmetry, philologists and others have proposed various etymologies. G.V. Schick connected it to a root d-m-m “to mutter, whisper”; G.R. Driver defined it as “the muttering or rumbling of a rising or falling storm . . . and the whisper of a ghostly voice” and connected it with d-m-m “to moan, speak in whispers”; though J. Lust believes it actually means “roaring”; Dale Allison, writing specifically about the occurrences of the word in the Songs of the Sabbath Sacrifice (4Q400-407, Mas1k, 11Q17), claims it should mean “absolute silence”; M. Masson, writing especially in relation to 1 Kgs 19,12 and the theophany at Horeb, also believes it means silence; while I. Knohl believes it is rather “a very quiet voice” (2). Even more recent dictionaries do not agree with each other: KB3 translates “motionless, calm (cessation of any strong movement of air)” and derive it from d-m- m “to be motionless, stand still”, while DCH translate “whisper, sighing, (low) rumbling, perh[aps] silence, calm of sea”. More than anyone in the recent past, B.A. Levine has presented a careful examination of the related roots; he proposes defining hmmd as “sighing” and deriving it from a root he identifies as d-m-m II (“to mourn, moan”) (3). 1872) s.v. His translation does not note, however, the alternative suggestion for 20 Job 4,16 “nisi malevi: silentium erat et vocem audivi” (GESENIUS, Thesaurus, s.v.). (2) G.V. SCHICK, “The Stems dûm and damám in Hebrew”, JBL 32 (1913) 239; G.R. DRIVER, “A Confused Hebrew Root (μwd, hmd, μmd)”, [Sefer Tur-Sinai: ma’amarim be-heker ha-Tanakh]: mugash li-khevod ha-Prof. N.H.Tur-Sinai li- melot lo shivi‘im shanah (eds. M. HARAN – T. LURYA) (Jerusalem 1960) 4*; J. LUST, “A Gentle Breeze or a Roaring Thunderous Sound? Elijah at Horeb: 1Kings XIX 12”, VT 25 (1975) 110-115; D.C. ALLISON, “Silence of the Angels: Reflections on the Songs of the Sabbath Sacrifice”, RevQ 13/49-52 (1988) 193- 195; M. MASSON, “L’expérience mystique du prophète Eli: ‘Qol demama daqqa’”, RHR 208 (1991) 243 and idem, Élie ou l’appel du silence (Paris 1992) 20; I. KNOHL, “Between Voice and Silence: The relationship between Prayer and Temple cult”, JBL 115 (1996) 24. More citations might be added; for instance, A. Lieber’s interpretation seems to presume that hmmd means complete silence, A. LIEBER, “Voice and Vision: Song as a Vehicle for Ecstatic Experience, Songs of the Sabbath Sacrifice”, Of Scribes and Sages. Early Jewish Interpretation of Scripture (ed. C.A. EVANS) (London – New York 2004) II, 51-58. And, P. TORRESAN, “Dumah, Demamah e Dumiyyah: Il silenzio e l’esperienza del sacro nella bibbia ebraica”, BeO 47 (2004) 85-101, explores the various nuances of silence in the Bible and the words, like hmmd, that are used to denote it, though he does not attempt a philological analysis of the words and their cognates. (3) B.A. LEVINE, “Silence, Sound, and the Phenomenology of Mourning in Biblical Israel”, JANES 22 (1993) 101-103.