(Aramaic) from a root corresponding to שָׁרַק; a (musical) pipe (from its whistling sound); flute.
Transliteration:mashrôwqîy
Pronunciation:mash-ro-kee'
Detailed Word Study
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### Core Meaning & Semantic Range
The Aramaic term *mashrôwqîy* (`{{H4953}}`) denotes a musical instrument, specifically a "pipe" or "flute." Its etymology points to a root corresponding to the Hebrew שָׁרָק (sharaq, `{{H8319}}`), which means "to hiss," "to whistle," or "to pipe." This etymological connection directly informs the instrument's name, as it is derived from the distinct whistling sound it produces. The semantic range of *mashrôwqîy* is quite narrow, referring exclusively to this type of wind instrument within its biblical context.
### Biblical Occurrences & Contextual Analysis
The word *mashrôwqîy* appears exclusively in the book of Daniel, specifically in chapter 3, where it is mentioned four times. Each occurrence is within the same literary context:
* [[Daniel 3:5]]: "that at the time you hear the sound of the horn, pipe, lyre, trigon, harp, bagpipe, and all kinds of music, you are to fall down and worship the golden image that King Nebuchadnezzar has set up."
* [[Daniel 3:7]]: "Therefore, as soon as all the peoples heard the sound of the horn, pipe, lyre, trigon, harp, bagpipe, and all kinds of music, all the peoples, nations, and languages fell down and worshiped the golden image that King Nebuchadnezzar had set up."
* [[Daniel 3:10]]: "You, O king, have made a decree, that every man who hears the sound of the horn, pipe, lyre, trigon, harp, bagpipe, and all kinds of music, shall fall down and worship the golden image;"
* [[Daniel 3:15]]: "Now if you are ready, when you hear the sound of the horn, pipe, lyre, trigon, harp, bagpipe, and all kinds of music, to fall down and worship the image that I have made, well and good. But if you do not worship, you shall immediately be cast into a burning fiery furnace. And who is the god who will deliver you out of my hands?"
In these verses, the *mashrôwqîy* is consistently listed as one among several instruments (including the horn, lyre, trigon, harp, and bagpipe) that comprise the royal Babylonian orchestra. This ensemble was commanded to play whenever the people were required to prostrate themselves and worship the golden image erected by King Nebuchadnezzar. The presence of the *mashrôwqîy* underscores the grandeur, but also the coercive nature, of the king's decree. The music served as an auditory signal for mandatory idolatrous worship, highlighting the oppressive religious demands placed upon the subjects of the empire.
### Related Words & Concepts
The primary linguistic connection for *mashrôwqîy* is to the Hebrew root שָׁרָק (sharaq, `{{H8319}}`). This root is found in various biblical contexts, often conveying the idea of whistling, hissing, or piping, sometimes associated with dismay, desolation, or signaling (e.g., [[1 Kings 9:8]], [[Jeremiah 19:8]], [[Isaiah 5:26]]). This reinforces the sonic character of the *mashrôwqîy* as an instrument that produces a whistling sound.
Beyond its linguistic root, *mashrôwqîy* is contextually related to the other musical instruments listed alongside it in Daniel 3:
* qeren (horn, `{{H7161}}`)
* qîṯārôs (lyre/zither, `{{H7030}}`)
* sabbəḵāʾ (trigon/harp, `{{H5443}}`)
* psanṭērîn (harp/psaltery, `{{H6460}}`)
* sûmpōnyāh (bagpipe/symphony, `{{H5481}}`)
These instruments collectively represent the diverse soundscape of the Babylonian court. While musical instruments are often used in legitimate worship of Yahweh in other parts of Scripture (e.g., trumpets, harps, and lyres in the Psalms), the specific use of the *mashrôwqîy* and its companions in Daniel 3 is for a pagan, idolatrous purpose. This highlights that the moral or theological valence of an instrument is determined by its application and the object of worship it serves.
### Theological Significance
The theological significance of *mashrôwqîy* is derived almost entirely from its singular context within the narrative of Nebuchadnezzar's golden image. It is not found in any context associated with the worship of Yahweh, placing it firmly within the sphere of pagan cultic practice.
1. **Symbol of Coercion and Idolatry:** The *mashrôwqîy*, as part of the royal orchestra, serves as an instrument of coercion. Its sound, along with the other instruments, is the trigger for enforced worship of a false god. This underscores the oppressive nature of the Babylonian empire, which sought to dictate the religious allegiance of its subjects. The music, rather than being an expression of genuine devotion, becomes a tool for political and religious control.
2. **Contrast with True Worship:** The narrative of Daniel 3 implicitly contrasts this forced, idolatrous worship with the steadfast faithfulness of Shadrach, Meshach, and Abednego. Their refusal to bow down, despite the threat of the fiery furnace, demonstrates the supremacy of true worship of Yahweh over the demands of an earthly king and his idols. The sound of the *mashrôwqîy* thus becomes a symbol of the call to rebellion against the one true God, a call which the faithful resist.
3. **Neutrality of the Instrument, Morality of its Use:** While the instrument itself is an inanimate object, its use in this context is deeply problematic. It exemplifies how even seemingly benign elements can be co-opted into systems of idolatry and oppression. The theological focus is not on the inherent nature of the flute, but on the purpose to which it is dedicated.
### Summary
The Aramaic term *mashrôwqîy* (`{{H4953}}`) refers to a musical pipe or flute, deriving its name from the whistling sound it produces, a characteristic shared with its Hebrew root שָׁרָק (`{{H8319}}`). Its sole occurrences in the biblical text are found in Daniel chapter 3, where it is consistently listed among the instruments of King Nebuchadnezzar's royal orchestra. In this context, the *mashrôwqîy* serves as a crucial component of the musical ensemble that signals and enforces the worship of the golden image. Theologically, its presence highlights the coercive nature of pagan worship and the Babylonian empire's attempt to impose idolatry. It stands in stark contrast to the reverent and voluntary worship of Yahweh, underscoring the profound conflict between human decree and divine command. The *mashrôwqîy*, though a simple instrument, thus becomes a potent symbol within a narrative of faithfulness amidst imperial idolatry.
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