(Aramaic) or שַׂבְּכָא; (Aramaic), from a root corresponding to סָבַךְ; a lyre; sackbut.
Transliteration:çabbᵉkâʼ
Pronunciation:sab-bek-aw'
Detailed Word Study
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### Core Meaning & Semantic Range
The Aramaic term `{{H5443}}` (çabbᵉkâʼ or śabbᵉkâʼ) refers to a musical instrument, typically translated as "sackbut" or "lyre." Its etymological root corresponds to the Hebrew `{{H5440}}` (סָבַךְ, *savak*), which conveys the meaning "to intertwine," "to interweave," or "to entangle." This etymological connection strongly suggests that the çabbᵉkâʼ was a stringed instrument, likely a type of lyre or harp, characterized by its interwoven or numerous strings. While "sackbut" in modern English refers to an early form of the trombone, its use in older biblical translations for `{{H5443}}` is generally understood to be an archaic or less precise rendering for a stringed instrument, reflecting the instrument's construction rather than its modern brass counterpart. The "lyre" translation aligns more closely with the inferred construction from its root.
### Biblical Occurrences & Contextual Analysis
The word `{{H5443}}` appears exclusively in the book of Daniel, specifically within chapter 3. It is mentioned four times: [[Daniel 3:5]], [[Daniel 3:7]], [[Daniel 3:10]], and [[Daniel 3:15]]. In each instance, the çabbᵉkâʼ is listed as one of the instruments in King Nebuchadnezzar's royal orchestra. This ensemble was commanded to play a specific fanfare, signaling the moment when all peoples, nations, and languages were to fall down and worship the golden image that the king had set up.
The repeated inclusion of the çabbᵉkâʼ alongside other instruments such as the horn (`{{H7161}}`), pipe (`{{H4953}}`), lyre/kithara (`{{H7030}}`), psaltery/harp (`{{H6462}}`), and bagpipe/symphony (`{{H5481}}`) underscores its integral role in the imperial musical display. This music was not merely for entertainment but served a coercive, ritualistic purpose, designed to enforce religious conformity and demonstrate the king's absolute authority. The sound of the çabbᵉkâʼ was part of a grand, overwhelming auditory experience intended to compel immediate and universal worship of the idol.
### Related Words & Concepts
The most significant linguistic relation for `{{H5443}}` is its corresponding Hebrew root `{{H5440}}` (סָבַךְ, *savak*), meaning "to intertwine" or "to interweave." This connection provides insight into the probable construction of the çabbᵉkâʼ as a stringed instrument with multiple, possibly interwoven, strings.
Within the context of Daniel 3, `{{H5443}}` is part of a broader lexical field of ancient musical instruments. Other instruments mentioned alongside it include:
* `{{H7161}}` (qeren): horn
* `{{H4953}}` (mashroqitha'): pipe or flute
* `{{H7030}}` (qaytharos): a stringed instrument, often translated as lyre or kithara, indicating a possible functional overlap or similarity with çabbᵉkâʼ.
* `{{H6462}}` (psantērîn): a stringed instrument, psaltery or harp.
* `{{H5481}}` (sûmpōnyāh): a wind instrument, possibly a bagpipe, or a general term for an ensemble.
In Hebrew scripture, common terms for stringed instruments include `{{H5035}}` (nebel, a type of harp or lyre) and `{{H3658}}` (kinnor, a lyre), which broadly cover the category to which the çabbᵉkâʼ likely belongs. The concept of music's role in religious ritual, whether true worship or idolatry, is a pervasive theme throughout the Bible.
### Theological Significance
The çabbᵉkâʼ, as a specific musical instrument, holds no inherent theological significance in and of itself. Its profound theological import derives entirely from its contextual use within the narrative of Daniel 3. In this chapter, the instrument is not merely a tool for musical expression but a component of a system designed to enforce idolatry and challenge the exclusive worship of the one true God.
The sound of the çabbᵉkâʼ, along with the other instruments, served as a divine test for the faithful. It represented the seductive power of worldly authority and the pressure to conform to ungodly decrees. The refusal of Shadrach, Meshach, and Abednego to bow down at the sound of the çabbᵉkâʼ and the other instruments highlights their unwavering commitment to Yahweh, even in the face of death. Their defiance underscores the critical distinction between coerced, idolatrous worship and the voluntary, exclusive devotion due to God alone. Thus, the çabbᵉkâʼ becomes a symbolic element in a narrative that powerfully affirms divine sovereignty, the faithfulness of God's servants, and the ultimate futility of human attempts to usurp God's rightful place.
### Summary
The Aramaic word `{{H5443}}` (çabbᵉkâʼ) designates a stringed musical instrument, likely a type of lyre or harp, whose name is rooted in the concept of "intertwining" or "interweaving," suggesting its construction. Its occurrences are limited to Daniel 3, where it is consistently listed among the instruments of Nebuchadnezzar's royal orchestra. In this context, the sound of the çabbᵉkâʼ served as a signal for all to worship the golden image, a command that Shadrach, Meshach, and Abednego famously defied. While the instrument itself is neutral, its theological significance is profound, serving as a powerful symbol within the narrative of forced idolatry versus faithful allegiance to God, underscoring the supreme importance of exclusive worship of Yahweh and the triumph of divine faithfulness over human tyranny.
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