19:10 The Lord said to Moses, “Go to the people and sanctify them 7 today and tomorrow, and make them wash 8 their clothes
23:27 “I will send my terror 9 before you, and I will destroy 10 all the people whom you encounter; I will make all your enemies turn their backs 11 to you.
25:37 “You are to make its seven lamps, 23 and then set 24 its lamps up on it, so that it will give light 25 to the area in front of it.
26:14 “You are to make a covering 28 for the tent out of ram skins dyed red and over that a covering of fine leather. 29
26:36 “You are to make a hanging 32 for the entrance of the tent of blue, purple, and scarlet yarn and fine twined linen, the work of an embroiderer. 33
28:6 “They are to make the ephod of gold, blue, purple, scarlet, and fine twisted linen, the work of an artistic designer.
28:36 “You are to make a plate 40 of pure gold and engrave on it the way a seal is engraved: 41 “Holiness to the Lord.” 42
1 tn Heb “[they] are saying to us,” the line can be rendered as a passive since there is no expressed subject for the participle.
2 tn הִנֵּה (hinneh) draws attention to the action reflected in the passive participle מֻכִּים (mukkim): “look, your servants are being beaten.”
3 tn The word rendered “fault” is the basic OT verb for “sin” – וְחָטָאת (vÿkhata’t). The problem is that it is pointed as a perfect tense, feminine singular verb. Some other form of the verb would be expected, or a noun. But the basic word-group means “to err, sin, miss the mark, way, goal.” The word in this context seems to indicate that the people of Pharaoh – the slave masters – have failed to provide the straw. Hence: “fault” or “they failed.” But, as indicated, the line has difficult grammar, for it would literally translate: “and you [fem.] sin your people.” Many commentators (so GKC 206 §74.g) wish to emend the text to read with the Greek and the Syriac, thus: “you sin against your own people” (meaning the Israelites are his loyal subjects).
4 tn The perfect tense with the vav (ו) continues the sequence of instruction for Moses. He alone was to be the mediator, to guide them in the religious and moral instruction.
5 tn The verb and its following prepositional phrase form a relative clause, modifying “the way.” The imperfect tense should be given the nuance of obligatory imperfect – it is the way they must walk.
6 tn This last part is parallel to the preceding: “work” is also a direct object of the verb “make known,” and the relative clause that qualifies it also uses an obligatory imperfect.
7 tn This verb is a Piel perfect with vav (ו) consecutive; it continues the force of the imperative preceding it. This sanctification would be accomplished by abstaining from things that would make them defiled or unclean, and then by ritual washings and ablutions.
8 tn The form is a perfect 3cpl with a vav (ו) consecutive. It is instructional as well, but now in the third person it is like a jussive, “let them wash, make them wash.”
9 tn The word for “terror” is אֵימָתִי (’emati); the word has the thought of “panic” or “dread.” God would make the nations panic as they heard of the exploits and knew the Israelites were drawing near. U. Cassuto thinks the reference to “hornets” in v. 28 may be a reference to this fear, an unreasoning dread, rather than to another insect invasion (Exodus, 308). Others suggest it is symbolic of an invading army or a country like Egypt or literal insects (see E. Neufeld, “Insects as Warfare Agents in the Ancient Near East,” Or 49 [1980]: 30-57).
10 tn Heb “kill.”
11 tn The text has “and I will give all your enemies to you [as] a back.” The verb of making takes two accusatives, the second being the adverbial accusative of product (see GKC 371-72 §117.ii, n. 1).
12 tn The idea of the “snare” is to lure them to judgment; God is apparently warning about contact with the Canaanites, either in worship or in business. They were very syncretistic, and so it would be dangerous to settle among them.
13 tn The pronoun is singular.
14 sn The expression “the pattern of the tabernacle” (תַּבְנִית הַמִּשְׁכָּן, tavnit hammiskan) has been the source of much inquiry. The word rendered “pattern” is related to the verb “to build”; it suggests a model. S. R. Driver notes that in ancient literature there is the account of Gudea receiving in a dream a complete model of a temple he was to erect (Exodus, 267). In this passage Moses is being shown something on the mountain that should be the pattern of the earthly sanctuary. The most plausible explanation of what he was shown comes from a correlation with comments in the Letter to the Hebrews and the book of Revelation, which describe the heavenly sanctuary as the true sanctuary, and the earthly as the copy or shadow. One could say that Moses was allowed to see what John saw on the island of Patmos, a vision of the heavenly sanctuary. That still might not explain what it was, but it would mean he saw a revelation of the true tent, and that would imply that he learned of the spiritual and eternal significance of all of it. The fact that Israel’s sanctuary resembled those of other cultures does not nullify this act of revelation; rather, it raises the question of where the other nations got their ideas if it was not made known early in human history. One can conclude that in the beginning there was much more revealed to the parents in the garden than Scripture tells about (Cain and Abel did know how to make sacrifices before Leviticus legislated it). Likewise, one cannot but guess at the influence of the fallen Satan and his angels in the world of pagan religion. Whatever the source, at Sinai God shows the true, and instructs that it all be done without the pagan corruptions and additions. U. Cassuto notes that the existence of these ancient parallels shows that the section on the tabernacle need not be dated in the second temple period, but fits the earlier period well (Exodus, 324).
15 tn The pronoun is plural.
16 sn Among the many helpful studies on the tabernacle, include S. M. Fish, “And They Shall Build Me a Sanctuary,” Gratz College of Jewish Studies 2 (1973): 43-59; I. Hart, “Preaching on the Account of the Tabernacle,” EvQ 54 (1982): 111-16; D. Skinner, “Some Major Themes of Exodus,” Mid-America Theological Journal 1 (1977): 31-42; S. McEvenue, “The Style of Building Instructions,” Sem 4 (1974): 1-9; M. Ben-Uri, “The Mosaic Building Code,” Creation Research Society Quarterly 19 (1982): 36-39.
17 tn The verbs throughout here are perfect tenses with the vav (ו) consecutives. They are equal to the imperfect tense of instruction and/or injunction.
18 tn Here the verb is an imperfect tense; for the perfect sequence to work the verb would have to be at the front of the clause.
19 tn The word זֵר (zer) is used only in Exodus and seems to describe something on the order of a crown molding, an ornamental border running at the top of the chest on all four sides. There is no indication of its appearance or function.
20 tn Heb “give.”
21 tn Heb “which [are] to four of its feet.”
22 tn The verb is a Niphal perfect with vav consecutive, showing here the intended result: “so that [the table] might be lifted up [by them].” The noun “the table” is introduced by what looks like the sign of the accusative, but here it serves to introduce or emphasize the nominative (see GKC 365 §117.i).
23 tn The word for “lamps” is from the same root as the lampstand, of course. The word is נֵרוֹת (nerot). This probably refers to the small saucer-like pottery lamps that are made very simply with the rim pinched over to form a place to lay the wick. The bowl is then filled with olive oil as fuel.
24 tn The translation “set up on” is from the Hebrew verb “bring up.” The construction is impersonal, “and he will bring up,” meaning “one will bring up.” It may mean that people were to fix the lamps on to the shaft and the branches, rather than cause the light to go up (see S. R. Driver, Exodus, 277).
25 tn This is a Hiphil perfect with vav consecutive, from אוֹר (’or, “light”), and in the causative, “to light, give light.”
26 tn Heb “one”; KJV “it shall be one tabernacle”; NRSV “that the tabernacle may be one whole”; NLT “a single unit.”
27 tn Heb “one”
28 sn Two outer coverings made of stronger materials will be put over the tent and the curtain, the two inner layers.
29 tn See the note on this phrase in Exod 25:5.
30 sn Heb “hands,” the reference is probably to projections that served as stays or supports. They may have been tenons, or pegs, projecting from the bottom of the frames to hold the frames in their sockets (S. R. Driver, Exodus, 286).
31 tn Or “being joined each to the other.”
32 sn This was another curtain, serving as a screen in the entrance way. Since it was far away from the special curtain screening the Most Holy Place, it was less elaborate. It was not the work of the master designer, but of the “embroiderer,” and it did not have the cherubim on it.
33 tn The word רֹקֵם (roqem) refers to someone who made cloth with colors. It is not certain, however, whether the colors were woven into the fabric on the loom or applied with a needle; so “embroiderer” should be understood as an approximation (cf. HALOT 1290-91 s.v. רקם).
34 sn The horns of the altar were indispensable – they were the most sacred part. Blood was put on them; fugitives could cling to them, and the priests would grab the horns of the little altar when making intercessory prayer. They signified power, as horns on an animal did in the wild (and so the word was used for kings as well). The horns may also represent the sacrificial animals killed on the altar.
35 sn The text, as before, uses the prepositional phrase “from it” or “part of it” to say that the horns will be part of the altar – of the same piece as the altar. They were not to be made separately and then attached, but made at the end of the boards used to build the altar (U. Cassuto, Exodus, 363).
36 tn Heb “give, put.”
37 tn Here “upper” has been supplied.
38 sn This must mean round balls of yarn that looked like pomegranates. The fruit was very common in the land, but there is no indication of the reason for its choice here. Pomegranates are found in decorative schemes in Ugarit, probably as signs of fertility. It may be that here they represent the blessing of God on Israel in the land. The bells that are between them possibly have the intent of drawing God’s attention as the priest moves and the bells jingle (anthropomorphic, to be sure), or that the people would know that the priest was still alive and moving inside. Some have suggested that the pomegranate may have recalled the forbidden fruit eaten in the garden (the gems already have referred to the garden), the reason for the priest entering for atonement, and the bells would divert the eye (of God) to remind him of the need. This is possible but far from supportable, since nothing is said of the reason, nor is the fruit in the garden identified.
39 tn The text repeats the idea: “you will make for its hem…all around its hem.”
40 tn The word צִּיץ (tsits) seems to mean “a shining thing” and so here a plate of metal. It originally meant “flower,” but they could not write on a flower. So it must have the sense of something worn openly, visible, and shining. The Rabbinic tradition says it was two fingers wide and stretched from ear to ear, but this is an attempt to give details that the Law does not give (see B. Jacob, Exodus, 818).
41 tn Heb “the engravings of a seal”; this phrase is an adverbial accusative of manner.
42 sn The engraving was a perpetual reminder of the holiness that was due the
43 tn Heb “roof.”
44 tn Heb “its walls around.”
45 tn Heb “and make for it border gold around.” The verb is a consecutive perfect. See Exod 25:11, where the ark also has such a molding.
46 tn Heb “it.”
47 tn The word “oil” is an adverbial accusative, indicating the product that results from the verb (R. J. Williams, Hebrew Syntax, §52).
48 tn The somewhat rare words rendered “a perfumed compound” are both associated with a verbal root having to do with mixing spices and other ingredients to make fragrant ointments. They are used with the next phrase, “the work of a perfumer,” to describe the finished oil as a special mixture of aromatic spices and one requiring the knowledge and skills of an experienced maker.
49 tn This is an accusative of result or product.
50 tn The word is in apposition to “incense,” further defining the kind of incense that is to be made.
51 tn The word מְמֻלָּח (mÿmullakh), a passive participle, is usually taken to mean “salted.” Since there is no meaning like that for the Pual form, the word probably should be taken as “mixed,” as in Rashi and Tg. Onq. Seasoning with salt would work if it were food, but since it is not food, if it means “salted” it would be a symbol of what was sound and whole for the covenant. Some have thought that it would have helped the incense burn quickly with more smoke.
52 tn The imperative, from the word “to rest” (נוּחַ, nuakh), has the sense of “leave me alone, let me be.” It is a directive for Moses not to intercede for the people. B. S. Childs (Exodus [OTL], 567) reflects the Jewish interpretation that there is a profound paradox in God’s words. He vows the severest punishment but then suddenly conditions it on Moses’ agreement. “Let me alone that I may consume them” is the statement, but the effect is that he has left the door open for intercession. He allows himself to be persuaded – that is what a mediator is for. God could have slammed the door (as when Moses wanted to go into the promised land). Moreover, by alluding to the promise to Abraham God gave Moses the strongest reason to intercede.
53 tn The exact expression is “take heed to yourself lest you make.” It is the second use of this verb in the duties, now in the Niphal stem. To take heed to yourself means to watch yourself, be sure not to do something. Here, if they failed to do this, they would end up making entangling treaties.
54 sn A snare would be a trap, an allurement to ruin. See Exod 23:33.