² tc Heb “you turn back, rocky summit, his sword.” The Hebrew term צוּר (tsur, “rocky summit”) makes no sense here, unless it is a divine title understood as vocative, “you turn back, O Rocky Summit, his sword.” Some emend the form to צֹר (tsor, “flint”) on the basis of Josh 5:2, which uses the phrase חַרְבוֹת צֻרִים (kharvot tsurim, “flint knives”). The noun צֹר (tsor, “flint”) can then be taken as “flint-like edge,” indicating the sharpness of the sword. Others emend the form to אָחוֹר (ʾakhor, “backward”) or to מִצַּר (mitsar, “from the adversary”). The present translation reflects the latter, assuming an original reading תָּשִׁיב מִצָּר חַרְבּוֹ (tashiv mitsar kharbo), which was changed to תָּשִׁיב צָר חַרְבּוֹ (tashiv tsar kharbo) by virtual haplography (confusion of bet/mem is well-attested) with צָר (tsar, “adversary”) then being misinterpreted as צוּר in the later tradition.

¹ tc The MT reads literally, “and they caused him [or it] to stumble upon them, their tongue.” Perhaps the third plural subject of the verb is indefinite with the third singular pronominal suffix on the verb being distributive (see Ps 63:10). In this case one may translate, “each one will be made to stumble.” The preposition עַל (ʿal) might then be taken as adversative, “against them [is] their tongue.” Many prefer to emend the text to וַיַּכְשִׁילֵמוֹ עֲלֵי לְשׁוֹנָם (vayyakhshilemo ʿale l^eshonam, “and he caused them to stumble over their tongue”). However, if this reading is original, it is difficult to see how the present reading of the MT arose. Furthermore, the preposition is not collocated with the verb כָּשַׁל (kashal) elsewhere. Perhaps a better option is that the third singular pronominal suffix “it” refers to the following noun “tongue” translated “they caused it, their tongue, to stumble on themselves” (see GKC 425-26 §131.m, o).

² tn The prefixed verbal form may be taken as a jussive of prayer (as in the present translation; cf. NIV) or as an imperfect, “The Lord will pay attention to me” (cf. NRSV). The parallel in Ps 70:5 has, “O God, hurry to me!” For this reason some prefer to emend יַחֲשָׁב (yakhashav, “may he pay attention”) to חוּשָׁה (khushah, “hurry!”). The syntax of the Hebrew text is awkward; elsewhere when the Qal of חָשַׁב (khashav, “reckon; consider”) is collocated with the preposition ל (lamed) and a pronominal suffix there is an accompanying direct object or additional prepositional phrase/adverbial accusative (see Gen 15:6; 2 Sam 19:19; Job 13:24; 19:11; 33:10; Pss 32:2; 41:7; Amos 6:5).

⁴ tc The MT is uncertain here. The Kethib (consonantal text) reads: “flee [masculine plural!] to your [masculine plural!] mountain, bird.” The Qere (marginal reading) has “flee” in a feminine singular form, agreeing grammatically with the addressee, the feminine noun “bird.” Rather than being a second masculine plural pronominal suffix, the ending כֶם- (-khem) attached to “mountain” is better interpreted as a second feminine singular pronominal suffix followed by an enclitic mem (ם). “Bird” may be taken as vocative (“O bird”) or as an adverbial accusative of manner (“like a bird”). Either way, the psalmist’s advisers compare him to a helpless bird whose only option in the face of danger is to fly away to an inaccessible place.

³ tn The word שׁוֹלָל (sholal), from the root שָׁלַל (shalal, “to plunder; to strip”), is an adjective expressing the state (and is in the singular, as if to say, “in the state of one naked” [GKC 375 §118.o]). The word is found in military contexts (see Mic 1:8). It refers to the carrying away of people in nakedness and shame by enemies who plunder (see also Isa 8:1-4). They will go away as slaves and captives, deprived of their outer garments. Some (cf. NAB) suggest “barefoot,” based on the LXX of Mic 1:8, but the meaning of that is uncertain. G. R. Driver wanted to derive the word from an Arabic root “to be mad; to be giddy,” forming a better parallel.

² tn The Syriac has “and gather themselves together,” possibly reading גִּיל (gil, “rejoicing”) as גַּל (gal, “heap”). Some have tried to emend the text to make the word mean “heap” or “mound,” as in a funerary mound. While one could argue for a heap of stones as a funerary mound, the passage has already spoken of digging a grave, which would be quite different. And while such a change would make a neater parallelism in the verse, there is no reason to force such; the idea of “jubilation” fits the tenor of the whole verse easily enough and there is no reason to change it. A similar expression is found in Hos 9:1, which says, “rejoice not, O Israel, with jubilation.” Here the idea then is that these sufferers would rejoice “to the point of jubilation” at death.

¹ tc The MT reads here only “from age to age,” without the preceding words “May you be blessed, O LORD our God” which are included in the present translation. But apparently something has dropped out of the text. This phrase occurs elsewhere in the OT as a description of the Lord (see Pss 41:13; 106:48), and it seems best to understand it here in that light. The LXX adds “And Ezra said” at the beginning of v. 6 as a transition: “And Ezra said, ‘You alone are the LORD.” Without this addition (which is not included by most modern English translations) the speakers of vv. 9:5b-10:1 continue to be the Levites of v. 5a.

² sn Your name will be Abraham. The renaming of Abram was a sign of confirmation to the patriarch. Every time the name was used it would be a reminder of God’s promise. “Abram” means “exalted father,” probably referring to Abram’s father Terah. The name looks to the past; Abram came from noble lineage. The name “Abraham” is a dialectical variant of the name Abram. But its significance is in the wordplay with אַב־הֲמוֹן (ʾav hamon, “the father of a multitude,” which sounds like אַבְרָהָם, ʾavraham, “Abraham”). The new name would be a reminder of God’s intention to make Abraham the father of a multitude. For a general discussion of renaming, see O. Eissfeldt, “Renaming in the Old Testament,” Words and Meanings, 70-83.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

³ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

³ sn About four o’clock in the afternoon. What system of time reckoning is the author using? B. F. Westcott thought John, unlike the synoptic gospels, was using Roman time, which started at midnight (St. John, 282). This would make the time 10 a.m., which would fit here. But later in the Gospel’s Passover account (John 19:14, where the sixth hour is on the “eve of the Passover”) it seems clear the author had to be using Jewish reckoning, which began at 6 a.m. This would make the time here in 1:39 to be 4 p.m. This may be significant: If the hour was late, Andrew and the unnamed disciple probably spent the night in the same house where Jesus was staying, and the events of 1:41-42 took place on the next day. The evidence for Westcott’s view, that the Gospel is using Roman time, is very slim. The Roman reckoning which started at midnight was only used by authorities as legal time (for contracts, official documents, etc.). Otherwise, the Romans too reckoned time from 6 a.m. (e.g., Roman sundials are marked VI, not XII, for noon).

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ tn Heb “What to you sleeping?” The Niphal participle נִרְדָּם (nirdam) from רָדַם (radam, “to sleep”) functions here not as a vocative use of the noun (so KJV, NKJV, ASV “O sleeper”; RSV “you sleeper”) but as a verbal use to depict uninterrupted sleep up to this point. The expression מַה־לְּךָ (mah l^ekha, “what to you?”) can express surprise (BDB 552 s.v. מָה 1.a; e.g., Job 9:12; 22:12; Eccl 8:4; Isa 45:9, 10) or indignation and contempt (BDB 552 s.v. מָה 1.c; e.g., 1 Kgs 19:9, 13). Accordingly, the captain is either surprised that Jonah is able to sleep so soundly through the storm (NIV “How can you sleep?”; JPS, NJPS: “How can you be sleeping so soundly?”; NEB, REB “What, sound asleep?”), or he is indignant that Jonah would sleep in a life-threatening situation when he should be praying (CEV “How can you sleep at a time like this?”; NAB “What are you doing [+ sound NRSV] asleep?”; NJB “What do you mean by sleeping?”).

³ tn Heb “Are you exceedingly angry with us?” The construction עַד־מְאֹד (ʿad m^eʾod) means “up to an abundance, to a great degree, exceedingly” (e.g., Gen 27:33, 34; 1 Sam 11:15; 25:36; 2 Sam 2:17; 1 Kgs 1:4; Pss 38:7, 9; 119:8, 43, 51, 107; Isa 64:9, 12; Lam 5:22; Dan 8:8; 11:25). Used in reference to God’s judgment, this phrase denotes total and irrevocable rejection by God and his refusal to forgive the sin and restore the people to a status under his grace and blessings. Examples are: “Do not be angry beyond measure (עַד־מְאֹד), O Lord; do not remember our sins forever” (Isa 64:9), and “Will you keep silent and punish us beyond measure (עַד־מְאֹד)?” (Isa 64:12). The sentiment is expressed well in TEV (“Or have you rejected us forever? Is there no limit to your anger?”) and CEV (“Or do you despise us so much that you don’t want us?”).

¹ tn The meaning of this verse is unclear. It appears to read literally, “O Lord, in distress they visit you, they pour out [?] an incantation, your discipline to them.” פָּקַד (paqad) may here carry the sense of “seek with interest” (cf. Ezek 23:21 and BDB 823 s.v.) or “seek in vain” (cf. Isa 34:16), but it is peculiar for the Lord to be the object of this verb. צָקוּן (tsaqun) may be a Qal perfect third plural form from צוּק (tsuq, “pour out, melt”), though the verb is not used of pouring out words in its two other occurrences. Because of the appearance of צַר (tsar, “distress”) in the preceding line, it is tempting to emend the form to a noun and derive it from צוּק (“be in distress”) The term לַחַשׁ (lakhash) elsewhere refers to an incantation (Isa 3:3; Jer 8:17; Eccl 10:11) or amulet (Isa 3:20). Perhaps here it refers to ritualistic prayers or to magical incantations used to ward off evil.

¹ sn Gazelles are often associated with sensuality and masculine virility in ancient Near Eastern love literature. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3). In ancient Near Eastern love literature gazelles often symbolize the excitement and swiftness of the lover coming to see his beloved, as in an ancient Egyptian love song: “O that you came to your sister swiftly like a bounding gazelle! Its feet reel, its limbs are weary, terror has entered its body. A hunter pursues it with his hounds, they do not see it in its dust; It sees a resting place as a trap, it takes the river as its road. May you find her hiding-place before your hand is kissed four times. Pursue your sister’s love, the Golden gives her to you, my friend!” (“Three Poems” in the Papyrus Chester Beatty 1 collection).