¹ sn In this song of thanksgiving the psalmist praises God for delivering him from distress. He encourages others to be loyal to the Lord, tells them how to please God, and assures them that the Lord protects his servants. The psalm is an acrostic; vv. 1-21 begin with successive letters of the Hebrew alphabet. (Verse 6 begins with the letter he (ה) and v. 7 with the letter zayin (ז). The letter vav (ו), which comes between ה and ז, seems to be omitted, although it does appear at the beginning of v. 6b. The final verse of the psalm, which begins with the letter pe (פ), is outside the acrostic scheme.

¹ tn Heb “be taught the bow.” The reference to “the bow” is very difficult here. Some interpreters (e.g., S. R. Driver, P. K. McCarter, Jr.) suggest deleting the word from the text (cf. NAB, TEV), but there does not seem to be sufficient evidence for doing so. Others (cf. KJV) understand the reference to be elliptical, meaning “the use of the bow.” The verse would then imply that with the deaths of Saul and Jonathan having occurred, a period of trying warfare is about to begin, requiring adequate preparation for war on the part of the younger generation. Various other views may also be found in the secondary literature. However, it seems best to understand the word here to be a reference to the name of a song (i.e., “The Bow”), most likely the poem that follows in vv. 19-27 (cf. ASV, NASB, NRSV, CEV, NLT); NIV “this lament of the bow.”

¹ sn This brief section records the blessing of the priest, especially the high priest after he emerges from the holy of holies to bless the people (see Lev 9:22). The two main elements in the oracle are “grace and peace.” It is probable that the Apostle Paul based his salutations on this oracle. For additional information, see L. J. Liebreich, “The Songs of Ascent and the Priestly Blessing,” JBL 74 (1955): 33-36; P. D. Miller, “The Blessing of God: An Interpretation of Num 6:22-27, ” Int 29 (1975): 240-51; and A. Murtonen, “The Use and Meaning of the Words l^ebarek and b^erakah in the Old Testament,” VT 9 (1959): 158-77.

³ tn The word שָׁלִשִׁם (shalishim) means “officers” or some special kind of military personnel. At one time it was taken to mean a “three man chariot,” but the pictures of Egyptian chariots only show two in a chariot. It may mean officers near the king, “men of the third rank” (B. Jacob, Exodus, 394). So the chariots and the crew represented the elite. See the old view by A. E. Cowley that linked it to a Hittite word (“A Hittite Word in Hebrew,” JTS 21 [1920]: 326), and the more recent work by P. C. Craigie connecting it to Egyptian “commander” (“An Egyptian Expression in the Song of the Sea: Exodus XV.4, ” VT 20 [1970]: 85).

¹ tn The term מִטָּה (mittah) refers to a “royal portable couch” spread with covers, cloth, and pillows (HALOT 573 s.v. מִטָּה; BDB 641 s.v. מִטָּה). The Hebrew noun is related to Ugaritic mtt “bed” (UT 1465). The term מִטָּה (“bed, couch”) itself can refer to a number of similar but different kinds of pieces of reclining furniture: (1) the bed of a common person, found in the bedchamber for reposing and sleeping at night (Gen 47:31; 48:2; 49:33; Exod 8:3 [7:28]; 2 Sam 4:7; 1 Kgs 17:19; 2 Kgs 4:10, 21, 32; Ps 6:6 [7]; Prov 26:14); (2) the royal bed of the king or nobility, often elevated and made of expensive materials (1 Kgs 21:4; 2 Kgs 1:4, 6, 16; 2 Chr 24:25; Esth 7:8; Amos 6:4; Ezek 23:41); (3) the couch of a common person for reclining or sitting during the day (1 Sam 28:23); (4) a royal banqueting couch for reclining at feasts or carousing (Ezek 23:41; Amos 3:12; 6:4; Esth 1:6; 7:8); (5) a portable light-weight bed for transporting the sick (1 Sam 19:15); (6) a portable bed, such as a funeral bier for transporting the dead (2 Sam 3:31); and (7) a portable royal couch for transporting the king (Song 3:7). The royal couch was often made of expensive materials, such as ivory, silver, and gold (Ezek 23:41; Amos 6:4; Song 3:9-10; Esth 1:6).

² tn Alternately, “resting between my breasts.” The verb לִין (lin) has a three-fold range of meaning in the Qal stem: (1) “to leave overnight,” (2) “to spend the night, stay overnight,” and (3) “to stay, dwell” (HALOT 529 s.v. לין). The myrrh motif (see study note above) suggests the nuance “to spend the night” (HALOT 529 s.v. 2). This is also the most appropriate nuance of its usage in Song 7:12 (e.g., Gen 19:2; 24:23, 25, 54; 28:11; 31:54; 32:14, 22; Num 22:8; Josh 3:1; 4:3; 6:11; 8:9; Judg 18:2; 19:4-15 (9x), 20; 20:4; 2 Sam 12:16; 17:8, 16; 19:8; 1 Kgs 19:9; Isa 21:13; 65:4; Jer 14:8; Joel 1:13; Zeph 2:14; Pss 25:13; 55:8; Job 24:7; 31:32; 39:9; Prov 19:23; Song 7:12; Ruth 1:16; 3:13; Neh 4:16; 13:20; 1 Chr 9:27). Several translations follow course: “he shall lie all night betwixt my breasts” (KJV) and “which lies all night between my breasts” (NASB). Others downplay the obvious sexual connotations: “resting between my breasts” (NIV) and “lodged between my breasts” (NJPS). The imperfect has been taken in two basic senses: (1) future time action: “he shall spend the night between my breasts” and (2) present characteristic or present progressive: “he spends the night between my breasts.” The latter is favored by the characteristic/progressive nature of the metaphors used through 1:12-13 [13-14].

⁷ tn Or “youth”; Heb “black hair” or “the dawn [of life].” The feminine noun הַשַּׁחֲרוּת (hashakharut) is a hapax legomenon, occurring only here. There is debate whether it is from שָׁחֹר (shakhor) which means “black” (i.e., black hair, e.g., Lev 13:31, 37; Song 5:11; HALOT 1465 s.v. שׁחר; BDB 1007 s.v. שָׁחֹר and שָׁחַר) or שַׁחַר (shakhar) which means “dawn” (e.g., Gen 19:15; Job 3:9; Song 6:10; HALOT 1466-67 s.v. שָׁחַר). If this term is from שָׁחֹר it is used in contrast to gray hair that characterizes old age (e.g., Prov 16:31; 20:29). This would be a figure (metonymy of association) for youthfulness. On the other hand, if the term is from שַׁחַר it connotes the “dawn of life” or “prime of life.” This would be a figure (hypocatastasis) for youthfulness. In either case, the term is a figure for “youth” or “prime of life,” as the parallel term הַיַּלְדוּת (hayyal^edut, “youth” or “childhood”) indicates. The term is rendered variously in the English versions: “black hair” (NJPS); “the dawn of youth” (NAB); “the dawn of life” (ASV, MLB, RSV, NRSV); “the prime of life” (NEB, NASB); “vigor” (NIV); “youth” (KJV); and “manhood” (Moffatt). The plural forms of הַשַּׁחֲרוּת and הַיַּלְדוּת are examples of the plural of state or condition that a person experiences for a temporary period of time, e.g., זְקֻנִים (z^equnim, “old age”); נְעוּרִים (n^eʿurim, “youth”); and עֲלוּמִים (ʿalumim, “youthfulness”); see IBHS 121 §7.4.2b.

⁴ tn The meaning of the superlative construction שִׁדָּה וְשִׁדּוֹת (shiddah v^eshiddot) is uncertain because the term שִׁדָּה (shiddah) occurs only here in the OT. There are four basic approaches to the phrase: (1) Most scholars suggest that it refers to a royal harem and that it is in apposition to “the sensual delights of man” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם, v^etaʿanugot b^ene haʾadam). There are four variations of this approach: (a) There is a possible connection to the Ugaritic sht “mistress, lady” and the Arabic sitt “lady” (HALOT 1420 s.v. שִׁדָּה). (b) German scholars relate it to Assyrian sadadu “love” (Delitzsch, Konig, Wildeboer, Siegfried); however, BDB questions this connection (BDB 994 s.v. שׁדה). (c) Ibn Ezra relates it to II שַׁד (shad) “plunder; spoil” or שׁדה “[women] taken by violence,” and suggests that it refers to the occupants of the royal harem. (d) BDB connects it to the Hebrew noun I שַׁד (shad, “breast”; e.g., Isa 28:9; Ezek 16:7; 23:3, 21, 34; Hos 2:4; 9:14; Song 1:13; 4:5; 7:4, 8, 9; 8:1, 8, 10; Job 3:12) adding that שׁדה is related to the cognate Arabic and Aramaic roots meaning “breast” (BDB 994 s.v.). This would be a synecdoche of part (i.e., breast) for the whole (i.e., woman), similar to the idiom “one womb, two wombs” (רַחַם רַחֲמָתַיִם, rakham rakhamatayim) where “womb” = woman (Judg 5:30). This is the approach taken by most English versions: “many concubines” (NASB, RSV, NRSV), “a wife and wives” (YLT), “mistresses galore” (MLB), “many a mistress” (Moffatt), and “a harem” (NIV). This is the approach suggested by the Hebrew Old Testament Text Project: “une femme et des femmes” = one or two women (e.g., Judg 5:30); see D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:566. (2) The NJPS connects it to the Mishnaic Hebrew noun שִׁדָּה which became שִׁידָּה (“a strong box, chest”; Jastrow 1558 s.v. שִׁידָּה) and renders the phrase “coffers and coffers of them” in apposition to the phrase “the luxuries of commoners” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (3) KJV and ASV take the phrase in apposition to “male and female singers” and translate it as “musical instruments.” However, there is no known Hebrew term that would justify this approach. (4) The LXX related the term to the Aramaic root שׁדא (“to pour out [wine]”) and rendered the phrase as οἰνοχόον καὶ οἰνοχόας (oinochoon kai oinochoas), “a male-butler and female cupbearers.” Aquila took a similar approach: κυλίκιον καὶ κυλίκια (kulikion kai kulikia), “wine cups and wine vessels.” This is reflected in the Vulgate and Douay: “cups and vessels to serve to pour out wine.” Although the semantic meaning of the term שִׁדָּה וְשִׁדּוֹת (“a breast and breasts”) is uncertain, the grammatical/syntactical form of the phrase is straightforward: (1) It is in apposition to the preceding line, “the delights of the son of men” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (2) The phrase is a superlative construction. When the second word is plural and it follows a noun from the same root which is singular, it indicates the best or most outstanding example of the person or thing so described. In addition to the Judg 5:30 parallel cited above, see the expression “a generation, generations” in Pss 72:5; 102:25; Isa 51:8. Unlike, Eccl 2:8, this juxtapositioning of the singular and plural to express the superlative usually involves a construct form. See קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “the holy of holies,” i.e., the most holy place”; Exod 26:33), שִׁיר הַשִּׁירִים (shir hashirim, “the song of songs,” i.e., “the most excellent song”; Song 1:1), אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֲדֹנִים (ʾelohe haʾelohim vaʾadone haʾadonim, “the God of gods and Lord of lords,” i.e., “the Highest God and the Supreme Lord”; Deut 10:17), and עֶבֶד עֲבָדִים (ʿeved ʿavadim, “a slave of slaves,” i.e., “the most abject slave”; Gen 9:25). See GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j. If the semantic meaning of the terms שִׁדָּה וְשִׁדּוֹת denotes “a breast (among) breasts” or “a lady (among) ladies” (Eccl 2:8, but see the previous note on the phrase “a man’s sensual delights”), the superlative construction may connote “the most beautiful breasts” (metonymy of part for the whole) or “the most beautiful woman.” This might refer to a harem of concubines or to one woman (the wife of the king?) who was the most beautiful woman in the land.

¹ tn Heb “trained of sword” or “girded of sword.” Alternately, “girded with swords.” The genitive construct phrase אֲחֻזֵי חֶרֶב (ʾakhuze kherev) is interpreted in two ways: (1) Most interpret it with the assumption that אָחַז (ʾakhaz) denotes “to physically grasp, hold” (HALOT 31-32 s.v. I אחז; BDB 28 s.v. אָחַז). Most translations adopt this approach, although differing on whether the participle functions substantivally (NASB), verbally (KJV, NIV), or adjectivally (RSV), they all are heading in the same direction: “[all] hold swords” (KJV), “girded with sword” (RSV), “wielders of the sword” (NASB), and “wearing the sword” (NIV). This, however, provides only a vague parallel with the following colon: מְלֻמְּדֵי מִלְחָמָה (m^elumm^ede milkhamah, “trained in warfare”). (2) Others, however, suggest taking אָחַז in its rare metaphorical sense of “to learn” (= mentally grasp, take hold of): “learned, skillful” (R. Gordis, Song of Songs and Lamentations, 85; J. Lewy, “Lexicographical Notes,” HUCA 12/13 (1937/1938): 98-99). This nuance is much more common in the related Akkadian verb ahazu “to learn,” as HALOT 31 notes. Likewise, JB renders it “skilled swordsmen,” and NJPS suggests “trained in warfare” for Song 3:8, citing Akkadian ahazu “to learn.” The Akkadian verb ahazu has a broad range of meanings including: (1) to seize, hold a person, (2) to take a wife, to marry, (3) to hold, possess, take over, grasp something, to take to (a region), and (4) to learn, to understand (CAD 1:1:173). The concrete, physical sense of grasping or taking an object in one’s hands lent itself to the metaphorical sense of mentally grasping something, that is, learning or understanding. The category ahazu 4 (“to learn, to understand”) is used in reference to general learning, as well to specialized knowledge involving a special skill, professional craft, or ability acquired through instruction and experience (CAD 1:1:177). The causative form šuhuzu means “to teach, educate, train” someone to become a skilled craftsman in a professional trade (CAD 1:1:180). This provides a tight parallelism with the following colon: אֲחֻזֵי חֶרֶב (ʾakhuze kherev, “skillful in swordsmanship”) precisely parallels מְלֻמְּדֵי מִלְחָמָה (“well-trained in [the art of] warfare”). The AB:AB parallelism between the two lines is exact: (1) אֲחֻזֵי “learned, skillful” parallels מְלֻמְּדֵי “trained, instructed,” and (2) חֶרֶב “in respect to swordsmanship” (genitive of specification or limitation) exactly parallels מִלְחָמָה “in regard to [the art of] warfare” (genitive of specification or limitation). The term חֶרֶב (“sword”) may be nuanced metonymically as “swordsmanship” in the light of (a) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (“skilled”), and (b) the connotation “swordsmanship” can be sustained in a few cases, e.g., “It was not by their swordsmanship that they won the land, nor did their arm bring them victory” (Ps 44:3). In the genitive construct phrase אֲחֻזֵי חֶרֶב, the genitive noun חֶרֶב (“sword”) may be classified either as (1) a genitive of specification; “[skilled] in respect to swordsmanship” or (2) a genitive of instrument; “[skilled] with a sword.”

⁴ sn The term שׁוֹשַׁנָּה (shoshannah, “lily”) or שׁוֹשַׁנִים (shoshanim, “lilies”) appears eight times in the Song (2:1, 2, 16; 4:5; 5:13; 6:2, 3; 7:2). Of these five are unequivocally used figuratively as descriptions of a woman or women (2:1, 2), the color and softness of her breasts (4:5), the attractiveness of his lips (5:13), and her waist (7:2). The closest parallel to 6:2 is the description “the one who grazes among the lilies” (2:16; 6:3) which is a figurative expression comparing his romancing of his Beloved with a sheep feeding on lilies. However, this still leaves a question as to what the lilies represent in 2:16; 6:2, 3. The phrase “to gather lilies” itself appears only here in the Song. However, the synonymous phrase “to gather myrrh and balsam spice” is used in 5:1 as a figure (euphemistic hypocatastasis) for sexual consummation by the man of the woman. There are three basic options as to how “lilies” may be taken: (1) The lilies are real flowers; he has gone to a real garden in which to repose and she is picking real lilies. (2) The term “lilies” is a figure for the young woman; he is romancing her just as he had in 2:16 and 5:1. He is kissing her mouth just as a sheep would graze among lilies. (3) The term “lilies” is a figure expression referring to other women, such as his harem (e.g., 6:8-9). Two factors support the “harem” interpretation: (1) Solomon had recently departed from her, and she was desperate to find him after she refused him. (2) His harem is mentioned explicitly in 6:8-9. However, several other factors support the Beloved interpretation: (1) She expresses her confidence in 6:3 that he is devoted to her. (2) The immediately following use of “lilies” in 6:3 appears to refer to her, as in 2:16 and 5:1. (3) He praises her in 6:4-7, suggesting that he was romancing her in 6:2-3. (4) Although his harem is mentioned in 6:8-10, all these women acknowledge that he is disinterested in them and only loves her. (5) Her exultation “I am my beloved’s and my beloved is mine; the one who grazes among the lilies” (6:3) is a statement of assurance in their relationship and this would seem quite strange if he was cavorting with his harem while she said this.

¹ sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests—an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them—in a poetic sense—in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b.

⁴ tn Alternately, “arouse…awaken….” The root עוּר (ʿur) is repeated twice in 2:7 for rhetorical emphasis. The first is the Hiphil imperative (“do not awake/excite…”) and the second is the Polel imperative (“do not awake/start to move…”). The Hiphil depicts a causative action (causing love to initially awaken) and the Polel depicts an intensive action (repeated efforts to awaken love or to set love into motion). On the other hand, G. L. Carr (Song of Solomon [TOTC], 94) writes: “The meaning is not stir up, i.e., a repetition of the same act, but is rather first the act of awakening or summoning something, and then doing what is necessary to sustain the activity already begun, i.e., being so fully awakened that sleep becomes impossible (e.g., 5:2).” The terms ָתּעִירוּ (taʿiru, “arouse”; Hiphil imperative from עוּר) and תְּעוֹרְרוּ (t^eʿor^eru, “awaken”; Polel imperative from עוּר) are probably figurative expressions (hypocatastasis) rather than literal because the object does not refer to a person (her lover) but to an emotional state (“love”). The Hebrew root עוּר has two basic meanings: (1) to wake up and (2) to excite (HALOT 802 s.v. II עוּר). These two nuances are paralleled in the related Semitic roots: Ugaritic ʿr and ʿrr “to be excited” (UT 19.1849; 19.1926; WUS 2092) and Akkadian eru “to awake” (AHw 1:247) (HALOT 802 s.v. II). The Hiphil stem has a four-fold range of meanings: (1) to wake up someone/something, (2) to excite, put into motion, start to work, (3) to summons, (4) to disturb (HALOT 802-803 s.v. II). When used literally, the Hiphil describes waking up a sleeper (Zech 4:1) or stirring up a fire (Hos 7:4). When used figuratively, it describes stirring up (Isa 50:4; Pss 57:9; 108:3) strength (Dan 11:25), anger/wrath (Ps 78:38), jealous/zeal (Isa 42:13), and love/sexual passion (Song 2:7; 3:5; 8:4). The Polel stem has a three-fold range of meanings: (1) to awake, start to move, (2) to agitate, disturb, (3) to set in motion (HALOT 802-803 s.v. II). The expression “arouse or awaken love” is figurative (hypocatastasis). It draws an implied comparison between the literal action of arousing a person from sleep and stirring him/her up to excited action, with the figurative picture of a lover sexually stirring up, arousing and exciting the sexual passions of his beloved.

⁴ tn Heb “among the chariot-horses” or “among the chariots.” The noun רֶכֶב (rekhev) has a wide range of meanings: “chariots, war-chariots” (Exod 14:17-18, 23; 15:19; Deut 11:4; 20:1; Josh 11:4) “chariot crews, chariot troops” (1 Kgs 9:22; 16:9; 22:31; 2 Kg 8:21), “column of chariots, troop of warriors” (Isa 21:7, 9), “charioteer” (Ps 76:7), and “chariot-horses” (Exod 14:9; 2 Sam 8:4; 1 Chr 18:4; Ezek 39:20) (HALOT 1233-35 s.v. רֶכֶב). Scholars have struggled with the meaning of בְּרִכְבֵי פַרְעֹה (b^erikh^eve farʿoh, “[harnessed to (?)] Pharaoh’s chariot”; HALOT 1234 s.v. 6.b). M. H. Pope (Song of Songs [AB], 338) suggests that רִכְבֵי (rikhbe) be nuanced “chariot-horses” and the phrase rendered “among the chariot-horses of Pharaoh.” Pope offers the best explanation of this enigmatic picture: “A crucial consideration overlooked by commentators is the well-attested fact that Pharaoh’s chariots, like other chariotry in antiquity, were not drawn by a mare or mares but by stallions hitched in pairs. This bit of intelligence radically alters the usual understanding of the verse and dispels the notion that there is a grammatical incongruity, which needs harmonizing. The juxtaposition is between a single mare and a plurality of stallions and it requires only a modicum of what is called ‘horse sense’ to appreciate the thrust of the comparison. The situation envisaged is illustrated by the famous incident in one of the campaigns of Thutmose III against Qadesh. On his tomb at Thebes, the Egyptian soldier Amenemheb relates how the Prince of Qadesh sent forth a swift mare, which entered among the army. But Amenemheb ran after her on foot and with his dagger ripped open her belly, cut off her tail, and presented it to the king, thus preventing a debacle before the excited stallions could take out after the mare.”

² tn The term “pool” (בְּרֵכָה, b^erekhah) usually refers to a man-made artificial water reservoir fed by water aqueducts rather than to a natural pond (HALOT 161 s.v.). For example, it is used in reference to man-made water reservoirs for the royal gardens (Eccl 2:6; Neh 2:14); man-made water reservoirs in Jerusalem, some of which were fed by aqueducts (2 Kgs 18:17; 20:20; Isa 7:3; 22:9, 11; 36:2; Neh 3:15, 16); the pool of Gibeon (2 Sam 2:13); the pool of Hebron (2 Sam 4:12); the pool of Samaria (1 Kgs 22:38); and the pools of Heshbon (Song 7:5). The pool of Siloam, built by Hezekiah and fed by the underground aqueduct known as Hezekiah’s Tunnel, is designated by the term בְּרֵכָה in 2 Kgs 20:20 and the Siloam Inscription (line 5).

⁵ tn The verb נָטַר (natar) is a synonym of נָצַר (natsar) andשָׁמַר (shamar), each including a meaning “to keep, guard.” נָטַר (natar) is used elsewhere of keeping a vineyard (Song 1:6; 8:11-12) and guarding a secret (Dan 7:28). It describes a person bearing a grudge, seeking revenge, and refusing to forgive (Lev 19:18). It is also used in collocation with לְעוֹלָם (l^eʿolam, “forever, always”) and לָעַד (laʿad, “continually”) to picture God harboring rage against his enemies forever (Jer 3:5, 12; Amos 1:11; Ps 103:9). Contra HALOT (695 s.v.), it does not mean “to control anger” or “to be slow to anger” and is not collocated with אָף (ʾaf, “anger”) as the entry implies (see TWOT 2:576 and NIDOTTE 1581, s.v.). The long-term rage depicted by נָטַר (“maintain rage”) serves as an appropriate bridge to the following statement in Nahum that the Lord is slow to anger but furious in judgment. God seeks vengeance against his enemies; he continually rages and maintains his anger; he is slow to anger, but will eventually burst out with the full fury of his wrath.

¹ tn Heb “jealous.” The Hebrew term קַנּוֹא (qannoʾ, “jealous, zealous”) refers to God’s zealous protection of his people and his furious judgment against his enemies. The root קָנָא (qanaʾ) can denote jealous envy (Gen 26:14; 30:1; 37:11; Pss 37:1; 73:3; 106:16; Prov 3:31; 23:17; 24:1, 19; Ezek 31:9), jealous rivalry (Eccl 4:4; 9:6; Isa 11:13), marital jealousy (Num 5:14, 15, 18, 25, 30; Prov 6:34; 27:4), zealous loyalty (Num 11:29; 25:11, 13; 2 Sam 21:2; 1 Kgs 19:10, 14; 2 Kgs 10:16; Ps 69:10; Song 8:6; Isa 9:6; 37:32; 42:13; 59:17; 63:15; Zech 1:14; 8:2), jealous anger (Deut 32:16, 21; Ps 78:58), and zealous fury (Exod 34:14; Deut 5:9; 29:19; 1 Kgs 14:22; Job 5:2; Pss 79:5; 119:139; Prov 14:30; Isa 26:11; Ezek 5:13; 8:3; 16:38, 42; 23:25; 35:11; 36:5, 6; 38:19; Zeph 1:18). See BDB 888 s.v. קָנָא; E. Reuter, TDOT 13:47-58.

³ tn Heb “unto death.” The phrase עַד־מָוֶת (ʿad mavet, “unto death”) is an idiomatic expression meaning “to the extreme” or simply “extremely [angry]” (HALOT 563 s.v. מָוֶת 1.c). The noun מָוֶת (“death”) is often used as an absolute superlative with a negative sense, similar to the English expression “bored to death” (IBHS 267-69 §14.5). For example, “his soul was vexed to death” (לָמוּת, lamut) means that he could no longer endure it (Judg 16:16), and “love is as strong as death” (כַמָּוֶת, kammavet) means love is irresistible or exceedingly strong (Song 8:6). Here the expression “I am angry unto death” (עַד־מָוֶת) means that Jonah could not be more angry. Unfortunately, this idiomatic expression has gone undetected by virtually every other major English version to date (KJV, NKJV, RSV, NRSV, ASV, NASB, NIV, NJB, JPS, NJPS). The only English version that comes close to representing the idiom correctly is BBE: “I have a right to be truly angry.”

¹ tn The term תְלוּאִים (t^eluʾim, Qal passive participle masculine plural from תָּלָא, talaʾ, “to hang”) literally means “[My people] are hung up” (BDB 1067 s.v. תָּלָא). The verb תָּלָא // תָּלָה (“to hang”) is often used in a concrete sense to describe hanging an item on a peg (Ps 137:2; Song 4:4; Isa 22:24; Ezek 15:3; 27:10) or impaling the body of an executed criminal (Gen 40:19, 22; 41:13; Deut 21:22, 23; Josh 8:29; 10:26; 2 Sam 21:12; Esth 2:23; 5:14; 6:4; 7:9, 10; 8:7; 9:13, 14, 25). It is used figuratively here to describe Israel’s moral inability to detach itself from apostasy. Several English versions capture the sense well: “My people are bent on turning away from me” (RSV, NASB), “My people are determined to turn from me” (NIV), “My people are determined to reject me” (CEV; NLT “desert me”), “My people persist in its defection from me” (NJPS), and “they insist on turning away from me” (TEV).

³ sn Some (e.g., H. M. Orlinsky, “The So-called ‘Suffering Servant’ in Isaiah 53, 22, ” VTSup 14 [1967]: 3-133) object to this legal interpretation of the language, arguing that it would be unjust for the righteous to suffer for the wicked and for the wicked to be declared innocent. However, such a surprising development is consistent with the ironic nature of this song. It does seem unfair for the innocent to die for the guilty. But what is God to do when all have sinned and wandered off like stray sheep (cf. v. 6)? Covenant law demands punishment, but punishment in this case would mean annihilation of what God has created. God’s justice, as demanded by the law, must be satisfied. To satisfy his justice, he does something seemingly unjust. He punishes his sinless servant, the only one who has not strayed off! In the progress of biblical revelation, we discover that the sinless servant is really God in the flesh, who offers himself because he is committed to the world he has created. If his justice can only be satisfied if he himself endures the punishment, then so be it. What appears to be an act of injustice is really love satisfying the demands of justice!

¹ sn What is the background for the imagery in vv. 12-15? This whole section (vv. 4b-21) is directed to the king of Babylon, who is clearly depicted as a human ruler. Other kings of the earth address him in vv. 9ff., he is called “the man” in v. 16, and, according to vv. 19-20, he possesses a physical body. Nevertheless the language of vv. 12-15 has led some to see a dual referent in the taunt song. These verses, which appear to be spoken by other pagan kings to a pagan king (cf. vv. 9-11), contain several titles and motifs that resemble those of Canaanite mythology, including references to Helel son of Shachar, the stars of El, the mountain of assembly, the recesses of Zaphon, and the divine title Most High. Apparently these verses allude to a mythological story about a minor god (Helel son of Shachar) who tried to take over Zaphon, the mountain of the gods. His attempted coup failed, and he was hurled down to the underworld. The king of Babylon is taunted for having similar unrealized delusions of grandeur. Some Christians have seen an allusion to the fall of Satan here, but this seems contextually unwarranted (see J. Martin, “Isaiah,” BKCOT, 1061).