² sn This account is parallel to two similar stories about Abraham (see Gen 12:10-20; 20:1-18). Many scholars do not believe there were three similar incidents, only one that got borrowed and duplicated. Many regard the account about Isaac as the original, which then was attached to the more important person, Abraham, with supernatural elements being added. For a critique of such an approach, see R. Alter, The Art of Biblical Narrative, 47-62. It is more likely that the story illustrates the proverb “like father, like son” (see T. W. Mann, The Book of the Torah, 53). In typical human fashion the son follows his father’s example of lying to avoid problems. The appearance of similar events reported in a similar way underscores the fact that the blessing has now passed to Isaac, even if he fails as his father did.

¹ sn Jacob cooked some stew. There are some significant words and wordplays in this story that help clarify the points of the story. The verb “cook” is זִיד (zid), which sounds like the word for “hunter” (צַיִד, tsayid). This is deliberate, for the hunter becomes the hunted in this story. The word זִיד means “to cook, to boil,” but by the sound play with צַיִד it comes to mean “set a trap by cooking.” The usage of the word shows that it can also have the connotation of acting presumptuously (as in boiling over). This too may be a comment on the scene. For further discussion of the rhetorical devices in the Jacob narratives, see J. P. Fokkelman, Narrative Art in Genesis (SSN).

² tn Or “who had a spirit of divination”; Grk “who had a spirit of Python.” According to BDAG 896-97 s.v. πύθων, originally Πύθων (Puthōn) was the name of the serpent or dragon that guarded the Delphic oracle. According to Greek mythology, it lived at the foot of Mount Parnassus and was killed by Apollo. From this, the word came to designate a person who was thought to have a spirit of divination. Pagan generals, for example, might consult someone like this. So her presence here suggests a supernatural encounter involving Paul and her “spirit.” W. Foerster, TDNT 6:920, connects the term with ventriloquism but states: “We must assume, however, that for this girl, as for those mentioned by Origen…, the art of ventriloquism was inseparably connected with a (supposed or authentic) gift of soothsaying.” It should also be noted that if the girl in question here were only a ventriloquist, the exorcism performed by Paul in v. 18 would not have been effective.

⁴ sn Advocates of the so-called documentary hypothesis of pentateuchal authorship argue that the introduction of the name Yahweh (Lord) here indicates that a new source (designated J), a parallel account of creation, begins here. In this scheme Gen 1:1-2:3 is understood as the priestly source (designated P) of creation. Critics of this approach often respond that the names, rather than indicating separate sources, were chosen to reflect the subject matter (see U. Cassuto, The Documentary Hypothesis). Gen 1:1-2:3 is the grand prologue of the book, showing the sovereign God creating by decree. The narrative beginning in 2:4 is the account of what this God invested in his creation. Since it deals with the close, personal involvement of the covenant God, the narrative uses the covenantal name Yahweh (Lord) in combination with the name God. For a recent discussion of the documentary hypothesis from a theologically conservative perspective, see D. A. Garrett, Rethinking Genesis. For an attempt by source critics to demonstrate the legitimacy of the source critical method on the basis of ancient Near Eastern parallels, see J. H. Tigay, ed., Empirical Models for Biblical Criticism. For reaction to the source critical method by literary critics, see I. M. Kikawada and A. Quinn, Before Abraham Was; R. Alter, The Art of Biblical Narrative, 131-54; and Adele Berlin, Poetics and Interpretation of Biblical Narrative, 111-34.

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.”

² sn A Palestinian palm tree grower would climb a palm tree for two reasons: (1) to pluck the fruit and (2) to pollinate the female palm trees. Because of their height and because the dates would not naturally fall off the tree, the only way to harvest dates from a palm tree is to climb the tree and pluck the fruit off the stalks. This seems to be the primary imagery behind this figurative expression. The point of comparison here would be that just as one would climb a palm tree to pluck its fruit so that it might be eaten and enjoyed, so too Solomon wanted to embrace his Beloved so that he might embrace and enjoy her breasts. It is possible that the process of pollination is also behind this figure. A palm tree is climbed to pick its fruit or to dust the female flowers with pollen from the male flowers (the female and male flowers were on separate trees). To obtain a better yield and accelerate the process of pollination, the date grower would transfer pollen from the male trees to the flowers on the female trees. This method of artificial pollination is depicted in ancient Near Eastern art. For example, a relief from Gozan (Tel Halaf) dating to the 9th century b.c. depicts a man climbing a palm tree on a wooden ladder with his hands stretched out to take hold of its top branches to pollinate the flowers or to pick the fruit from the tree. The point of this playful comparison is clear: Just as a palm tree grower would climb a female tree to pick its fruit and to pollinate it with a male flower, Solomon wanted to grasp her breasts and to make love to her (The Illustrated Family Encyclopedia of the Living Bible, 10:60).

² sn O God. The king is clearly the addressee here, as in vv. 2-5 and 7-9. Rather than taking the statement at face value, many prefer to emend the text because the concept of deifying the earthly king is foreign to ancient Israelite thinking (cf. NEB “your throne is like God’s throne, eternal”). However, it is preferable to retain the text and take this statement as another instance of the royal hyperbole that permeates the royal psalms. Because the Davidic king is God’s vice-regent on earth, the psalmist addresses him as if he were God incarnate. God energizes the king for battle and accomplishes justice through him. A similar use of hyperbole appears in Isa 9:6, where the ideal Davidic king of the eschaton is given the title “Mighty God” (see the note on this phrase there). Ancient Near Eastern art and literature picture gods training kings for battle, bestowing special weapons, and intervening in battle. According to Egyptian propaganda, the Hittites described Rameses II as follows: “No man is he who is among us, It is Seth great-of-strength, Baal in person; Not deeds of man are these his doings, They are of one who is unique” (see Miriam Lichtheim, Ancient Egyptian Literature, 2:67). Ps 45:6 and Isa 9:6 probably envision a similar kind of response when friends and foes alike look at the Davidic king in full battle regalia. When the king’s enemies oppose him on the battlefield, they are, as it were, fighting against God himself.

⁵ tn גִּבּוֹר (gibbor) is probably an attributive adjective (“mighty God”), though one might translate “God is a warrior” or “God is mighty.” Scholars have interpreted this title in two ways. A number of them have argued that the title portrays the king as God’s representative on the battlefield, whom God empowers in a supernatural way (see J. H. Hayes and S. A. Irvine, Isaiah, 181-82). They contend that this sense seems more likely in the original context of the prophecy. They would suggest that having read the NT, we might in retrospect interpret this title as indicating the coming king’s deity, but it is unlikely that Isaiah or his audience would have understood the title in such a bold way. Ps 45:6 addresses the Davidic king as “God” because he ruled and fought as God’s representative on earth. Ancient Near Eastern art and literature picture gods training kings for battle, bestowing special weapons, and intervening in battle. According to Egyptian propaganda, the Hittites described Rameses II as follows: “No man is he who is among us, It is Seth great-of-strength, Baal in person; Not deeds of man are these his doings, They are of one who is unique” (See Miriam Lichtheim, Ancient Egyptian Literature, 2:67). According to proponents of this view, Isa 9:6 probably envisions a similar kind of response when friends and foes alike look at the Davidic king in full battle regalia. When the king’s enemies oppose him on the battlefield, they are, as it were, fighting against God himself. The other option is to regard this title as a reference to God, confronting Isaiah’s readers with the divinity of this promised “child.” The use of this same title that clearly refers to God in a later passage (Isa 10:21) supports this interpretation. Other passages depict Yahweh as the great God and great warrior (Deut 10:17; Jer. 32:18). Although this connection of a child who is born with deity is unparalleled in any earlier biblical texts, Isaiah’s use of this title to make this connection represents Isaiah’s attempt (at God’s behest) to advance Israel in their understanding of the ideal Davidic king for whom they long.

³ tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.

² tc The Masoretic text reads “like a lion, my hands and my feet.” The reading is difficult and the ancient versions vary, so the textual difficulty is probably very early. Without a verb, the syntax appears broken and the role of “hands and feet” unclear. One option is to understand the verb of the previous line to apply again, a poetic technique called ellipsis and double duty. But “my hands and feet” would be an odd object for a verb meaning “they encircled.” Otherwise, the broken syntax may represent the emotional outcry of the Psalmist, first mentioning the lion as part of the third person description, but suddenly shifting to the first person perspective and crying out as the lion attacks, pinning down his hands and feet (a scene depicted in ancient Near Eastern art). But this development seems late textually. All the other witnesses have a verb instead of “like a lion.” The LXX says “they dug my hands and feet; the verb ὀρύσσω (orussō) means “to burrow in the ground, to dig.” A Qumran witness seems to read similarly, “they dug.” Instead of the MT’s כארי (kᵉʾariy; like a lion”), the scroll from Nahal Hever has a verb form כארו (kaʾaru) ending with vav instead of yod. Supposing that the א (ʾaleph) is a superfluous spelling variant, the form would be understood as כרו (karu) from the root כרה (karah), meaning “they dug.” In that case, the Qumran scroll and the LXX agree because כרה is one of the two verbs translated in the LXX by ὀρύσσω. But as both these verbs mean “to dig [in the dirt]” this has not helped us understand the context. Assuming that the enemies are still the subject, we might expect “they dug a pit for my hands and feet.” In fact the Hebrew words behind “they dug a pit” look similar (כרו בור) so it is not hard to imagine that one of these two would be overlooked by a scribed and dropped from the text. Some suppose that “to dig [in the ground]” means “to pierce” in reference to hands and feet (possibly from the root כור). Other variants and suggestions include “they bound,” or “they picked clean” (from אָרָה, ʾarah, “to pluck”) my hands and feet. Or “my hands and feet are consumed,” or “worn out.” The latter two assume a copying error of resh for lamed, making the verb come from כלה. P. Craigie (Psalms [WBC], 1:196) opts for this last but also cites Syriac and Akkadian for additional root K-R-H meaning “to be shrunken, shriveled.” The Akkadian verb (karu) is said of body parts and can refer to paralysis, which is the kind of metaphor which occurs in battle contexts elsewhere (e.g. Ps 76:5). It would be very natural to read “my hands and my feet” as the subject of the verb because verb-subject is typical word order. There is no decisive answer to the problem and the NET translation includes the lion imagery (cf. v. 13) and supposes a verb that conveys an attack.