¹ tn Heb “I said, ‘I will climb….’” The verb אָמַר (ʾamar, “to say”) is often used metonymically in reference to the thought process, emphasizing the spontaneity of a decision or of an idea which has just entered the mind of the speaker moments before he speaks (Gen 20:11; 26:9; 44:28; Exod 2:14; Num 24:11; Ruth 4:4; 1 Sam 20:4, 26; 2 Sam 5:6; 12:22; 2 Kgs 5:11). M. H. Pope renders it appropriately: “Methinks” (Song of Songs [AB], 635).

¹ tn The word “diligent” is an adjective used substantivally. The related verb means “to cut, sharpen, decide”; so the adjective describes one who is “sharp”—one who acts decisively. The word “hasty” has the idea of being pressed or pressured into quick actions. So the text contrasts calculated expeditiousness with unproductive haste. C. H. Toy does not like this contrast, and so proposes changing the latter to “lazy” (Proverbs [ICC], 399), but W. McKane rightly criticizes that as unnecessarily forming a pedestrian antithesis (Proverbs [OTL], 550).

¹ tc The MT reads שְׁפָטִים (sh^efatim from שֶׁפֶט, shephet), meaning “penalties; judgments.” The text might be מִשְׁפָּטִים (mishpatim) restoring a mem lost by haplography (the previous word ends with mem), and meaning “judicial decisions” (by extension “penalties”). The LXX reads “scourges,” a gloss it uses for שׁוֹטִים (shotim; cf. Prov 26:3), while some propose emending to שְׁבָטִים (sh^evatim) “rods” (cf. 23:14). Rods might be the instrument of the flogging mentioned in the second half of the verse, but any of the proposals conforms to the convention of parallelism. The main choice is between the MT as it stands and the LXX.

⁴ sn The second line gives the effect of the first: If the king delivers such oracular sayings (קֶסֶם, qesem, translated “divine verdict”), then he must be careful in the decisions he makes. The imperfect tense then requires a modal nuance to stress the obligation of the king not to act treacherously against justice. It would also be possible to translate the verb as a jussive: Let the king not act treacherously against justice. For duties of the king, see Ps 72 and Isa 11. For a comparison with Ezek 21:23-26, see E. W. Davies, “The Meaning of qesem in Prov 16:10, ” Bib 61 (1980): 554-56.

⁴ tn The verb שָׁכַח (shakhakh) is often translated “forget” but can also mean to “ignore” or “neglect.” Rather than being unable to remember that she entered into a covenant, she has dismissed its relevance. The form is a Hebrew perfect and the perfect in English captures this well. She made a past decision to ignore the covenant, a condition which continues. The vowel pointing of pausal forms of the Qal perfect of this verb usually has an i-class vowel (tsere), suggesting the root may be stative, which would allow a past or present tense translation, “she ignores.”

² tc Heb “[on a] height, your judgments from before him.” If the MT is retained, then the idea may be that God’s “judgments” are high above (i.e., not recognized) by the wicked man. However, the syntax is awkward. The translation assumes an emendation of מָרוֹם (marom, “height”) to סָרוּ (saru, “[your judgments] are turned aside”), the final mem (ם) being dittographic (note the initial mem on the immediately following word [מִשְׁפָּטֶיךָ, mishpatekha, “your judgments”). “Judgments” probably refers here to God’s laws or commands, rather than his judicial decisions or acts of judgment.

¹ tn Heb “spoke all his words.” This probably refers to the “words” recorded in v. 9. Jephthah repeats the terms of the agreement at the Lord’s sanctuary, perhaps to ratify the contract or to emphasize the Gileadites’ obligation to keep their part of the bargain. Another option is to translate, “Jephthah conducted business before the Lord in Mizpah.” In this case, the statement is a general reference to the way Jephthah ruled. He recognized the Lord’s authority and made his decisions before the Lord.

⁴ tn The name of the vow is taken from the verb that follows; נָזַר (nazar) means “to consecrate oneself,” and so the Nazirite is a consecrated one. These are folks who would make a decision to take an oath for a time or for a lifetime to be committed to the Lord and show signs of separation from the world. Samuel was to be a Nazirite, as the fragment of the text from Qumran confirms—“he will be a נָזִיר (nazir) forever” (1 Sam 1:22).

⁵ sn So the priests were to make intercession for the people, give decisions from God’s revealed will, enter his presence in purity, and represent holiness to Yahweh. The clothing of the priests provided for these functions, but in a way that brought honor and dignity. A priest was, therefore, to serve in purity, holiness, and fear (Malachi). There is much that can be derived from this chapter to form principles of spiritual leadership, but the overall point can be worded this way: Those whom God selects to minister to the congregation through intercessory prayer, divine counsel, and sacrificial worship, must always represent the holiness of Yahweh in their activities and demeanor.

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.

² tc There are three viable variant readings at this point in the text. (1) The reading ἡ γυνὴ ἡ ἄγαμος καὶ ἡ παρθένος (hē gunē hē agamos kai hē parthenos, “the unmarried woman and the virgin”) is represented by ancient and important mss, as well as some significant versions (P¹⁵ B 104 365 1505 vg co). (2) The reading ἡ γυνὴ ἡ ἄγαμος καὶ ἡ παρθένος ἡ ἄγαμος (“the unmarried woman and the unmarried virgin”) is also found in ancient and important mss (P⁴⁶ א A 33 1739 1881). (3) The reading ἡ γυνὴ καὶ ἡ παρθένος ἡ ἄγαμος (“the woman and the unmarried virgin”) is found in Western mss (D F G) and the majority of Byzantine cursives. Based upon external evidence, the first and second readings are the strongest; the readings both reach deep into the second century with strong testimony from mss of the Alexandrian group of witnesses. Internal evidence seems equally balanced: Scribes may have wanted to add ἡ ἄγαμος to παρθένος for stylistic reasons, but they might also have wanted to remove it because it sounded redundant. Because Paul’s meaning is not quite clear, a decision on the proper textual reading is difficult. On the whole scribes tended to add to the text, not take from it. Thus the first reading should be favored as earlier, but this decision should be regarded as less than certain.

¹ sn It is debated whether this is a Corinthian slogan. If it is not, then Paul is essentially arguing that there are two types of sin, nonsexual sins which take place outside the body and sexual sins which are against a person’s very own body. If it is a Corinthian slogan, then it is a slogan used by the Corinthians to justify their immoral behavior. With it they are claiming that anything done in the body or through the body had no moral relevance. A decision here is very difficult, but the latter is to be preferred for two main reasons. (1) This is the most natural understanding of the statement as it is written. To construe it as a statement by Paul requires a substantial clarification in the sense (e.g., “All other sins…” [NIV]). (2) Theologically the former is more difficult: Why would Paul single out sexual sins as more intrinsically related to the body than other sins, such as gluttony or drunkenness? For these reasons, it is more likely that the phrase in quotation marks is indeed a Corinthian slogan which Paul turns against them in the course of his argument, although the decision must be regarded as tentative.

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.

⁶ tc There is good ms evidence for the inclusion of “seven” (ἑπτά, hepta; P²⁴ א 2053 2351 M^K). There is equally good ms support for the omission of the term (A 1006 1611 M^A). It may have been accidentally added due to its repeated presence in the immediately preceding phrases, or it may have been intentionally added to maintain the symmetry of the phrases or more likely to harmonize the phrase with 1:4; 3:1; 4:5. Or it may have been accidentally deleted by way of homoioteleuton (τὰ ἑπτά, ta hepta). A decision is difficult in this instance. NA²⁸ also does not find the problem easy to solve, placing the word in brackets to indicate doubts as to its authenticity.

¹ tc The “therefore” (οὖν, oun) is not found in א 2053 2329 2351 M^A or the Latin mss. It is, however, included in impressive witnesses such as A C 046 1006 1611 sy^p,h co. Though the conjunction looks at first glance like a scribal clarification, its omission may be explained on the basis of its similarity to the last three letters of the verb “repent” (μετανόησον, metanoēson; since οὖν is a postpositive conjunction in Greek, the final three letters of the verb [-σον, -son] would have been immediately followed by ουν). A scribe could have simply passed over the conjunction in his copy when he saw the last three letters of the imperative verb. A decision is difficult, however, because of the motivation to add to the text and the quality of witnesses that lack the conjunction.