² tn Heb “though I do not know [the] numbers,” that is, the tally of God’s just and saving acts. HALOT 768 s.v. סְפֹרוֹת understands the plural noun to mean “the art of writing.”

² tn Regarding the translation “chariots with iron-rimmed wheels,” see Y. Yadin, The Art of Warfare in Biblical Lands, 255, and the article by R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

³ tn Regarding the translation “chariots with iron-rimmed wheels,” see Y. Yadin, The Art of Warfare in Biblical Lands, 255, and the article by R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

¹ tn BDAG 812 s.v. πιθανολογία states, “persuasive speech, art of persuasion (so Pla., Theaet. 162e) in an unfavorable sense in its only occurrence in our lit. ἐν πιθανολογίᾳ by specious arguments Col 2:4 (cp. PLips 40 III, 7 διὰ πιθανολογίας).”

² sn In the Jewish context, “full betrothal was so binding that its breaking required a certificate of divorce, and the death of one party made the other a widow or widower (m. Ketub. 1:2; m. Sota 1:5; m. Git. passim…)” (R. H. Gundry, Matthew: A Commentary on his Literary and Theological Art, 21).

¹ sn Arrows and lightning bolts are associated in other texts (see Pss 18:14; 77:17-18; Zech 9:14), as well as in ancient Near Eastern art (see R. B. Chisholm, “An Exegetical and Theological study of Psalm 18/2 Samuel 22” [Th.D. diss., Dallas Theological Seminary, 1983], 187).

⁴ sn Arrows and lightning bolts are associated in other texts (see Pss 77:17-18; 144:6; Zech 9:14), as well as in ancient Near Eastern art (see R. B. Chisholm, “An Exegetical and Theological Study of Psalm 18/2 Samuel 22” [Th.D. diss., Dallas Theological Seminary, 1983], 187).

¹ sn See N. C. Habel, “The Narrative Art of Job,” JSOT 27 (1983): 101-11; J. J. Owens, “Prologue and Epilogue,” RevExp 68 (1971): 457-67; and R. Polzin, “The Framework of the Book of Job,” Int 31 (1974): 182-200.

¹ tn This apparently refers to the instructions given by Samuel in 1 Sam 10:8. If so, several years had passed. On the relationship between chs. 10 and 13, see V. P. Long, The Art of Biblical History (FCI), 201-23.

³ tn Heb “a knowing [or “familiar”] [spirit]” (יִדְּעֹנִי, yidd^eʿoniy), i.e., one who is expert in mantic arts (cf. Lev 19:31; 20:6, 27; 1 Sam 28:3, 9; 2 Kgs 21:6; Isa 8:19; 19:3).

² tn Heb “two horns from his hand [belong] to him.” Sharp, pointed lightning bolts have a “horn-like” appearance. The weapon of “double lightning” appears often in Mesopotamian representations of gods. See Elizabeth Van Buren, Symbols of the Gods in Mesopotamian Art (AnOr), 70-73. The term קֶרֶן (qeren), here in the dual form, commonly means “horn” but can also be used metaphorically (HALOT 1145 s.v. 4).

³ sn Lightning is a common motif in OT theophanies and in ancient Near Eastern portrayals of the storm god and warring kings. Arrows and lightning bolts are associated in other texts (see Pss 77:17-18; 144:6; Zech 9:14), as well as in ancient Near Eastern art. See R. B. Chisholm, “An Exegetical and Theological Study of Psalm 18/2 Samuel 22” (Th.D. diss., Dallas Theological Seminary, 1983), 187, 190-92.

² tn Heb “and there are iron chariots among all the Canaanites who live in the land of the valley, to those who are in Beth Shean and its daughters and to those who are in the Valley of Jezreel.” Regarding the translation “chariots with iron-rimmed wheels” see Y. Yadin, The Art of Warfare in Biblical Lands, 255 and R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

² tn Heb “and look.” The scene which Jacob witnessed is described in three clauses introduced with הִנֵּה (hinneh). In this way the narrator invites the reader to witness the scene through Jacob’s eyes. J. P. Fokkelman points out that the particle goes with a lifted arm and an open mouth: “There, a ladder! Oh, angels! and look, the Lord himself” (Narrative Art in Genesis [SSN], 51-52).

² sn Babel. Here is the climax of the account, a parody on the pride of Babylon. In the Babylonian literature the name bab-ili meant “the gate of God,” but in Hebrew it sounds like the word for “confusion,” and so retained that connotation. The name “Babel” (בָּבֶל, bavel) and the verb translated “confused” (בָּלַל, balal) form a paronomasia (sound play). For the many wordplays and other rhetorical devices in Genesis, see J. P. Fokkelman, Narrative Art in Genesis (SSN).

¹ sn The whole earth. Here “earth” is a metonymy of subject, referring to the people who lived in the earth. Genesis 11 begins with everyone speaking a common language, but chap. 10 has the nations arranged by languages. It is part of the narrative art of Genesis to give the explanation of the event after the narration of the event. On this passage see A. P. Ross, “The Dispersion of the Nations in Genesis 11:1-9, ” BSac 138 (1981): 119-38.

² tn Heb “trained of war.” In the genitive construct מְלֻמְּדֵי מִלְחָמָה (m^elumm^ede milkhamah, “trained of war”) the noun מִלְחָמָה (“war, battle”) is a genitive of specification or limitation, that is, it specifies the extent to which the expertise of the subjects applies: “in regard to warfare.” The term מִלְחָמָה (“warfare”) may be nuanced metonymically as “the art of warfare” in the light of (1) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (ʾakhuze, “skilled”), and (2) its parallelism with חֶרֶב (kherev, “sword, swordsmanship”).

³ tn The term בְּלַהֲטֵיהֶם (b^elahatehem) means “by their secret arts”; it is from לוּט (lut, “to enwrap”). The Greek renders the word “by their magic”; Tg. Onq. uses “murmurings” and “whispers,” and other Jewish sources “dazzling display” or “demons” (see further B. Jacob, Exodus, 253-54). They may have done this by clever tricks, manipulation of the animals, or demonic power. Many have suggested that Aaron and the magicians were familiar with an old trick in which they could temporarily paralyze a serpent and then revive it. But here Aaron’s snake swallows up their snakes.

⁴ sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes.

¹ tn The Hebrew כֶּלִי (keli) means “vessel; utensil” (cf. KJV, ASV, NASB). But purging dross from silver does not produce a “vessel” for the silversmith. Some versions therefore render it “material” (e.g., NIV, NRSV). The LXX says “that it will be entirely pure.” So D. W. Thomas reads כָּלִיל (kalil) and translates it “purified completely” (“Notes on Some Passages in the Book of Proverbs,” VT 15 [1965]: 271-79; cf. NAB). W. McKane simply rearranges the line to say that the smith can produce a work of art (Proverbs [OTL], 580; cf. TEV “a thing of beauty”). The easiest explanation is that “vessel” is a metonymy of effect, “vessel” put for the material that goes into making it (such metonymies occur fairly often in Psalms and Proverbs).