¹ sn The verb חָרַשׁ (kharash) means “to cut in; to engrave; to plough; to devise.” The idea of plotting is metaphorical for working, practicing or fabricating (BDB 360 s.v.).

¹ sn The finest linen was byssus, a fine, costly, white fabric made in Egypt, Palestine, and Edom, and imported into Persia (BDB 101 s.v. בּוּץ; HALOT 115-16 s.v. בּוּץ).

⁴ tn The Hebrew noun אַרְגָּמָן (ʾargaman, “purple fabric”) is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” and Aramaic argwn “purple” (HALOT 84 s.v. אַרְגָּמָן). The Hebrew term refers to wool dyed with red purple (BRL2 153; HALOT 84). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). Purple cloth and fabrics were costly (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26). Thus, this was a sedan-chair fit for a king. KJV and NIV render it simply as “purple,” NASB as “purple fabric,” and NJPS “purple wool.”

³ sn This color is made from the eggs and bodies of the worm coccus ilicus, which is found with the holly plant—so Heb “worm of brilliance.” The powder made from the dried maggots produces a bright red-yellow color (W. C. Kaiser, Jr., “Exodus,” EBC 2:452). B. Jacob takes the view that these are not simply colors that are being introduced here, but fabrics dyed with these colors (Exodus, 765). At any rate, the sequence would then be metals, fabrics, and leathers (v. 5).

³ sn J. H. Greenstone notes that if God will accept the prayers of the upright, he will accept their sacrifices; for sacrifice is an outer ritual and easily performed even by the wicked, but prayer is a private and inward act and not usually fabricated by unbelievers (Proverbs, 162).

¹ tn The term rendered here “crimson fabric” consists of two Hebrew words and means literally, “crimson of worm” (in this order only in Lev 14:4, 6, 49, 51, 52 and Num 19:6; for the more common reverse order, “worm of crimson,” see, e.g., the colored fabrics used in making the tabernacle, Exod 25:4, etc.). This particular “worm” is an insect that lives on the leaves of palm trees, the eggs of which are the source for a “crimson” dye used to color various kinds of cloth (B. A. Levine, Leviticus [JPSTC], 86). That a kind of dyed “fabric” is intended, not just the dye substance itself, is made certain by the dipping of it along with the other ritual materials listed here into the blood and water mixture for sprinkling on the person being cleansed (Lev 14:6; cf. also the burning of it in the fire of the red heifer in Num 19:6). Both the reddish color of cedar wood and the crimson colored fabric seem to correspond to the color of blood and may, therefore, symbolize either “life,” which is in the blood, or the use of blood to “make atonement” (see, e.g., Gen 9:4 and Lev 17:11). See further the note on v. 7 below.

³ tn Or “woven work” (KJV, ASV, NASB), that is, “the work of a weaver.” The expression suggests that the weaving was from the fabric edges itself and not something woven and then added to the robe. It was obviously intended to keep the opening from fraying.

² tn The word רֹקֵם (roqem) refers to someone who made cloth with colors. It is not certain, however, whether the colors were woven into the fabric on the loom or applied with a needle; so “embroiderer” should be understood as an approximation (cf. HALOT 1290-91 s.v. רקם).

¹ tn It is difficult to know how to translate וְשִׁבַּצְתָּ (v^eshibbatsta); it is a Piel perfect with the vav (ו) consecutive, and so equal to the imperfect of instruction. Some have thought that this verb describes a type of weaving and that the root may indicate that the cloth had something of a pattern to it by means of alternate weaving of the threads. It was the work of a weaver (39:27) and not so detailed as certain other fabrics (26:1), but it was more than plain weaving (S. R. Driver, Exodus, 310). Here, however, it may be that the fabric is assumed to be in existence and that the action has to do with sewing (C. Houtman, Exodus, 3:475, 517).

¹ sn The ger (גֵּר) “resident foreigner” had a different status in different countries. In Israel the foreigners going by this term are (or are supposed to be) fully integrated into Israel’s social fabric and worshipers of Yahweh. Such an attachment to the Lord is a prior condition to the possibility of separating from the Lord. See also the notes at Exod 12:19 and Deut 29:11.

³ sn Some modern biblical scholars are convinced, largely through arguments from silence, that there were no unified kingdoms in Edom until the 9th century, and no settlements there before the 12th century, and so the story must be late and largely fabricated. The evidence is beginning to point to the contrary. But the cities and residents of the region would largely be Bedouin, and so leave no real remains.

⁴ tn Heb “has made smooth.” The Hiphil of II חָלַק (khalaq, “to be smooth; to be slippery”) means (1) “to make smooth” (metal with hammer) and (2) “to use smooth words,” that is, to flatter (Pss 5:10; 36:3; Prov 2:16; 7:5; 28:23; 29:5; see BDB 325 s.v. 2; HALOT 322 s.v. I חלק hif.2). The related Arabic cognate verb means “make smooth, lie, forge, fabricate.” The seductive speech of the temptress is compared to olive oil (5:3) and is recounted (7:14-20).

⁴ tn Heb “like purple” or “like purple fabric.” The term אַרְגָּמָן (ʾargaman, “purple fabric”) refers to wool dyed with red purple (HALOT 84 s.v. אַרְגָּמָן). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). NASB translates it as “purple threads,” while NIV nuances this term as “royal tapestry.” M. H. Pope (The Song of Songs [AB], 629-30) adduces several ancient Near Eastern texts and suggests that it refers to purple hair-dye. The comparison is to hair which entangles Solomon like binding cords and therefore, it seems most likely that the idea here must be purple threads. The Hebrew noun is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” Aramaic argwn “purple” (HALOT 84). Purple cloth and threads were considered very valuable (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26).

³ sn The claims that the soldier is making here seem to contradict the story of Saul’s death as presented in 1 Sam 31:3-5. In that passage it appears that Saul took his own life, not that he was slain by a passerby who happened on the scene. Some scholars account for the discrepancy by supposing that conflicting accounts have been brought together in the MT. However, it is likely that the young man is here fabricating the account in a self-serving way so as to gain favor with David, or so he supposes. He probably had come across Saul’s corpse, stolen the crown and bracelet from the body, and now hopes to curry favor with David by handing over to him these emblems of Saul’s royalty. But in so doing the Amalekite greatly miscalculated David’s response to this alleged participation in Saul’s death. The consequence of his lies will instead be his own death.

² tc The MT of vv. 13b-14a reads simply, “He said to her, ‘If you weave the seven braids of my head with the web.’ And she fastened with the pin and said to him.” The additional words in the translation, “and secure it with the pin, I will become weak and be like any other man.’ 16:14 So she made him go to sleep, wove the seven braids of his hair into the fabric on the loom,” which without doubt represent the original text, are supplied from the ancient Greek version. (In both vv. 13b and 14a the Greek version has “to the wall” after “with the pin,” but this is an interpretive addition that reflects a misunderstanding of ancient weaving equipment. See G. F. Moore, Judges [ICC], 353-54.) The Hebrew textual tradition was accidentally shortened during the copying process. A scribe’s eye jumped from the first instance of “with the web” to the second, causing him to leave out inadvertently the intervening words.

³ sn The reddish color of cedar wood and the crimson colored fabric called for in v. 4 (see the note there, esp. the association with the color of blood) as well as the priestly commands to bring “two live” birds (v. 4a), to slaughter one of them “over fresh water” (literally “living water,” v. 5b), and the subsequent ritual with the (second) “live” bird (vv. 6-7) combine to communicate the concept of “life” and “being alive” in this passage. This contrasts with the fear of death associated with the serious skin diseases in view here (see, e.g., Aaron’s description of Miriam’s skin disease in Num 12:12, “Do not let her be like the dead one when it goes out from its mother’s womb and its flesh half eaten away”). Since the slaughtered bird here is not sacrificed at the altar and is not designated as an expiatory “sin offering,” this ritual procedure probably symbolizes the renewed life of the diseased person and displays it publicly for all to see. It is preparatory to the expiatory rituals that will follow (vv. 10-20, esp. vv. 18-20), but is not itself expiatory. Thus, although there are important similarities between the bird ritual here, the scapegoat on the Day of Atonement (Lev 16:20-22), and the red heifer for cleansing from corpse contamination (Num 19), this bird ritual is different in that the latter two constitute “sin offerings” (Lev 16:5, 8-10; Num 19:9, 17). Neither of the birds in Lev 14:4-7 is designated or treated as a “sin offering.” Nevertheless, the very nature of the live bird ritual itself and its obvious similarity to the scapegoat ritual suggests that the patient’s disease has been removed far away so that he or she is free from its effects both personally and communally.

² sn The Hebrew word זֶרַע (zera‘, “seed, offspring”) can designate an individual (Gen 4:25) or a collective (Gen 13:16) and may imply both in this line. The text anticipates the ongoing struggle between humans (the woman’s offspring) and snakes (the serpent’s offspring). An ancient Jewish interpretation of the passage states: “He made the serpent, cause of the deceit, press the earth with belly and flank, having bitterly driven him out. He aroused a dire enmity between them. The one guards his head to save it, the other his heel, for death is at hand in the proximity of men and malignant poisonous snakes.” See Sib. Or. 1:59-64. For a similar interpretation see Josephus, Ant. 1.1.4 (1.50-51). The text may also allude to a larger conflict, as Tremper Longman (Genesis [The Story of God Commentary], 67) suggests that the author and the ancient audience of Genesis would have seen the serpent as representing spiritual forces of evil. This verse can be seen as a piece of the same fabric discussing the conflict between good and evil, where the serpent also represents Satan (cf. Rev 12:9) and the woman’s seed also represents God’s people and the Messiah. The promise of seed in the Books of Moses and the rest of the Old Testament is a developing motif of anticipatory hope. After referring to humanity here, in subsequent contexts it refers to Israel (Abraham’s seed), the Davidic line, and to the Messiah. Interpreters who understand this verse as an allusion to the spiritual conflict vary in how incipient or developed they view the theme to be here.