¹ sn Eccl 12:9-12 fits the pattern of a concluding colophon that draws from a conventional stock of ancient Near Eastern scribal practices and vocabulary. See M. A. Fishbane, Biblical Interpretation, 29-31.

¹ sn The parallel expressions here underscore her care for the needy. The first part uses “she spread her palm” and the second “she extended her hands,” repeating some of the vocabulary introduced in the last verse.

⁴ sn This verse and v. 28 should be compared with Ps 49:7-9, 15 (8-10, 16 HT) where the same basic vocabulary and concepts are employed.

³ sn B. Jacob is amazed at the wealth of this tyrant’s vocabulary in describing the work of others. Here, תֹכֶן (tokhen) is another word for “quota” of bricks, the fifth word used to describe their duty (Exodus, 137).

¹ tn Heb “and I loved Jacob, but Esau I hated.” The context indicates this is technical covenant vocabulary in which “love” and “hate” are synonymous with “choose” and “reject” respectively (see Deut 7:8; Jer 31:3; Hos 3:1; 9:15; 11:1).

³ sn Tremper Longman (Jeremiah, Lamentations [New International Biblical Commentary], 384) notes that the priests are unclean by the blood on their garments, but blood from wounds did not make a person unclean. Murder made a person guilty but not ceremonially unclean. Jeremiah chose the vocabulary of ceremonial defilement to stress the wrongness of what they did.

² tn The Hebrew word for “armed” is probably connected to the word for “shield” and “deliver” (s.v. גָּנַן). G. R. Driver connects it to the Arabic word for “bold; insolent,” interpreting its use here as referring to a beggar or an insolent man (“Studies in the Vocabulary of the Old Testament, IV,” JTS 33 [1933]: 38-47).

¹ tn The text multiplies the vocabulary of service here in the summary. In the Hebrew text the line reads literally: “everyone who came to serve the service of serving, and the service of burden.” The Levites came into service in the shrine, and that involved working in the sanctuary as well as carrying it from one place to the next.

² tn Heb “one lip and one [set of] words.” The term “lip” is a metonymy of cause, putting the instrument for the intended effect. They had one language. The term “words” refers to the content of their speech. They had the same vocabulary.

³ tn The expression is “swear an oath” (הִשָּׁבַע שְׁבֻעָה, hishavaʿ sh^evuʿah). The vow (נֵדֶר, neder) was a promise to donate something of oneself or one’s substance to the Lord. The solemn oath seals the vow before the Lord, perhaps with sacrifice. The vocabulary recalls Abraham’s treaty with Abimelech and the naming of Beer Sheba with the word (see Gen 21).

⁵ sn It is difficult to be sure what intertextual connections are intended by the author in his use of vocabulary. The Hebrew word translated “grown tired” is not very common. It has been used twice before: in 9:5-6b, where it refers to the people being unable to repent, and in 6:11, where it refers to Jeremiah being tired or unable to hold back his anger because of that inability. Now God, too, has worn out his patience with them (cf. Isa 7:13).

⁴ sn Many scholars regard Rom 4:25 to be 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.

² sn The first verse of the prayer summarizes the whole—“I was in trouble; I called to the Lord for help; he rescued me; I will give him thanks”—before elaborating on the nature and extent of the trouble (vv. 3-7a), mentioning the cry for help and the subsequent rescue (6b-7), and promising to give thanks (8-9). These elements, as well as much vocabulary and imagery found in Jonah’s prayer, appear also in other Hebrew psalms. With Jonah 2:1 compare, for example, Pss 18:6; 22:24; 81:7; 116:1-4; 120:1; 130:1-2; Lam 3:55-56. These references and others indicate that Jonah was familiar with prayers used in worship at the temple in Jerusalem; he knew “all the right words.” Cf. also Ps 107 with Jonah as a whole.

¹ tn Heb “he stretched out a measuring line.” In Hebrew, this idiom is used (1) literally: to describe a workman’s preparation of measuring and marking stones before cutting them for building (Job 38:5; Jer 31:39; Zech 1:16), and (2) figuratively: to describe the Lord’s planning and preparation to destroy a walled city, that is, to mark off for destruction (2 Kgs 21:13; Isa 34:11; Lam 2:8). It is not completely clear how a phrase from the vocabulary of building becomes a metaphor for destruction; however, it might picture a predetermined and carefully planned measure from which God will not deviate.

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.