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(0.17) (Zec 10:2)

tn The Hebrew word תְּרָפִים (terafim, “teraphim”) refers to small images used as means of divination and in other occult practices (cf. Gen 31:19, 34-35; 1 Sam 19:13, 16; Hos 3:4). A number of English versions transliterate the Hebrew term (cf. ASV, NAB, NASB, NRSV) or simply use the generic term “idols” (so KJV, NIV, TEV).

(0.17) (Zep 1:3)

tn Heb “And the stumbling blocks [or, “ruins”] with the evil”; or “the things that make the evil stumble.” The line does not appear in the original form of the LXX; it may be a later scribal addition. The present translation assumes the “stumbling blocks” are idolatrous images of the aforementioned animals, birds, and fish. See J. J. M. Roberts, Nahum, Habakkuk, and Zephaniah (OTL), 167, and Adele Berlin, Zephaniah (AB), 73-74.

(0.17) (Eze 19:7)

tc The Hebrew text reads “widows” instead of “strongholds,” apparently due to a confusion of ר (resh) and ל (lamed). L. C. Allen (Ezekiel [WBC], 1:284) favors the traditional text, understanding “widows” in the sense of “women made widows.” D. I. Block, (Ezekiel [NICOT], 1:602) also defends the Hebrew text, arguing that the image is that of a dominant male lion who takes over the pride and by copulating with the females lays claim to his predecessor’s “widows.”

(0.17) (Lam 2:20)

sn Placing the specific reference to children at the end of the line in apposition to clarify that it does not describe the normal eating of fruit helps produce the repulsive shock of the image. Furthermore, the root of the word for “infants” (עוֹלֵל, ʿolel) has the same root letters for the verb “to afflict” occurring in the first line of the verse, making a pun (F. W. Dobbs-Allsopp, Lamentations [IBC], 99-100).

(0.17) (Lam 2:4)

tn The singular noun אֹהֶל (ʾohel, “tent”) may function as a collective, referring to all tents in Judah. A parallel expression occurs in verse 2 using the plural: “all the dwellings of Jacob” (כָּל־נְאוֹת יַעֲקֹב, kol neʾot yaʿaqov). The singular “tent” matches the image of “Daughter Zion.” On the other hand, the singular “the tent of Daughter Zion” might be a hyperbolic synecdoche of container (= tent) for contents (= inhabitants of Zion).

(0.17) (Lam 1:10)

tn Heb “all her desirable things.” The noun מַחְמָד (makhmad, “desirable thing”) refers to valuable possessions, such as gold and silver, that people desire (e.g., Ezra 8:27). This probably refers, not to the valuable possessions of Jerusalem in general, but to the sacred objects in the temple in particular, as suggested by the rest of the verse. For the anthropomorphic image compare Song 5:16.

(0.17) (Jer 23:21)

sn The image is that of a messenger bearing news from the king. See 2 Sam 18:19-24; Jer 51:31; Isa 40:9; 52:7; and Hab 2:2 (the tablet/scroll bore the message the runner was to read to the intended recipients of his message). Their message has been given in v. 17 (see notes there for cross references).

(0.17) (Isa 28:13)

tn Heb “as a result they will go and stumble backward.” Perhaps an infant falling as it attempts to learn to walk is the background image here (cf. v. 9b). The Hebrew term לְמַעַן (lemaʿan) could be taken as indicating purpose (“in order that”), rather than simple result. In this case the people’s insensitivity to the message is caused by the Lord as a means of expediting their downfall.

(0.17) (Isa 2:21)

sn The precise point of vv. 20-21 is not entirely clear. Are they taking the idols into their hiding places with them because they are so attached to their man-made images? Or are they discarding the idols along the way as they retreat into the darkest places they can find? In either case it is obvious that the gods are incapable of helping them.

(0.17) (Pro 30:14)

tn Heb “teeth” (so NRSV) or “jaw teeth” (so KJV, ASV, NASB) or perhaps “jawbone.” This is a different Hebrew word for “teeth” than the one in the previous line; if it refers to “jaw teeth” then a translation like “molars” would be appropriate, although this image might not fit with the metaphor (“like knives”) unless the other teeth, the incisors or front teeth, are pictured as being even longer (“like swords”).

(0.17) (Pro 20:17)

sn The image of food and eating is carried throughout the proverb. Food taken by fraud seems sweet at first, but afterward it is not. To end up with a mouth full of gravel (a mass of small particles; e.g., Job 20:14-15; Lam 3:16) implies by comparison that what has been taken by fraud will be worthless and useless and certainly in the way (like food turning into sand and dirt).

(0.17) (Pro 20:8)

tn The second line uses the image of winnowing (cf. NIV, NRSV) to state that the king’s judgment removes evil from the realm. The verb form is מְזָרֶה (mezareh), the Piel participle. It has been translated “to sift; to winnow; to scatter” and “to separate”—i.e., separate out evil from the land. The text is saying that a just government roots out evil (cf. NAB “dispels all evil”), but few governments have been consistently just.

(0.17) (Pro 18:18)

tn Heb “casting the lot.” Because modern readers are not familiar with the ancient practice of casting lots, the image of the coin toss to decide an issue has been employed in the translation (cf. CEV “drawing straws”). Although the casting of lots is often compared to throwing dice, the translation “throwing dice ends disputes” in this context could be misunderstood to mean “participating in a game of dice ends disputes.”

(0.17) (Pro 6:3)

tn The syntactical construction of imperative followed by an imperative with vav consecutive denotes purpose: “in order to be delivered.” The verb means “to deliver oneself, be delivered” in the Niphal. The image is one of being snatched or plucked quickly out of some danger or trouble, in the sense of a rescue, as in a “brand snatched [Hophal stem] from the fire” (Zech 3:2).

(0.17) (Pro 5:1)

tn The text again has “my son.” In this passage perhaps “son” would be the most fitting because of the warning against going to the adulterous woman. However, since the image of the adulterous woman probably represents all kinds of folly (through personification), and since even in this particular folly the temptation works both ways, the general address to either young men or women should be retained. The text was certainly not intended to convey that only women could seduce men.

(0.17) (Psa 11:6)

tc The MT reads “traps, fire, and brimstone,” but the image of God raining traps, or snares, down from the sky is bizarre and does not fit the fire and storm imagery of this verse. The noun פַּחִים (pakhim, “traps, snares”) should be emended to פַּחֲמֵי (pakhame, “coals of [fire]”). The rare noun פֶּחָם (pekham, “coal”) occurs in Prov 26:21 and Isa 44:12; 54:16.

(0.17) (Job 41:19)

sn For the animal, the image is that of pent-up breath with water in a hot steam jet coming from its mouth, like a stream of fire in the rays of the sun. The language is hyperbolic, probably to reflect the pagan ideas of the dragon of the deep in a polemical way—they feared it as a fire breathing monster, but in reality it might have been a steamy crocodile.

(0.17) (Job 14:18)

tn The word יִבּוֹל (yibbol) usually refers to a flower fading and so seems strange here. The LXX and the Syriac translate “and will fall”; most commentators accept this and repoint the preceding word to get “and will surely fall.” Duhm retains the MT and applies the image of the flower to the falling mountain. The verb is used of the earth in Isa 24:4, and so NIV, RSV, and NJPS all have the idea of “crumble away.”

(0.17) (Job 10:22)

tn The verse multiplies images for the darkness in death. Several commentators omit “as darkness, deep darkness” (כְּמוֹ אֹפֶל צַלְמָוֶת, kemo ʾofel tsalmavet) as glosses on the rare word עֵיפָתָה (ʿefatah, “darkness”) drawn from v. 21 (see also RSV). The verse literally reads: “[to the] land of darkness, like the deep darkness of the shadow of death, without any order, and the light is like the darkness.”

(0.17) (Job 9:23)

tn The term מַסַּת (massat), a hapax legomenon, was translated “trial” in the older versions, but it is not from נָסָה (nasah, “to tempt; to test; to try”); instead it is from מָסַס (masas, “to flow”). It is used in the Niphal to speak of the heart “melting” in suffering. So the idea behind this image is that of despair. This is the view that most interpreters adopt; it requires no change of the text whatsoever.



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