¹ sn In the genitive construct phrase עֲרוּגַת הַבֹּשֶׂם (ʿarugat habbosem, literally, “beds of balsam”) the term בֹּשֶׂם (bosem) is a genitive of composition, identifying what these gardens were composed of. The term עֲרוּגַת (“garden-beds”) refers to a private garden terrace or garden bed, a rare luxury in Palestine and very expensive to own (Ezek 17:7, 10) (BDB 788 s.v. עֲרוּגָה). The term בֹּשֶׂם (bosem, “balsam”) refers to balsam trees which yielded sweet-smelling oils from which perfumes were produced. The balsam trees should be identified either as Astragalus tragacantha which grew everywhere in Palestine and exude resin from its thorns, or as Commiphora opobalsamum which was not native to Israel but to South Arabia from whence it had to be imported at great cost (2 Chr 9:1) (Fauna and Flora of the Bible, 177-78). She is comparing the beautiful scent of his cologned cheeks to fragrant beds of spice.

⁶ tn The term חֶדֶר (kheder, “chamber”) is used frequently in reference to a bedroom (Gen 43:30; Judg 15:1; 16:9; 2 Sam 13:10; 1 Kgs 1:15; Ps 105:30; Isa 26:20). It refers explicitly to a bedroom when used with the noun מִשְׁכָּב (mishkav, “bed”) in the expression חֶדֶר מִשְׁכָּב “bedroom chamber” Exod 7:28 HT [8:3 ET]; 2 Sam 4:7; 2 Kgs 6:12; Eccl 10:20). The plural form חֲדָרָיו (khadarayv, “his chambers”) functions as a plural of extension rather than a plural or number; it refers to one bedroom composed of several parts rather than referring to several different bedrooms. The expression “Bring me into your chambers” is a metonymy of cause for effect, that is, her desire for lovemaking in his bedroom chambers.

² tn Heb “he weighed and studied.” The verbs וְאִזֵּן וְחִקֵּר (v^eʾizzen vekhiqqer, “he weighed and he explored”) form a hendiadys (a figurative expression in which two separate terms used in combination to convey a single idea): “he studiously weighed” or “carefully evaluated.” The verb וְאִזֵּן (conjunction + Piel perfect third person masculine singular from II אָזַן (ʾazan) “to weigh; to balance”) is related to the noun מֹאזֵן (moʾzen) “balances; scales” used for weighing money or commercial items (e.g., Jer 32:10; Ezek 5:1). This is the only use of the verb in the OT. In this context, it means “to weigh” = “to test; to prove” (BDB 24 s.v. מאזן) or “to balance” (HALOT 27 II אָזַן). Cohen suggests, “He made an examination of the large number of proverbial sayings which had been composed, testing their truth and worth, to select those which he considered deserving of circulation” (A. Cohen, The Five Megilloth [SoBB], 189).

⁷ tn The verbal root נוח means “to leave behind; to leave untouched” (HALOT 680 s.v. I נוח 2) in general, and in this passage, “to undo” or “to allay” offenses (HALOT 680 s.v. I נוח 3; BDB 629 s.v. נוּחַ 5) or “to avoid” offenses (BDB 629 נוּחַ 5). The point is either that (1) a composed response can calm or appease the anger of the ruler, or (2) a calm heart will help one avoid great sins that would offend the king. The root נוח (“to rest”) is repeated, creating a wordplay: “Do not leave” (אַל־תַּנַּח, ʾal tannakh) and “to avoid; to allay” (יַנִּיחַ, yanniakh). Rather than resigning (i.e., leaving), composure can appease a king (i.e., cause the anger of the king to leave).

³ sn Many contemporary scholars see this story as fictitious, composed by the Jews during the captivity. According to this interpretation, the spoils of war here indicate the wealth of the Jews in captivity, which was to be given to the Levites and priests for the restoration of the sanctuary in Jerusalem. The conclusion drawn from this interpretation is that returning Jews had the same problem as the earlier ones: to gain a foothold in the land. Against this interpretation of the account is a lack of hard evidence, a lack which makes this interpretation appear contrived and subjective. If this was the intent of a later writer, he surely could have stated this more clearly than by making up such a story.

¹ sn Why this section has been held until now is a mystery. One would have expected to find it with the instructions for the other furnishings. The widespread contemporary view that it was composed later does not answer the question, it merely moves the issue to the work of an editor rather than the author. N. M. Sarna notes concerning the items in chapter 30 that “all the materials for these final items were anticipated in the list of invited donations in 25:3-6” and that they were not needed for installing Aaron and his sons (Exodus [JPSTC], 193). Verses 1-10 can be divided into three sections: the instructions for building the incense altar (1-5), its placement (6), and its proper use (7-10).

² tn Heb “the song of songs.” The genitive construct שִׁיר הַשִׁירִים (shir hashirim) is translated literally as “the song of songs” in the early versions: Greek LXX (ᾀσμα ᾀσμάτων, asma asmatōn), Latin Vulgate (canticum canticorum) and Syriac Peshitta (tešb^ehat tešb^ehataʾ). The phrase שִׁיר הַשִׁירִים may be understood in two ways: (1) The noun הַשִׁירִים is a plural of number (“songs”) and functions as a genitive of composition: “the song composed of several songs,” that is, the book is a unified collection (hence the singular שִׁיר “song”) composed of individual love songs (see note on the expression “Her Lover” in v. 1). (2) The expression may be a superlative genitive construction denoting par excellence (see IBHS 154 §9.5.3j; GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 11, §44; 17-18, §80). For example, קֹדֶשׁ קָדָשִׁים (qodesh qadashim, “the holy of holies”) means the most holy place (Exod 29:37); אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הָאֲדֹנִים (ʾelohe haʾelohim vaʾadone haʾadonim, “the God of Gods and Lord of Lords”) means the Highest God and the Supreme Lord (Deut 10:17); and עֶבֶד עֲבָדִים (ʿeved ʿavadim, “a slave of slaves”) means an abject slave (Gen 9:25). The title “the Song of Songs” is an expression of great esteem for the composition. It has been translated variously: “The Song of Songs, which is Solomon’s” (KJV, NKJV, RSV, NRSV, NASB), “Solomon’s Song of Songs” (NIV), “The most beautiful of songs, by Solomon” (TEV), “dedicated to,” or “about Solomon” (TEV margin), “Solomon’s most beautiful song” (CEV), “This is Solomon’s song of songs, more wonderful than any other” (NLT).

³ tc The reading ᾿Ιησοῦς (Iēsous, “Jesus”) is deemed too hard by several scholars, since it involves the notion of Jesus acting in the early history of the nation Israel (the NA²⁷ has “the Lord” instead of “Jesus”). However, not only does this reading enjoy the strongest support from a variety of early witnesses (e.g., A B 33 81 88 322 424^c 665 915 1241 (1735: “the Lord Jesus”) 1739 1881 2298 2344 vg co eth Or^1739mg Cyr Hier Bede), but the plethora of variants demonstrate that scribes were uncomfortable with it, for they seemed to exchange κύριος (kurios, “Lord”) or θεός (theos, “God”) for ᾿Ιησοῦς (though P⁷² has the intriguing reading θεὸς Χριστός [theos Christos, “God Christ”] for ᾿Ιησοῦς). As difficult as the reading ᾿Ιησοῦς is, in light of v. 4 and in light of the progress of revelation (Jude being one of the last books in the NT to be composed), it is wholly appropriate. The NA²⁸ text now also reads Ιησοῦς. For defense of this reading, see Philipp Bartholomä, “Did Jesus Save the People out of Egypt: A Re-examination of a Textual Problem in Jude 5, ” NovT 50 (2008): 143-58.

² tn The construction “a kingdom of priests” means that the kingdom is made up of priests. W. C. Kaiser (“Exodus,” EBC 2:417) offers four possible renderings of the expression: 1) apposition, viz., “kings, that is, priests”; 2) as a construct with a genitive of specification, “royal priesthood”; 3) as a construct with the genitive being the attribute, “priestly kingdom”; and 4) reading with an unexpressed “and”—“kings and priests.” He takes the latter view that they were to be kings and priests. (Other references are R. B. Y. Scott, “A Kingdom of Priests (Exodus xix. 6),” OTS 8 [1950]: 213-19; William L. Moran, “A Kingdom of Priests,” The Bible in Current Catholic Thought, 7-20). However, due to the parallelism of the next description which uses an adjective, this is probably a construct relationship. This kingdom of God will be composed of a priestly people. All the Israelites would be living wholly in God’s service and enjoying the right of access to him. And, as priests, they would have the duty of representing God to the nations, following what they perceived to be the duties of priests—proclaiming God’s word, interceding for people, and making provision for people to find God through atonement (see Deut 33:9, 10).

³ sn My lord. In the psalm’s original context the speaker is an unidentified prophetic voice in the royal court, likely addressing David, the head of the dynasty. In the course of time the psalm is applied to each successive king in the dynasty, and is likely understood as such by David (see 2 Sam 7:11-14, 19). Since the Psalm as a whole is attributed to David, it is appropriate to speak of any of its parts as coming from him, whether he composed them, reported them, or commissioned them. Ultimately these words come to apply to the ideal Davidic king, specifically Jesus Christ, the Son of David. Thus, in the irony of the incarnation, the lord who receives the promise is the Lord who made the promise. This creates some complexity in typographic convention, as NET chooses to use lower case here in the Psalm (“my lord”) due to its original context, even though we now know it to be ultimately fulfilled by our Lord. The Greek translation introduces more difficulty because it uses κύριος (kurios, “lord”) for both the Lord’s name, יהוה (YHWH, probably pronounced “Yahweh”) and the title אֲדוֹנַי (ʾadonay, “Lord”) (the word here is not the title, but simply “lord” [אָדוֺן, ʾadon] with the suffix “my”). This complexity and irony are the grounds for the riddle posed by Jesus in the gospels (Matt 22:43-45; Mark 12:36-37; Luke 20:42-44), which the Pharisees could not solve because they were not expecting the Davidic lord to be the Lord. Peter incorporates the answer “that God has made this Jesus whom you crucified both Lord and Christ” into his sermon at Pentecost (Acts 2:34-35).

⁴ tc The earliest and best mss (P^18vid א A C P 2050 al lat sy co) lack the term “God” (θεοῦ, theou) between “from” (ἀπό, apo) and “he who is” (ὁ ὤν, ho ōn). Its inclusion, as supported by the bulk of the Byzantine witnesses, is clearly secondary and a scribal attempt to achieve two things: (1) to make explicit the referent in the passage, namely, God, and (2) to smooth out the grammar. The preposition “from” in Greek required a noun in the genitive case. But here in Rev 1:4 the words following the preposition “from” (ἀπό) are in another case, i.e., the nominative. There are two principal ways in which to deal with this grammatical anomaly. First, it could be a mistake arising from someone who just did not know Greek very well, or as a Jew, was heavily influenced by a Semitic form of Greek. Both of these unintentional errors are unlikely here. Commenting on this ExSyn 63 argues: “Either of these is doubtful here because (1) such a flagrant misunderstanding of the rudiments of Greek would almost surely mean that the author could not compose in Greek, yet the Apocalypse itself argues against this; (2) nowhere else does the Seer [i.e., John] use a nom. immediately after a preposition (in fact, he uses ἀπό 32 times with the gen. immediately following).” The passage appears to be an allusion to Exod 3:14 (in the LXX) where God refers to himself as “he who is” (ὁ ὤν), the same wording in Greek as here in Rev 1:4. Thus, it appears that John is wanting to leave the divine name untouched (perhaps to allude to God’s immutability, or as a pointer to the Old Testament as the key to unlocking the meaning of this book), irrespective of what it “looks” like grammatically. The translation has placed the “he who is” in quotation marks to indicate to the reader that the syntactical awkwardness is intentional. (For further comments, see ExSyn 63).

¹ sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests—an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them—in a poetic sense—in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b.

⁴ tn Heb “away from the presence of the Lord.” The term מִלִּפְנֵי (millifne, “away from the presence of”) is composed of the preposition לְפָנָי (l^efanay, “in front of, before the presence of”) and מִן (min, “away from”). The term מִלִּפְנֵי is used with בָּרַח (barakh, “to flee”) only here in biblical Hebrew, so it is difficult to determine its exact meaning (HALOT 942 s.v. פָּנֶה 4.h.ii; see E. Jenni, “‘Fliehen’ im akkadischen und im hebräischen Sprachgebrauch,” Or 47 [1978]: 357). There are four most likely options. First, Jonah simply fled from the Lord’s presence manifested in the temple (for mention of the temple elsewhere in Jonah, see 2:5, 8). This is reflected in Jerome’s rendering fugeret in Tharsis a facie Domini (“he fled to Tarshish away from the face/presence of the Lord”). The term מִלִּפְנֵי is used in this sense with יָצָא (yatsaʾ, “to go out”) to depict someone or something physically leaving the manifested presence of the Lord (Lev 9:24; Num 17:11 HT [16:46 ET]; 17:24 [17:9 ET]; cf. Gen 4:16). This is reflected in several English versions: “from the presence of the Lord” (KJV, NKJV, RSV, NRSV, ASV, NASB) and “out of the reach of the Lord” (REB). Second, Jonah was fleeing to a distant place outside the land of Israel (D. Stuart, Hosea-Jonah [WBC], 450). The term לְפָנָי is used in various constructions with מִן to describe locations outside the land of Israel where Yahweh was not worshiped (1 Sam 26:19-20; 2 Kgs 13:23; 17:20, 23; Jer 23:39). This would be the equivalent of a self-imposed exile. Third, the term מִלִּפְנֵי can mean “out of sight” (Gen 23:4, 8), so perhaps Jonah was trying to escape from the Lord’s active awareness—out of the Lord’s sight. The idea would either be an anthropomorphism (standing for a distance out of the sight of God), or it would reflect an inadequate theology of the limited omniscience and presence of God. This is reflected in some English versions: “ran away from the Lord” (NIV), “running away from Yahweh” (NJB), “to get away from the Lord” (NLT), “to escape from the Lord” (NEB) and “to escape” (CEV). Fourth, the term לְפָנָי can mean “in front of someone in power” (Gen 43:33; HALOT 942 s.v. c.i) and “at the disposal of” a king (Gen 13:9; 24:51; 34:10; 2 Chr 14:6; Jer 40:4; HALOT 942 s.v. 4.f). The expression would be a metonymy: Jonah was trying to escape from his commission (effect) ordered by God (cause). This is reflected in several English versions: “to flee from the Lord’s service” (JPS, NJPS). Jonah confesses in 4:2-3 that he fled to avoid carrying out his commission—lest God relent from judging Nineveh if its populace might repent. But it is also clear in chs. 1-2 that Jonah could not escape from the Lord himself.

² tc Before τὸ πνεῦμα καὶ τὸ ὕδωρ καὶ τὸ αἷμα (to pneuma kai to hudōr kai to haima, “the Spirit and the water and the blood”) at the beginning of v. 8, the Textus Receptus (TR) reads ἐν τῷ οὐρανῷ, ὁ πατήρ, ὁ λόγος, καὶ τὸ ἅγιον πνεῦμα, καὶ οὗτοι οἱ τρεῖς ἕν εἰσι. 5:8 καὶ τρεῖς εἰσιν οἱ μαρτυροῦντες ἐν τῇ γῇ (“in heaven, the Father, the Word, and the Holy Spirit, and these three are one. 5:8 And there are three that testify on earth”). This reading, the infamous Comma Johanneum, has been known in the English-speaking world through the King James translation. However, the evidence—both external and internal—is decidedly against its authenticity. For a detailed discussion, see TCGNT 647-49. Our discussion will briefly address the external evidence. This longer reading is found only in ten late mss, four of which have the words in a marginal note. These mss range in date from the 10th century (221) to the 18th (2318). They include the following (with dates in parentheses) 221 (X), 177 (XI), 88 (XII), 429 (XIV), 629 (XIV), 636 (XV), 61 (ca.1520), 918 (XVI), 2473 (1634), and 2318 (XVIII). There are minor variations among these codices. The earliest ms, codex 221, includes the reading in a marginal note, added sometime after the original composition. The oldest ms with the Comma in its text is from the 14th century (629), but the wording here departs from all the other mss in several places. The next oldest mss on behalf of the Comma, 177 (11th century), 88 (12th), 429 (14th), and 636 (15th), also have the reading only as a marginal note (v.l.). Codex 177’s Comma is in a marginal note that must be dated after 1551, the year of the first Greek New Testament with verse numbers added. The remaining mss are from the 16th to 18th centuries. Thus, there is no sure evidence of this reading in any Greek ms until the 14th century (629), and that ms deviates from all others in its wording; the wording that matches what is found in the TR was apparently composed after Erasmus’ Greek NT was published in 1516. Indeed, the Comma appears in no Greek witness of any kind (either ms, patristic, or Greek translation of some other version) until a.d. 1215 (in a Greek translation of the Acts of the Lateran Council, a work originally written in Latin). This is all the more significant since many a Greek Father would have loved such a reading, for it so succinctly affirms the doctrine of the Trinity. The reading seems to have arisen in a fourth century Latin homily in which the text was allegorized to refer to members of the Trinity. From there, it made its way into copies of the Latin Vulgate, the text used by the Roman Catholic Church. The Trinitarian formula (the Comma Johanneum) found a place in the third edition of Erasmus’ Greek NT (1522) because of pressure from the Catholic Church. After his first edition appeared, there arose such a furor over the absence of the Comma that Erasmus needed to defend himself. He argued that he did not put in the Comma because he found no Greek mss that included it. Once one was produced (codex 61, written in ca. 1520), Erasmus apparently felt obliged to include the reading. He became aware of this ms sometime between May of 1520 and September of 1521. In his annotations to his third edition he does not protest the rendering now in his text, as though it were made to order, but he does defend himself from the charge of indolence, noting that he had taken care to find whatever mss he could for the production of his text. In the final analysis, Erasmus probably altered the text because of politico-theologico-economic concerns: He did not want his reputation ruined, nor his Novum Instrumentum to go unsold. Modern advocates of the TR and KJV generally argue for the inclusion of the Comma Johanneum on the basis of heretical motivation by scribes who did not include it. But these same scribes elsewhere include thoroughly orthodox readings—even in places where the TR/Byzantine mss lack them. Further, these advocates argue theologically from the position of divine preservation: Since this verse is in the TR, it must be original. (Of course, this approach is circular, presupposing as it does that the TR = the original text.) In reality, the issue is history, not heresy: How can one argue that the Comma Johanneum goes back to the original text yet does not appear until the 14th century in any Greek mss (and in a form significantly different from what is printed in the TR; the wording of the TR is not found in any Greek mss until the 16th century)? Such a stance does not do justice to the gospel: Faith must be rooted in history. Significantly, the German translation of Luther was based on Erasmus’ second edition (1519) and lacked the Comma. But the KJV translators, basing their work principally on Theodore Beza’s 10th edition of the Greek NT (1598), a work which itself was fundamentally based on Erasmus’ third and later editions (and Stephanus’ editions), popularized the Comma for the English-speaking world. Thus, the Comma Johanneum has been a battleground for English-speaking Christians more than for others. For a recent discussion of the Comma Johanneum, see Rodrigo Galiza and John W. Reeve, “The Johannine Comma (1 John 5:7–8): The Status of Its Textual History and Theological Usage in English, Greek, and Latin,” AUSS 56 (2018) 63–89.