¹ sn This verse marks the beginning of chap. 4 in the Aramaic text of Daniel (see the note on 4:1). The Greek OT (LXX) has the following addition: “In the eighteenth year of Nebuchadnezzar’s reign he said.” This date would suggest a link to the destruction of Jerusalem in 586 b.c. In general, the LXX of chapters 4-6 is very different from the MT, so much so that the following notes will call attention only to selected readings. In Daniel 4 the LXX lacks sizable portions of material in the MT (e.g., vv. 3-6, 31-32), includes sizable portions of material not in the MT (e.g., v. 14a, parts of vv. 16, 28), has a different order of some material (e.g., v. 8 after v. 9), and in some instances is vastly different from the MT (e.g., vv. 30, 34). Whether these differences are due to an excessively paraphrastic translation technique adopted for these chapters in the LXX, or are due to differences in the underlying Vorlage of the LXX, is a disputed matter. The latter seems more likely. There is a growing trend in modern scholarship to take the LXX of chapters 4-6 much more seriously than was the case in most earlier text-critical studies that considered this issue.

² sn The expression אַגַּן הַסַּהַר (ʾaggan hassahar, “round mixing bowl”) refers to a vessel used for mixing wine. Archaeologists have recovered examples of such large, deep, two handled, ring-based round bowls. The Hebrew term אַגַּן (“mixing bowl”) came into Greek usage as ἂγγος (angos) which designates vessels used for mixing wine (e.g., Homer, Odyssey xvi 16) (LSJ 7). This is consistent with the figurative references to wine which follows: “may it never lack mixed wine.” Selected Bibliography: J. P. Brown, “The Mediterranean Vocabulary for Wine,” VT 19 (1969): 158; A. M. Honeyman, “The Pottery Vessels of the Old Testament,” PEQ 80 (1939): 79. The comparison of her navel to a “round mixing bowl” is visually appropriate in that both are round and receding. The primary point of comparison to the round bowl is one of sense, as the following clause makes clear: “may it never lack mixed wine.” J. S. Deere suggests that the point of comparison is that of taste, desirability, and function (“Song of Solomon,” BKCOT, 202). More specifically, it probably refers to the source of intoxication, that is, just as a bowl used to mix wine was the source of physical intoxication, so she was the source of his sexual intoxication. She intoxicated Solomon with her love in the same way that wine intoxicates a person.

² tn Heb “house of wine.” The expression בֵּית הַיָּיִן (bet hayyayin, lit. “house of wine” or “place of wine”) refers to a banquet house where wine is drunk or a vineyard where grapes to produce wine are grown (HALOT 409 s.v. יַיִן). G. L. Carr favors the vineyard view due to the agricultural metaphors in 2:1-5. However, most commentators favor the banquet house view because of the reference to “raisin-cakes” and “apples” (2:4) which were served at banquets in the ancient Near East. Moreover, the expression בֵּית הַיָּיִן in in Song 2:4 may be equivalent to בֵּית מִשְׁתֵּה הַיַּיִן (bet mishte hayyayin, “house of the drinking of wine”) in Esther 7:8 (HALOT 409 s.v. יַיִן). Second, raisin cakes are mentioned in this context in 2:5, and they were often eaten to celebrate festive occasions (2 Sam 6:19; Isa 16:7; Hos 3:1); therefore, the banquet motif finds support. Selected Bibliography: E. Würthwein, “Zum Verständnis des Hohenliedes,” TRu 32 (1967): 205; G. L. Carr, Song of Solomon [TOTC], 90-91.

¹ sn The total number as given in the MT does not match the numbers given for the various items in v. 9. It is not clear whether the difference is due to error in textual transmission or whether the constituent items mentioned are only a selection from a longer list, in which case the total from that longer list may have been retained. The numbers provided in 1 Esdras come much closer to agreeing with the number in Ezra 1:9-11, but this does not necessarily mean that 1 Esdras has been better preserved here than Ezra. 1 Esdras 2:13-15 (RSV) says, “The number of these was: a thousand gold cups, a thousand silver cups, twenty-nine silver censers, thirty gold bowls, two thousand four hundred and ten silver bowls, and a thousand other vessels. All the vessels were handed over, gold and silver, five thousand four hundred and sixty-nine, and they were carried back by Shesbazzar with the returning exiles from Babylon to Jerusalem.”

¹ sn Exod 16 plays an important part in the development of the book’s theme. It is part of the wider section that is the prologue leading up to the covenant at Sinai, a part of which was the obligation of obedience and loyalty (P. W. Ferris, Jr., “The Manna Narrative of Exodus 16:1-10, ” JETS 18 [1975]: 191-99). The record of the wanderings in the wilderness is selective and not exhaustive. It may have been arranged somewhat topically for instructional reasons. U. Cassuto describes this section of the book as a didactic anthology arranged according to association of both context and language (Exodus, 187). Its themes are: lack of vital necessities, murmuring, proving, and providing. All the wilderness stories reiterate the same motifs. So, later, when Israel arrived in Canaan, they would look back and be reminded that it was Yahweh who brought them all the way, in spite of their rebellions. Because he is their Savior and their Provider, he will demand loyalty from them. In the Manna Narrative there is murmuring over the lack of bread (1-3), the disputation with Moses (4-8), the appearance of the glory and the promise of bread (9-12), the provision (13-22), the instructions for the Sabbath (23-30), and the memorial manna (31-36).

³ tn The Hebrew word אֲנָךְ (ʾanakh), “tin,” occurs only in this passage (twice in verse 7 and twice in verse 8). The meaning “tin” is based on its Akkadian cognate annaku. The traditional interpretation of these verses (reflected in many English versions) assumed that אֲנָךְ meant “lead.” Since lead might be used for a plumb line, and a plumb line might be used when building wall, the “lead” wall was assumed to be a wall built “true to plumb” while God holds a “lead” weighted plumb line in his hand. In this view the plumb line represents a standard of evaluation. This understanding developed before Akkadian was deciphered and the type of metal clearly identified for annaku. (In Hebrew “lead” is עֹפֶרֶת; ʿoferet.) Realizing that אֲנָךְ (ʾanakh) means “tin” has lead to other proposed interpretations. Some view the tin wall and piece of tin as symbolic. If the tin wall of the vision symbolizes Israel, it may suggest weakness and vulnerability to judgment. See S. M. Paul, Amos (Hermeneia), 233-35. Another option understands the Lord to have ripped off a piece of the tin wall and placed it in front of all to see. Their citadels, of which the nation was so proud and confident, are nothing more than tin fortresses. Various proposals depend on selecting some quality about tin and suggesting a role for that in this context. However, it is more likely that this is a case of a sound play like the next vision in Amos 8:1-2 (see also Jer 1:11-14). With the presentation technique of a sound play, the vision is not the prophecy, only the occasion for the prophecy. God gets the prophet to say a certain sound and then spins the prophecy off that. See the note at 7:8.