⁴ sn This verb and its cognate noun, sunteleia, usually implies not just the end of an event, but its completion or fulfillment. The noun is always used in the NT in eschatological contexts; the verb is often so used (cf. Matt 13:39, 40; 24:3; 28:20; Mark 13:4; Rom 9:28; Heb 8:8; 9:26). The idea here may be that the forty-day period of temptation was designed for a particular purpose in the life of Christ (the same verb is used in v. 13). The cognate verb teleioō is a key NT term for the completion of God’s plan: See Luke 12:50; 22:37; John 19:30; and (where it has the additional component of meaning “to perfect”) Heb 2:10; 5:8-9; 7:28.

¹ sn The identity of this king is problematic. If vv. 36-45 continue the description of Antiochus Epiphanes, the account must be viewed as erroneous, since the details do not match what is known of Antiochus’ latter days. Most modern scholars take this view, concluding that this section was written just shortly before the death of Antiochus and that the writer erred on several key points as he tried to predict what would follow the events of his own day. Conservative scholars, however, usually understand the reference to shift at this point to an eschatological figure, viz., the Antichrist. The chronological gap that this would presuppose to be in the narrative is not necessarily a problem, since by all accounts there are many chronological gaps throughout the chapter, as the historical figures intended by such expressions as “king of the north” and “king of the south” repeatedly shift.

⁴ tn The meaning “cast you away” is questioned by some because the word is regularly used of “forsaking” or “abandoning” (see, e.g., Jer 7:29; 12:7; 15:6). However, it is clearly used of “casting down” or “throwing away” in Ezek 29:5 and 32:4, and that meaning is virtually assured in v. 39, where the verb is combined with the phrase “from my presence.” The latter phrase is elsewhere used in rejection contexts with verbs like “send away,” “throw out,” or “remove” (see BDB 819 s.v. פָּנֶה II.8.a). This is another example of the bracketing effect of a key word and should be rendered the same in the two passages. Moreover, it fits in nicely with the play on “burden” here.

² tn Heb “Your father, did he not eat and drink and do justice and right?” The copulative vav in front of the verbs here (all Hebrew perfects) shows that these actions are all coordinate, not sequential. The contrast drawn between the actions of Jehoiakim and Josiah show that the phrase about eating and drinking should be read in light of the same contrasts in Eccl 2, which ends with the note of contentment in Eccl 2:24 (see also Eccl 3:13; 5:18 [5:17 HT]; 8:15). The question is, of course, rhetorical, setting forth the positive role model against which Jehoiakim’s actions are to be condemned. The key phrase is, “then things went well with him,” which is repeated in the next verse after the reiteration of Josiah’s practice of justice.

³ tn Heb “they cover their heads.” Some of the English versions have gone wrong here because of the “normal” use of the words translated here “disappointed” and “dismayed.” Regularly translated “ashamed” and “disgraced, humiliated, dismayed” elsewhere (see e.g., Jer 22:22), they are somewhat synonymous terms that are often parallel or combined. The key here, however, is the expression “they cover their heads,” which is used in 2 Sam 15:30 for the expression of grief. Moreover, the word translated “disappointed” (בּוֹשׁ, bosh) here is used that way several times. See, for example, Jer 12:13 and consult examples in BDB 101 s.v. בּוֹשׁ Qal.2. A very similar context with the same figure is found in Jer 2:36-37.

¹ tn The participle הֹלֵךְ (holekh, “to walk, to go”) emphasizes continual, durative, uninterrupted action (present universal use of participle). The root הָלַךְ (halakh) is repeated in this section (1:4a, 6a, 6b, 7a, 7b, 7c) to emphasize the continual action and constant motion of everything in nature. Despite the continual action of everything in nature, there is no completion, attainment or rest for anything. The first use of הָלַךְ is in reference to man; all subsequent usages are in reference to nature—illustrations of the futility of human endeavor. Note: All the key terms used in 1:4 to describe the futility of human endeavor are repeated in 1:5-11 as illustrations from nature. The literary monotony in 1:4-11 mirrors the actual monotony of human action that repeats itself with no real change.

² tc The Hebrew text has כְּאֹבוֹת חֲדָשִׁים (k^eʾovot khadashim), traditionally rendered “like new wineskins.” But only here does the phrase have this meaning. The LXX has “smiths” for “new,” thus “like smith’s bellows.” A. Guillaume connects the word with an Arabic word for a wide vessel for wine shaped like a cup (“Archaeological and philological note on Job 32:19, ” PEQ 93 [1961]: 147-50). Some have been found in archaeological sites. The poor would use skins, the rich would use jars. The key to putting this together is the verb at the end of the line, יִבָּקֵעַ (yibbaqeaʿ, “that are ready to burst”). The point of the statement is that Elihu is bursting to speak, and until now has not had the opening.

⁴ tc Most commentators think this last phrase is odd here, and so they either delete it altogether, or emend it to fit the idea of the verse. Ewald, however, thought it appropriate as a transition to the next section, reminding his friends that unlike him, they were miserable comforters. Herz made the few changes in the text to get the reading “where I led them, they were willing to go” (ZAW 20 [1900]: 163). The two key words in the MT are אֲבֵלִים יְנַחֵם (ʾavelim y^enakhem, “he [one who] comforts mourners”). Following Herz, E. Dhorme (Job, 422) has these changed to אוֹבִילֵם יִנַּחוּ (ʾovilem yinnakhu). R. Gordis has “like one leading a camel train” (Job, 324). But Kissane also retains the line as a summary of the chapter, noting its presence in the versions.

⁵ tn Heb “devotion as you have done with the dead and with me.” The noun חֶסֶד (khesed, “devotion”) is a key thematic term in the book of Ruth (see 2:20; 3:10). G. R. Clark suggests that חֶסֶד “is not merely an attitude or an emotion; it is an emotion that leads to an activity beneficial to the recipient”; an act of חֶסֶד is “a beneficent action performed, in the context of a deep and enduring commitment between two persons or parties, by one who is able to render assistance to the needy party who in the circumstances is unable to help him—or herself” (The Word Hesed in the Hebrew Bible [JSOTSup], 267). HALOT 336-37 s.v. II חֶסֶד defines the word as “loyalty” or “faithfulness.” Other appropriate glosses might be “commitment” and “devotion.”

² sn This clause provides the purpose/result of Moses’ intention: he will pray to Yahweh and the storms will cease “that you might know….” It was not enough to pray and have the plague stop. Pharaoh must “know” that Yahweh is the sovereign Lord over the earth. Here was that purpose of knowing through experience. This clause provides the key for the exposition of this plague: God demonstrated his power over the forces of nature to show his sovereignty—the earth is Yahweh’s. He can destroy it. He can preserve it. If people sin by ignoring his word and not fearing him, he can bring judgment on them. If any fear Yahweh and obey his instructions, they will be spared. A positive way to express the expositional point of the chapter is to say that those who fear Yahweh and obey his word will escape the powerful destruction he has prepared for those who sinfully disregard his word.

⁴ tn The explanation of the name forms a sound play (paronomasia) with the name. “Eve” is חַוָּה (khavvah) and “living” is חַי (khay). The name preserves the archaic form of the verb חָיָה (khayah, “to live”) with the middle vav (ו) instead of yod (י). The form חַי (khay) is derived from the normal form חַיָּה (khayyah). Compare the name Yahweh (יְהוָה) explained from הָיָה (hayah, “to be”) rather than from הָוָה (havah). The biblical account stands in contrast to the pagan material that presents a serpent goddess hawwat who is the mother of life. See J. Heller, “Der Name Eva,” ArOr 26 (1958): 636-56; and A. F. Key, “The Giving of Proper Names in the OT,” JBL 83 (1964): 55-59.

⁴ tn Lexically it is clear that this phrase indicates reason, but what is not clear is whether (1) τοῦτο (touto) refers to what follows, (2) to what precedes, or (3) to both (as with the ἐν τοῦτο [en touto] phrases throughout 1 John). Διὰ τοῦτο (dia touto) occurs 15 times in the Gospel of John, and a pattern emerges which is so consistent that it appears to be the key to the usage here. Six times in the Gospel of John (5:16, 18; 8:47; 10:17; 12:18, 39) the phrase refers to what follows, and in each of these instances an epexegetical ὅτι (hoti) clause follows. Nine times in John (1:31; 6:65; 7:21-22; 9:23; 12:27; 13:11; 15:19; 16:15; 19:11) the phrase refers to what precedes, and in none of these instances is it followed by a ὅτι clause. The phrase διὰ τοῦτο is used three times in the Johannine Epistles. In two of these (1 John 4:5, 3 John 10) there is no ὅτι clause following, and so the διὰ τοῦτο should refer to preceding material. Here in 3:1 there is an epexegetical ὅτι clause following, so the διὰ τοῦτο should (unless it is the only exception in the Gospel of John and the Johannine Epistles) refer to what follows, that is, to the ὅτι clause itself. This is indicated by the colon in the translation.

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 tc The presence or absence of the second occurrence of the phrase δι᾿ αὐτοῦ (di’ autou, “through him”) is a difficult textual problem to solve. External evidence is fairly evenly divided. Many ancient and excellent witnesses lack the phrase (B D* F G I 0278 81 1175 1739 1881 2464 al latt sa), but equally significant witnesses have it (P⁴⁶ א A C D¹ Ψ 048^vid 33 M al sy bo). Both readings have strong Alexandrian support, which makes the problem difficult to decide on external evidence alone. The phrase, however, has stronger evidence geographically. Internal evidence points to the inclusion of the phrase as autographic. The word immediately preceding the phrase is the masculine pronoun αὐτοῦ (autou); thus the possibility of omission through homoioteleuton in various witnesses is likely. Scribes might have deleted the phrase because of perceived redundancy or awkwardness in the sense: The shorter reading is smoother and more elegant, so scribes would be prone to correct the text in that direction. As far as style is concerned, repetition of key words and phrases for emphasis is not foreign to the corpus Paulinum (see, e.g., Rom 8:23, Eph 1:13, 2 Cor 12:7). In sum, it is easier to account for the shorter reading arising from the longer reading than vice versa, so the longer reading is more likely original, though a decision is not easy. The NA²⁸ prints the prepositional phrase in brackets indicating some doubts as to its authenticity.

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.

³ tn Many have taken ἐν πνεύματι (en pneumati) as indicating content, i.e., one is to be filled with the Spirit. ExSyn 375 states, “There are no other examples in biblical Greek in which ἐν + the dative after πληρόω indicates content. Further, the parallel with οἴνῳ as well as the common grammatical category of means suggest that the idea intended is that believers are to be filled by means of the [Holy] Spirit. If so there seems to be an unnamed agent. The meaning of this text can only be fully appreciated in light of the πληρόω language in Ephesians. Always the term is used in connection with a member of the Trinity. Three considerations seem to be key: (1) In Eph 3:19 the ‘hinge’ prayer introducing the last half of the letter makes a request that the believers ‘be filled with all the fullness of God’ (πληρωθῆτε εἰς πᾶν πλήρωμα τοῦ θεοῦ). The explicit content of πληρόω is thus God’s fullness (probably a reference to his moral attributes). (2) In 4:10 Christ is said to be the agent of filling (with v. 11 adding the specifics of his giving spiritual gifts). (3) The author then brings his argument to a crescendo in 5:18: Believers are to be filled by Christ by means of the Spirit with the content of the fullness of God.”

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.