² tn The rhetorical question again affirms the opposite. The poem is portraying the creature as powerful and insensitive.

¹ tn Heb “Yah.” Moses’ poem here uses a short form of the name Yahweh, traditionally rendered in English by “the LORD.”

² tn The poem opens with כִּי (ki). Some commentators think this should have been “for,” and that the poem once stood in another setting. But there are places in the Bible where this word occurs with the sense of “surely” and no other meaning (cf. Gen 18:20).

¹ tn The verb form is יְכַסְיֻמוּ (y^ekhas^eyumu) is the Piel preterite. Normally a vav (ו) consecutive is used with the preterite, but in some ancient poems the form without the vav appears, as is the case frequently in this poem. That such an archaic form is used should come as no surprise because the word also uses the yod (י) of the root (GKC 214 §75.dd), and the archaic suffix form (GKC 258 §91.l). These all indicate the antiquity of the poem.

¹ tn The verb could be understood as a precative (“Draw near”). The perspective of the poem seems to be that of prayer during distress rather than a testimony that God has delivered someone.

¹ tn After the adverb “then” the prefixed conjugation has the preterite force. For the archaic constructions, see D. N. Freedman, “Archaic Forms in Early Hebrew Poetry,” ZAW 72 (1960): 101-7. The poem shows all the marks of being ancient.

¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

⁴ sn Many commentators see this as a reference to Agag of 1 Sam 15:32-33, the Amalekite king slain by Samuel, for that is the one we know. But that is by no means clear, for this text does not identify this Agag. If it is that king, then this poem, or this line in this poem, would have to be later, unless one were to try to argue for a specific prophecy. Whoever this Agag is, he is a symbol of power.

¹ sn The speaking voice is now that of a choir singing the community’s lament in the first person plural. The poem is not an alphabetic acrostic like the preceding chapters but has 22 verses, the same as the number of letters in the Hebrew alphabet.

² sn The poem begins with a rhetorical question (a figure of speech known as erotesis). This is intended to establish the point that such a noble wife is rare. As with wisdom in the book of Proverbs, she has to be found.

¹ sn Psalm 45. This is a romantic poem celebrating the Davidic king’s marriage to a lovely princess. The psalmist praises the king for his military prowess and commitment to justice, urges the bride to be loyal to the king, and anticipates that the marriage will be blessed with royal offspring.

² tn In the Hebrew text the word נאם (“oracle”) appears at the beginning of the next verse (v. 2 in the Hebrew text because the superscription is considered v. 1). The resulting reading, “an oracle of rebellion for the wicked [is] in the midst of my heart” (cf. NIV) apparently means that the psalm, which foresees the downfall of the wicked, is a prophetic oracle about the rebellion of the wicked which emerges from the soul of the psalmist. One could translate, “Here is a poem written as I reflected on the rebellious character of evil men.” Another option, followed in the translation above, is to attach נאם (n^e’um, “oracle”) with the superscription. For another example of a Davidic poem being labeled an “oracle,” see 2 Sam 23:1.

¹ sn Proverbs of antiquity could include pithy sayings or longer songs, riddles, or poems composed to catch the significance or the irony of an event. This is a brief poem to remember the event, like an Egyptian victory song. It may have originated as an Amorite war taunt song; it was sung to commemorate this victory. It was cited later by Jeremiah (48:45-46). The composer invites his victorious people to rebuild the conquered city as a new capital for Sihon. He then turns to address the other cities which his God(s) has/have given to him. See P. D. Hanson, “The Song of Heshbon and David’s Nir,” HTR 61 (1968): 301.

⁵ tn Heb “as their life is poured out.” The term בְּהִשְׁתַּפֵּךְ (b^ehishtappekh), Hitpael infinitive construct + the preposition בּ (bet), from שָׁפַךְ (shafakh, “to pour out”), may be rendered “as they expire” (BDB 1050 s.v. שָׁפַךְ), referring to the process of dying. Note the repetition of the word “pour out” with various direct objects in this poem at 2:4, 11, 12, and 19.

¹ sn The book of Proverbs comes to a close with this poem about the noble wife. A careful reading of the poem will show that it is extolling godly wisdom that is beneficial to the family and the society. Traditionally it has been interpreted as a paradigm for godly women. And while that is valid in part, there is much more here. The poem captures all the themes of wisdom that have been presented in the book and arranges them in this portrait of the ideal woman (Claudia V. Camp, Wisdom and the Feminine in the Book of Proverbs, 92-93). Any careful reading of the passage would have to conclude that if it were merely a paradigm for women what it portrays may well be out of reach—she is a wealthy aristocrat who runs an estate with servants and conducts business affairs of real estate, vineyards, and merchandising, and also takes care of domestic matters and is involved with charity. Moreover, it says nothing about the woman’s personal relationship with her husband, her intellectual and emotional strengths, or her religious activities (E. Jacob, “Sagesse et Alphabet: Pr. 31:10-31,” Hommages à A. Dont-Sommer, 287-95). In general, it appears that the “woman” of Proverbs 31 is a symbol of all that wisdom represents. The poem, then, plays an important part in the personification of wisdom so common in the ancient Near East. But rather than deify Wisdom as the other ANE cultures did, Proverbs simply describes wisdom as a woman. Several features will stand out in the study of this passage. First, it is an alphabetic arrangement of the virtues of wisdom (an acrostic poem). Such an acrostic was a way of organizing the thoughts and making them more memorable (M. H. Lichtenstein, “Chiasm and Symmetry in Proverbs 31,” CBQ 44 [1982]: 202-11). Second, the passage is similar to hymns, but this one extols wisdom. A comparison with Psalm 111 will illustrate the similarities. Third, the passage has similarities with heroic literature. The vocabulary and the expressions often sound more like an ode to a champion than to a domestic scene. Putting these features together, one would conclude that Proverbs 31:10-31 is a hymn to Lady Wisdom, written in the heroic mode. Using this arrangement allows the sage to make all the lessons of wisdom in the book concrete and practical, it provides a polemic against the culture that saw women as merely decorative, and it depicts the greater heroism as moral and domestic rather than only exploits on the battlefield. The poem certainly presents a pattern for women to follow. But it also presents a pattern for men to follow as well, for this is the message of the book of Proverbs in summary.

¹ tc The Hebrew text reads “knew” but is apparently the result of a ד/ר (dalet/resh) confusion. For a defense of the emendation, see L. C. Allen, Ezekiel (WBC), 1:284. However, Allen retains the reading “widows” as the object of the verb, which he understands in the sense of “do harm to,” and translates the line: “He did harm to women by making them widows” (p. 282). The line also appears to be lacking a beat for the meter of the poem.

¹ tn Heb “him.” The speaking voice in this chapter continues to be that of the גֶּבֶר (gever, “man”). The image of female Jerusalem in chs. 1-2 was fluid, being able to refer to the city or its inhabitants, both female and male. So too the “defeated soldier” or “everyman” (see note at 3:1 on “man”) is fluid and can represent any member of the Jewish community, male and female. This line especially has a proverbial character that can be extended to any person, hence the translation. But masculine pronouns are otherwise maintained, reflecting the Hebrew grammatical system and the speaking voice of the poem.

³ sn Psalm 111 began with the imperative הָלְלוּ יָה (hal^elu yah, “praise the Lord”); this poem ends with the jussive וִיהָלְלוּהָּ (vihal^eluha, “and let [her works] praise her”). Psalm 111:2 speaks of God’s works and most of the Psalm describes his works; this verse speaks of the woman’s work that deserves praise and most of this section describes her works. Psalm 111 ends with reference to “the fear of the Lord” and Prov 31 ends with reference to “the fear of the Lord.”

⁴ tn Heb “a woman of valor.” This is the same expression used to describe Ruth (e.g., Ruth 3:11). The term חַיִל (khayil) here means “moral worth” (BDB 298 s.v.); cf. KJV “a virtuous woman.” Elsewhere the term is used of physical valor in battle, e.g., “mighty man of valor,” the land-owning aristocrat who could champion the needs of his people in times of peace or war (e.g., Judg 6:12). Here the title indicates that the woman possesses all the virtues, honor, and strength to do the things that the poem will set forth.

⁷ tn The verb רָחַם (rakham) elsewhere appears in the Piel (or Pual) verbal stem with the basic meaning, “have compassion.” The verb occurs only here in the basic (Qal) stem. The basic stem of the verbal root also occurs in Aramaic with the meaning “love” (see DNWSI 2:1068-69; Jastrow 1467 s.v. רָחַם; G. Schmuttermayr, “rhm: eine lexikalische Studie,” Bib 51 [1970]: 515-21). Since this introductory statement does not appear in the parallel version in 2 Sam 22:1-51, it is possible that it is a later addition to the psalm, made when the poem was revised for use in worship.