⁴ tn Or “Extraordinary Strategist,” “a wonder of a counselor,” or “one who plans a miraculous thing” (HALOT 928 s.v. פֶּלֶא). Some have seen two titles here (“Wonderful” and “Counselor,” cf. KJV, ASV). However, the pattern of the following three titles (each contains two elements) and the use of the roots פָּלַא (palaʾ) and יָעַץ (yaʿats) together in Isa 25:1 (cf. כִּי עָשִׂיתָ פֶּלֶא עֵצוֹת מֵרָחוֹק אֱמוּנָה אֹמֶן) and 28:29 (cf. הִפְלִיא עֵצָה) suggest otherwise. The term יוֹעֵץ (yoʿets) could be taken as appositional (genitive or otherwise) of species (“a wonder, i.e., a wonder as a counselor,” cf. NAB “Wonder-Counselor”) or as a substantival participle for which פָּלַא provides the direct object (“one who counsels wonders”). יוֹעֵץ is used as a royal title elsewhere (cf. Mic 4:9). Here it probably refers to the king’s ability to devise military strategy, as suggested by the context (cf. vv. 3-4 and the following title אֵל גִּבּוֹר, ʾel gibbor). In Isa 11:2 (also a description of this king) עֵצָה (ʿetsah) is linked with גְּבוּרָה (g^evurah, the latter being typically used of military might, cf. BDB 150 s.v.). Note also עֵצָה וּגְבוּרָה לַמִּלְחָמָה in Isa 36:5. פֶּלֶא (peleʾ) is typically used of God (cf. however Lam 1:9). Does this suggest the deity of the messianic ruler? The NT certainly teaches he is God, but did Isaiah necessarily have this in mind over 700 years before his birth? Since Isa 11:2 points out that this king will receive the spirit of the Lord, which will enable him to counsel, it is possible to argue that the king’s counsel is “extraordinary” because it finds its source in the divine spirit.

¹ tn Most scholars agree that the Hebrew text of 6:12 is the most elusive in the entire Song. The syntax is enigmatic and the textual reading is uncertain. The difficulty of this verse has generated a plethora of different translations: “Or ever I was aware, my soul made me [like] the chariots of Ammi-nadib” (KJV), “Before I knew it, my soul made me like the chariots of Ammi-nadib” (AV), “Before I knew it, my fancy set me in a chariot beside my prince” (AT), “Before I knew…my desire hurled me on the chariots of my people, as their prince” (JB), “Before I knew it, my desire set me mid the chariots of Ammi-nadib” (JPSV), “I did not know myself, she made me feel more than a prince reigning over the myriads of his people” (NEB), “Before I knew it, my heart had made me the blessed one of my kins-women” (NAB), “Before I was aware, my soul set me [over] the chariots of my noble people” (NASB), “Before I realized it, my desire set me among the royal chariots of my people” (NIV), “…among the chariots of Amminadab” (NIV margin), “…among the chariots of the people of the prince” (NIV margin), and “Before I realized it, I was stricken with a terrible homesickness and wanted to be back among my own people” (NLT). For discussion, see R. Gordis, Song of Songs and Lamentations, 95; R. Tournay, “Les Chariots d’Aminadab (Cant. VI 12): Israel, Peuple Theophore,” VT 9 (1959): 288-309; M. H. Pope, Song of Songs (AB), 584-92; R. E. Murphy, “Towards a Commentary on the Song of Songs,” CBQ 39 (1977): 491-92; S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6, 12 and Job 9, 21, ” Bib 59 (1978): 545-47; G. L. Carr, Song of Solomon [TOTC], 151-53.

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).

¹ sn The plural form of the verb has been the subject of much discussion through the years, and not surprisingly several suggestions have been put forward. Many Christian theologians interpret it as an early hint of plurality within the Godhead, but this view imposes later trinitarian concepts on the ancient text. Some have suggested the plural verb indicates majesty, but the plural of majesty is not used with verbs. C. Westermann (Genesis, 1:145) argues for a plural of “deliberation” here, but his proposed examples of this use (2 Sam 24:14; Isa 6:8) do not actually support his theory. In 2 Sam 24:14 David uses the plural as representative of all Israel, and in Isa 6:8 the Lord speaks on behalf of his heavenly court. In its ancient Israelite context the plural is most naturally understood as referring to God and his heavenly court (see 1 Kgs 22:19-22; Job 1:6-12; 2:1-6; Isa 6:1-8). (The most well-known members of this court are God’s messengers, or angels. In Gen 3:5 the serpent may refer to this group as “gods/divine beings.” See the note on the word “evil” in 3:5.) If this is the case, God invites the heavenly court to participate at the creation of humankind (perhaps in the role of offering praise, see Job 38:7), but he himself is the one who does the actual creative work (v. 27). Of course, this view does assume that the members of the heavenly court possess the divine “image” in some way. Since the image is closely associated with rulership, perhaps they share the divine image in that they, together with God and under his royal authority, are the executive authority over the world.

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.

¹ sn The last plague is the most severe; it is that for which all the others were preliminary warnings. Up to this point Yahweh had been showing his power to destroy Pharaoh, and now he would begin to do so by bringing death to the Egyptians, a death that would fulfill the warning of talionic judgment—“let my son go, or I will kill your son.” The passage records the announcement of the judgment first to Moses and then through Moses to Pharaoh. The first two verses record the word of God to Moses. This is followed by a parenthetical note about how God had elevated Moses and Israel in the eyes of Egypt (v. 3). Then there is the announcement to Pharaoh (vv. 4-8). This is followed by a parenthetical note on how God had hardened Pharaoh so that Yahweh would be elevated over him. It is somewhat problematic here that Moses is told not to see Pharaoh’s face again. On the one hand, given the nature of Pharaoh to blow hot and cold and to change his mind, it is not impossible for another meeting to have occurred. But Moses said he would not do it (v. 29). One solution some take is to say that the warning in 10:28 originally stood after chapter 11. A change like that is unwarranted, and without support. It may be that vv. 1-3 are parenthetical, so that the announcement in v. 4 follows closely after 10:29 in the chronology. The instruction to Moses in 11:1 might then have been given before he left Pharaoh or even before the interview in 10:24-29 took place. Another possibility, supported by usage in Akkadian, is that the expression “see my face” (and in v. 29 “see your face”) has to do with seeking to have an official royal audience (W. H. C. Propp, Exodus 1-18 [AB], 342). Pharaoh thinks that he is finished with Moses, but as 11:8 describes, Moses expects that in fact Moses will soon be the one in a position like that of royalty granting an audience to Egyptians.

⁴ tn The meaning of the superlative construction שִׁדָּה וְשִׁדּוֹת (shiddah v^eshiddot) is uncertain because the term שִׁדָּה (shiddah) occurs only here in the OT. There are four basic approaches to the phrase: (1) Most scholars suggest that it refers to a royal harem and that it is in apposition to “the sensual delights of man” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם, v^etaʿanugot b^ene haʾadam). There are four variations of this approach: (a) There is a possible connection to the Ugaritic sht “mistress, lady” and the Arabic sitt “lady” (HALOT 1420 s.v. שִׁדָּה). (b) German scholars relate it to Assyrian sadadu “love” (Delitzsch, Konig, Wildeboer, Siegfried); however, BDB questions this connection (BDB 994 s.v. שׁדה). (c) Ibn Ezra relates it to II שַׁד (shad) “plunder; spoil” or שׁדה “[women] taken by violence,” and suggests that it refers to the occupants of the royal harem. (d) BDB connects it to the Hebrew noun I שַׁד (shad, “breast”; e.g., Isa 28:9; Ezek 16:7; 23:3, 21, 34; Hos 2:4; 9:14; Song 1:13; 4:5; 7:4, 8, 9; 8:1, 8, 10; Job 3:12) adding that שׁדה is related to the cognate Arabic and Aramaic roots meaning “breast” (BDB 994 s.v.). This would be a synecdoche of part (i.e., breast) for the whole (i.e., woman), similar to the idiom “one womb, two wombs” (רַחַם רַחֲמָתַיִם, rakham rakhamatayim) where “womb” = woman (Judg 5:30). This is the approach taken by most English versions: “many concubines” (NASB, RSV, NRSV), “a wife and wives” (YLT), “mistresses galore” (MLB), “many a mistress” (Moffatt), and “a harem” (NIV). This is the approach suggested by the Hebrew Old Testament Text Project: “une femme et des femmes” = one or two women (e.g., Judg 5:30); see D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:566. (2) The NJPS connects it to the Mishnaic Hebrew noun שִׁדָּה which became שִׁידָּה (“a strong box, chest”; Jastrow 1558 s.v. שִׁידָּה) and renders the phrase “coffers and coffers of them” in apposition to the phrase “the luxuries of commoners” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (3) KJV and ASV take the phrase in apposition to “male and female singers” and translate it as “musical instruments.” However, there is no known Hebrew term that would justify this approach. (4) The LXX related the term to the Aramaic root שׁדא (“to pour out [wine]”) and rendered the phrase as οἰνοχόον καὶ οἰνοχόας (oinochoon kai oinochoas), “a male-butler and female cupbearers.” Aquila took a similar approach: κυλίκιον καὶ κυλίκια (kulikion kai kulikia), “wine cups and wine vessels.” This is reflected in the Vulgate and Douay: “cups and vessels to serve to pour out wine.” Although the semantic meaning of the term שִׁדָּה וְשִׁדּוֹת (“a breast and breasts”) is uncertain, the grammatical/syntactical form of the phrase is straightforward: (1) It is in apposition to the preceding line, “the delights of the son of men” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (2) The phrase is a superlative construction. When the second word is plural and it follows a noun from the same root which is singular, it indicates the best or most outstanding example of the person or thing so described. In addition to the Judg 5:30 parallel cited above, see the expression “a generation, generations” in Pss 72:5; 102:25; Isa 51:8. Unlike, Eccl 2:8, this juxtapositioning of the singular and plural to express the superlative usually involves a construct form. See קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “the holy of holies,” i.e., the most holy place”; Exod 26:33), שִׁיר הַשִּׁירִים (shir hashirim, “the song of songs,” i.e., “the most excellent song”; Song 1:1), אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֲדֹנִים (ʾelohe haʾelohim vaʾadone haʾadonim, “the God of gods and Lord of lords,” i.e., “the Highest God and the Supreme Lord”; Deut 10:17), and עֶבֶד עֲבָדִים (ʿeved ʿavadim, “a slave of slaves,” i.e., “the most abject slave”; Gen 9:25). See GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j. If the semantic meaning of the terms שִׁדָּה וְשִׁדּוֹת denotes “a breast (among) breasts” or “a lady (among) ladies” (Eccl 2:8, but see the previous note on the phrase “a man’s sensual delights”), the superlative construction may connote “the most beautiful breasts” (metonymy of part for the whole) or “the most beautiful woman.” This might refer to a harem of concubines or to one woman (the wife of the king?) who was the most beautiful woman in the land.

² sn The appearance of the name Immanuel (“God is with us”) is ironic at this point, for God is present with his people in judgment. Immanuel is addressed here as if he has already been born and will see the judgment occur. This makes excellent sense if his birth has just been recorded. There are several reasons for considering Immanuel and Maher Shalal Hash Baz one and the same. 8:3 is a birth account which could easily be understood as recording the fulfillment of the birth prophecy of 7:14. The presence of a formal record/witnesses (8:1-2) suggests a sign function for the child (cf. 7:14). As in 7:14-16, the removal of Judah’s enemies would take place before the child reached a specified age (cf. 8:4). Both 7:17-25 and 8:7-8 speak of an Assyrian invasion of Judah which would follow the defeat of Israel/Syria. The major objection to this view is the fact that different names appear, but such a phenomenon is not without parallel in the OT (cf. Gen 35:18). The name Immanuel may emphasize the basic fact of God’s presence, while the name Maher focuses on the specific nature of God’s involvement. In 7:14 the mother is viewed as naming the child, while in 8:3 Isaiah is instructed to give the child’s name, but one might again point to Gen 35:18 for a precedent. The sign of the child’s age appears to be different in 8:4 than in 7:15-16, but 7:15-16 pertains to the judgment on Judah, as well as the defeat of Israel/Syria (cf. vv. 17-25), while 8:4 deals only with the downfall of Israel/Syria. Some argue that the suffixed form “your land” in 8:8 points to a royal referent (a child of Ahaz or the Messiah), but usage elsewhere shows that the phrase does not need to be so restricted. While the suffix can refer to the king of a land (cf. Num 20:17; 21:22; Deut 2:27; Judg 11:17, 19; 2 Sam 24:13; 1 Kgs 11:22; Isa 14:20), it can also refer to one who is a native of a particular land (cf. Gen 12:1; 32:9; Jonah 1:8). (See also the use of “his land” in Isa 13:14 [where the suffix refers to a native of a land] and 37:7 [where it refers to a king].)

³ tc While MT reads מַרְכְּבוֹת (mark^evot, “chariots”) some medieval Hebrew mss add the locative preposition ב (bet) or comparative particle כ (kaf) before מַרְכְּבוֹת to produce “in/on/among/like the chariots.” Most translations supply a preposition: “My soul made me [like] the chariots of Ammi-nadib” (KJV, AV); “My fancy set me [in] a chariot beside my prince” (AT); “My soul set me [over] the chariots of my noble people” (NASB); “My desire set me [among] the chariots of Amminadab” (JPS, NJPS, NIV margin); “My desire set me [among] the royal chariots of my people” (NIV); “My desire set me [among] the chariots of the people of the prince” (NIV margin); “My desire hurled me [on] the chariots of my people, [as their] prince” (JB). R. Gordis offers a creative solution to the enigma of שָׂמַתְנִי מַרְכְּבוֹת עַמִּי־נָדִיב (samatni mark^evot ʿammi nadiv) by redividing the text and revocalizing it as שָׁם תֵּנִי מֹרֶךְ בַּת עַמִּי־נָדִיב (sham teni morekh bat ʿammi nadiv) “There, give me your myrrh, O nobleman’s daughter!” This involves two steps: (1) He redivides the MT’s שָׂמַתְנִי (“it placed me”) into two words שָׁם תֵּנִי (“There, give me”); and (2) He redivides the MT’s מַרְכְּבוֹת (“chariots”) into מֹרךְ בַּת (“your myrrh, O daughter”). This approach is supported somewhat by the LXX, which had a difficult time with the line: “There I will give my breasts to you!” The approach of R. Gordis is explained and supported by several factors: (1) He take מֹרךְ (“your myrrh”) as a figure (hypocatastasis) for her love (e.g., 4:6, 14; 5:1, 5, 13). (2) The word-division of בַּת עַמִּי־נָדִיב (“O noble kinsman’s daughter”) is paralleled by the nearly identical descriptive בַּת־נָדִיב (“O nobleman’s daughter”) in 7:2. (3) Arabs referred to a girl as bint el akbar (“nobleman’s daughter”). (4) The referent of שָׁם (“there”) is the garden/valley mentioned in 6:11. (5) This fits into the other literary parallels between 6:11-12 and 7:12-14, listed as follows: (a) “I went down to the nut grove” (6:11a) and “Let us go to the vineyards” (7:12a). (b) “to look for new growth in the valley, to see if the vines had budded, or if the pomegranates were in bloom” (6:11b) and “Let us see if the vines have budded, if the blossoms have opened, if the pomegranates are in bloom” (7:13a). (c) “There…give me your myrrh = love” (6:12b) and “There I will give you my love” (7:13b). See R. Gordis, Song of Songs and Lamentations, 95.

³ tn Or “the palace collapses and crumbles.” The Hophal perfect third person masculine singular וְהֻצַּב (v^ehutsav) is from either I נָצַב (natsav, “to stand”; HALOT 715 s.v. I נצב; BDB 662 s.v. נָצַב) or II נָצַב (“to dissolve, weaken”; HALOT 715 s.v. II נצב). Many scholars who take וְהֻצַּב from I נָצָב (“to stand”) suggest that the meaning is “it is fixed; it is determined” (BDB 662 s.v. נָצַב). This is followed by several English versions: “it is decreed” (NIV, NRSV) and “it is fixed” (NASB). This is a rather awkward idea and does not seem to fit the context of the description of the destruction of the palace or the exile of the Ninevites. On the other hand, several scholars suggest that וְהֻצַּב is derived from נָצָב II (“to be weak”; cf. Ps 39:6; Zech 11:16) which is related to Arabic nasiba (“to be weak”) or Arabic nasaba (“to suck out, to dissolve”) and Assyrian natsabu (“to suck out”); see W. H. F. Saggs, “Nahum and the Fall of Nineveh,” JTS 20 (1969): 220-21; R. D. Patterson, Nahum, Habakkuk, Zephaniah (WEC), 69-70. As a parallel word to נָמוֹג (namog, “is deluged” or “melts”), וְהֻצַּב (“is weakened” or “is dissolved”) describes the destructive effect of the flood waters on the limestone foundations of the palace. The verse divisions in the MT place וְהֻצַּב at the beginning of v. 7 ET [v. 8 HT]; however, it probably should be placed at the end of v. 6 ET [v. 7 HT] and connected with the last two words of the line: וְהַהֵיכָל נָמוֹג וְהֻצַּב (v^ehahekhal namog v^ehutsav, “the palace is deluged and dissolved”; see Patterson, 69-70). This is supported by several factors: (1) the gender of וְהֻצַּב is masculine, while the verbs in v. 7 are feminine: גֻּלְּתָה הֹעֲלָתָה (gull^etah hoʿalatah, “she is led into exile and taken away”); (2) the gender of the final verb in v. 6 is masculine: נָמוֹג (“[the palace] is deluged”); (3) both וְהֻצַּב and נָמוֹג are passive verbs (Niphal and Hophal); (4) both נָמוֹג (“is deluged”) and וְהֻצַּב (“is dissolved/weakened”) are parallel in meaning, describing the effects of flood waters on the limestone foundation of the royal palace; (5) this redivision of the lines produces a balanced 3+3 and 2+2 colon count in these two lines; and (6) this produces a balance of two verbs each in each colon. The meaning of וְהֻצַּב is notoriously difficult. Scholars offer over a dozen different proposals but only the most important are summarized here: (1) Most scholars take וְהֻצַּב as Hophal perfect third person masculine singular with vav (ו) conjunction from I נָצַב (“to stand”), meaning “it is fixed; it is determined” (BDB 662 s.v. נָצַב). This is followed by several English versions: “it is decreed” (NIV, NRSV) and “it is fixed” (NASB). The LXX translation καὶ ἡ ὑπόστασις (kai hē hupostasis, “and the foundation”) reflects a reading of וְהֻצַּב with a meaning similar to its use in Gen 28:12 (“a stairway resting on the earth”) or a reading of וְהַמַּצָּב (v^ehammatsav) from the noun מַצָּב (matsav, “place of standing”; cf. BDB 662 s.v. מַצָּב; HALOT 620 s.v. מַצָּב). (2) The BHS editors suggest emending to Hophal perfect third person feminine singular וְהֻצְאָה (v^ehutsʾah) from יָצָא (yatsaʾ, “to go out”), meaning “she is led out into exile” or “she is led out to be executed” (HALOT 427 s.v. יצא; see, e.g., Gen 38:25; Jer 38:22; Ezek 14:22; 38:8; 44:5; Amos 4:3). (3) Early Jewish interpreters (Targum Jonathan, Kimchi, Rashi) and modern Christian interpreters (e.g., W. A. Maier, Nahum, 259-62) view וְהֻצַּב as the proper name of an Assyrian queen, “Huzzab.” This is adopted by several English versions: “And Huzzab is exiled” (cf. KJV, RV, NJPS). However, this view has been severely criticized by several scholars because no queen in Assyrian history is known by this name (G. R. Driver, “Farewell to Queen Huzzab!” JTS 16 [1965]: 296-98; W. H. F. Saggs, “Nahum and the Fall of Nineveh,” JTS 20 [1969]: 220). (4) Several scholars suggest that וְהֻצַּב is the Hophal perfect of II נָצַב which is related to Assyrian nasabu (“to suck out”) and Arabic nasaba (“to suck out; to dissolve”), as in Ps 39:6 and Zech 11:16. Taking גֻּלְּתָה (gull^etah) as the noun “column-base” (see translator’s note on the word “exile” in this verse), Saggs translates the line as: “its column-base is dissolved” (W. H. F. Saggs, “Nahum and the Fall of Nineveh,” JTS 20 [1969]: 220-21). Patterson connects it to the last two words of the previous line: וְהַהֵיכָל נָמוֹג וְהֻצַּב, “The palace collapses and crumbles” (Patterson, 69-70). (5) Driver revocalizes it as the noun וְהַצֹּב (v^ekhatsov, “and the [captive] train”) which he relates to the Arabic noun sub (“train”): “the train of captives goes into exile” (so NEB). This is reflected in the Greek text of the Minor Prophets from Nahal Heber which took וְהֻצַּב as “wagon, chariot.” (6) Cathcart suggests that the MT’s וְהֻצַּב may be repointed as וְהַצַּב which is related to Assyrian hassabu (“goddess”). (7) Several scholars emend to וְהַצְּבִי (v^ehats^evi, “the Beauty”) from צְבִי (ts^evi, “beauty”) and take this as a reference to the statue of Ishtar in Nineveh (K. J. Cathcart, Nahum in the Light of Northwest Semitic [BibOr], 96-98; M. Delcor, “Allusions à la déesse Istar en Nahum 2, 8?” Bib 58 [1977]: 73-83; T. Longman, “Nahum,” The Minor Prophets, 2:806). (8) R. L. Smith (Micah-Malachi [WBC], 82) derives consonantal והצב from נְצִיב (n^etsiv, “pillar”; HALOT 716-17 s.v. נְצִיב) which is related to Assyrian nisibi which refers to the statue of a goddess.