³ tn This phrase may refer to an individual or to a church (or the church at large). Some have suggested that the addressee is a Christian lady named “Electa,” but the same word in v. 13 is clearly an adjective, not a proper name. Others see the letter addressed to a Christian lady named “Kyria” (first proposed by Athanasius) or to an unnamed Christian lady. The internal evidence of 2 John clearly supports a collective reference, however. In v. 6 the addressee is mentioned using second person plural, and this is repeated in vv. 8, 10, and 12. Only in v. 13 does the singular reappear. The uses in vv. 1 and 13 are most likely collective. Some have seen a reference to the church at large, but v. 13, referring to “the children of your elect sister” is hard to understand if the universal church is in view. Thus the most probable explanation is that the “elect lady” is a particular local church at some distance from where the author is located.

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 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.

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.

¹ tn Grk “fell upon a place of two seas.” The most common explanation for this term is that it refers to a reef or sandbar with the sea on both sides, as noted in BDAG 245 s.v. διθάλασσος: the “τόπος δ. Ac 27:41 is a semantic unit signifying a point (of land jutting out with water on both sides).” However, Greek had terms for a “sandbank” (θῖς [this], ταινία [tainia]), a “reef” (ἑρμα [herma]), “strait” (στενόν [stenon]), “promontory” (ἀρωτήρον [arōtēron]), and other nautical hazards, none of which are used by the author here. NEB here translates τόπον διθάλασσον (topon dithalasson) as “cross-currents,” a proposal close to that advanced by J. M. Gilchrist, “The Historicity of Paul’s Shipwreck,” JSNT 61 (1996): 29-51, who suggests the meaning is “a patch of cross-seas,” where the waves are set at an angle to the wind, a particular hazard for sailors. Thus the term most likely refers to some sort of adverse sea conditions rather than a topographical feature like a reef or sandbar.

³ tn Normally the phrase σεβόμενοι τὸν θεόν (sebomenoi ton theon) refers to Gentiles (“God-fearers”) who believed in God, attended the synagogue, and followed the Mosaic law to some extent, but stopped short of undergoing circumcision. BDAG 918 s.v. σέβω 1.b lists in this category references in Acts 16:14; 18:7; with σεβόμενοι alone, Acts 13:50; 17:4, 17; the phrase is also found in Josephus, Ant. 14.7.2 (14.110). Unique to this particular verse is the combination σεβόμενοι προσηλύτων (sebomenoi prosēlutōn). Later rabbinic discussion suggests that to be regarded as a proper proselyte, a Gentile male had to submit to circumcision. If that is the case here, these Gentiles in the synagogue at Pisidian Antioch should be regarded as full proselytes who had converted completely to Judaism and undergone circumcision. It is probably more likely, however, that προσηλύτων is used here in a somewhat looser sense (note the use of σεβομένας [sebomenas] alone to refer to women in Acts 13:50) and that these Gentiles were still in the category commonly called “God-fearers” without being full, technical proselytes to Judaism. See further K. G. Kuhn, TDNT 6:732-34, 743-44. Regardless, the point is that many Gentiles, as well as Jews, came to faith.

¹ sn In Johannine thought the verb σκανδαλίζω (skandalizō) means to trip up disciples and cause them to fall away from Jesus’ company (John 6:61, 1 John 2:10). Similar usage is found in Didache 16:5, an early Christian writing from around the beginning of the 2nd century a.d. An example of a disciple who falls away is Judas Iscariot. Here and again in 16:4 Jesus gives the purpose for his telling the disciples about coming persecution: He informs them so that when it happens, the disciples will not fall away, which in this context would refer to the confusion and doubt which they would certainly experience when such persecution began. There may have been a tendency for the disciples to expect immediately after Jesus’ victory over death the institution of the messianic kingdom, particularly in light of the turn of events recorded in the early chapters of Acts. Jesus here forestalls such disillusionment for the disciples by letting them know in advance that they will face persecution and even martyrdom as they seek to carry on his mission in the world after his departure. This material has parallels in the Olivet Discourse (Matt 24-25) and the synoptic parallels.

² sn Jesus’ somewhat enigmatic statement points to the necessity of being born “from above,” because water and wind/spirit/Spirit come from above. Isaiah 44:3-5 and Ezek 37:9-10 are pertinent examples of water and wind as life-giving symbols of the Spirit of God in his work among people. Both occur in contexts that deal with the future restoration of Israel as a nation prior to the establishment of the messianic kingdom. It is therefore particularly appropriate that Jesus should introduce them in a conversation about entering the kingdom of God. Note that the Greek word πνεύματος is anarthrous (has no article) in v. 5. This does not mean that spirit in the verse should be read as a direct reference to the Holy Spirit, but that both water and wind are figures (based on passages in the OT, which Nicodemus, the teacher of Israel should have known) that represent the regenerating work of the Spirit in the lives of men and women.

³ tn The word ἄνωθεν (anōthen) has a double meaning, either “again” (in which case it is synonymous with παλίν [palin]) or “from above” (BDAG 92 s.v. ἄνωθεν). This is a favorite technique of the author of the Fourth Gospel, and it is lost in almost all translations at this point. John uses the word 5 times, in 3:3, 7; 3:31; 19:11 and 23. In the latter 3 cases the context makes clear that it means “from above.” Here (3:3, 7) it could mean either, but the primary meaning intended by Jesus is “from above.” Nicodemus apparently understood it the other way, which explains his reply, “How can a man be born when he is old? He can’t enter his mother’s womb a second time and be born, can he?” The author uses the technique of the “misunderstood question” often to bring out a particularly important point: Jesus says something which is misunderstood by the disciples or (as here) someone else, which then gives Jesus the opportunity to explain more fully and in more detail what he really meant.

¹ tn Grk “his soul.” The Greek ψυχή (psuchē) has many different meanings depending on the context. The two primary meanings here are the earthly life (animate life, sometimes called “physical life”) and the inner life (the life that transcends the earthly life, sometimes called “the soul”). The fact that the Greek term can have both meanings creates in this verse both a paradox and a wordplay. The desire to preserve both aspects of ψυχή (psuchē) for oneself creates the tension here (cf. BDAG 1099 s.v. 1.a; 2.d,e). Translation of the Greek term ψυχή (psuchē) presents a particularly difficult problem in this verse. Most English versions since the KJV have translated the term “life.” This preserves the paradox of finding one’s “life” (in the sense of earthly life) while at the same time really losing it (in the sense of “soul” or transcendent inner life) and vice versa, but at the same time it obscures the wordplay that results from the same Greek word having multiple meanings. To translate as “soul,” however, gives the modern English reader the impression of the immortal soul at the expense of the earthly life. On the whole it is probably best to use the translation “life” and retain the paradox at the expense of the wordplay.

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.

¹ tn Grk “soul” (throughout vv. 35-37). The Greek ψυχή (psuchē) has many different meanings depending on the context. The two primary meanings here are the earthly life (animate life, sometimes called “physical life”) and the inner life (the life that transcends the earthly life, sometimes called “the soul”). The fact that the Greek term can have both meanings creates in this verse both a paradox and a wordplay. The desire to preserve both aspects of ψυχή (psuchē) for oneself creates the tension here (cf. BDAG 1099 s.v. 1.a; 2.d,e). Translation of the Greek term ψυχή (psuchē) presents a particularly difficult problem in this verse. Most English versions since the KJV have translated the term “life.” This preserves the paradox of finding one’s “life” (in the sense of earthly life) while at the same time really losing it (in the sense of “soul” or transcendent inner life) and vice versa, but at the same time it obscures the wordplay that results from the same Greek word having multiple meanings. To translate as “soul,” however, gives the modern English reader the impression of the immortal soul at the expense of the earthly life. On the whole it is probably best to use the translation “life” and retain the paradox at the expense of the wordplay.

¹ tn Grk “his soul.” The Greek ψυχή (psuchē) has many different meanings depending on the context. The two primary meanings here are the earthly life (animate life, sometimes called “physical life”) and the inner life (the life that transcends the earthly life, sometimes called “the soul”). The fact that the Greek term can have both meanings creates in this verse both a paradox and a wordplay. The desire to preserve both aspects of ψυχή (psuchē) for oneself creates the tension here (cf. BDAG 1099 s.v. 1.a; 2.d,e). Translation of the Greek term ψυχή (psuchē) presents a particularly difficult problem in this verse. Most English versions since the KJV have translated the term “life.” This preserves the paradox of finding one’s “life” (in the sense of earthly life) while at the same time really losing it (in the sense of “soul” or transcendent inner life) and vice versa, but at the same time it obscures the wordplay that results from the same Greek word having multiple meanings. To translate as “soul,” however, gives the modern English reader the impression of the immortal soul at the expense of the earthly life. On the whole it is probably best to use the translation “life” and retain the paradox at the expense of the wordplay.

¹ tn Heb “were troubled.” The verb חוּס (khus) has a basic threefold range of meanings: (1) “to be troubled about,” (2) “to look with compassion upon,” and (3) “to show pity, to spare [someone from death/judgment]” (HALOT 298 s.v. חוס; BDB 299 s.v. חוּס). Clearly, here God is referring to Jonah’s remorse and anger when the plant died (vv. 7-9), so here it probably means “to be troubled about” (HALOT 298 s.v. 1.c) rather than “to pity” (BDB 299 s.v. c). Elsewhere חוּס describes emotional grief caused by the loss of property (Gen 45:20) and the death of family members (Deut 13:9 [ET 13:8]). The verb חוּס is derived from a common Semitic root with a basic meaning, “to pour out; to flow,” that is used in reference to emotion and tears in particular. This is seen in the Hebrew expression תָחוּס עֵין (takhus ʿen, “the eyes flow”), picturing tears of concern and grief (cf., Gen 45:20; Deut 13:9 [ET 13:8]). The verb חוּס will be used again in v. 11 but in a different sense (see note on v. 11).

² sn It should be noted that the text says that the nations will be subject to the king of Babylon for 70 years, not that they will lie desolate for 70 years. Though several proposals have been made for dating this period, many ignore this fact. This most likely refers to the period beginning with Nebuchadnezzar’s defeat of Pharaoh Necho at Carchemish in 605 b.c. and the beginning of his rule over Babylon. At this time Babylon became the dominant force in the area and continued to be so until the fall of Babylon in 538 b.c. More particularly Judah became a vassal state (cf. Jer 46:2; 2 Kgs 24:1) in 605 b.c. and was allowed to return to her homeland in 538 when Cyrus issued his edict allowing all the nations exiled by Babylon to return to their homelands. (See 2 Chr 36:21 and Ezra 1:2-4; the application there is made to Judah, but the decree of Cyrus was broader.)

³ tn Or “O king, bring me into your chambers!” The article on the noun הַמֶּלֶךְ (hammelekh, “the king”) may be taken in two ways: (1) the particularizing use of the article: “The king” (e.g., NIV “The king has brought me into his chambers”) or (2) the vocative use of the article: “O king!” (NJPS margin: “O king, bring me into your chambers!”) (For the vocative use of the article, see GKC 405 §126.e; Joüon 2:506-7 §137.f; R. J. Williams, Hebrew Syntax, 19, §89; IBHS 247 §13.5.2c). The syntactical classification of the article is dependent upon: (1) Whether the MT reading of the third person masculine singular suffix on חֲדָרָיו (khadarayv, “his chambers”) is retained or whether the text is emended to the second person masculine singular suffix form חַדְרֶךָ (khadrekha, “your chamber”) as reflected in Syriac (see textual note below). (2) Whether הֱבִיאַנִי (heviʾani, Hiphil perfect third person masculine singular from בּוֹא, boʾ, “to bring” plus first person common singular suffix) is classified as a perfect of past action (“The king has brought me into his chambers”) or a precative perfect (“O king, bring me into your chambers!”) (see syntactical note below). (3) Whether the consonantal form הביאני should be vocalized as הֱבִיאַנִי (heviʾani, Hiphil perfect third person masculine singular plus first person common singular suffix) as preserved in MT or as הֲבִיאֵנִי (haviʾeni, Hiphil imperative second person masculine singular plus first person common singular suffix) as reflected in Symmachus and Syriac (see textual note below).

¹ tn The preposition ל in אֲשֶׁר לִשְׁלֹמֹה (ʾasher lishlomoh) has been taken as: (1) authorship: “which is written by Solomon.” The lamed of authorship (also known as lamed auctoris) is well attested in Hebrew (see GKC 421 §130.b), particularly in the Psalms (e.g., Pss 18:1; 30:1; 34:1; 51:1; 52:1; 54:1; 56:1; 57:1; 59:1; 60:1; 63:1; 72:1); (2) dedication: “which is dedicated for Solomon.” The lamed of dedication is attested in Ugaritic psalms dedicated to Baal or about Baal (CTA 6.1.1 = UT 49.1); or (3) topic: “which is about/concerning Solomon.” The lamed of topic is attested in Hebrew (e.g., 1 Chr 24:20) and in Ugaritic, e.g., lbʿl “About Baal” (CTA 6.1.1 = UT 49.1). The ל is most likely denoting authorship. The ל followed by a name in the superscription of a poetic composition in the OT, usually (if not always) denotes authorship. Just as the superscription לְדָוִד (l^edavid) claims Davidic authorship within the Psalter, the heading claims Solomonic authorship. Whether or not this attribution is historically reliable or simply a matter of Jewish tradition is debated in scholarship, just as the Davidic superscriptions in the Psalter are debated (see study note on the word “Song” in the superscription).