¹ sn There is some debate as to the meaning of מִסְגֶּרֶת (misgeret). This does not seem to be a natural part of the table and its legs. The drawing on the Arch of Titus shows two cross-stays in the space between the legs, about halfway up. It might have been nearer the top, but the drawing of the table of presence-bread from the arch shows it half-way up. This frame was then decorated with the molding as well.

⁴ tn The verb is זָכַר (zakhar, “to remember”), but in the Hiphil especially it can mean more than remember or cause to remember (remind)—it has the sense of praise or honor. B. S. Childs says it has a denominative meaning, “to proclaim” (Exodus [OTL], 447). The point of the verse is that God will give Israel reason for praising and honoring him, and in every place that occurs he will make his presence known by blessing them.

² sn S. R. Driver says, “A brilliant glow of fire…symbolizing Jehovah’s presence, gleamed through the cloud, resting…on the Tent of Meeting. The cloud shrouds the full brilliancy of the glory, which human eye could not behold” (Exodus, 147-48; see also Ezek 1:28; 3:12, 23; 8:4; 9:3, et al.). A Hebrew word often translated “behold” or “lo” introduces the surprising sight.

¹ sn This list of names shows that Moses and Aaron are in the line of Levi that came to the priesthood. It helps to identify them and authenticate them as spokesmen for God within the larger history of Israel. As N. M. Sarna observes, “Because a genealogy inherently symbolizes vigor and continuity, its presence here also injects a reassuring note into the otherwise despondent mood” (Exodus [JPSTC], 33).

² sn Here is the introduction of the main motif of the commission, which will be the explanation of the divine name. It will make little difference who the servant is or what that servant’s abilities might be, if God is present. The mention of God’s presence is not a simple catch-phrase; it represents abundant provisions to the believer (see below on v. 14).

² sn Three measures (Heb “three seahs”) was equivalent to about 20 quarts (22 liters) of flour, which would make a lot of bread. The animal prepared for the meal was far more than the three visitors needed. This was a banquet for royalty. Either it had been a lonely time for Abraham and the presence of visitors made him very happy, or he sensed this was a momentous visit.

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.

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.

² tn Heb “I took the deed of purchase, both that which was sealed [and contained] the order and the regulations and that which was open [i.e., unsealed], and I gave the deed of purchase to Baruch…in the presence of my cousin Hanamel and in the presence of…and in the presence of….” It is awkward to begin a sentence with “I took…” without finishing the thought, and the long qualifiers in v. 12 make that sentence too long. The sentence is broken up in accordance with contemporary English style. The reference to the “deed of purchase” in v. 12 should be viewed as a plural consisting of both written and sealed copies, as is clear from v. 11 and also v. 14. Part of the confusion is due to the nature of this document that consisted of a single papyrus scroll, half of which was rolled up and sealed and half of which was left “opened” or unsealed. J. Bright (Jeremiah [AB], 237-38) is probably incorrect in assuming that the copies were duplicate, since the qualification “containing the order of transfer and the regulations” is only applied to the appositional participle, “the sealed one [or copy].”

¹ sn The next section of the book is often referred to as the “Call of Moses,” and that is certainly true. But it is much more than that. It is the divine preparation of the servant of God, a servant who already knew what his destiny was. In this section Moses is shown how his destiny will be accomplished. It will be accomplished because the divine presence will guarantee the power, and the promise of that presence comes with the important “I AM” revelation. The message that comes through in this, and other “I will be with you” passages, is that when the promise of God’s presence is correctly appropriated by faith, the servant of God can begin to build confidence for the task that lies ahead. It will no longer be, “Who am I that I should go?” but “I AM with you” that matters. The first little section, 2:23-25, serves as a transition and introduction, for it records the Lord’s response to Israel in her affliction. The second part is the revelation to Moses at the burning bush (3:1-10), which is one of the most significant theological sections in the Torah. Finally, the record of Moses’ response to the call with his objections (3:11-22), makes up the third part, and in a way, is a transition to the next section, where God supplies proof of his power.

¹ tc The ὅτι (hoti) before ἐπ᾿ ἐσχάτου χρόνου (ep eschatou chronou, “at the end of time”), found in the NA²⁷ text, can either be translated as “that” or left untranslated as a marker of direct discourse. The NA²⁸ has dropped the ὅτι, though with a diamond preceding it in the apparatus indicating a toss-up on the initial wording. Without the conjunction, direct discourse is surely meant, and with it it is just as likely as indirect discourse. The translation above makes no decision on the presence or absence of the conjunction, but renders either variant as direct discourse.

⁶ tn This cryptic expression has been variously interpreted. (1) It could involve a simple cognate dative in which case the idea is “they will be utterly destroyed.” But the presence of αὐτῶν (autōn; their, of them) is problematic for this view. Other, more plausible views are: (2) the false teachers will be destroyed at the same time as the irrational beasts, or (3) in the same manner as these creatures (i.e., by being caught); or (4) the false teachers will be destroyed together with the evil angels whom they insult. Because of the difficulties of the text, it was thought best to leave it ambiguous, as the Greek has it.

² sn Through his flesh. In a bold shift the writer changes from a spatial phrase (Christ opened the way through the curtain into the inner sanctuary) to an instrumental phrase (he did this through [by means of] his flesh in his sacrifice of himself), associating the two in an allusion to the splitting of the curtain in the temple from top to bottom (Matt 27:51; Mark 15:38; Luke 23:45). Just as the curtain was split, so Christ’s body was broken for us, to give us access into God’s presence.

¹ tc ‡ Before μέλος (melos, “member”) the great majority of witnesses read ἕν (hen, “one”; א² C D F G Ψ 0285 33 1881 M latt sy), while the most significant of the Alexandrian mss omit it (P⁴⁶ א* A B 1739). The addition of ἕν appears to be motivated by its presence earlier in the verse with μέλος and the parallel structure of the two conditional clauses in this verse, while little reason can be given for its absence (although accidental oversight is of course possible, it is not likely that all these witnesses should have overlooked it). NA²⁸ has the word in brackets, indicating doubt as to its authenticity.

¹ sn Peace I leave with you. In spite of appearances, this verse does not introduce a new subject (peace). Jesus will use the phrase as a greeting to his disciples after his resurrection (20:19, 21, 26). It is here a reflection of the Hebrew shalom as a farewell. But Jesus says he leaves peace with his disciples. This should probably be understood ultimately in terms of the indwelling of the Paraclete, the Holy Spirit, who has been the topic of the preceding verses. It is his presence, after Jesus has left the disciples and finally returned to the Father, which will remain with them and comfort them.