¹ tn Heb “abundance of food, fallow ground of רָאשִׁים (raʾshim).” The line has several difficulties. The word רָאשִׁים is spelled as if from ראֹשׁ (roʾsh, “head”) meaning a tribal head, leader, chief (HALOT 1166 s.v.). It is usually assumed however that it is a participle from רוּשׁ (rush) meaning “to be poor” (HALOT 1209 s.v.). The lack of a verb also poses a problem. Some translations assume that the food is in the field or the field produces the food (NASB, KJV, BBE, NIV [2011], Holman), but this runs counter to the notion of fallow ground. If it is full of crops, it isn’t fallow (if indeed נִיר [nir] means prepared unplanted soil). Other translations are modal, stating that the field “may” or “would” produce much food (NIV [1973], ESV, NLT, NRSV). Perhaps it is fallow after a harvest; or perhaps the saying is about presuming the crops before they are actually there (like counting your chickens before they are hatched). BDB proposes the possibility: “abundant food [yields] the fallow ground of poor men” (BDB 644 s.v. נִיר). If food leads to fallow ground, it may imply not seeing a need to plant all the fields, which later results in poverty. Any of these options seems equally speculative.

¹ tn The MT has the third person of the verb, “and he lifts himself up.” One might assume that the subject is “my head”—but that is rather far removed from the verb. It appears that Job is talking about himself in some way. Some commentators simply emend the text to make it first person. This has the support of Targum Job, which would be expected since it would be interpreting the passage in its context (see D. M. Stec, “The Targum Rendering of WYG’H in Job X 16, ” VT 34 [1984]: 367-8). Pope and Gordis make the word adjectival, modifying the subject: “proudly you hunt me,” but support is lacking. E. Dhorme thinks the line should be parallel to the two preceding it, and so suggests יָגֵּעַ (yageaʿ, “exhausted”) for יִגְאֶה (yigʾeh, “lift up”). The contextual argument is that Job has said that he cannot raise his head, but if he were to do so, God would hunt him down. God could be taken as the subject of the verb if the text is using enallage (shifting of grammatical persons within a discourse) for dramatic effect. Perhaps the initial third person was intended with respect within a legal context of witnesses and a complaint, but was switched to second person for direct accusation.

² tn Grk “the one who restrains.” This gives a puzzling contrast to the impersonal phrase in v. 6 (“the thing that restrains”). The restraint can be spoken of as a force or as a person. Some have taken this to mean the Roman Empire in particular or human government in general, since these are forces that can also be seen embodied in a person, the emperor or governing head. But apocalyptic texts like Revelation and Daniel portray human government of the end times as under Satanic control, not holding back his influence. Also the power to hold back Satanic forces can only come from God. So others understand this restraint to be some force from God: the preaching of the gospel or the working of the Holy Spirit through God’s people.

³ tn Grk “and recline at table,” as first century middle eastern meals were not eaten while sitting at a table, but while reclining on one’s side on the floor with the head closest to the low table and the feet farthest away. The phrase “take their places at the banquet table” has been used in the translation to clarify for the modern reader the festive nature of the imagery. The banquet imagery is a way of describing the fellowship and celebration of participation with the people of God at the end. Cf. BDAG 65 s.v. ἀνακλίνω 2, “In transf. sense, of the Messianic banquet w. the idea dine in style (or some similar rendering, not simply ‘eat’ as NRSV) Mt 8:11; Lk 13:29.”

¹ tn Grk “and recline [at a meal].” First century middle eastern meals were not eaten while sitting at a table, but while reclining on one’s side on the floor with the head closest to the low table and the feet farthest away. The phrase “share the banquet” has been used in the translation to clarify for the modern reader the festive nature of the imagery. The banquet imagery is a way of describing the fellowship and celebration of participation with the people of God at the end. Cf. BDAG 65 s.v. ἀνακλίνω 2, “In transf. sense, of the Messianic banquet w. the idea dine in style (or some similar rendering, not simply ‘eat’ as NRSV) Mt 8:11; Lk 13:29.”

⁸ tn Heb “your…your…” The second person masculine singular suffixes on מִשְׁבָּרֶיךָ וְגַלֶּיךָ (mishbarekha v^egallekha, “your breakers and your waves”) function as genitives of source. Just as God had hurled a violent wind upon the sea (1:4) and had sovereignly sent the large fish to swallow him (1:17 [2:1 HT]), Jonah viewed God as sovereignly responsible for afflicting him with sea waves that were crashing upon his head, threatening to drown him. Tg. Jonah 2:3 alters the second person masculine singular suffixes to third person masculine singular suffixes to make them refer to the sea and not to God, for the sake of smoothness: “all the gales of the sea and its billows.”

⁴ sn In the Ugaritic mythological texts Leviathan is a sea creature that symbolizes the destructive water of the sea and in turn the forces of chaos that threaten the established order. Isaiah here applies imagery from Canaanite mythology to Yahweh’s eschatological victory over his enemies. Elsewhere in the OT, the battle with the sea motif is applied to Yahweh’s victories over the forces of chaos at creation and in history (cf. Pss 74:13-14; 77:16-20; 89:9-10; Isa 51:9-10). Yahweh’s subjugation of the chaos waters is related to His kingship (cf. Pss 29:3, 10; 93:3-4). Apocalyptic literature employs the imagery as well. The beasts of Dan 7 emerge from the sea, while Rev 13 speaks of a seven-headed beast coming from the sea.

² sn The Carmel mountain range is a majestic sight. The mountain range borders the southern edge of the plain of Esdraelon, dividing the Palestinian coastal plain into the Plain of Acco to the north and the Plains of Sharon and Philistia to the south. Its luxuriant foliage was legendary (Isa 33:9; Amos 1:2; Nah 1:4). Rising to a height of approximately 1750 feet (525 m), it extends southeast from the Mediterranean for 13 miles (21 km). Due to its greatness and fertility, it was often associated with majesty and power (Isa 35:2; Jer 46:18). The point of the comparison is that her head crowns her body just as the majestic Mount Carmel rested over the landscape, rising above it in majestic and fertile beauty. See ZPEB 1:755; C. F. Pfeiffer and H. F. Vos, Wycliffe Historical Geography of Bible Lands, 100.

¹ sn The Beloved’s praise of his appearance follows the typical literary structure of the ancient Near Eastern love songs: (1) introductory summary praise (5:10), (2) detailed descriptive praise from head to foot (5:11-16a), and (3) concluding summary praise (5:16b). There are several striking features about this song that are unique from the typical love songs. (1) The ordinary setting of the ancient Near Eastern love songs was the wedding night. (2) They were ordinarily sung only by a man in praise of his bride. (3) Normally, the love song will conclude with the feet after the legs; however, the Beloved concludes by praising his mouth after his legs.

³ tn The verb קלל in the Pilpel means “to sharpen; to make a blade sharp” (HALOT 1104 s.v. קלל 1).This denominative verb is derived from the rare noun II קָלַל “smooth; shiny” (referring to bronze; Ezek 1:7; Dan 10:6; HALOT 1105 s.v.). Sharpening the blade or head of a bronze ax will make it smooth and shiny. It is not derived from I קָלַל (qalal) “to treat light” or the noun I קְלָלָה (q^elalah) “curse.” Nor is it related to I קָלַל “to shake” (Ezek 21:26); cf. HALOT 1104. BDB 886 s.v. קָלַל 2 erroneously relates it to I קָלַל, suggesting “to whet” or “to move quickly to and fro.”

¹ tn The verb III פָּרַע (paraʿ) means “to let go; to let alone” (BDB 828 s.v.). It can refer to unkempt hair of the head (Lev 10:6) or lack of moral restraint: “to let things run free” (Exod 32:25; Prov 28:19). Here it means “to avoid, neglect” the offer of wisdom (BDB 829 s.v. 2). As a preterite, or vayyiqtol, this verb continues the response of the naive and the fools from the previous verse. The structure of 1:24-25 is: “Because I did X, but you did Y, and [because] I did A, but you did B and C, and D.” Verse 25 has the “and C and D” portions.

³ tn Heb “the naive” or “simpleton.” The substantival adjective פֶּתִי (peti) means “simple; open-minded” in the sense of being open and easily influenced by either wisdom or folly (BDB 834 s.v.; HALOT 989 s.v. I פֶּתִי). The simpleton is easily enticed and misled (Prov 1:32; 7:7; 9:6; 22:3; 27:12); believes everything, including bad counsel (Prov 14:15); lacks moral prudence (Prov 8:5; 19:25); needs discernment (Prov 21:11); but is capable of learning (Prov 9:4, 16). The related verb means “to be wide open; open-minded; enticed, deceived” (BDB 834). The term describes one easily persuaded and gullible, open to any influence, good or bad (cf. NLT “the simpleminded”). This is the “wide-eyed youth” who is headed for trouble unless he listens to the counsel of wisdom.

³ tn In the Hebrew text the psalm ends with the words עַל־מוּת (ʿal-mut, “upon [unto?] dying”), which make little, if any, sense. M. Dahood (Psalms [AB], 1:293) proposes an otherwise unattested plural form עֹלָמוֹת (ʿolamot; from עוֹלָם, ʿolam, “eternity”). This would provide a nice parallel to עוֹלָם וָעֶד (ʿolam vaʿed, “forever”) in the preceding line, but elsewhere the plural of עוֹלָם appears as עֹלָמִים (ʿolamim). It is preferable to understand the phrase as a musical direction of some sort (see עַל־מוּת [ʿal-mut] in the superscription of Ps 9) or to emend the text to עַל־עֲלָמוֹת (ʿal ʿalamot, “according to the alamoth style”; see the heading of Ps 46). In either case it should be understood as belonging with the superscription of the following psalm.

² tn The imperfect verbal form in v. 5a carries on the generalizing mood of vv. 1-4. However, in v. 5b the psalmist switches to a perfect (דִּשַּׁנְתָּ, dishanta), which may have a generalizing force as well. But then again the perfect is conspicuous here and may be present perfect in sense, indicating that the divine host typically pours oil on his head prior to seating him at the banquet table. The verb דָשַׁן (dashan; the Piel is factitive) is often translated “anoint,” but this is misleading, for it might suggest a symbolic act of initiation into royal status. One would expect the verb מָשָׁח (mashan) in this case; דָשַׁן here describes an act of hospitality extended to guests and carries the nuance “refresh.” In Prov 15:30 it stands parallel to “make happy” and refers to the effect that good news has on the inner being of its recipient.

² tn The construction is וְאֵלֶּה תּוֹלְדֹת (v^e’elleh tol^edot), which was traditionally translated “now these are the generations,” much as it was translated throughout the book of Genesis. The noun can refer to records, stories, genealogies, names, and accounts of people. Here it is the recorded genealogical list with assigned posts included. Like Genesis, it is a heading of a section, and not a colophon as some have suggested. It is here similar to Exodus: “these are the names of.” R. K. Harrison, Numbers (WEC), 62, insists that it is a colophon and should end chapter 2, but if that is followed in the Pentateuch, it creates difficulty throughout the narratives. See the discussion by A. P. Ross, Creation and Blessing, 69-74.

⁴ sn The “trouble” or “evil” that is before them could refer to the evil that they are devising—the attempt to escape from Egypt. But that does not make much sense in the sentence—why would he tell them to take heed or look out about that? U. Cassuto (Exodus, 126) makes a better suggestion. He argues that Pharaoh is saying, “Don’t push me too far.” The evil, then, would be what Pharaoh was going to do if these men kept making demands on him. This fits the fact that he had them driven out of his court immediately. There could also be here an allusion to Pharaoh’s god Re’, the sun-deity and head of the pantheon; he would be saying that the power of his god would confront them.

² sn The next section begins with the heading This is the account of Jacob in Gen 37:2, so this verse actually forms part of the preceding section as a concluding contrast with Esau and his people. In contrast to all the settled and expanded population of Esau, Jacob was still moving about in the land without a permanent residence and without kings. Even if the Edomite king list was added later (as the reference to kings in Israel suggests), its placement here in contrast to Jacob and his descendants is important. Certainly the text deals with Esau before dealing with Jacob—that is the pattern. But the detail is so great in chap. 36 that the contrast cannot be missed.

⁵ tn Heb “with the Lord.” The particle אֶת (ʾet) is not the accusative/object sign, but the preposition “with” as the ancient versions attest. Some take the preposition in the sense of “with the help of” (see BDB 85 s.v. אֵת; cf. NEB, NIV, NRSV), while others prefer “along with” in the sense of “like, equally with, in common with” (see Lev 26:39; Isa 45:9; Jer 23:28). Either works well in this context; the latter is reflected in the present translation. Some understand אֶת as the accusative/object sign and translate, “I have acquired a man—the Lord.” They suggest that the woman thought (mistakenly) that she had given birth to the incarnate Lord, the Messiah who would bruise the Serpent’s head. This fanciful suggestion is based on a questionable allegorical interpretation of Gen 3:15 (see the note there on the word “heel”).

² tn Grk “it is man’s number.” ExSyn 254 states “if ἀνθρώπου is generic, then the sense is, ‘It is [the] number of humankind.’ It is significant that this construction fits Apollonius’ Canon (i.e., both the head noun and the genitive are anarthrous), suggesting that if one of these nouns is definite, then the other is, too. Grammatically, those who contend that the sense is ‘it is [the] number of a man’ have the burden of proof on them (for they treat the head noun, ἀριθμός, as definite and the genitive, ἀνθρώπου, as indefinite—the rarest of all possibilities). In light of Johannine usage, we might also add Rev 16:18, where the Seer clearly uses the anarthrous ἄνθρωπος in a generic sense, meaning ‘humankind.’ The implications of this grammatical possibility, exegetically speaking, are simply that the number ‘666’ is the number that represents humankind. Of course, an individual is in view, but his number may be the number representing all of humankind. Thus the Seer might be suggesting here that the antichrist, who is the best representative of humanity without Christ (and the best counterfeit of a perfect man that his master, that old serpent, could muster), is still less than perfection (which would have been represented by the number seven).” See G. K. Beale, Revelation, [NIGTC], 723-24, who argues for the “generic” understanding of the noun; for an indefinite translation, see the ASV and ESV which both translate the clause as “it is the number of a man.”

¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot—comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.