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Discovery Box| (0.15) | (Isa 7:14) | 1 tn The Hebrew term אוֹת (ʾot, “sign”) can refer to a miraculous event (see v. 11), but it does not carry this sense inherently. Elsewhere in Isaiah the word usually refers to a natural occurrence or an object/person vested with special significance (see 8:18; 19:20; 20:3; 37:30; 55:13; 66:19). Only in 38:7-8, 22 does it refer to a miraculous deed that involves suspending or overriding natural laws. The sign outlined in vv. 14-17 involves God’s providential control over events and their timing, but not necessarily miraculous intervention. |
| (0.15) | (Isa 7:5) | 1 tn This sentence opens with the conjunction יַעַן כִּי (yaʿan ki, “because”). Consequently some take vv. 5-6 with what precedes, as another reason why Ahaz might be tempted to fear (see v. 4). However, it is more likely that vv. 5-6 give the basis for the Lord’s announcement in vv. 7-9. The conjunction יַעַן כִּי here introduces the basis for judgment (as in 3:16; 8:6; 29:13), which is then followed by the formal announcement of judgment. |
| (0.15) | (Isa 6:13) | 6 tc The MT reads בְּשַׁלֶּכֶת (beshalleket, “in felling”) as part of “like a terebinth or like an oak, which in felling a pillar in them holy seed her pillar.” The Qumran scroll 1QIsaa has משׁלכת which appears to be a Hophal feminine participle from שָׁלַך (shalakh) meaning “[being] thrown down.” Though the text is difficult, the references to sacred trees and a sacred pillar suggest that the destruction of a high place is in view, an apt metaphor for the judgment of idolatrous Judah. |
| (0.15) | (Isa 6:13) | 3 tc The translation accepts the emendation in BHS, reading אֲשֵׁרָה (ʾasherah) rather than אֲשֶׁר (ʾasher, “which”). The term אֲשֵׁרָה may refer to the goddess Asherah or a sacred pole which presumably represented the goddess at worship sites. The translation also treats the Asherah as the third in a series of items, as if וְכַאֲשֵׁרָה (vekaʾasherah, “and like an Asherah”). But it may just as well be modifying the previous noun so that the whole phrase reads “like a terebinth and like the oak of an Asherah.” See J. D. W. Watts, Isaiah 1-33 (WBC), 101, 103. |
| (0.15) | (Isa 5:1) | 3 tn Heb “on a horn, a son of oil.” Apparently קֶרֶן (qeren, “horn”) here refers to the horn-shaped peak of a hill (BDB 902 s.v.) or to a mountain spur, i.e., a ridge that extends laterally from a mountain (HALOT 1145 s.v. קֶרֶן; H. Wildberger, Isaiah, 1:180). The expression “son of oil” pictures this hill as one capable of producing olive trees. Isaiah’s choice of קֶרֶן, a rare word for hill, may have been driven by paronomastic concerns, i.e., because קֶרֶן sounds like כֶּרֶם (kerem, “vineyard”). |
| (0.15) | (Isa 3:4) | 1 tn The words “the Lord says” are supplied in the translation for clarification. The prophet speaks in vv. 1-3 (note the third person reference to the Lord in v. 1), but here the Lord himself announces that he will intervene in judgment. It is unclear where the Lord’s words end and the prophet’s pick up again. The prophet is apparently speaking again by v. 8, where the Lord is referred to in the third person. Since vv. 4-7 comprise a thematic unity, the quotation probably extends through v. 7. |
| (0.15) | (Isa 2:19) | 1 tn The identity of the grammatical subject is unclear. The “idols” could be the subject; they will “go” into the caves and holes when the idolaters throw them there in their haste to escape God’s judgment (see vv. 20-21). The picture of the idols, which represent the foreign deities worshiped by the people, fleeing from the Lord would be highly polemical and fit the overall mood of the chapter. However it seems more likely that the idolaters themselves are the subject, for v. 10 uses similar language in sarcastically urging them to run from judgment. |
| (0.15) | (Sos 8:9) | 1 sn The simile if she is a wall draws a comparison between the impregnability of a city fortified with a strong outer wall and a virtuous young woman who successfully resists any assaults against her virginity. The term חוֹמָה (khomah, “wall”) often refers to an outside fortress wall that protects the city from enemy military attacks (e.g., Lev 25:29-30; Josh 6:5; 1 Kgs 3:1; Neh 2:8; 12:27; Jer 1:8; 15:20). |
| (0.15) | (Sos 8:2) | 5 tc The MT reads the singular noun with first person common singular suffix רִמֹּנִי (rimmoni, “my pomegranate”). However, many Hebrew mss preserve an alternate textual tradition of a plural noun without the first person common singular suffix רִמֹּנִים (rimmonim, “pomegranates”), which is also reflected in the Aramaic Targum. However, LXX ῥοῶν μου (hroōn mou, “the nectar of my pomegranates”) reflects both the plural noun and the first person common singular suffix. Therefore, R. Gordis suggests that MT רִמֹּנִי is an apocopated plural with a first person common singular suffix: “my pomegranates.” |
| (0.15) | (Sos 7:1) | 2 tn Alternately, “noble daughter” or “magnificent daughter.” The title בַּת־נָדִיב (bat nadiv, “princely daughter” or “daughter of the prince”; HALOT 673 s.v. נָדִיב; BDB 622 s.v. נָדִיב 2) suggests to some that this woman is not the Israelite country maiden of chapters 1-4 and 8, but the daughter of Pharaoh whom Solomon later married (1 Kgs 11:1). While the term נָדִיב often denotes nobility of position (“nobleman”), it can also denote nobility of character (“noble, willing, magnificent”) (e.g., Prov 17:26; Isa 32:5, 8) (HALOT 673-74; BDB 622 s.v. 2). |
| (0.15) | (Sos 6:4) | 3 sn The literary unity of 6:4-10 and boundaries of his praise are indicated by the repetition of the phrase אֲיֻמָּה כַּנִּדְגָּלוֹת (ʾayummah kannidegalot, “majestic as bannered armies/stars in procession…”) in 6:4 and 6:10 which creates an inclusion. His praise includes his own personal statements (6:4-9a) as well as his report of the praise given to her by the maidens, queens, and concubines (6:9b-10). His praise indicates that he had forgiven any ingratitude on her part. |
| (0.15) | (Sos 5:10) | 3 tn The adjective אָדֹם (ʾadom) denotes either “manly” or “ruddy,” depending upon whether it is derived from אָדָם (ʾadam, “man”; HALOT 14 s.v. I אָדָם) or אָדֹם (“red”; HALOT 14 s.v. אָדֹם). If it is “manly,” the idea is that he is the epitome of masculinity and virility. On the other hand, the emphasis would be upon his health and virility, evidenced by his ruddy complexion, or it could be a comparison between his ruddy coloring and the redness of rubies (Lam 4:7). |
| (0.15) | (Sos 4:15) | 2 tn Heb “a watering place” or “well of underground water.” The term בְּאֵר (beʾer, “well”) refers to an underground well that is dug in the ground to provide fresh water for humans and beasts (e.g., Gen 21:19, 25, 30; 26:15, 18, 19, 22, 32) (HALOT 106 s.v. I בְּאֵר; DCH 2:87 s.v. I בְּאֵר). The term is often used in parallelism with בּוֹר (bor, “cistern”), עַיִן (ʿayin, “spring”), and שׁוּחָה (shukhah, “water-hole”). |
| (0.15) | (Sos 5:1) | 1 sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests—an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them—in a poetic sense—in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b. |
| (0.15) | (Sos 3:8) | 2 tn Heb “trained of war.” In the genitive construct מְלֻמְּדֵי מִלְחָמָה (melummede milkhamah, “trained of war”) the noun מִלְחָמָה (“war, battle”) is a genitive of specification or limitation, that is, it specifies the extent to which the expertise of the subjects applies: “in regard to warfare.” The term מִלְחָמָה (“warfare”) may be nuanced metonymically as “the art of warfare” in the light of (1) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (ʾakhuze, “skilled”), and (2) its parallelism with חֶרֶב (kherev, “sword, swordsmanship”). |
| (0.15) | (Sos 3:2) | 2 tn The root סָבַב (savav) in the Qal stem means “to go around, to do a circuit” (1 Sam 7:16; 2 Chr 17:9; 23:2; Eccl 12:5; Song 3:3; Isa 23:16; Hab 2:16), while the Polel stem means “to prowl around” (Ps 59:7, 15; Song 3:2) (HALOT 739-740 s.v. סבב). The idea here is that the Beloved is determined to “look all around” until she finds her beloved. |
| (0.15) | (Sos 2:15) | 1 tn The imperative אֶחֱזוּ (ʾekhezu, “catch”) is plural in form (Qal imperative second person masculine plural from אָחַז, ʾakhaz). Some commentators suggest that the woman is speaking to a large audience, perhaps the maidens of Jerusalem mentioned in 2:7. However, the Hebrew plural can function in an intensive sense when used in reference to a single individual (IBHS 122 §7.4.3a). As noted previously, the bride often uses the plural in reference to herself or to her bridegroom in Sumerian love literature. Thus, the woman simply may be speaking to her beloved, as in 2:16-17, but with particularly intense passion. |
| (0.15) | (Sos 1:16) | 4 tn The term רַעֲנָנָה (raʿananah, “lush, verdant”) refers to the color “green” and is often used in reference to luxuriant foliage or trees (Pss 37:35; 52:8; Jer 11:16; Hos 14:8). The impression 1:16c-17 gives is that the young man and young woman are lying down together on the grass in the woods enjoying the delights of their caresses. They liken the grass below and the green leaves above to a marriage couch or canopied bed. |
| (0.15) | (Sos 1:15) | 3 sn In the ancient Near East there was an unusual emphasis on beauty of a woman’s eyes. This was probably due to the practice of women veiling themselves and wearing long robes so that no portion of their body or face was exposed to sight except for their eyes (e.g., Gen 26:17). The only indication of a woman’s beauty was her eyes. There was no better (and no other, in light of the attire) way to praise a woman’s beauty in the ancient Near East (G. L. Carr, Song of Solomon [TOTC], 86). |
| (0.15) | (Sos 1:11) | 1 tn The subject of the first person common plural verb נַעֲשֶׂה (naʿaseh) might be the maidens of Jerusalem mentioned in 1:4 [5]. However, this might be an example of heterosis of number, that is, the first person common plural for first person common singular. In this case, her lover—the speaker throughout the rest of 1:8-9 [9-10]—would still be the speaker here. Other possible examples of heterosis of number of the plural for the singular in the Song include 1:3 [4]; 2:15; 5:1b; 6:13 [7:1]. |
