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Discovery Box| (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) | (Isa 1:11) | 2 tn The verb שָׂבַע (savaʿ, “be satisfied, full”) is often used of eating and/or drinking one’s fill, to have had fully enough and want no more. See BDB 959 s.v. שָׂבַע. In some cases it means to have had more than enough of something and to want to not have any more (cf. Prov 25:17). The word picture builds on the Near Eastern viewpoint of sacrifices as food for the deity. God essentially says, “enough of that already;” what he wants is not more of that. |
| (0.15) | (Isa 1:9) | 2 tc The translation assumes that כִּמְעָט (kimʿat, “quickly,” literally, “like a little”) goes with what follows, contrary to the MT accents, which take it with what precedes. In this case, one could translate the preceding line, “If the Lord who commands armies had not left us a few survivors.” If כִּמְעָט goes with the preceding line (following the MT accents), this expression highlights the idea that there would only be a few survivors (H. Wildberger, Isaiah, 1:20; H. Zobel, TDOT 8:456). Israel would not be almost like Sodom but exactly like Sodom. |
| (0.15) | (Sos 8:12) | 2 tn Each of the three terms in this line has the first person common singular suffix which is repeated three times for emphasis: כַּרְמִי (karmi, “my vineyard”), שֶׁלִּי (shelli, “which belongs to me”), and לְפָנָי (lefana, “at my disposal”). In contrast to King Solomon, who owns the vineyard at Baal Hamon and who can buy and sell anything in the vineyard that he wishes, she proclaims that her “vineyard” (= herself or her body) belongs to her alone. In contrast to the vineyard, which can be leased out, and its fruit, which can be bought or sold, her “vineyard” is not for sale. Her love must and is to be freely given. |
| (0.15) | (Sos 8:6) | 2 tn The term לֵבָב (levav, “heart”) is used figuratively here as (1) a metonymy (container for the thing contained) for his chest over which the cylinder seal was hung or (2) a metonymy (concrete body part for the abstract emotions with which it is associated) for his emotions, such as love and loyalty to the Beloved (e.g., Judg 16:25; Ruth 3:7; 1 Sam 25:36; 2 Sam 13:28; 1 Kgs 8:66) (HALOT 514-15 s.v. לֵב) (see H. W. Wolff, Anthropology of the Old Testament, 40-58). |
| (0.15) | (Sos 8:4) | 2 tn Heb “Why arouse or awaken…?” Although the particle מָה (mah) is used most often as an interrogative pronoun (“What?” “Why?”), it also can be used as a particle of negation. For example, “How (מָה) could I look at a girl?” means “I have not looked at a girl!” (Job 31:1); “What (מַה) do we have to drink?” means “We have nothing to drink” (Exod 15:24); “What (מַה) part do we have?” means “We have no part” (1 Kgs 12:16); and “Why (מַה) arouse or awaken love?” means “Do not arouse or awaken love!” (Song 8:4). See HALOT 551 s.v. מָה C. |
| (0.15) | (Sos 7:8) | 1 tn Heb “I said, ‘I will climb….’” The verb אָמַר (ʾamar, “to say”) is often used metonymically in reference to the thought process, emphasizing the spontaneity of a decision or of an idea which has just entered the mind of the speaker moments before he speaks (Gen 20:11; 26:9; 44:28; Exod 2:14; Num 24:11; Ruth 4:4; 1 Sam 20:4, 26; 2 Sam 5:6; 12:22; 2 Kgs 5:11). M. H. Pope renders it appropriately: “Methinks” (Song of Songs [AB], 635). |
| (0.15) | (Sos 7:6) | 2 tn The term תַּעֲנוּג (taʿanug, “luxury, daintiness, exquisite delight”) is used in reference to: (1) tender love (Mic 1:16); (2) the object of pleasure (Mic 2:9); (3) erotic pleasures (Eccl 2:8); (4) luxury befitting a king (Prov 19:10). The term may have sexual connotations, as when it is used in reference to a harem of women who are described as “the delights” of the heart of a man (Eccl 2:8) (BDB 772 s.v. תַּעֲנוּג). |
| (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 7:1) | 3 tn The term חַמּוּק (khammuq, “curve”) describes the shapely curvature of her legs (HALOT 327; BDB 330 s.v. 2) rather than a curving, dancing motion (Arabic bridal dance view). Although the verb חָמַק (khamaq, “turn”) appears twice (Song 5:6; Jer 31:22), the noun חַמּוּק is a hapax legomenon. In postbiblical Hebrew it refers to “rundles” (Jastrow 476 s.v. חַמּוּק). The term here has been translated in various ways: “[thigh] joints” (KJV), “rounded [thighs]” (RSV), “curves [of thighs]” (NASB), “graceful [thighs]” (NIV). |
| (0.15) | (Sos 6:2) | 2 sn The phrase כַּעֲרוּגַת הַבֹּשֶׂם (kaʿarugat habbosem, “flower-beds of balsam”) is used elsewhere in the Song only in 5:13 where it is a simile comparing his cheeks to a flower-bed of balsam yielding perfumed spices. The term הַבֹּשֶׂם (“balsam-spice”) by itself appears five times in the Song, each time as a figure for sexual love (4:10, 14, 16; 5:1; 8:14). Thus, the two options are: (1) the term refers to a real flower-bed of balsam to which Solomon had gone or (2) this term is a figure for sexual love. |
| (0.15) | (Sos 5:10) | 6 tn Heb “among ten thousand.” The numeral “ten thousand” is the highest number used in comparisons in Hebrew poetry (1 Sam 18:7-8; 21:12; 29:5; Ps 91:7). It is not used to mark out a specific number, but to denote an indefinite number of persons of the largest possible proportions (Gen 24:60; Num 10:36; Deut 33:2; Ps 3:7). Her point is simply this: no other man could possibly compare to him in appearance, even if he were in a group of an infinite number of men. |
| (0.15) | (Sos 3:6) | 4 tn The term לְבוֹנָה (levonah, “frankincense”) refers to fragrant incense (Exod 30:34; Lev 2:1, 15; 5:11; 6:8; 24:7; Num 5:15; Isa 43:23; 66:3; Jer 6:20; 17:26; 41:5; Neh 13:5, 9; 1 Chr 9:29; Song 3:6; 4:6, 14). It is composed of the white (sometimes yellow) resin of Boswellia Carteri and Frereana from Hadramawt and Somaliland (HALOT 518 s.v. לְבֹנָה). |
| (0.15) | (Sos 3:6) | 6 tn The singular form of רוֹכֵל (rokhel, “merchant”) may be classified as a generic singular, representing the genus of the merchant guild of which there are many. The term רוֹכֵל means “trader, vendor,” as small retailer (HALOT 1237 s.v. I רכל) distinct from סָתַר (satar) “shopkeeper, dealer” as large wholesaler (HALOT 750 s.v. סתר). It may refer to a traveling merchant, as in Middle Hebrew רוֹכְלָה (rokhelah) “traveling merchant” and Old South Arabic rkl “to go about as a trader” (Conti 242a). The general nuance appears in Judean Aramaic רוֹכְלָא (rokhelaʾ, “hawker, peddler”) and Syriac rakkala “merchant.” |
| (0.15) | (Sos 1:9) | 3 sn It was common in ancient love literature to compare a beautiful woman to a sleek filly. For example, Horace likened Lyde to a three year old filly: “She gambols over the spreading plains and shrinks from touch, to wedlock still a stranger, not yet ripe for eager mate” (Horace, Odes iii. xi. 9). Theocritus compared Helen of Troy to a graceful steed harnessed to a chariot: “As towers the cypress mid the garden’s bloom, as in the chariot proud Thessalian steed, thus graceful rose-complexion’d Helen moves” (Theocritus, Idyll xviii. 30-31). |
| (0.15) | (Sos 1:4) | 1 sn The verb מָשַׁךְ (mashakh, “draw”) is a figurative expression (hypocatastasis) which draws an implied comparison between the physical acting of leading a person with the romantic action of leading a person in love. Elsewhere it is used figuratively of a master gently leading an animal with leather cords (Hos 11:4) and of a military victor leading his captives (Jer 31:3). The point of comparison might be that the woman wants to be the willing captive of the love of her beloved, that is, a willing prisoner of his love. |
| (0.15) | (Sos 1:2) | 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. |
| (0.15) | (Ecc 12:12) | 2 tn The verb עָשָׂה (ʿasah, “to do”) may mean “to make” (HALOT 890 s.v. I עשׂה 3) or “to acquire” (HALOT 891 s.v. I עשׂה 6). The LXX rendered it as ποιῆσαι (poiēsai, “making”), as do most English versions: “making” (KJV, YLT, RSV, NRSV, NAB, ASV, MLB, NIV, NJPS). However, several English versions reflect a different nuance: “there is no end to the buying of books” (Moffatt); “the use of books is endless” (NEB); and “the writing of many books is endless” (NASB). |
| (0.15) | (Ecc 12:8) | 4 sn Absolutely futile!…All of these things are futile! This motto is the theme of the book. It occurs at the beginning (1:2) and end of the book (12:8), forming an envelope structure (inclusio). Everything described in 1:2—12:8 is the supporting proof of the thesis of 1:2. With few exceptions (e.g., 2:24-26; 3:14-15; 11:9-12:1, 9), everything described in 1:2—12:8 is characterized as “futile” (הֶבֶל, hevel). |
| (0.15) | (Ecc 12:1) | 1 tn The imperative זְכֹר (zekhor, “Remember!”) is a figurative expression (metonymy of association) for obeying God and acknowledging his lordship over one’s life (e.g., Num 15:40; Deut 8:18; Pss 42:6-7; 63:6-8; 78:42; 103:18; 106:7; 119:52, 55; Jer 51:50; Ezek 20:43; Jonah 2:7; Mal 4:4). The exhortation to fear God and obey his commands in 12:13-14 spells out what it means to “remember” God. |
