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Discovery Box| (0.15) | (Gen 1:14) | 2 tn The language describing the cosmos, which reflects a prescientific view of the world, must be interpreted as phenomenal, describing what appears to be the case. The sun and the moon are not in the sky (below the clouds), but from the viewpoint of a person standing on the earth, they appear that way. Even today we use similar phenomenological expressions, such as “the sun is rising” or “the stars in the sky.” |
| (0.15) | (Gen 1:5) | 1 sn God called. Seven times in this chapter naming or blessing follows some act of creation. There is clearly a point being made beyond the obvious idea of naming. In the Babylonian creation story Enuma Elish, naming is equal to creating. In the Bible the act of naming, like creating, can be an indication of sovereignty (see 2 Kgs 23:34). In this verse God is sovereign even over the darkness. |
| (0.15) | (2Jo 1:1) | 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. |
| (0.15) | (1Pe 3:18) | 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. |
| (0.15) | (2Ti 2:11) | 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. |
| (0.15) | (1Ti 3:16) | 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. |
| (0.15) | (1Ti 2:9) | 1 tc ‡ Most witnesses have καὶ τάς (kai tas; so D1 Ψ 1241 1505 1881 M al) or simply καί (א2 D* F G 6 365 1739) after ὡσαύτως (hōsautōs). A few significant witnesses lack such words (א* A H P 33 81 1175). The evidence is for the most part along “party” lines, with the shortest reading being found in the Alexandrian text, the conjunction in the Western, and the longest reading in the Byzantine tradition. Externally, the shortest reading is preferred. However, there is a good chance of homoiomeson or homoioteleuton in which case καί or καὶ τάς could have accidentally been omitted (note the αι [ai] and αι ας [ai as] in the word that follows, written here in majuscule script): wsautwskaigunaikas / wsautwskaitasgunaikas. Nevertheless, since both the καί and καὶ τάς are predictable variants, intended to fill out the meaning of the text, the shortest reading seems best able to explain the rise of the others. NA28 has the καί in brackets, indicating doubts as to its authenticity. |
| (0.15) | (Col 1:15) | 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. |
| (0.15) | (Phi 2:6) | 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. |
| (0.15) | (Eph 5:14) | 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. |
| (0.15) | (Eph 2:15) | 1 tn Or “rendered inoperative.” This is a difficult text to translate because it is not easy to find an English term which communicates well the essence of the author’s meaning, especially since legal terminology is involved. Many other translations use the term “abolish” (so NRSV, NASB, NIV), but this term implies complete destruction which is not the author’s meaning here. The verb καταργέω (katargeō) can readily have the meaning “to cause someth. to lose its power or effectiveness” (BDAG 525 s.v. 2, where this passage is listed), and this meaning fits quite naturally here within the author’s legal mindset. A proper English term which communicates this well is “nullify” since this word carries the denotation of “making something legally null and void.” This is not, however, a common English word. An alternate term like “rendered inoperative [or ineffective]” is also accurate but fairly inelegant. For this reason, the translation retains the term “nullify”; it is the best choice of the available options, despite its problems. |
| (0.15) | (1Co 7:34) | 2 tn Grk “The unmarried woman and the virgin.” The identity of the “virgin” here is a matter of interpretation (see note on “people who have never married” in v. 25 for discussion), which has in fact contributed to textual variation at this point in the text (see the text critical note above). As far as the translation is concerned, one must determine if one group of women or two are in view. It is possible that Paul means to refer to only one class of women here, namely unmarried virgins, but the use of the adjective ἡ ἄγαμος (hē agamos, “unmarried”) with “woman” and not “virgin” precludes that interpretation; in addition, the use of the article with both “woman” and “virgin” implies that two distinct groups are in view. If two groups are in view, English would more naturally use the conjunction “or” to indicate the distinction. Thus the translation “An unmarried woman or a virgin” has been used to make clear that two groups are in view. |
| (0.15) | (Rom 9:5) | 5 tn Or “the Christ, who is over all, God blessed forever,” or “the Messiah. God who is over all be blessed forever!” or “the Messiah who is over all. God be blessed forever!” The translational difficulty here is not text-critical in nature, but is a problem of punctuation. Since the genre of these opening verses of Romans 9 is a lament, it is probably best to take this as an affirmation of Christ’s deity (as the text renders it). Although the other renderings are possible, to see a note of praise to God at the end of this section seems strangely out of place. But for Paul to bring his lament to a crescendo (that is to say, his kinsmen had rejected God come in the flesh), thereby deepening his anguish, is wholly appropriate. This is also supported grammatically and stylistically: The phrase ὁ ὢν (ho ōn, “the one who is”) is most naturally taken as a phrase which modifies something in the preceding context, and Paul’s doxologies are always closely tied to the preceding context. For a detailed examination of this verse, see B. M. Metzger, “The Punctuation of Rom. 9:5, ” Christ and the Spirit in the New Testament, 95-112; and M. J. Harris, Jesus as God, 144-72. |
| (0.15) | (Act 18:8) | 2 tn Or “who heard him,” or “who heard Paul.” The ambiguity here results from the tendency of Greek to omit direct objects, which must be supplied from the context. The problem is that no less than three different ones may be supplied here: (1) “him,” referring to Crispus, but this is not likely because there is no indication in the context that Crispus began to speak out about the Lord; this is certainly possible and even likely, but more than the text here affirms; (2) “Paul,” who had been speaking in the synagogue and presumably, now that he had moved to Titius Justus’ house, continued speaking to the Gentiles; or (3) “about it,” that is, the Corinthians who heard about Crispus’ conversion became believers. In the immediate context this last is most probable, since the two incidents are juxtaposed. Other, less obvious direct objects could also be supplied, such as “heard the word of God,” “heard the word of the Lord,” etc., but none of these are obvious in the immediate context. |
| (0.15) | (Act 16:16) | 2 tn Or “who had a spirit of divination”; Grk “who had a spirit of Python.” According to BDAG 896-97 s.v. πύθων, originally Πύθων (Puthōn) was the name of the serpent or dragon that guarded the Delphic oracle. According to Greek mythology, it lived at the foot of Mount Parnassus and was killed by Apollo. From this, the word came to designate a person who was thought to have a spirit of divination. Pagan generals, for example, might consult someone like this. So her presence here suggests a supernatural encounter involving Paul and her “spirit.” W. Foerster, TDNT 6:920, connects the term with ventriloquism but states: “We must assume, however, that for this girl, as for those mentioned by Origen…, the art of ventriloquism was inseparably connected with a (supposed or authentic) gift of soothsaying.” It should also be noted that if the girl in question here were only a ventriloquist, the exorcism performed by Paul in v. 18 would not have been effective. |
| (0.15) | (Act 13:34) | 6 tn Or “the trustworthy decrees made by God to David.” The phrase τὰ ὅσια Δαυὶδ τὰ πιστά (ta hosia Dauid ta pista) is “compressed,” that is, in a very compact or condensed form. It could be expanded in several different ways. BDAG 728 s.v. ὅσιος 3 understands it to refer to divine decrees: “I will grant you the sure decrees of God relating to David.” BDAG then states that this quotation from Isa 55:3 is intended to show that the following quotation from Ps 16:10 could not refer to David himself, but must refer to his messianic descendant (Jesus). L&N 33.290 render the phrase “I will give to you the divine promises made to David, promises that can be trusted,” although they also note that τὰ ὅσια in Acts 13:34 can mean “divine decrees” or “decrees made by God.” In contemporary English it is less awkward to translate πιστά as an adjective (“trustworthy”). The concept of “divine decrees,” not very understandable to the modern reader, has been replaced by “promises,” and since God is the implied speaker in the context, it is clear that these promises were made by God. |
| (0.15) | (Joh 14:2) | 1 tn Many interpreters have associated μοναί (monai) with an Aramaic word that can refer to a stopping place or resting place for a traveler on a journey. This is similar to one of the meanings the word can have in secular Greek (Pausanius 10.31.7). Origen understood the use here to refer to stations on the road to God. This may well have been the understanding of the Latin translators who translated μονή (monē) by mansio, a stopping place. The English translation “mansions” can be traced back to Tyndale, but in Middle English the word simply meant “a dwelling place” (not necessarily large or imposing) with no connotation of being temporary. The interpretation put forward by Origen would have been well suited to Gnosticism, where the soul in its ascent passes through stages during which it is gradually purified of all that is material and therefore evil. It is much more likely that the word μονή should be related to its cognate verb μένω (menō), which is frequently used in the Fourth Gospel to refer to the permanence of relationship between Jesus and the Father and/or Jesus and the believer. Thus the idea of a permanent dwelling place, rather than a temporary stopping place, would be in view. Luther’s translation of μοναί by Wohnungen is very accurate here, as it has the connotation of a permanent residence. |
| (0.15) | (Joh 5:1) | 2 tc The textual variants ἑορτή or ἡ ἑορτή (heortē or hē heortē, “a feast” or “the feast”) may not appear significant at first, but to read ἑορτή with the article would almost certainly demand a reference to the Jewish Passover. The article is found in א C L Δ Ψ ƒ1 33 892 1424 pm, but is lacking in P66,75 A B D T Ws Θ ƒ13 565 579 700 1241 pm. Overall, the shorter reading has somewhat better support. Internally, the known proclivity of scribes to make the text more explicit argues compellingly for the shorter reading. Thus, the verse refers to a feast other than the Passover. The incidental note in 5:3, that the sick were lying outside in the porticoes of the pool, makes Passover an unlikely time because it fell toward the end of winter and the weather would not have been warm. L. Morris (John [NICNT], 299, n. 6) thinks it impossible to identify the feast with certainty. |
| (0.15) | (Joh 4:11) | 2 tc ‡ Two early and significant Greek mss along with two versional witnesses (P75 B sys ac2) lack ἡ γυνή (hē gunē, “the woman”) here; א* has ἐκείνη (ekeinē, “that one” or possibly “she”) instead of ἡ γυνή. It is possible that no explicit subject was in the autographic text and scribes added either ἡ γυνή or ἐκείνη to make the meaning clear. It is also possible that the archetype of P75 א B expunged the subject because it was not altogether necessary, with the scribe of א later adding the pronoun. However, ἡ γυνή is not in doubt in any other introduction to the woman’s words in this chapter (cf. vv. 9, 15, 17, 19, 25), suggesting that intentional deletion was not the motive for the shorter reading in v. 11 (or else why would they delete the words only here?). Thus, the fact that virtually all witnesses (P66 א2 A C D L Ws Θ Ψ 050 083 086 ƒ1,13 M latt syc,p,h sa bo) have ἡ γυνή here may suggest that it is a motivated reading, conforming this verse to the rest of the pericope. Although a decision is difficult, it is probably best to regard the shorter reading as authentic. NA28 has ἡ γυνή in brackets, indicating doubts as to their authenticity. For English stylistic reasons, the translation also includes “the woman” here. |
| (0.15) | (Joh 1:9) | 2 tn Or “He was the true light, who gives light to everyone who comes into the world.” The participle ἐρχόμενον (erchomenon) may be either (1) neuter nominative, agreeing with τὸ φῶς (to phōs), or (2) masculine accusative, agreeing with ἄνθρωπον (anthrōpon). Option (1) results in a periphrastic imperfect with ἦν (ēn), ἦν τὸ φῶς…ἐρχόμενον, referring to the incarnation. Option (2) would have the participle modifying ἄνθρωπον and referring to the true light as enlightening “every man who comes into the world.” Option (2) has some rabbinic parallels: The phrase “all who come into the world” is a fairly common expression for “every man” (cf. Leviticus Rabbah 31.6). But (1) must be preferred here, because: (a) In the next verse the light is in the world; it is logical for v. 9 to speak of its entering the world; (b) in other passages Jesus is described as “coming into the world” (6:14; 9:39; 11:27; 16:28) and in 12:46 Jesus says: ἐγὼ φῶς εἰς τὸν κόσμον ἐλήλυθα (egō phōs eis ton kosmon elēlutha); (c) use of a periphrastic participle with the imperfect tense is typical Johannine style: 1:28; 2:6; 3:23; 10:40; 11:1; 13:23; 18:18 and 25. In every one of these except 13:23 the finite verb is first and separated by one or more intervening words from the participle. |
