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(1.00) (2Ch 25:21)

tn Heb “looked at each other [in the] face.” See the note on the expression “Come on, face me on the battlefield” in v. 17.

(0.83) (Pro 16:32)

sn The saying would have had greater impact when military prowess was held in high regard. It is harder, and therefore better, to control one’s passions than to do some great exploit on the battlefield.

(0.67) (1Ki 20:31)

sn Sackcloth was worn as a sign of sorrow and repentance. The precise significance of the ropes on the head is uncertain, but it probably was a sign of submission. These actions were comparable to raising a white flag on the battlefield or throwing in the towel in a boxing match.

(0.58) (Psa 118:23)

tn Heb “it is amazing in our eyes.” The use of the plural pronoun here and in vv. 24-27 suggests that the psalmist may be speaking for the entire nation. However, it is more likely that vv. 22-27 are the people’s response to the psalmist’s thanksgiving song (see especially v. 26). They rejoice with him because his deliverance on the battlefield (see vv. 10-12) had national repercussions.

(0.58) (Psa 53:5)

tn Heb “scatters the bones.” The perfect is used in a rhetorical manner, describing this future judgment as if it were already accomplished. Scattering the bones alludes to the aftermath of a battle. God annihilates his enemies, leaving their carcasses spread all over the battlefield. As the bodies are devoured by wild animals and decay, the bones of God’s dead enemies are exposed. See Ps 141:7.

(0.58) (2Sa 22:1)

sn In this long song of thanks, David affirms that God is his faithful protector. He recalls in highly poetic fashion how God intervened in awesome power and delivered him from death. His experience demonstrates that God vindicates those who are blameless and remain loyal to him. True to his promises, God gives the king victory on the battlefield and enables him to subdue nations. A parallel version of the song appears in Ps 18.

(0.50) (Psa 18:25)

tn The imperfect verbal forms in vv. 25-29 draw attention to God’s characteristic actions. Based on his experience, the psalmist generalizes about God’s just dealings with people (vv. 25-27) and about the way in which God typically empowers him on the battlefield (vv. 28-29). The Hitpael stem is used in vv. 26-27 in a reflexive resultative (or causative) sense. God makes himself loyal, etc. in the sense that he conducts or reveals himself as such. On this use of the Hitpael stem, see GKC 149-50 §54.e.

(0.50) (Psa 18:1)

sn Psalm 18. In this long song of thanks, the psalmist (a Davidic king, traditionally understood as David himself) affirms that God is his faithful protector. He recalls in highly poetic fashion how God intervened in awesome power and delivered him from death. The psalmist’s experience demonstrates that God vindicates those who are blameless and remain loyal to him. True to his promises, God gives the king victory on the battlefield and enables him to subdue nations. A parallel version of the psalm appears in 2 Sam 22:1-51.

(0.50) (2Sa 22:26)

tn The imperfect verbal forms in vv. 26-30 draw attention to God’s characteristic actions. Based on his experience, the psalmist generalizes about God’s just dealings with people (vv. 26-28) and about the way in which God typically empowers him on the battlefield (vv. 29-30). The Hitpael stem is used in vv. 26-27 in a reflexive resultative (or causative) sense. God makes himself loyal, etc. in the sense that he conducts or reveals himself as such. On this use of the Hitpael stem, see GKC 149-50 §54.e.

(0.42) (Jdg 15:16)

tn The precise meaning of the second half of the line (חֲמוֹר חֲמֹרָתָיִם, khamor khamoratayim) is uncertain. The present translation assumes that the phrase means, “a heap, two heaps” and refers to the heaps of corpses littering the battlefield. Other options include: (a) “I have made donkeys of them” (cf. NIV; see C. F. Burney, Judges, 373, for a discussion of this view, which understands a denominative verb from the noun “donkey”); (b) “I have thoroughly skinned them” (see HALOT 330 s.v. IV cj. חמר, which appeals to an Arabic cognate for support); (c) “I have stormed mightily against them,” which assumes the verb חָמַר (khamar, “to ferment; to foam; to boil up”).

(0.35) (Isa 9:6)

tn גִּבּוֹר (gibbor) is probably an attributive adjective (“mighty God”), though one might translate “God is a warrior” or “God is mighty.” Scholars have interpreted this title in two ways. A number of them have argued that the title portrays the king as God’s representative on the battlefield, whom God empowers in a supernatural way (see J. H. Hayes and S. A. Irvine, Isaiah, 181-82). They contend that this sense seems more likely in the original context of the prophecy. They would suggest that having read the NT, we might in retrospect interpret this title as indicating the coming king’s deity, but it is unlikely that Isaiah or his audience would have understood the title in such a bold way. Ps 45:6 addresses the Davidic king as “God” because he ruled and fought as God’s representative on earth. Ancient Near Eastern art and literature picture gods training kings for battle, bestowing special weapons, and intervening in battle. According to Egyptian propaganda, the Hittites described Rameses II as follows: “No man is he who is among us, It is Seth great-of-strength, Baal in person; Not deeds of man are these his doings, They are of one who is unique” (See Miriam Lichtheim, Ancient Egyptian Literature, 2:67). According to proponents of this view, Isa 9:6 probably envisions a similar kind of response when friends and foes alike look at the Davidic king in full battle regalia. When the king’s enemies oppose him on the battlefield, they are, as it were, fighting against God himself. The other option is to regard this title as a reference to God, confronting Isaiah’s readers with the divinity of this promised “child.” The use of this same title that clearly refers to God in a later passage (Isa 10:21) supports this interpretation. Other passages depict Yahweh as the great God and great warrior (Deut 10:17; Jer. 32:18). Although this connection of a child who is born with deity is unparalleled in any earlier biblical texts, Isaiah’s use of this title to make this connection represents Isaiah’s attempt (at God’s behest) to advance Israel in their understanding of the ideal Davidic king for whom they long.

(0.29) (Psa 45:6)

sn O God. The king is clearly the addressee here, as in vv. 2-5 and 7-9. Rather than taking the statement at face value, many prefer to emend the text because the concept of deifying the earthly king is foreign to ancient Israelite thinking (cf. NEB “your throne is like God’s throne, eternal”). However, it is preferable to retain the text and take this statement as another instance of the royal hyperbole that permeates the royal psalms. Because the Davidic king is God’s vice-regent on earth, the psalmist addresses him as if he were God incarnate. God energizes the king for battle and accomplishes justice through him. A similar use of hyperbole appears in Isa 9:6, where the ideal Davidic king of the eschaton is given the title “Mighty God” (see the note on this phrase there). Ancient Near Eastern art and literature picture gods training kings for battle, bestowing special weapons, and intervening in battle. According to Egyptian propaganda, the Hittites described Rameses II as follows: “No man is he who is among us, It is Seth great-of-strength, Baal in person; Not deeds of man are these his doings, They are of one who is unique” (see Miriam Lichtheim, Ancient Egyptian Literature, 2:67). Ps 45:6 and Isa 9:6 probably envision a similar kind of response when friends and foes alike look at the Davidic king in full battle regalia. When the king’s enemies oppose him on the battlefield, they are, as it were, fighting against God himself.

(0.21) (Pro 31:10)

sn The book of Proverbs comes to a close with this poem about the noble wife. A careful reading of the poem will show that it is extolling godly wisdom that is beneficial to the family and the society. Traditionally it has been interpreted as a paradigm for godly women. And while that is valid in part, there is much more here. The poem captures all the themes of wisdom that have been presented in the book and arranges them in this portrait of the ideal woman (Claudia V. Camp, Wisdom and the Feminine in the Book of Proverbs, 92-93). Any careful reading of the passage would have to conclude that if it were merely a paradigm for women what it portrays may well be out of reach—she is a wealthy aristocrat who runs an estate with servants and conducts business affairs of real estate, vineyards, and merchandising, and also takes care of domestic matters and is involved with charity. Moreover, it says nothing about the woman’s personal relationship with her husband, her intellectual and emotional strengths, or her religious activities (E. Jacob, “Sagesse et Alphabet: Pr. 31:10-31,” Hommages à A. Dont-Sommer, 287-95). In general, it appears that the “woman” of Proverbs 31 is a symbol of all that wisdom represents. The poem, then, plays an important part in the personification of wisdom so common in the ancient Near East. But rather than deify Wisdom as the other ANE cultures did, Proverbs simply describes wisdom as a woman. Several features will stand out in the study of this passage. First, it is an alphabetic arrangement of the virtues of wisdom (an acrostic poem). Such an acrostic was a way of organizing the thoughts and making them more memorable (M. H. Lichtenstein, “Chiasm and Symmetry in Proverbs 31,” CBQ 44 [1982]: 202-11). Second, the passage is similar to hymns, but this one extols wisdom. A comparison with Psalm 111 will illustrate the similarities. Third, the passage has similarities with heroic literature. The vocabulary and the expressions often sound more like an ode to a champion than to a domestic scene. Putting these features together, one would conclude that Proverbs 31:10-31 is a hymn to Lady Wisdom, written in the heroic mode. Using this arrangement allows the sage to make all the lessons of wisdom in the book concrete and practical, it provides a polemic against the culture that saw women as merely decorative, and it depicts the greater heroism as moral and domestic rather than only exploits on the battlefield. The poem certainly presents a pattern for women to follow. But it also presents a pattern for men to follow as well, for this is the message of the book of Proverbs in summary.



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