⁴ sn A composite quotation, possibly from Isa 26:19; 51:17; 52:1; and 60:1.

⁵ tn Heb “my works [are] for a king.” The plural “works” may here indicate degree, referring to the special musical composition that follows.

⁵ sn See A. Newman, “Compositional Analysis and Functional Ambiguity Equivalence: Translating Exodus 32, 17-18, ” Babel 21 (1975): 29-35.

¹ sn Psalm 108. With some minor variations, this psalm is a composite of Ps 57:7-11 (see vv. 1-5) and Ps 60:5-12 (see vv. 6-13).

³ tc The consonantal text (Kethib) has the singular שִׂמְלֹתֵךְ (simlotekh, “your outer garment”), while the marginal reading (Qere) has the plural שִׂמְלֹתַיִךְ (simlotayikh) which might function as a plural of number (“your outer garments”) or a plural of composition (“your outer garment [composed of several parts]).”

² tn Heb “with trees of Lebanon.” In the genitive construct phrase מֵעֲצֵי הַלְּבָנוֹן (meʿatse hall^evanon, “the wood of Lebanon”) the genitive functions as a genitive of place of origin: “wood from Lebanon.” The plural construct noun עֲצֵי (ʿatse, literally, “trees, woods” from עֵץ, ʿets, “tree, wood”) is a plural of composition: the plural is used to indicate composition, that is, what the sedan-chair was made out of. The plural is used because the sedan-chair was constructed from the wood from several trees or it was constructed from several pieces of wood (see IBHS 119-20 §7.4.1b; R. J. Williams, Hebrew Syntax, 7, §9; Joüon 2:500 §136.b).

¹ sn There is very little difference in sense between every scripture (emphasizing the individual portions) and “all scripture” (emphasizing the composite whole). The former option is preferred because it fits the normal use of the word “all/every” in Greek (πᾶς, pas) as well as Paul’s normal sense for the word “scripture” in the singular without the article, as here. So every scripture means “every individual portion of scripture.”

² sn The deuterocanonical writings known as The Prayer of Azariah and The Song of the Three present at this point a confession and petition for God’s forgiveness and a celebration of God’s grace for the three Jewish youths in the fiery furnace. Though not found in the Hebrew/Aramaic text of Daniel, these compositions do appear in the ancient Greek versions.

² tn The precise meaning of the Hebrew term שִׁגָּיוֹן (shiggayon; translated here “musical composition”) is uncertain. Some derive the noun from the verbal root שָׁגָה (shagah, “swerve, reel”) and understand it as referring to a “wild, passionate song, with rapid changes of rhythm” (see BDB 993 s.v. שִׁגָּיוֹן). But this proposal is purely speculative. The only other appearance of the noun is in Hab 3:1, where it occurs in the plural.

¹ sn The identity of these false prophets is not specified, and this has led to a wide variety of suggested referents: the Pharisees, the Zealots, the Essenes (all roughly contemporaries of Jesus), later groups (representatives of Pauline Christianity, the Gnostics) or later individuals (Simon Magus mentioned in Acts 8:9-24, Bar Kokhba who led the Jewish revolt of A.D. 132-35), or the eschatological false prophets who will lead people astray in the end times (Matt 24:24). Of course, some of these suggestions assume a second century date for the composition (or redaction) of the Gospel of Matthew.

¹ sn The very finger of God. This is a double figure of speech (1) in which God is ascribed human features (anthropomorphism) and (2) in which a part stands for the whole (synecdoche). That is, God, as Spirit, has no literal finger nor, if he had, would he write with his finger. Rather, the sense is that God himself—not Moses in any way—was responsible for the composition of the Ten Commandments (cf. Exod 31:18; 32:16; 34:1).

¹ tn The evidence suggests that the cherubim were composite angelic creatures that always indicated the nearness of God. So here images of them were to be crafted and put on each end of the ark of the covenant to signify that they were there. Ezekiel 1 describes four cherubim as each having human faces, four wings, and parts of different animals for their bodies. Traditions of them appear in the other cultures as well. They serve to guard the holy places and to bear the throne of God. Here they were to be beaten out as part of the lid.

⁴ tn It appears that the Table of Nations is a composite of at least two ancient sources: Some sections begin with the phrase “the sons of” (בְּנֵי, b^ene) while other sections use “begot” (יָלָד, yalad). It may very well be that the “sons of” list was an old, “bare bones” list that was retained in the family records, while the “begot” sections were editorial inserts by the writer of Genesis, reflecting his special interests. See A. P. Ross, “The Table of Nations in Genesis 10—Its Structure,” BSac 137 (1980): 340-53; idem, “The Table of Nations in Genesis 10—Its Content,” BSac 138 (1981): 22-34.

³ sn Angelic sentries (Heb “cherubim”). The cherubim in the Bible seem to be a class of angels that are composite in appearance. Their main task seems to be guarding. Here they guard the way to the tree of life. The curtain in the tabernacle was to be embroidered with cherubim as well, symbolically guarding the way to God. (See in addition A. S. Kapelrud, “The Gates of Hell and the Guardian Angels of Paradise,” JAOS 70 [1950]: 151-56; and D. N. Freedman and M. P. O’Connor, TDOT 7:307-19.)

¹ tn Alternately, “at night” or “night after night.” The noun בַּלֵּילוֹת (ballelot, plural of “night”) functions as an adverbial accusative of time. The plural form בַּלֵּילוֹת from לַיְלָה (laylah, “night”) can be classified in several ways: (1) plural of number: “night after night” (NASB, NEB); (2) plural of extension: “all night long” (NIV); (3) plural of composition: “by night” (KJV) and “at night” (NJPS); or (4) plural of intensity: “during the blackest night.” The plural of extension (“all night long”) is supported by (1) the four-fold repetition of the verb בָּקַשׁ (baqash, “to seek”) in 3:1-2 which emphasizes that the Beloved was continually looking for her lover all night long, (2) her decision to finally arise in the middle of the night to look for him in 3:2-4, and (3) her request in the immediately preceding verse (2:17) that he make love to her all night long: “until the day breathes and the shadows flee….” One should note, however, that the plural בַּלֵּילוֹת occurs in 3:8 where it is a plural of composition: “by night” (NJPS) or “of the night” (NASB, NIV) or “in the night” (KJV).

¹ sn Contrary to common belief, the point here is not that the wise men (Chaldeans) replied to the king in the Aramaic language, or that this language was uniquely the language of the Chaldeans. It was this view that led in the past to Aramaic being referred to as “Chaldee.” Aramaic was used as a lingua franca during this period; its origins and usage were not restricted to the Babylonians. Rather, this phrase is better understood as an editorial note (cf. NAB) marking the fact that from 2:4b through 7:28 the language of the book shifts from Hebrew to Aramaic. In 8:1, and for the remainder of the book, the language returns to Hebrew. Various views have been advanced to account for this change of language, most of which are unconvincing. The change in language likely reflects stages in the transmission history of the book of Daniel or factors in its composition history.

¹ sn In the genitive construct phrase עֲרוּגַת הַבֹּשֶׂם (ʿarugat habbosem, literally, “beds of balsam”) the term בֹּשֶׂם (bosem) is a genitive of composition, identifying what these gardens were composed of. The term עֲרוּגַת (“garden-beds”) refers to a private garden terrace or garden bed, a rare luxury in Palestine and very expensive to own (Ezek 17:7, 10) (BDB 788 s.v. עֲרוּגָה). The term בֹּשֶׂם (bosem, “balsam”) refers to balsam trees which yielded sweet-smelling oils from which perfumes were produced. The balsam trees should be identified either as Astragalus tragacantha which grew everywhere in Palestine and exude resin from its thorns, or as Commiphora opobalsamum which was not native to Israel but to South Arabia from whence it had to be imported at great cost (2 Chr 9:1) (Fauna and Flora of the Bible, 177-78). She is comparing the beautiful scent of his cologned cheeks to fragrant beds of spice.

³ sn The superscription “Solomon’s Most Excellent Love Song” appears to be a late addition, just as many superscriptions in the Psalter appear to have been added to the psalms sometime after their original composition. R. E. Murphy (Song of Songs [Hermeneia], 119) notes that the use of the independent relative pronoun אֲשֶׁר (ʾasher) in 1:1 sharply distinguishes the superscription from the body of the Song as a whole where the short form שֶׁ (she) occurs thirty-two times (e.g., 1:6, 12; 6:5). The short form שֶׁ also occurs frequently in Ecclesiastes which is traditionally attributed to Solomon. Therefore, it would appear that the superscription is a later addition to the Song. This, of course, raises the question whether or not the attribution of Solomonic authorship of the Song is historically reliable or simply a matter of later Jewish tradition.

¹ sn While the tribes are on the other side of Jordan, the matter of which tribes would settle there has to be discussed. This chapter begins the settlement of Israel into the tribal territories, something to be continued in Joshua. The chapter has the petitions (vv. 1-5), the response by Moses (vv. 6-15), the proposal (vv. 16-27), and the conclusion of the matter (vv. 28-42). For literature on this subject, both critical and conservative, see S. E. Loewenstein, “The Relation of the Settlement of Gad and Reuben in Numbers 32:1-38, Its Background and Its Composition,” Tarbiz 42 (1972): 12-26; J. Mauchline, “Gilead and Gilgal, Some Reflections on the Israelite Occupation of Palestine,” VT 6 (1956): 19-33; and A. Bergmann, “The Israelite Tribe of Half-Manasseh,” JPOS 16 (1936): 224-54.

² tn Heb “the song of songs.” The genitive construct שִׁיר הַשִׁירִים (shir hashirim) is translated literally as “the song of songs” in the early versions: Greek LXX (ᾀσμα ᾀσμάτων, asma asmatōn), Latin Vulgate (canticum canticorum) and Syriac Peshitta (tešb^ehat tešb^ehataʾ). The phrase שִׁיר הַשִׁירִים may be understood in two ways: (1) The noun הַשִׁירִים is a plural of number (“songs”) and functions as a genitive of composition: “the song composed of several songs,” that is, the book is a unified collection (hence the singular שִׁיר “song”) composed of individual love songs (see note on the expression “Her Lover” in v. 1). (2) The expression may be a superlative genitive construction denoting par excellence (see IBHS 154 §9.5.3j; GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 11, §44; 17-18, §80). For example, קֹדֶשׁ קָדָשִׁים (qodesh qadashim, “the holy of holies”) means the most holy place (Exod 29:37); אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הָאֲדֹנִים (ʾelohe haʾelohim vaʾadone haʾadonim, “the God of Gods and Lord of Lords”) means the Highest God and the Supreme Lord (Deut 10:17); and עֶבֶד עֲבָדִים (ʿeved ʿavadim, “a slave of slaves”) means an abject slave (Gen 9:25). The title “the Song of Songs” is an expression of great esteem for the composition. It has been translated variously: “The Song of Songs, which is Solomon’s” (KJV, NKJV, RSV, NRSV, NASB), “Solomon’s Song of Songs” (NIV), “The most beautiful of songs, by Solomon” (TEV), “dedicated to,” or “about Solomon” (TEV margin), “Solomon’s most beautiful song” (CEV), “This is Solomon’s song of songs, more wonderful than any other” (NLT).