51:17 Wake up! Wake up!
Get up, O Jerusalem!
You drank from the cup the Lord passed to you,
which was full of his anger! 1
You drained dry
the goblet full of intoxicating wine. 2
52:1 Wake up! Wake up!
Clothe yourself with strength, O Zion!
Put on your beautiful clothes,
O Jerusalem, 3 holy city!
For uncircumcised and unclean pagans
will no longer invade you.
52:2 Shake off the dirt! 4
Get up, captive 5 Jerusalem!
Take off the iron chains around your neck,
O captive daughter Zion!
60:1 “Arise! Shine! For your light arrives!
The splendor 6 of the Lord shines on you!
60:2 For, look, darkness covers the earth
and deep darkness covers 7 the nations,
but the Lord shines on you;
his splendor 8 appears over you.
22:15 The roof of my mouth 9 is as dry as a piece of pottery;
my tongue sticks to my gums. 10
You 11 set me in the dust of death. 12
71:20 Though you have allowed me to experience much trouble and distress, 13
revive me once again! 14
Bring me up once again 15 from the depths of the earth!
12:2 Many of those who sleep
in the dusty ground will awake –
some to everlasting life,
and others to shame and everlasting abhorrence. 16
“Awake, 18 O sleeper! 19
Rise from the dead,
and Christ will shine on you!” 20
1 tn Heb “[you] who have drunk from the hand of the Lord the cup of his anger.”
2 tn Heb “the goblet, the cup [that causes] staggering, you drank, you drained.”
3 map For location see Map5-B1; Map6-F3; Map7-E2; Map8-F2; Map10-B3; JP1-F4; JP2-F4; JP3-F4; JP4-F4.
4 tn Heb “Shake yourself free from the dirt.”
5 tc The Hebrew text has שְּׂבִי (shÿvi), which some understand as a feminine singular imperative from יָשַׁב (yashav, “sit”). The LXX, Vulgate, Syriac, and the Targum support the MT reading (the Qumran scroll 1QIsaa does indirectly). Some interpret this to mean “take your throne”: The Lord exhorts Jerusalem to get up from the dirt and sit, probably with the idea of sitting in a place of honor (J. N. Oswalt, Isaiah [NICOT], 2:361). However, the form is likely a corruption of שְׁבִיָּה (shÿviyyah, “captive”), which appears in the parallel line.
6 tn Or “glory” (so most English versions).
7 tn The verb “covers” is understood by ellipsis (note the preceding line).
8 tn Or “glory” (so most English versions); TEV “the brightness of his presence.”
9 tc Heb “my strength” (כֹּחִי, kokhiy), but many prefer to emend the text to חִכִּי (khikiy, “my palate”; cf. NEB, NRSV “my mouth”) assuming that an error of transposition has occurred in the traditional Hebrew text.
10 tn Cf. NEB “my jaw”; NASB, NRSV “my jaws”; NIV “the roof of my mouth.”
11 sn Here the psalmist addresses God and suggests that God is ultimately responsible for what is happening because of his failure to intervene (see vv. 1-2, 11).
12 sn The imperfect verbal form draws attention to the progressive nature of the action. The psalmist is in the process of dying.
13 tn Heb “you who have caused me to see many harmful distresses.”
14 tn Heb “you return, you give me life.” The Hebrew term שׁוּב (shuv, “return”) is used here in an adverbial sense, indicating repetition of the action described by the following verb. The imperfects are understood here as expressing the psalmist’s prayer or wish. (Note the use of a distinctly jussive form at the beginning of v. 21.) Another option is to understand this as a statement of confidence, “you will revive me once again” (cf. NIV, NRSV).
15 tn Heb “you return, you bring me up.” The Hebrew term שׁוּב (shuv, “return”) is used here in an adverbial sense, indicating repetition of the action described by the following verb. The imperfects are understood here as expressing the psalmist’s prayer or wish. (Note the use of a distinctly jussive form at the beginning of v. 21.) Another option is to understand this as a statement of confidence, “you will bring me up once again” (cf. NIV, NRSV).
16 sn This verse is the only undisputed reference to a literal resurrection found in the Hebrew Bible.
17 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.
18 tn Grk “Rise up.”
19 tn The articular nominative participle ὁ καθεύδων (Jo kaqeudwn) is probably functioning as a nominative for vocative. Thus, it has been translated as “O sleeper.”
20 sn A composite quotation, possibly from Isa 26:19, 51:17, 52:1, and 60:1.
21 tn Here καί (kai) has not been translated because of differences between Greek and English style.
22 tn The Greek word πλατεῖα (plateia) refers to a major (broad) street (L&N 1.103).
23 tn Grk “spiritually.”
24 tn The word “every” is not in the Greek text, but is implied by the following list.
25 tn The Greek term καί (kai) has not been translated before this and the following items in the list, since English normally uses a coordinating conjunction only between the last two elements in a series of three or more.
26 tn Or “to be buried.”
27 tn Here καί (kai) has been translated as “but” to indicate the contrast present in this context.
28 tn Grk “fell upon.”