Genesis 31:27

31:27 Why did you run away secretly ¹  and deceive me? ²  Why didn’t you tell me so I could send you off with a celebration complete with singing, tambourines, and harps? ³ 

Job 21:11-12

21:11 They allow their children to run ⁴  like a flock;

their little ones dance about.

21:12 They sing ⁵  to the accompaniment of tambourine and harp,

and make merry to the sound of the flute.

Ecclesiastes 2:8

2:8 I also amassed silver and gold for myself,

as well as valuable treasures ⁶  taken from kingdoms and provinces. ⁷ 

I acquired male singers and female singers for myself,

and what gives a man sensual delight ⁸  – a harem of beautiful concubines! ⁹ 

Isaiah 5:12

5:12 They have stringed instruments, ¹⁰  tambourines, flutes,

and wine at their parties.

So they do not recognize what the Lord is doing,

they do not perceive what he is bringing about. ¹¹ 

Isaiah 5:1

A Love Song Gone Sour

5:1 I ¹²  will sing to my love –

a song to my lover about his vineyard. ¹³ 

My love had a vineyard

on a fertile hill. ¹⁴ 

Isaiah 4:3

4:3 Those remaining in Zion, ¹⁵  those left in Jerusalem, ¹⁶ 

will be called “holy,” ¹⁷ 

all in Jerusalem who are destined to live. ¹⁸ 

Revelation 18:22

18:22 And the sound of the harpists, musicians,

flute players, and trumpeters

will never be heard in you ¹⁹  again.

No ²⁰  craftsman ²¹  who practices any trade

will ever be found in you again;

the noise of a mill ²²  will never be heard in you again.

[31:27]  ¹ tn Heb “Why did you hide in order to flee?” The verb “hide” and the infinitive “to flee” form a hendiadys, the infinitive becoming the main verb and the other the adverb: “flee secretly.”

[31:27]  ² tn Heb “and steal me.”

[31:27]  ³ tn Heb “And [why did] you not tell me so I could send you off with joy and with songs, with a tambourine and with a harp?”

[21:11]  ⁴ tn The verb שָׁלַח (shalakh) means “to send forth,” but in the Piel “to release; to allow to run free.” The picture of children frolicking in the fields and singing and dancing is symbolic of peaceful, prosperous times.

[21:12]  ⁵ tn The verb is simply “they take up [or lift up],” but the understood object is “their voices,” and so it means “they sing.”

[2:8]  ⁶ tn The term סְגֻלָּה (sÿgullah) denotes “personal property” (HALOT 742 s.v. סְגֻלָּה 1) or “valued property, personal treasure” (BDB 688 s.v. סְגֻלָּה 2). Elsewhere, it refers to a king’s silver and gold (1 Chr 27:3). It is related to Akkadian sug/kullu “flock” (AHw 2:1053-54) and sikiltu “private property [belonging to the king]” (AHw 2:1041). The term refers to the personal, private and valued possessions of kings, which do not pass into the hands of the state.

[2:8]  ⁷ tn Heb “of kings and provinces.” This personal treasure was taken as tribute from other kings and governors. See T. Longman III, Ecclesiastes (NICOT), 92.

[2:8]  ⁸ tn Heb “and sensual delights of the sons of man.” The noun תַּעֲנוּג (ta’anug) has a three-fold range of meanings: (1) “luxury; comfort” (Mic 2:9; Prov 19:10; Sir 6:28; 11:27; 14:16; 37:29; 41:1); (2) “pleasure; delight” of sexual love (Song 7:7); and (3) “daintiness; feminine” (Mic 1:16); see HALOT 1769 s.v. תַּעֲנוּג; BDB 772 s.v. תַּעֲנוּג. The related adjective עָנֹג (’anog, “pampered; dainty”) is used to describe a pampered woman (Deut 28:56), to personify Babylon as a delicate woman (Isa 47:1), and to ridicule delicate men (Deut 28:54); see HALOT 851 s.v. עָֹנֹג; BDB 772 עָנֹג. It is related to the noun עֹנֶג (’oneg, “pleasure; exquisite delight; daintiness”; see HALOT 851 s.v. עֹנֶג; BDB 772 s.v. עֹנֶג) and the verb עָנֹג which means “to be soft; to be delicate” and “pleasurable” (Pual) and “to pamper oneself” and “to take delight or pleasure in” (HALOT 851 s.v. ענג; BDB 772 s.v. עָנֹג). The root ענג is paralleled with רֹךְ (rokh, Deut 28:56), רַךְ (rakh, Deut 28:54), and רַכָּה (rakkah, Deut 28:56) with the meanings “delicate; soft; tender; weak; coddled; pampered.” The context of Eccl 2:4-11 suggests that it denotes either “luxury” as in “the luxuries of commoners” (NJPS) or “pleasure; delight” as in “the delights of men” (KJV, NASB, NIV). Part of the difficulty in determining the meaning of this term is caused by the ambiguity in meaning of its referent, namely, the appositional phrase שִׁדָּה וְשִׁדּוֹת (shiddah vÿshiddot), the meaning of which is uncertain (see the note on the phrase “a harem of beautiful concubines” at the end of this verse).

[2:8]  ⁹ tn The meaning of the superlative construction שִׁדָּה וְשִׁדּוֹת (shiddah vÿshiddot) is uncertain because the term שִׁדָּה (shiddah) occurs only here in the OT. There are four basic approaches to the phrase: (1) Most scholars suggest that it refers to a royal harem and that it is in apposition to “the sensual delights of man” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם, vÿta’anugot bÿne ha’adam). There are four variations of this approach: (a) There is a possible connection to the Ugaritic sht “mistress, lady” and the Arabic sitt “lady” (HALOT 1420 s.v. שִׁדָּה). (b) German scholars relate it to Assyrian sadadu “love” (Delitzsch, Konig, Wildeboer, Siegfried); however, BDB questions this connection (BDB 994 s.v. שׁדה). (c) Ibn Ezra relates it to II שַׁד (shad) “plunder; spoil” or שׁדה “[women] taken by violence,” and suggests that it refers to the occupants of the royal harem. (d) BDB connects it to the Hebrew noun I שַׁד (shad, “breast”; e.g., Isa 28:9; Ezek 16:7; 23:3, 21, 34; Hos 2:4; 9:14; Song 1:13; 4:5; 7:4, 8, 9; 8:1, 8, 10; Job 3:12) adding that שׁדה is related to the cognate Arabic and Aramaic roots meaning “breast” (BDB 994 s.v.). This would be a synecdoche of part (i.e., breast) for the whole (i.e., woman), similar to the idiom “one womb, two wombs” (רַחַם רַחֲמָתַיִם, rakham rakhamatayim) where “womb” = woman (Judg 5:30). This is the approach taken by most English versions: “many concubines” (NASB, RSV, NRSV), “a wife and wives” (YLT), “mistresses galore” (MLB), “many a mistress” (Moffatt), and “a harem” (NIV). This is the approach suggested by the Hebrew Old Testament Text Project: “une femme et des femmes” = one or two women (e.g., Judg 5:30); see D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:566. (2) The NJPS connects it to the Mishnaic Hebrew noun שִׁדָּה which became שִׁידָּה (“a strong box, chest”; Jastrow 1558 s.v. שִׁידָּה) and renders the phrase “coffers and coffers of them” in apposition to the phrase “the luxuries of commoners” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (3) KJV and ASV take the phrase in apposition to “male and female singers” and translate it as “musical instruments.” However, there is no known Hebrew term that would justify this approach. (4) The LXX related the term to the Aramaic root שׁדא (“to pour out [wine]”) and rendered the phrase as οἰνοχόον καὶ οἰνοχόας (oinocoon kai oinocoas), “a male-butler and female cupbearers.” Aquila took a similar approach: κυλίκιον καὶ κυλίκια (kulikion kai kulikia), “wine cups and wine vessels.” This is reflected in the Vulgate and Douay: “cups and vessels to serve to pour out wine.” Although the semantic meaning of the term שִׁדָּה וְשִׁדּוֹת (“a breast of breasts”) is uncertain, the grammatical/syntactical form of the phrase is straightforward: (1) It is in apposition to the preceding line, “the delights of the son of men” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (2) The phrase is a superlative construction. When the second word is plural and it follows a noun from the same root which is singular, it indicates the best or most outstanding example of the person or thing so described. In addition to the Judg 5:30 parallel cited above, see the expression “a generation, generations” in Pss 72:5; 102:25; Isa 51:8. Unlike, Eccl 2:8, this juxtapositioning of the singular and plural to express the superlative usually involves a construct form. See קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “the holy of holies,” i.e., the most holy place”; Exod 26:33), שִׁיר הַשִּׁירִים (shir hashirim, “the song of songs,” i.e., “the most excellent song”; Song 1:1), אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֲדֹנִים (’elohe ha’elohim va’adone ha’adonim, “the God of gods and Lord of lords,” i.e., “the Highest God and the Supreme Lord”; Deut 10:17), and עֶבֶד עֲבָדִים (’eved ’avadim, “a slave of slaves,” i.e., “the most abject slave”; Gen 9:25). See GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j. If the semantic meaning of the terms שִׁדָּה וְשִׁדּוֹת denotes “a breast (among) breasts” or “a lady (among) ladies” (Eccl 2:8, but see the previous note on the phrase “a man’s sensual delights”), the superlative construction may connote “the most beautiful breasts” (metonymy of part for the whole) or “the most beautiful woman.” This might refer to a harem of concubines or to one woman (the wife of the king?) who was the most beautiful woman in the land.

[5:12]  ¹⁰ tn Two types of stringed instruments are specifically mentioned in the Hebrew text, the כִּנּוֹר (kinnor, “zither”) and נֶבֶל (nevel, “harp”).

[5:12]  ¹¹ tn Heb “the work of the Lord they do not look at, and the work of his hands they do not see.” God’s “work” can sometimes be his creative deeds, but in this context it is the judgment that he is planning to bring upon his people (cf. vv. 19, 26; 10:12; 28:21).

[5:1]  ¹² tn It is uncertain who is speaking here. Possibly the prophet, taking the role of best man, composes a love song for his friend on the occasion of his wedding. If so, יָדִיד (yadid) should be translated “my friend.” The present translation assumes that Israel is singing to the Lord. The word דוֹד (dod, “lover”) used in the second line is frequently used by the woman in the Song of Solomon to describe her lover.

[5:1]  ¹³ sn Israel, viewing herself as the Lord’s lover, refers to herself as his vineyard. The metaphor has sexual connotations, for it pictures her capacity to satisfy his appetite and to produce children. See Song 8:12.

[5:1]  ¹⁴ tn Heb “on a horn, a son of oil.” Apparently קֶרֶן (qeren, “horn”) here refers to the horn-shaped peak of a hill (BDB 902 s.v.) or to a mountain spur, i.e., a ridge that extends laterally from a mountain (HALOT 1145 s.v. קֶרֶן; H. Wildberger, Isaiah, 1:180). The expression “son of oil” pictures this hill as one capable of producing olive trees. Isaiah’s choice of קֶרֶן, a rare word for hill, may have been driven by paronomastic concerns, i.e., because קֶרֶן sounds like כֶּרֶם (kerem, “vineyard”).

[4:3]  ¹⁵ tn The verb that introduces this verse serves as a discourse particle and is untranslated; see note on “in the future” in 2:2.

[4:3]  ¹⁶ map For location see Map5 B1; Map6 F3; Map7 E2; Map8 F2; Map10 B3; JP1 F4; JP2 F4; JP3 F4; JP4 F4.

[4:3]  ¹⁷ tn Or “set apart,” cf. CEV “special.”

[4:3]  ¹⁸ tn Heb “all who are written down for life in Jerusalem.” A city register is envisioned; everyone whose name appears on the roll will be spared. This group comprises the remnant of the city referred to earlier in the verse.

[18:22]  ¹⁹ tn The shift to a second person pronoun here corresponds to the Greek text.

[18:22]  ²⁰ tn Here καί (kai) has not been translated because of differences between Greek and English style.

[18:22]  ²¹ tn On this term BDAG 1001 s.v. τεχνίτης states, “craftsperson, artisan, designer…Of a silversmith Ac 19:24, 25 v.l., 38….Of a potter 2 Cl 8:2 (metaph., cp. Ath. 15:2). πᾶς τεχνίτης πάσης τέχνης Rv 18:22.”

[18:22]  ²² tn This is a different Greek word (μύλος, mulos) from the one for the millstone in v. 21 (μύλινος, mulinos). See L&N 7.68.