² tn The LXX renders this as “unafraid,” although the negative has disappeared in some mss to give the reading “and the servant that feared his master.” See I. Mendelsohn, “The Canaanite Term for ‘Free Proletarian’,” BASOR 83 (1941): 36-39; idem, “New Light on hupsu,” BASOR 139 (1955): 9-11.

² sn Here too is a reference to pagan views indirectly. The fleeing serpent was a designation for Leviathan, whom the book will simply describe as an animal, but the pagans thought to be a monster of the deep. God’s power over nature is associated with defeat of pagan gods (see further W. F. Albright, Yahweh and the Gods of Canaan; idem, BASOR 53 [1941]: 39).

² sn For this brief passage, see A. Phillips, “The Case of the Woodgatherer Reconsidered,” VT 19 (1969): 125-28; J. Weingreen, “The Case of the Woodgatherer (Numbers XV 32-36),” VT 16 (1966): 361-64; and B. J. Bamberger, “Revelations of Torah after Sinai,” HUCA 16 (1941): 97-113. Weingreen argues that there is something of the Rabbinic method of setting a fence around the Law here; in other words, if this sin were not punished, the Law would have been violated in greater ways. Gathering of wood, although seemingly harmless, is done with intent to kindle fire, and so reveals a culpable intent.

² tn The Hebrew word לִיקֲּהַת (liqqahat, “obeying”) occurs only here and in Gen 49:10; it seems to mean “to receive” in the sense of “receiving instruction” or “obeying.” C. H. Toy suggests emending to “to old age” (לְזִקְנַת, lÿziqnat) of the mother (Proverbs [ICC], 530). The LXX with γῆρας (ghra", “old age”) suggests that a root lhq had something to do with “white hair.” D. W. Thomas suggests a corruption from lhyqt to lyqht; it would have read, “The eye that mocks a father and despises an aged mother” (“A Note on לִיקֲּהַת in Proverbs 30:17,” JTS 42 [1941]: 154-55); this is followed by NAB “or scorns an aged mother.”

¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot – comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.

² tn The feminine noun לְתַלְפִּיּוֹת (lÿtalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis qalpiwq) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tal, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis {uyh), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian
labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banu lÿtalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lp’ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition לְ (lÿ) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpi’ot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.

² tn The place-name תַּרְשִׁישׁ (tarshish, “Tarshish”) refers to a distant port city or region (Isa 23:6; Jer 10:9; Ezek 27:12; 38:13; 2 Chr 9:21; 20:36, 37) located on the coastlands in the Mediterranean west of Palestine (Ps 72:10; Isa 23:6, 10; 66:19; Jonah 1:3; see BDB 1076 s.v. תַּרְשִׁישׁ; HALOT 1798 s.v. תַּרְשִׁישׁ E.a). Scholars have not established its actual location (HALOT 1797 s.v. B). It has been variously identified with Tartessos in southwest Spain (Herodotus, Histories 1.163; 4.152; cf. Gen 10:4), Carthage (LXX of Isa 23:1, 14 and Ezek 27:25), and Sardinia (F. M. Cross, “An Interpretation of the Nora Stone,” BASOR 208 [1972]: 13-19). The ancient versions handle it variously. The LXX identifies תַּרְשִׁישׁ with Carthage/Καρχηδών (karchdwn; Isa 23:1, 6, 10, 14; Ezek 27:12; 38:13). The place name תַּרְשִׁישׁ is rendered “Africa” in the Targums in some passages (Tg. 1 Kgs 10:22; 22:49; Tg. Jer 10:9) and elsewhere as “sea” (Isa 2:16; 23:1, 14; 50:9; 66:19; Ezek 27:12, 25; 38:13; Jonah 4:2). The Jewish Midrash Canticles Rabbah 5:14.2 cites Jonah 1:3 as support for the view that Tarshish = “the Great Sea” (the Mediterranean). It is possible that תַּרְשִׁישׁ does not refer to one specific port but is a general term for the distant Mediterranean coastlands (Ps 72:10; Isa 23:6, 10; 66:19). In some cases it seems to mean simply “the open sea”: (1) the Tg. Jonah 1:3 translates תַּרְשִׁישׁ as “[he arose to flee] to the sea”; (2) Jerome’s commentary on Isa 2:16 states that Hebrew scholars in his age defined תַּרְשִׁישׁ as “sea”; and (3) the gem called II תַּרְשִׁישׁ, “topaz” (BDB 1076 s.v.; HALOT 1798 s.v.) in Exod 28:20 and 39:13 is rendered “the color of the sea” in Tg. Onq. (see D. Stuart, Hosea-Jonah [WBC], 451). The designation אֳנִיּוֹת תַּרְשִׁישׁ (’oniyyot tarshish, “Tarshish-ships”) referred to large oceangoing vessels equipped for the high seas (2 Chr 9:21; Ps 48:8; Isa 2:16; 23:1, 14; 60:9; Ezek 27:25) or large merchant ships designed for international trade (1 Kgs 10:22; 22:49; 2 Chr 9:21; 20:36; Isa 23:10; HALOT 1798 s.v. E.b). The term תַּרְשִׁישׁ is derived from the Iberian tart[uli] with the Anatolian suffix –issos/essos, resulting in Tartessos (BRL2 332a); however, the etymological meaning of תַּרְשִׁישׁ is uncertain (see W. F. Albright, “New Light on the Early History of Phoenician Colonization,” BASOR 83 [1941]: 21-22 and note 29; HALOT 1797 s.v. I תַּרְשִׁישׁ A). The name תַּרְשִׁישׁ appears in sources outside the Hebrew Bible in Neo-Assyrian ^KURTar-si-si (R. Borger, Die Inschriften Asarhaddons [AfO], 86, §57 line 10) and Greek Ταρτησσος (tarthssos; HALOT 1797 s.v. C). Most English versions render תַּרְשִׁישׁ as “Tarshish” (KJV, NKJV, ASV, NASB, RSV, NRSV, NIV, NEB, NJB, JPS, NJPS), but TEV, CEV render it more generally as “to Spain.” NLT emphasizes the rhetorical point: “in the opposite direction,” though “Tarshish” is mentioned later in the verse.