⁵ tc The MT reads, “As surely as the way [to] Beer Sheba lives,” or “As surely as the way lives, O Beer Sheba.” Perhaps the term דֶּרֶךְ (derekh, “the way”) refers to the pilgrimage route to Beersheba (see S. M. Paul, Amos [Hermeneia], 272) or it may be a title for a god. The notion of pilgrimage appears elsewhere in the book (cf. 4:4-5; 5:4-5; 8:12). The translation above assumes an emendation to דֹּדְךְ (dodÿkh, “your beloved” or “relative”; the term also is used in 6:10) and understands this as referring either to the Lord (since other kinship terms are used of him, such as “Father”) or to another deity that was particularly popular in Beer Sheba. Besides the commentaries, see S. M. Olyan, “The Oaths of Amos 8:14” Priesthood and Cult in Ancient Israel, 121-49.

⁶ tn Heb “O how you will be cut off.” This emotional interjection functions rhetorically as the prophet’s announcement of judgment on Edom. In Hebrew this statement actually appears between the first and second metaphors, that is, in the middle of this verse. As the point of the comparison, one would expect it to follow both of the two metaphors; however, Obadiah interrupts his own sentence to interject his emphatic exclamation that cannot wait until the end of the sentence. This emphatic sentence structure is eloquent in Hebrew but awkward in English. Since this emphatic assertion is the point of his comparison, it appears at the end of the sentence in this translation, where one normally expects to find the concluding point of a metaphorical comparison.

⁴ sn Many scholars regard Rom 4:25 to be 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.

² tn Several alternatives for translating vv. 3-5 are possible: (1) “I thank my God every time I remember you, yes, always in my every prayer for all of you. I pray with joy because of your participation…” (see NAB; also M. Silva, Philippians [BECNT], 43-44; G. D. Fee, Philippians [NICNT], 76-80); (2) “I thank my God because of your every remembrance of me. Always in my every prayer for all of you I pray with joy. [I am grateful] for your participation…” (see Moffatt; also P. T. O’Brien, Philippians [NIGTC], 58-61). Option (1) is quite similar to the translation above, but sees v. 4a as more or less parenthetical. Option (2) is significantly different in that Paul thanks God because the Philippians remember him rather than when he remembers them.

¹ tn Grk “with fear and trembling.” The Greek words φόβος and τρόμος both imply fear in a negative sense (L&N 25.251 and 16.6 respectively) while the former can also refer to respect and awe for deity (L&N 53.59). Paul’s use of the terms in other contexts refers to “awe and reverence in the presence of God” (P. T. O’Brien, Philippians [NIGTC], 284; see discussion on 282-84). The translation “awe and reverence” was chosen to portray the attitude the believer should have toward God as they consider their behavior in light of God working through Jesus Christ (2:6-11) and in the believer’s life (2:13) to accomplish their salvation.

¹ tc This translation assumes an emendation of the verbal form הוֹשִׁיעָה (hoshi’ah). As it stands, the form is an imperative. In this case the people return to the petitionary mood with which the psalm begins (“O Lord, deliver”). But the immediate context is one of confidence (vv. 6-8), not petition (vv. 1-5). If one takes the final he on the verb “deliver” as dittographic (note the initial he (ה) on the following phrase, “the king”), one can repoint the verbal form as a perfect and understand it as expressing the people’s confidence, “the Lord will deliver the king” (see v. 6). The Hebrew scribal tradition takes “the king” with the following line, in which case it would be best interpreted as a divine title, “may the King answer us” or “the king will answer us” (see Pss 98:6; 145:1). However, the poetic parallelism is better balanced if “the king” is taken with the first line. In this case the referent is the Davidic king, who is earlier called the Lord’s “anointed one” (cf. note on “chosen king” in v. 6; see Pss 21:7; 45:5, 11; 63:11).

² tc Heb “you turn back, rocky summit, his sword.” The Hebrew term צוּר (tsur, “rocky summit”) makes no sense here, unless it is a divine title understood as vocative, “you turn back, O Rocky Summit, his sword.” Some emend the form to צֹר (tsor, “flint”) on the basis of Josh 5:2, which uses the phrase חַרְבוֹת צֻרִים (kharvot tsurim, “flint knives”). The noun צֹר (tsor, “flint”) can then be taken as “flint-like edge,” indicating the sharpness of the sword. Others emend the form to אָחוֹר (’akhor, “backward”) or to מִצַּר (mitsar, “from the adversary”). The present translation reflects the latter, assuming an original reading תָּשִׁיב מִצָּר חַרְבּוֹ (tashiv mitsar kharbo), which was corrupted to תָּשִׁיב צָר חַרְבּוֹ (tashiv tsar kharbo) by virtual haplography (confusion of bet/mem is well-attested) with צָר (tsar, “adversary”) then being misinterpreted as צוּר in the later tradition.

¹ sn Gazelles are often associated with sensuality and masculine virility in ancient Near Eastern love literature. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3). In ancient Near Eastern love literature gazelles often symbolize the excitement and swiftness of the lover coming to see his beloved, as in an ancient Egyptian love song: “O that you came to your sister swiftly like a bounding gazelle! Its feet reel, its limbs are weary, terror has entered its body. A hunter pursues it with his hounds, they do not see it in its dust; It sees a resting place as a trap, it takes the river as its road. May you find her hiding-place before your hand is kissed four times. Pursue your sister’s love, the Golden gives her to you, my friend!” (“Three Poems” in the Papyrus Chester Beatty 1 collection).

¹ tn The meaning of this verse is unclear. It appears to read literally, “O Lord, in distress they visit you, they pour out [?] an incantation, your discipline to them.” פָּקַד (paqad) may here carry the sense of “seek with interest” (cf. Ezek 23:21 and BDB 823 s.v.) or “seek in vain” (cf. Isa 34:16), but it is peculiar for the Lord to be the object of this verb. צָקוּן (tsaqun) may be a Qal perfect third plural form from צוּק (tsuq, “pour out, melt”), though the verb is not used of pouring out words in its two other occurrences. Because of the appearance of צַר (tsar, “distress”) in the preceding line, it is tempting to emend the form to a noun and derive it from צוּק (“be in distress”) The term לַחַשׁ (lakhash) elsewhere refers to an incantation (Isa 3:3; Jer 8:17; Eccl 10:11) or amulet (Isa 3:20). Perhaps here it refers to ritualistic prayers or to magical incantations used to ward off evil.

³ tn Heb “Are you exceedingly angry with us?” The construction עַד־מְאֹד (’ad-mÿ’od) means “up to an abundance, to a great degree, exceedingly” (e.g., Gen 27:33, 34; 1 Sam 11:15; 25:36; 2 Sam 2:17; 1 Kgs 1:4; Pss 38:7, 9; 119:8, 43, 51, 107; Isa 64:9, 12; Lam 5:22; Dan 8:8; 11:25). Used in reference to God’s judgment, this phrase denotes total and irrevocable rejection by God and his refusal to forgive the sin and restore the people to a status under his grace and blessings, e.g., “Do not be angry beyond measure (עַד־מְאֹד, ’ad-mÿ’od), O Lord; do not remember our sins forever” (Isa 64:9) and “Will you keep silent and punish us beyond measure (עַד־מְאֹד, ’ad-mÿ’od)?” (Isa 64:12). The sentiment is expressed well in TEV, “Or have you rejected us forever? Is there no limit to your anger?” and CEV, “Or do you despise us so much that you don’t want us?”

¹ tn Heb “What to you sleeping!” The Niphal participle נִרְדָּם (nirdam) from רָדַם (radam, “to sleep”) functions here not as a vocative use of the noun (so KJV, NKJV, ASV: “O sleeper,” RSV: “you sleeper”) but as a verbal use to depict uninterrupted sleep up to this point. The expression מַה־לְּךָ (mah-lÿkha, “what to you?”) can express surprise (BDB 552 s.v. מָה 1.a; e.g., Job 9:12; 22:12; Eccl 8:4; Isa 45:9,10) or indignation and contempt (BDB 552 s.v. מָה 1.c; e.g., 1 Kgs 19:9, 13). Accordingly, the captain is either surprised that Jonah is able to sleep so soundly through the storm (NIV “How can you sleep?”; JPS, NJPS “How can you be sleeping so soundly?”; NEB, REB “What, sound asleep?”) or indignant that Jonah would sleep in a life-threatening situation when he should be praying (CEV “How can you sleep at a time like this?”; NAB “What are you doing [+ sound NRSV] asleep?”; NJB: “What do you mean by sleeping?”).

² 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.

³ sn About four o’clock in the afternoon. What system of time reckoning is the author using? B. F. Westcott thought John, unlike the synoptic gospels, was using Roman time, which started at midnight (St. John, 282). This would make the time 10 a.m., which would fit here. But later in the Gospel’s Passover account (John 19:42, where the sixth hour is on the “eve of the Passover”) it seems clear the author had to be using Jewish reckoning, which began at 6 a.m. This would make the time here in 1:39 to be 4 p.m. This may be significant: If the hour was late, Andrew and the unnamed disciple probably spent the night in the same house where Jesus was staying, and the events of 1:41-42 took place on the next day. The evidence for Westcott’s view, that the Gospel is using Roman time, is very slim. The Roman reckoning which started at midnight was only used by authorities as legal time (for contracts, official documents, etc.). Otherwise, the Romans too reckoned time from 6 a.m. (e.g., Roman sundials are marked VI, not XII, for noon).

¹ 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.

¹ sn This 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.

¹ sn This 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.

³ sn This 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.

² 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.

¹ sn This 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.

² 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.