¹ sn In the ancient Near East the mandrake was a widely used symbol of erotic love because it was thought to be an aphrodisiac and therefore was used as a fertility drug. The unusual shape of the large forked roots of the mandrake resembles the human body with extended arms and legs. This similarity gave rise to the popular superstition that the mandrake could induce conception and it was therefore used as a fertility drug. It was so thoroughly associated with erotic love that its name is derived from the Hebrew root דּוֹד (dod, “love”), that is, דּוּדָאִים (duda’im) denotes “love-apples.” Arabs used its fruit and roots as an aphrodisiac and referred to it as abd al- sal’m (“servant of love”) (R. K. Harrison, “The Mandrake and the Ancient World,” EQ 28 [1956]: 188-89; Fauna and Flora of the Bible, 138-39).

³ tn Heb “with bitterness and hardship.” The nouns רֹאשׁ וּתְלָאָה (ro’sh utÿla’ah, lit. “bitterness and hardship”) function as adverbial accusatives of manner: “with bitterness and hardship.” The two nouns רֹאשׁ וּתְלָאָה (ro’sh utÿla’ah, “bitterness and hardship”) form a nominal hendiadys: the second retains its full nominal sense, while the first functions adverbially: “bitter hardship.” The noun II רֹאשׁ (ro’sh, “bitterness”) should not be confused with the common homonymic root I רֹאשׁ (ro’sh, “head”). The noun תְּלָאָה (tÿla’ah, “hardship”) is used elsewhere in reference to the distress of Israel in Egypt (Num 20:14), in the wilderness (Exod 18:8), and in exile (Neh 9:32).

² sn The three…four style introduces each of the judgment oracles of chaps. 1-2. Based on the use of a similar formula in wisdom literature (see Prov 30:18-19, 29-31), one expects to find in each case a list of four specific violations. However, only in the eighth oracle (against Israel) does one find the expected fourfold list. Through this adaptation and alteration of the normal pattern the Lord indicates that his focus is Israel (he is too bent on judging Israel to dwell very long on her neighbors) and he emphasizes Israel’s guilt with respect to the other nations. (Israel’s list fills up before the others’ lists do.) See R. B. Chisholm, “For Three Sins…Even for Four: The Numerical Sayings in Amos,” BSac 147 (1990): 188-97.

² sn On the three…four style that introduces each of the judgment oracles of chaps. 1-2 see the note on the word “four” in 1:3. Only in this last oracle against Israel does one find the list of four specific violations expected based on the use of a similar formula elsewhere in wisdom literature (see Prov 30:18-19, 29-31). This adaptation of the normal pattern indicates the Lord’s focus on Israel here (he is too bent on judging Israel to dwell very long on her neighbors) and emphasizes Israel’s guilt with respect to the other nations (Israel’s list fills up before the others’ lists do). See R. B. Chisholm, “‘For three sins...even for four’: the numerical sayings in Amos,” BSac 147 (1990) 188-97.

³ tn Heb “calamity” or “disaster.” The noun רָעָה (ra’ah, “calamity, disaster”) functions as a metonymy of result – the cause being the threatened judgment (e.g., Exod 32:12, 14; 2 Sam 24:16; Jer 18:8; 26:13, 19; 42:10; Joel 2:13; Jonah 4:2; HALOT 1263 s.v. רָעָה 6). The root רָעָה is repeated three times in vv. 8 and 10. Twice it refers to the Ninevites’ moral “evil” (vv. 8 and 10a) and here it refers to the “calamity” or “disaster” that the Lord had threatened (v. 10b). This repetition of the root forms a polysemantic wordplay that exploits this broad range of meanings of the noun. The wordplay emphasizes that God’s response was appropriate: because the Ninevites repented from their moral “evil” God relented from the “calamity” he had threatened.

² sn Porcius Festus was the procurator of Palestine who succeeded Felix; neither the beginning nor the end of his rule (at his death) can be determined with certainty, although he appears to have died in office after about two years. Nero recalled Felix in a.d. 57 or 58, and Festus was appointed to his vacant office in a.d. 57, 58, or 59. According to Josephus (Ant. 20.8.9-10 [20.182-188]; J. W. 2.14.1 [2.271-272]), his administration was better than that of his predecessor Felix or his successor Albinus, but Luke in Acts portrays him in a less favorable light: He was willing to sacrifice Paul to court Jewish favor by taking him to Jerusalem for trial (v. 9), regardless of Paul’s guilt or innocence. The one characteristic for which Festus was noted is that he dealt harshly with those who disturbed the peace.

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.

⁶ tn The term חֵלֶק (kheleq, “lot”) has a wide range of meanings: (1) “share of spoils” (Gen 14:24; Num 31:36; 1 Sam 30:24), (2) “portion of food” (Lev 6:10; Deut 18:8; Hab 1:16), (3) “portion [or tract] of land” (Deut 10:9; 12:12; Josh 19:9), (4) “portion” or “possession” (Num 18:20; Deut 32:9), (5) “inheritance” (2 Kgs 9:10; Amos 7:4), (6) “portion” or “award” (Job 20:29; 27:13; 31:2; Isa 17:14) or “profit; reward” (Eccl 2:10, 21; 3:22; 5:17-18; 9:6, 9); see HALOT 323 s.v. II חֵלֶק; BDB 324 s.v. חֵלֶק. Throughout Ecclesiastes, the term is used in reference to man’s temporal profit from his labor and his reward from God (e.g., Eccl 3:22; 9:9).

¹ sn The noun מִגְדָּל (migdal, “tower”) can refer to the watchtowers of a fortified city (2 Kgs 17:9; 18:8; 2 Chr 26:9), projecting median towers along the fortified city wall which were crucial to the defense of the city (2 Chr 14:6; 26:15; 32:5), or fortress towers in the countryside set for the defense of the land (Judg 9:52; 2 Chr 27:4; Ezek 27:11) (HALOT 544 s.v. I מִגְדָּל). The Beloved mixes metaphors by describing her breasts with a comparison of sense and a comparison of sight: (1) Comparison of sense: She successfully defended her virginity and sexual purity from seduction, as fortress towers defended the city. (2) Comparison of sight: Just as the fortress towers along a city wall projected out at the corners of the wall, the Beloved’s breasts finally developed into beautiful “towers” (see 8:8 when she had no breasts as a young girl).

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 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 tn Or “showing that genuine faith is productive.” At issue between these two translations is the force of ἀγαθήν (agaqhn): Is it attributive (as the text has it) or predicate (as in this note)? A number of considerations point in the direction of a predicate ἀγαθήν (e.g., separation from the noun πίστιν (pistin) by the verb, the possibility that the construction is an object-complement, etc.), though is not usually seen as an option in either translations or commentaries. Cf. ExSyn 188-89, 312-13, for a discussion. Contextually, it makes an intriguing statement, for it suggests a synthetic or synonymous parallel: “‘Slaves should be wholly subject to their masters…demonstrating that all [genuine] faith is productive, with the result [ecbatic ἵνα] that they will completely adorn the doctrine of God.’ The point of the text, then, if this understanding is correct, is an exhortation to slaves to demonstrate that their faith is sincere and results in holy behavior. If taken this way, the text seems to support the idea that saving faith does not fail, but even results in good works” (ExSyn 312-13). The translation of ἀγαθήν as an attributive adjective, however, also makes good sense.

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 tn Some of the terms for disease or symptoms of disease in this chapter present difficulties for the translator. Most modern English versions render the Hebrew term שְׂאֵת (sÿ’et) as “swelling,” which has been retained here (see the explanation in J. E. Hartley, Leviticus [WBC], 189). Some have argued that “deeper (עָמֹק, ’amoq) than the skin of his body” in v. 3 means that “this sore was lower than the surrounding skin” (J. Milgrom, Leviticus [AB], 1:773), in which case “swelling” would be an inappropriate translation of שְׂאֵת in v. 2. Similarly, שְׂאֵת also occurs in v. 19, and then v. 20 raises the issue of whether or not it appears to be “lower (שָׁפָל, shafal) than the skin” (cf. also 14:37 for a mark on the wall of a house), which may mean that the sore sinks below the surface of the skin rather than protruding above it as a swelling would (B. A. Levine, Leviticus [JPSTC], 76-77). Thus, one could translate here, for example, “discoloration” (so Milgrom and II שְׂאֵת “spot, blemish on the skin” in HALOT 1301 s.v. II שְׂאֵת) or “local inflammation, boil, mole” (so Levine). However, one could interpret “lower” as “deeper,” i.e., visibly extending below the surface of the skin into the deeper layers as suggested by J. E. Hartley, Leviticus (WBC), 188, 192. “Swelling” often extends deeply below the surface of the skin, it is certainly a common symptom of skin diseases, and the alternation of these two terms (i.e., “deeper” and “lower”) in vv. 25-26 below shows that they both refer to the same phenomenon (see also the note on v. 20 below), so it is retained in the present translation.

¹ tn Heb “And after the death of Hezron in Caleb Ephrathah, and the wife of Hezron, Abijah, and she bore to him Ashhur the father of Tekoa.” Perhaps one could translate: “After Hezron died in Caleb Ephrathah, Abijah, Hezron’s wife, bore to him Ashhur, the father of Tekoa” (cf. NASB, NIV, NRSV). In this case the text suggests that Abijah was born after his father’s death. Because of the awkward syntax and the odd appearance of “Caleb Ephrathah” as a place name, some prefer to emend the text. Some alter בְּכָלֵב אֶפְרָתָה (bÿkhalev ’efratah, “in Caleb Ephrathah”) to בָּא כָלֵב אֶפְרָתָה (bo’ khalev ’efratah, “Caleb had sexual relations with Ephrath”) and then change אֲבִיָּה (’aviyyah, “Abijah”) to אָבִיהוּ (’avihu, “his father”). This results in the following translation: “And after Hezron’s death, Caleb had sexual relations with Ephrath, his father Hezron’s wife, and she bore to him Ashhur the father of Tekoa” (cf. NAB). This would mean that Caleb’s second wife Ephrath had actually been his late father’s wife (probably Caleb’s stepmother). Perhaps the text was subsequently altered because Caleb’s actions appeared improper in light of the injunctions in Lev 18:8; 20:11; Deut 22:30; 27:20 (which probably refer, however, to a son having sexual relations with his stepmother while his father is still alive).

¹ tn Or “was grieved”; “was sorry.” In the Niphal stem the verb נָחָם (nakham) can carry one of four semantic meanings, depending on the context: (1) “to experience emotional pain or weakness,” “to feel regret,” often concerning a past action (see Exod 13:17; Judg 21:6, 15; 1 Sam 15:11, 35; Job 42:6; Jer 31:19). In several of these texts כִּי (ki, “because”) introduces the cause of the emotional sorrow. (2) Another meaning is “to be comforted” or “to comfort oneself” (sometimes by taking vengeance). See Gen 24:67; 38:12; 2 Sam 13:39; Ps 77:3; Isa 1:24; Jer 31:15; Ezek 14:22; 31:16; 32:31. (This second category represents a polarization of category one.) (3) The meaning “to relent from” or “to repudiate” a course of action which is already underway is also possible (see Judg 2:18; 2 Sam 24:16 = 1 Chr 21:15; Pss 90:13; 106:45; Jer 8:6; 20:16; 42:10). (4) Finally, “to retract” (a statement) or “to relent or change one’s mind concerning,” “to deviate from” (a stated course of action) is possible (see Exod 32:12, 14; 1 Sam 15:29; Ps 110:4; Isa 57:6; Jer 4:28; 15:6; 18:8, 10; 26:3, 13, 19; Ezek 24:14; Joel 2:13-14; Am 7:3, 6; Jonah 3:9-10; 4:2; Zech 8:14). See R. B. Chisholm, “Does God ‘Change His Mind’?” BSac 152 (1995): 388. The first category applies here because the context speaks of God’s grief and emotional pain (see the following statement in v. 6) as a result of a past action (his making humankind). For a thorough study of the word נָחָם, see H. Van Dyke Parunak, “A Semantic Survey of NHM,” Bib 56 (1975): 512-32.