² sn One of them. The unnamed disciple is Peter according to John 18:10 (cf. also Matt 26:51; Mark 14:47).

¹ tn Heb “stretched.” Perhaps “his hand” should be supplied by ellipsis (see Ps 144:7). In this poetic narrative context the three prefixed verbal forms in this verse are best understood as preterites indicating past tense, not imperfects.

² tn Heb “mighty waters.” The waters of the sea symbolize the psalmist’s powerful enemies, as well as the realm of death they represent (see v. 5 and Ps 144:7).

¹ tn Heb “stretched.” Perhaps “his hand” should be supplied by ellipsis (see Ps 144:7). In this poetic narrative context the three prefixed verbal forms in this verse are best understood as preterites indicating past tense, not imperfects.

² tn Heb “mighty waters.” The waters of the sea symbolize the psalmist’s powerful enemies, as well as the realm of death they represent (see v. 4 and Ps 144:7).

¹ sn The surging waters here symbolizes the hostile enemies of God who seek to destroy the order he has established in the world (see Pss 18:17; 29:3; 32:6; 77:20; 144:7; Isa 17:13; Jer 51:55; Ezek 26:19; Hab 3:15). But the Lord is depicted as elevated above and sovereign over these raging waters.

² sn The account of the attack on the high priest’s slave contains details which suggest eyewitness testimony. It is also mentioned in all three synoptic gospels, but only John records that the disciple involved was Peter, whose impulsive behavior has already been alluded to (John 13:37). Likewise only John gives the name of the victim, Malchus, who is described as the high priest’s slave. John and Mark (14:47) both use the word ὠτάριον (wtarion, a double diminutive) to describe what was cut off, and this may indicate only part of the right ear (for example, the earlobe).

³ tn Traditionally “many waters.” The geographical references in the psalm (Lebanon, Sirion, Kadesh) suggest this is a reference to the Mediterranean Sea (see Ezek 26:19; 27:26). The psalmist describes a powerful storm moving in from the sea and sweeping over the mountainous areas north of Israel. The “surging waters” may symbolize the hostile enemies of God who seek to destroy his people (see Pss 18:17; 32:6; 77:20; 93:4; 144:7; Isa 17:13; Jer 51:55; Ezek 26:19; Hab 3:15). In this case the Lord is depicted as elevated above and sovereign over the raging waters.

³ sn The reddish color of cedar wood and the crimson colored fabric called for in v. 4 (see the note there, esp. the association with the color of blood) as well as the priestly commands to bring “two live” birds (v. 4a), to slaughter one of them “over fresh water” (literally “living water,” v. 5b), and the subsequent ritual with the (second) “live” bird (vv. 6-7) combine to communicate the concept of “life” and “being alive” in this passage. This contrasts with the fear of death associated with the serious skin diseases in view here (see, e.g., Aaron’s description of Miriam’s skin disease in Num 12:12, “Do not let her be like the dead one when it goes out from its mother’s womb and its flesh half eaten away”). Since the slaughtered bird here is not sacrificed at the altar and is not designated as an expiatory “sin offering,” this ritual procedure probably symbolizes the renewed life of the diseased person and displays it publicly for all to see. It is preparatory to the expiatory rituals that will follow (vv. 10-20, esp. vv. 18-20), but is not itself expiatory. Thus, although there are important similarities between the bird ritual here, the scapegoat on the Day of Atonement (Lev 16:20-22), and the red heifer for cleansing from corpse contamination (Num 19), this bird ritual is different in that the latter two constitute “sin offerings” (Lev 16:5, 8-10; Num 19:9, 17). Neither of the birds in Lev 14:4-7 is designated or treated as a “sin offering.” Nevertheless, the very nature of the live bird ritual itself and its obvious similarity to the scapegoat ritual suggests that the patient’s disease has been removed far away so that he or she is free from its effects both personally and communally.