¹ sn K&D 11:266 rightly explains that these are not cities that he, the wicked, has destroyed, but that were destroyed by a judgment on wickedness. Accordingly, Eliphaz is saying that the wicked man is willing to risk such a curse in his confidence in his prosperity (see further H. H. Rowley, Job [NCBC], 113).

³ tn The noun קִנְיָן (qinyan) means “thing got or acquired; acquisition” (BDB 889 s.v.). With the preposition that denotes price, it means “with (or at the price of) all that you have acquired.” The point is that no price is too high for wisdom – give everything for it (K&D 16:108).

¹ sn The difference between תְּחִלַּת (tÿkhillat) here and רֵאשִׁית (re’shit) of 1:7, if there is any substantial difference, is that this term refers to the starting point of wisdom, and the earlier one indicates the primary place of wisdom (K&D 16:202).

² sn The final line gives the causal clause: The impressive feast is not what it appears to be; the king is not doing you a favor, but rather wants something from you or is observing you (K&D 17:104); cf. TEV “he may be trying to trick you.”

³ tn The word is normally taken from the root “to hasten,” and rendered “because of my haste within me.” But K&D 11:374 proposed another root, and similarly, but closer to the text, E. Dhorme (Job, 289-90) found an Arabic word with the meaning “feeling, sensation.” He argues that from this idea developed the meanings in the cognates of “thoughts” as well. Similarly, Gordis translates it “my feeling pain.” See also Eccl 2:25.

¹ tn The first word of the thirteenth line begins with מ (mem), the thirteenth letter of the Hebrew alphabet. The word rendered “coverlets” appears in 7:16, where it has the idea of “covered.” K&D 17:335 suggests “pillows” or “mattresses” here. The Greek version has “lined overcoats” or “garments,” but brings over the last word of the previous verse to form this line and parallel the second half, which has clothing in view.

³ tn Heb “and surely a survivor there is not for it.” The antecedent of the pronoun “it” is apparently עַם (’am, “people”) of v. 2, which seems to be a figurative way of referring to the locusts. K&D 26:191-92 thought that the antecedent of this pronoun was “land,” but the masculine gender of the pronoun does not support this.

³ tn The word פַּשׁ (pash) is a hapax legomenon. K&D 12:275 derived it from an Arabic word meaning “belch,” leading to the idea of “overflow.” BDB 832 s.v. defines it as “folly.” Several define it as “transgression” on the basis of the versions (Theodotion, Symmachus, Vulgate). The RSV took it as “greatly heed,” but that is not exactly “greatly know,” when the text beyond that requires “not know at all.” The NIV has “he does not take the least notice of wickedness.”

¹ tn The verb פָּתַח (patakh) means “to untie [or undo]” a rope or bonds. In this verse יִתְרוֹ (yitro, the Kethib, LXX, and Vulgate) would mean “his rope” (see יֶתֶר [yeter] in Judg 16:7-9). The Qere would be יִתְרִי (yitri, “my rope [or cord]”), meaning “me.” The word could mean “rope,” “cord,” or “bowstring.” If the reading “my cord” is accepted, the cord would be something like “my tent cord” (as in Job 29:20), more than K&D 12:147 “cord of life.” This has been followed in the present translation. If it were “my bowstring,” it would give the sense of disablement. If “his cord” is taken, it would signify that the restraint that God had in afflicting Job was loosened – nothing was held back.

⁴ tn Heb “Your eyes are doves.” This metaphor compares her eyes to doves. There is no lack of suggestions as to the point of the comparison: (1) Arabic love literature describes doves having sentimental eyes, the point here (Marcia Falk, Love Lyrics from the Bible, 113). (2) The comparison has to do with the color of her eyes (G. L. Carr, Song of Solomon [TOTC], 86). (3) The comparison has to do with the glistening color of the dove and its quick movements, that is, her eyes had a beautiful color and had lively motion (M. H. Pope, Song of Songs [AB], 356). (4) The comparison has to do with the fluttering of her eyes which reminded him of the fluttering of a dove’s wings (M. D. Goulder, The Song of Fourteen Songs [JSOTSup], 5). (5) The comparison has to do with gentleness and purity, as well as longing and simplicity (K&D 18:38).

² tn Heb “the only daughter of her mother.” The phrase אַחַת לְאִמָּה (’akhat lÿ’immah) is sometimes translated as “the only daughter of her mother” (NIV, NASB) or “the only one of her mother” (KJV). K&D 18:112 suggests that she was not her mother’s only daughter, but her most special daughter. This is supported by the parallelism with בָּרָה (barah, “favorite”) in the following line. Similarly, Gen 22:2 and Prov 4:3 use the masculine term אֶחָד (’ekhad, “the only one”) to refer to the specially favored son, that is, the heir.

¹ tn Or “she sinks her house down to death.” The syntax of this line is difficult. The verb שָׁחָה is Qal perfect 3rd person feminine singular of שׁוּחַ (“to sink down”) which must take a feminine singular subject – most likely the “loose woman” of 2:16-17. However, most English versions take בֵּיתָהּ (betah) “her house” (ms noun + 3rd person feminine singular suffix) as the subject (e.g., KJV, RSV, NASB, NIV, NRSV, CEV): “her house sinks down to death.” But בֵּיתָהּ “her house” (ms noun + 3rd person feminine singular suffix) is masculine rather than feminine so it cannot be the subject. K&D 16:83 suggests that בֵּיתָהּ (“her house”) is a permutative noun that qualifies the subject: “she together with all that belongs to her [her house] sinks down to death” (GKC 425 §131.k). D. Kidner suggests that “her house” is in apposition to “death” (e.g., Job 17:13; 30:23; Prov 9:18; Eccl 12:5), meaning that death is her house: “she sinks down to death, which is her house” (Proverbs [TOTC], 62). The BHS editors attempt to resolve this syntactical problem by suggesting a conjectural emendation of MT בֵּיתָהּ (“her house”) to the feminine singular noun נְתִיבֹתֶהָּ (“her path”) which appears in 7:27, to recover a feminine subject for the verb: “her path sinks down to death.” However, the reading of the MT is supported by all the versions.

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.

⁷ tn The Hebrew term פָּארוּר (pa’rur) occurs only here and in Joel 2:6 where it also describes a fearful facial reaction. The meaning of פָּארוּר is debated and numerous etymologies have been suggested: (1) From פָּרוּר (parur, “cooking pot”; HALOT 964 s.v. פָּרוּר): LXX τὸ πρόσωπον πάντων ὡς πρόσκαυμα ξύτρας (to proswpon pantwn Jw" proskauma xutra", “all their faces are like a blackened/burned pot”); Vulgate et facies omnium sicut nigredo ollae (“all their faces are like a black pot”); Targum Jonathan (“covered with black like a pot”). This approach is adopted by the KJV and AV: “the faces of them all gather blackness.” (2) From פְּאֵר (pÿ’er, “beauty”). Taking קָבַץ (qavats) in a private sense (“gather in”), several scholars propose: “to draw in beauty, withdraw color,” hence: “their faces grow pale” (NASB, NIV); see K&D 26:192-93; A. Haldar, Studies in the Book of Nahum, 59. (3) From פָּרַר (parar, “break in pieces”). Due to fear, their faces have gathered wrinkles. (4) From IV פּרר (“to boil”), related to Arabic ’pr and Syriac npr (“to boil”): “their faces glow red in excitement” (HALOT 860 s.v.). (5) From פּאר (“grey, ash grey”): “their faces turn grey” (J. J. Gluck, “parur – paárur: A Case of Biblical Paronomasia,” OTWSA 12 [1969]: 21-26). The NJPS translation appears to adopt this approach: “all faces turn ashen.”

¹ tn Or “You and your wives.” The text and referent here is uncertain because of the confusing picture that the alternation of pronouns presents in this verse. Three of the main verbs are second feminine plurals and one of them is second masculine plural. All the pronominal suffixes on the nouns are second masculine plurals. The Hebrew text reads: “You [masc. pl.] and your [masc. pl.] wives have spoken [2nd fem. pl.; תְּדַבֵּרְנָה, tÿdabberÿnah] with your [masc. pl.] mouth and you have fulfilled [masc. pl.; מִלֵּאתֶם, mille’tem] with your [masc. pl.] hands, saying, ‘We [common gender] will certainly carry out….’ Indeed fulfill [2nd fem. pl.; תָּקִימְנָה, taqimnah] your [masc. pl.] vows and indeed carry out [2nd fem. pl.; תַעֲשֶׂינָה, ta’asenah] your [masc. pl.] vows.” Older commentaries, such as K&D 22:165, explain the feminine verbs as a matter of the women being the principle subject. Most all modern commentaries (e.g., J. A. Thompson, J. Bright, W. L. Holladay, and G. L. Keown, P. J. Scalise, T. G. Smothers) follow the reading of the Greek version which reads “you women” (= אַתֵּנָה הַנָּשִּׁים, [’attenah hannashim]) in place of “you and your wives” (אַתֶּם וּנְשֵׁיכֶם, ’attem unÿshekhem) in the Hebrew. None of them, however, explain the use of the 2nd masc. plurals here. This is possibly a case where the masculine forms are used in the place of the feminine due to the dislike of Hebrew to use the feminine plural forms (cf. GKC 459 §144.a and 466 §145.t). This seems all the more probable when 2nd fem. pl. verbs are qualified by nouns with 2nd masc. pl. suffixes. The translation here follows this interpretation of the masc. pl. forms and reads “you women” with the Greek version in place of “you and your wives” and sees the referents throughout as the women.

⁸ tc In v. 12 the MT preserves a string of plural forms followed by a seemingly anomalous singular form: וְעָבָר…נָגֹזּוּ…רַבִּים…שְׁלֵמִים (shÿlemim … rabbim … nagozzu … vÿ’avar, “Even though they are numerous…they are many…they will be cut off…and he [?] will pass away”). Several other versions (LXX, Syr, Targum) read the plural form וְעָבָרוּ (vÿ’avaru, “and they will pass away”). Several scholars emend the MT to the plural form, noting that the next word (וְעִנִּתִךְ, vÿ’innitikh) begins with vav (ו); they suggest that the plural ending of וְעָבָרוּ dropped out due to haplography or faulty word division (e.g., T. Longman, “Nahum,” The Minor Prophets, 2:798). Another scholar retains the consonantal text, but repoints the form as an infinitive absolute: “They will be cut off, passing away” (K. J. Cathcart). On the other hand, more conservative scholars defend the MT reading and try to solve the problem by suggesting a shift from a plural referent (the Assyrians) to a singular referent (God or the Assyrian king): “They shall be cut down, when he passes through” (KJV) and “They will be cut off and he will pass over” (R. L. Smith, Micah-Malachi [WBC], 77). Still others suggest that the singular form functions as a collective: “They will be cut off and [they] will pass away” (W. A. Maier, Nahum, 206; K&D 27:15).
However, rather than resorting to textual emendations or performing syntactical improbabilities, the best solution may be simply to posit the presence of a rhetorical, stylistic device. The shift from these plural forms to the concluding singular form may be an example of heterosis of the plural to the singular (see E. W. Bullinger, Figures of Speech, 525 [4.5]). This is a common poetic device used for emphasis, especially at the climactic point in a speech (e.g., Gen 29:27; Num 22:6; 32:25; Job 12:7; 18:2; Esth 9:23; Ps 73:7; Prov 14:1, 9; John 3:11; 1 Tim 2:15).

¹ tn The noun שֹׁרֶר (shorer) is a hapax legomenon, appearing in the OT only here. There is debate whether it means “navel” or “vulva”: (1) Lys and Pope suggest that שֹׁרֶר is related to Arabic srr (“secret place, pudenda, coition, fornication”). They suggest that this is contextually supported by three factors: (a) His descriptive praise of her is in ascending order, beginning with her feet and concluding with her hair. The movement from her thighs (7:1b), to her vulva (7:2a), and then to her waist (7:2b) would fit this. (b) The descriptive comparison to a glass of wine would be grotesque if her navel were in view – her navel was moist or filled with liquid? – but appropriate if her vulva were in view. (c) The navel would be a somewhat synonymous reference to the belly which is already denoted by בִּטְנֵךְ (bitnekh, “belly”) in the following line. Because 7:1-7 does not use synonymous parallelism, the term שֹׁרֶר would have to refer to something other than the belly. (2) The term שֹׁרֶר denotes “navel”: (a) It may be related to the bi-consonantal noun שֹׁר (shor, “navel, umbilical cord”) (Prov 3:8; Ezek 16:4). (b) Mishnaic Hebrew שָׁרָר (sharar) denotes “navel, umbilical cord” (Jastrow 1634 s.v. שָׁרָר). For example, in a midrash on the Book of Numbers, the noun שֹׁרֶר appears in an allusion to Song 7:3 to justify the seating of the Sanhedrin in the middle of the synagogue: “As the navel (שֹׁרֶר) is placed in the centre of the body, so are the Sanhedrin…” (Num. Rab. 1:4). On the other hand, the meaning “vulva” never appears in Mishnaic Hebrew. Therefore, apart from this disputed usage there is no evidence that this term was ever used in this manner in Hebrew. (c) Rather than שֹׁרֶר being related to Arabic sirr (“pudenda”), it could just as easily be related to the Arabic noun surr “navel.” It is methodologically more sound to define שֹׁרֶר as “navel” than as “vulva.” (d) The nuance “navel” is not as out of line contextually as Lys and Pope suggest. The navel would not be out of place in the ascending order of praise because the בִּטְנֵךְ (“abdomen”) which follows may be viewed as both above and below the navel. The figurative association of the שֹׁרֶר as a mixing bowl filled with wine does not imply that this bodily part must actually be moist or filled with liquid as Pope suggests. The point of comparison is not physical or visual but one of function, i.e., it is intoxicating. The comparison of the navel to a mixing bowl of wine is no more out of line than the comparison of the belly to a heap of wheat in the next line. In fact, the two go together – she is both the “drink” and “food” for Solomon. The shape of the navel is as congruent with the metaphor of the “round bowl” as the vulva; both are round and receding. (3) Since both terms are derived from the same geminate root – Hebrew שֹׁרֶר and Arabic srr – it is more prudent to take the term as a synecdoche of whole (lower region) for the parts (including navel and vulva). The attempt to decide between these two options may be illegitimately splitting hairs. See K&D 18:123; J. S. Deere, “Song of Solomon,” BKCOT, 199-200; D. Lys, “Notes sur de Cantique,” VTSup 17 (1969): 171-78; M. H. Pope, Song of Songs (AB), 617; G. L. Carr, Song of Solomon (TOTC), 157.