³ tn Regarding the translation “chariots with iron-rimmed wheels,” see Y. Yadin, The Art of Warfare in Biblical Lands, 255, and the article by R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

² tn Regarding the translation “chariots with iron-rimmed wheels,” see Y. Yadin, The Art of Warfare in Biblical Lands, 255, and the article by R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

² tn Heb “though I do not know [the] numbers,” that is, the tally of God’s just and saving acts. HALOT 768 s.v. סְפֹרוֹת understands the plural noun to mean “the art of writing.”

¹ tn This apparently refers to the instructions given by Samuel in 1 Sam 10:8. If so, several years had passed. On the relationship between chs. 10 and 13, see V. P. Long, The Art of Biblical History (FCI), 201-23.

¹ sn See N. C. Habel, “The Narrative Art of Job,” JSOT 27 (1983): 101-11; J. J. Owens, “Prologue and Epilogue,” RevExp 68 (1971): 457-67; and R. Polzin, “The Framework of the Book of Job,” Int 31 (1974): 182-200.

⁴ sn Arrows and lightning bolts are associated in other texts (see Pss 77:17-18; 144:6; Zech 9:14), as well as in ancient Near Eastern art (see R. B. Chisholm, “An Exegetical and Theological Study of Psalm 18/2 Samuel 22” [Th.D. diss., Dallas Theological Seminary, 1983], 187).

¹ sn Arrows and lightning bolts are associated in other texts (see Pss 18:14; 77:17-18; Zech 9:14), as well as in ancient Near Eastern art (see R. B. Chisholm, “An Exegetical and Theological study of Psalm 18/2 Samuel 22” [Th.D. diss., Dallas Theological Seminary, 1983], 187).

² tn Heb “two horns from his hand to him.” Sharp, pointed lightning bolts have a “horn-like” appearance. The weapon of “double lightning” appears often in Mesopotamian representations of gods. See Elizabeth Van Buren, Symbols of the Gods in Mesopotamian Art (AnOr), 70-73.

² sn In the Jewish context, “full betrothal was so binding that its breaking required a certificate of divorce, and the death of one party made the other a widow or widower (m. Ketub. 1:2; m. Sota 1:5; m. Git. passim…)” (R. H. Gundry, Matthew: A Commentary on his Literary and Theological Art, 21).

¹ tn BDAG 812 s.v. πιθανολογία states, “persuasive speech, art of persuasion (so Pla., Theaet. 162e) in an unfavorable sense in its only occurrence in our lit. ἐν πιθανολογίᾳ by specious arguments Col 2:4 (cp. PLips 40 III, 7 διὰ πιθανολογίας).”

¹ sn The whole earth. Here “earth” is a metonymy of subject, referring to the people who lived in the earth. Genesis 11 begins with everyone speaking a common language, but chap. 10 has the nations arranged by languages. It is part of the narrative art of Genesis to give the explanation of the event after the narration of the event. On this passage see A. P. Ross, “The Dispersion of the Nations in Genesis 11:1-9,” BSac 138 (1981): 119-38.

² tn Heb “and look.” The scene which Jacob witnessed is described in three clauses introduced with הִנֵּה (hinneh). In this way the narrator invites the reader to witness the scene through Jacob’s eyes. J. P. Fokkelman points out that the particle goes with a lifted arm and an open mouth: “There, a ladder! Oh, angels! and look, the Lord himself” (Narrative Art in Genesis [SSN], 51-52).

² tn Heb “and there are iron chariots among all the Canaanites who live in the land of the valley, to those who are in Beth Shean and its daughters and to those who are in the Valley of Jezreel.” Regarding the translation “chariots with iron-rimmed wheels” see Y. Yadin, The Art of Warfare in Biblical Lands, 255 and R. Drews, “The ‘Chariots of Iron’ of Joshua and Judges,” JSOT 45 (1989): 15-23.

³ sn Lightning is a common motif in OT theophanies and in ancient Near Eastern portrayals of the storm god and warring kings. Arrows and lightning bolts are associated in other texts (see Pss 77:17-18; 144:6; Zech 9:14), as well as in ancient Near Eastern art. See R. B. Chisholm, “An Exegetical and Theological Study of Psalm 18/2 Samuel 22” (Th.D. diss., Dallas Theological Seminary, 1983), 187, 190-92.

² sn Babel. Here is the climax of the account, a parody on the pride of Babylon. In the Babylonian literature the name bab-ili meant “the gate of God,” but in Hebrew it sounds like the word for “confusion,” and so retained that connotation. The name “Babel” (בָּבֶל, bavel) and the verb translated “confused” (בָּלַל, balal) form a paronomasia (sound play). For the many wordplays and other rhetorical devices in Genesis, see J. P. Fokkelman, Narrative Art in Genesis (SSN).

¹ sn Jacob cooked some stew. There are some significant words and wordplays in this story that help clarify the points of the story. The verb “cook” is זִיד (zid), which sounds like the word for “hunter” (צַיִד, tsayid). This is deliberate, for the hunter becomes the hunted in this story. The word זִיד means “to cook, to boil,” but by the sound play with צַיִד it comes to mean “set a trap by cooking.” The usage of the word shows that it can also have the connotation of acting presumptuously (as in boiling over). This too may be a comment on the scene. For further discussion of the rhetorical devices in the Jacob narratives, see J. P. Fokkelman, Narrative Art in Genesis (SSN).

² sn This account is parallel to two similar stories about Abraham (see Gen 12:10-20; 20:1-18). Many scholars do not believe there were three similar incidents, only one that got borrowed and duplicated. Many regard the account about Isaac as the original, which then was attached to the more important person, Abraham, with supernatural elements being added. For a critique of such an approach, see R. Alter, The Art of Biblical Narrative, 47-62. It is more likely that the story illustrates the proverb “like father, like son” (see T. W. Mann, The Book of the Torah, 53). In typical human fashion the son follows his father’s example of lying to avoid problems. The appearance of similar events reported in a similar way underscores the fact that the blessing has now passed to Isaac, even if he fails as his father did.

¹ tn The Hebrew כֶּלִי (keli) means “vessel; utensil” (cf. KJV, ASV, NASB). But purging dross from silver does not produce a “vessel” for the silversmith. Some versions therefore render it “material” (e.g., NIV, NRSV). The LXX says “that it will be entirely pure.” So D. W. Thomas reads כָּלִיל (kalil) and translates it “purified completely” (“Notes on Some Passages in the Book of Proverbs,” VT 15 [1965]: 271-79; cf. NAB). W. McKane simply rearranges the line to say that the smith can produce a work of art (Proverbs [OTL], 580; cf. TEV “a thing of beauty”). The easiest explanation is that “vessel” is a metonymy of effect, “vessel” put for the material that goes into making it (such metonymies occur fairly often in Psalms and Proverbs).

² tn Heb “trained of war.” In the genitive construct מְלֻמְּדֵי מִלְחָמָה (mÿlummÿde milkhamah, “trained of war”) the noun מִלְחָמָה (“war, battle”) is a genitive of specification or limitation, that is, it specifies the extent to which the expertise of the subjects applies: “in regard to warfare.” The term מִלְחָמָה (“warfare”) may be nuanced metonymically as “the art of warfare” in the light of (1) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (’akhuze, “skilled”), and (2) its parallelism with חֶרֶב (kherev, “sword, swordsmanship”).

⁴ sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes.