¹ tn Heb “therefore you will not have one who strings out a measuring line by lot in the assembly of the Lord.”

² tn The noun נְגִינָה (nÿginah) is a musical term: (1) “music” played on strings (Isa 38:20; Lam 5:14), (2) a technical musical term (Pss 4:1; 6:1; 54:1; 55:1; 67:1; 76:1; Hab 3:19) and (3) “mocking song” (Pss 69:13; 77:7; Job 30:9; Lam 3:14). The parallelism with שׂחוֹק “laughingstock” indicates that the latter category of meaning is in view.

¹ tc The text and consequent meaning of these first two lines are uncertain. Literally the Masoretic reads “against let him string let him string the one who strings his bow and against let him raise himself up in his coat of armor.” This makes absolutely no sense and the ancient versions and Hebrew mss did not agree in reading this same text. Many Hebrew mss and all the versions as well as the Masoretes themselves (the text is left unpointed with a marginal note not to read it) delete the second “let him string.” The LXX (or Greek version) left out the words “against” at the beginning of the first two lines. It reads “Let the archer bend his bow and let the one who has armor put it on.” The Lucianic recension of the LXX and some Targum mss supplied the missing object “it” and thus read “Let the archer ready his bow against it and let him array himself against it in his coat of mail.” This makes good sense but does not answer the question of why the Hebrew text left off the suffix on the preposition twice in a row. Many Hebrew mss and the Syriac, Targum, and Vulgate (the Latin version) change the pointing of “against” (אֶל [’el]) to “not” (אַל [’al]) and thus read “Let the archer not string the bow and let him not array himself in his armor.” However, many commentators feel that this does not fit the context because it would apparently be addressed to the Babylonians, not the enemy, which would create a sudden shift in addressee with the second half of the verse. However, if it is understood in the sense taken here it refers to the enemy not allowing the Babylonian archers to get ready for the battle, i.e., a surprise attack. This sense is suggested as an alternative in J. Bright, Jeremiah (AB), 346, n. u-u, and J. A. Thompson, Jeremiah (NICOT), 747, n. 5, and is the interpretation adopted in TEV and probably also in NIrV.

³ tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.