² tn Heb “and the regular display.”

³ tn Or “righteousness.” Their godly behavior will be on display for all to see.

¹ tn Or “restless” (see Gen 27:40). The Hiphil is intransitive-exhibitive, indicating the outward display of an inner attitude.

² sn The people’s public display of self-effacing piety has gone unrewarded by the Lord. The reason, of course, is that it was blatantly hypocritical.

¹ tn The expression “for the display of” is an attempt to convey in English the force of the Greek preposition εἰς (eis) in this context.

³ tn The text uses two verbs without a coordinating conjunction: “then you return, you display your power.” This should be explained as a verbal hendiadys, the first verb serving adverbially in the clause (see further GKC 386-87 §120.g).

¹ sn Psalm 58. The psalmist calls on God to punish corrupt judges because a vivid display of divine judgment will convince observers that God is the just judge of the world who vindicates the godly.

¹ sn Psalm 126. Recalling the joy of past deliverance, God’s covenant community asks for a fresh display of God’s power and confidently anticipate their sorrow being transformed into joy.

¹ sn Psalm 144. The psalmist expresses his confidence in God, asks for a mighty display of divine intervention in an upcoming battle, and anticipates God’s rich blessings on the nation in the aftermath of military victory.

¹ sn Verses 28-31 display a staccato style; the statements are short and disconnected (no conjunctions appear in the Hebrew text). The translation to follow strives for a choppy style that reflects the mood of the speech.

² sn The three friends went into a more severe form of mourning, one that is usually reserved for a death. E. Dhorme says it is a display of grief in its most intense form (Job, 23); for one of them to speak before the sufferer spoke would have been wrong.

² tn The verbal clause יָשִׂם בִּי (yasim bi) has been translated “he would pay [attention] to me.” Job is saying that God will not need all his power – he will just have pay attention to Job’s complaint. Job does not need the display of power – he just wants a hearing.

³ sn The proverb seems to be a general observation on certain people in life, but it is saying more. Although there are times when such pretending may not be wrong, the proverb is instructing people to be honest. An empty pretentious display or a concealing of wealth can come to no good.

³ tn Heb “and there [is] the covering of his strength”; or “and there is his strong covering.” The meaning of this line is unclear. The point may be that the lightning bolts are merely a covering, or outward display, of God’s raw power. In Job 36:32 one reads that God “covers his hands with light [or, “lightning”].”

¹ sn The streams in the arid south. Y. Aharoni writes of the streams in the Negev: “These usually dry wadis collect water on rainy days from vast areas. The situation is also aggravated by floods from the desert mountains and southern Judah. For a day or two or, more frequently, for only a few hours they turn into dangerous torrents” (Y. Aharoni, The Land of the Bible, 26). God’s people were experiencing a “dry season” after a time of past blessing; they pray here for a “flash flood” of his renewed blessing. This does not imply that they are requesting only a brief display of God’s blessing. Rather the point of comparison is the suddenness with which the wadis swell during a rain, as well as the depth and power of these raging waters. The community desires a sudden display of divine favor in which God overwhelms them with blessings.

² tn Or (perhaps) “he was deeply indignant.” The verb ἐνεβριμήσατο (enebrimhsato), which is repeated in John 11:38, indicates a strong display of emotion, somewhat difficult to translate – “shuddered, moved with the deepest emotions.” In the LXX, the verb and its cognates are used to describe a display of indignation (Dan 11:30, for example – see also Mark 14:5). Jesus displayed this reaction to the afflicted in Mark 1:43, Matt 9:30. Was he angry at the afflicted? No, but he was angry because he found himself face-to-face with the manifestations of Satan’s kingdom of evil. Here, the realm of Satan was represented by death.

¹ sn The staff appears here to be the shepherd’s staff that he was holding. It now will become the instrument with which Moses will do the mighty works, for it is the medium of the display of the divine power (S. R. Driver, Exodus, 27; also, L. Shalit, “How Moses Turned a Staff into a Snake and Back Again,” BAR 9 [1983]: 72-73).

² sn Horns of animals have always functioned as both offensive and defensive weapons for them. As a figure of speech the horn is therefore often used in the Bible as a symbol of human strength (see also in v. 10). The allusion in v. 1 to the horn being lifted high suggests a picture of an animal elevating its head in a display of strength or virility.

¹ sn To make his point Agur includes five questions. These, like Job 38–41, or Proverbs 8:24-29, focus on the divine acts to show that it is absurd for a mere mortal to think that he can explain God’s work or compare himself to God. These questions display mankind’s limitations and God’s incomparable nature. The first question could be open to include humans, but may refer to God alone (as the other questions do).

⁵ sn Song 8:1-2 may be classified as a “a lover’s wish song” that is similar in content and structure to an ancient Egyptian love song in which the lover longs for greater intimacy with his beloved: “I wish I were her Negro maid who follows at her feet; then the skin of all her limbs would be revealed to me. I wish I were her washerman, if only for a month; then I would be [entranced], washing out the Moringa oils in her diaphanous garments. I wish I were the seal ring, the guardian of her [fingers]; then […]” (The Cairo Love Songs, 25-27, in W. K. Simpson, ed., The Literature of Ancient Egypt, 311). The Egyptian and Hebrew parallels display a similar structure: (1) introductory expression of the lover’s wish to be something/someone in a position of physical closeness with the Beloved; (2) description of the person/thing that is physically close to the Beloved; and (3) concluding description of the resultant greater degree of intimacy with the Beloved. In the Egyptian parallel it is the man who longs for greater closeness; in the Hebrew song it is the woman. The Egyptian love song borders on the sensual; the Hebrew love song is simply romantic. The Beloved expresses her desire for greater freedom to display her affection for Solomon. In ancient Near Eastern cultures the public display of affection between a man and woman was frowned upon – sometimes even punished. For example, in Assyrian laws the punishment for a man kissing a woman in public was to cut off his upper lip. On the other hand, public displays of affection between children and between family members were allowed. Accordingly, the Beloved hyperbolically wished that she and Solomon were children from the same family so she could kiss him anytime she wished without fear of punishment or censure.