Keluaran 15:20-21

15:20 Miriam the prophetess, the sister of Aaron, took a hand-drum in her hand, and all the women went out after her with hand-drums and with dances. ¹  15:21 Miriam sang in response ²  to them, “Sing to the Lord, for he has triumphed gloriously; the horse and its rider he has thrown into the sea.” ³ 

Keluaran 15:2

15:2 The Lord ⁴  is my strength and my song, ⁵ 

and he has become my salvation.

This is my God, and I will praise him, ⁶ 

my father’s God, and I will exalt him.

1 Samuel 19:1

Saul Repeatedly Attempts to Take David’s Life

19:1 Then Saul told his son Jonathan and all his servants to kill David. But Saul’s son Jonathan liked David very much. ⁷ 

Nehemia 7:67

7:67 not counting their 7,337 male and female servants. They also had 245 male and female singers.

Mazmur 68:25

68:25 Singers walk in front;

musicians follow playing their stringed instruments, ⁸ 

in the midst of young women playing tambourines. ⁹ 

Mazmur 148:12-13

148:12 you young men and young women,

you elderly, along with you children!

148:13 Let them praise the name of the Lord,

for his name alone is exalted;

his majesty extends over the earth and sky.

Pengkhotbah 2:8

2:8 I also amassed silver and gold for myself,

as well as valuable treasures ¹⁰  taken from kingdoms and provinces. ¹¹ 

I acquired male singers and female singers for myself,

and what gives a man sensual delight ¹²  – a harem of beautiful concubines! ¹³ 

Yeremia 9:17-18

9:17 The Lord who rules over all ¹⁴  told me to say to this people, ¹⁵ 

“Take note of what I say. ¹⁶ 

Call for the women who mourn for the dead!

Summon those who are the most skilled at it!” ¹⁷ 

9:18 I said, “Indeed, ¹⁸  let them come quickly and sing a song of mourning for us.

Let them wail loudly until tears stream from our own eyes

and our eyelids overflow with water.

Matius 9:23

9:23 When Jesus entered the ruler’s house and saw the flute players and the disorderly crowd,

[15:20]  ¹ sn See J. N. Easton, “Dancing in the Old Testament,” ExpTim 86 (1975): 136-40.

[15:21]  ² tn The verb עָנָה (’ana) normally means “to answer,” but it can be used more technically to describe antiphonal singing in Hebrew and in Ugaritic.

[15:21]  ³ sn This song of the sea is, then, a great song of praise for Yahweh’s deliverance of Israel at the Sea, and his preparation to lead them to the promised land, much to the (anticipated) dread of the nations. The principle here, and elsewhere in Scripture, is that the people of God naturally respond to God in praise for his great acts of deliverance. Few will match the powerful acts that were exhibited in Egypt, but these nonetheless set the tone. The song is certainly typological of the song of the saints in heaven who praise God for delivering them from the bondage of this world by judging the world. The focus of the praise, though, still is on the person (attributes) and works of God.

[15:2]  ⁴ tn Heb “Yah.” Moses’ poem here uses a short form of the name Yahweh, traditionally rendered in English by “the LORD.”

[15:2]  ⁵ tn The word וְזִמְרָת (vÿzimrat) is problematic. It probably had a suffix yod (י) that was accidentally dropped because of the yod (י) on the divine name following. Most scholars posit another meaning for the word. A meaning of “power” fits the line fairly well, forming a hendiadys with strength – “strength and power” becoming “strong power.” Similar lines are in Isa 12:2 and Ps 118:14. Others suggest “protection” or “glory.” However, there is nothing substantially wrong with “my song” in the line – only that it would be a nicer match if it had something to do with strength.

[15:2]  ⁶ tn The word נָוָה (navah) occurs only here. It may mean “beautify, adorn” with praises (see BDB 627 s.v.). See also M. Dahood, “Exodus 15:2: ‘anwehu and Ugaritic snwt,” Bib 59 (1979): 260-61; and M. Klein, “The Targumic Tosefta to Exodus 15:2,” JJS 26 (1975): 61-67; and S. B. Parker, “Exodus 15:2 Again,” VT 21 (1971): 373-79.

[19:1]  ⁷ tn Heb “delighted greatly in David.”

[68:25]  ⁸ tn Heb “after [are] the stringed instrument players.”

[68:25]  ⁹ sn To celebrate a military victory, women would play tambourines (see Exod 15:20; Judg 11:34; 1 Sam 18:6).

[2:8]  ¹⁰ tn The term סְגֻלָּה (sÿgullah) denotes “personal property” (HALOT 742 s.v. סְגֻלָּה 1) or “valued property, personal treasure” (BDB 688 s.v. סְגֻלָּה 2). Elsewhere, it refers to a king’s silver and gold (1 Chr 27:3). It is related to Akkadian sug/kullu “flock” (AHw 2:1053-54) and sikiltu “private property [belonging to the king]” (AHw 2:1041). The term refers to the personal, private and valued possessions of kings, which do not pass into the hands of the state.

[2:8]  ¹¹ tn Heb “of kings and provinces.” This personal treasure was taken as tribute from other kings and governors. See T. Longman III, Ecclesiastes (NICOT), 92.

[2:8]  ¹² tn Heb “and sensual delights of the sons of man.” The noun תַּעֲנוּג (ta’anug) has a three-fold range of meanings: (1) “luxury; comfort” (Mic 2:9; Prov 19:10; Sir 6:28; 11:27; 14:16; 37:29; 41:1); (2) “pleasure; delight” of sexual love (Song 7:7); and (3) “daintiness; feminine” (Mic 1:16); see HALOT 1769 s.v. תַּעֲנוּג; BDB 772 s.v. תַּעֲנוּג. The related adjective עָנֹג (’anog, “pampered; dainty”) is used to describe a pampered woman (Deut 28:56), to personify Babylon as a delicate woman (Isa 47:1), and to ridicule delicate men (Deut 28:54); see HALOT 851 s.v. עָֹנֹג; BDB 772 עָנֹג. It is related to the noun עֹנֶג (’oneg, “pleasure; exquisite delight; daintiness”; see HALOT 851 s.v. עֹנֶג; BDB 772 s.v. עֹנֶג) and the verb עָנֹג which means “to be soft; to be delicate” and “pleasurable” (Pual) and “to pamper oneself” and “to take delight or pleasure in” (HALOT 851 s.v. ענג; BDB 772 s.v. עָנֹג). The root ענג is paralleled with רֹךְ (rokh, Deut 28:56), רַךְ (rakh, Deut 28:54), and רַכָּה (rakkah, Deut 28:56) with the meanings “delicate; soft; tender; weak; coddled; pampered.” The context of Eccl 2:4-11 suggests that it denotes either “luxury” as in “the luxuries of commoners” (NJPS) or “pleasure; delight” as in “the delights of men” (KJV, NASB, NIV). Part of the difficulty in determining the meaning of this term is caused by the ambiguity in meaning of its referent, namely, the appositional phrase שִׁדָּה וְשִׁדּוֹת (shiddah vÿshiddot), the meaning of which is uncertain (see the note on the phrase “a harem of beautiful concubines” at the end of this verse).

[2:8]  ¹³ tn The meaning of the superlative construction שִׁדָּה וְשִׁדּוֹת (shiddah vÿshiddot) is uncertain because the term שִׁדָּה (shiddah) occurs only here in the OT. There are four basic approaches to the phrase: (1) Most scholars suggest that it refers to a royal harem and that it is in apposition to “the sensual delights of man” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם, vÿta’anugot bÿne ha’adam). There are four variations of this approach: (a) There is a possible connection to the Ugaritic sht “mistress, lady” and the Arabic sitt “lady” (HALOT 1420 s.v. שִׁדָּה). (b) German scholars relate it to Assyrian sadadu “love” (Delitzsch, Konig, Wildeboer, Siegfried); however, BDB questions this connection (BDB 994 s.v. שׁדה). (c) Ibn Ezra relates it to II שַׁד (shad) “plunder; spoil” or שׁדה “[women] taken by violence,” and suggests that it refers to the occupants of the royal harem. (d) BDB connects it to the Hebrew noun I שַׁד (shad, “breast”; e.g., Isa 28:9; Ezek 16:7; 23:3, 21, 34; Hos 2:4; 9:14; Song 1:13; 4:5; 7:4, 8, 9; 8:1, 8, 10; Job 3:12) adding that שׁדה is related to the cognate Arabic and Aramaic roots meaning “breast” (BDB 994 s.v.). This would be a synecdoche of part (i.e., breast) for the whole (i.e., woman), similar to the idiom “one womb, two wombs” (רַחַם רַחֲמָתַיִם, rakham rakhamatayim) where “womb” = woman (Judg 5:30). This is the approach taken by most English versions: “many concubines” (NASB, RSV, NRSV), “a wife and wives” (YLT), “mistresses galore” (MLB), “many a mistress” (Moffatt), and “a harem” (NIV). This is the approach suggested by the Hebrew Old Testament Text Project: “une femme et des femmes” = one or two women (e.g., Judg 5:30); see D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:566. (2) The NJPS connects it to the Mishnaic Hebrew noun שִׁדָּה which became שִׁידָּה (“a strong box, chest”; Jastrow 1558 s.v. שִׁידָּה) and renders the phrase “coffers and coffers of them” in apposition to the phrase “the luxuries of commoners” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (3) KJV and ASV take the phrase in apposition to “male and female singers” and translate it as “musical instruments.” However, there is no known Hebrew term that would justify this approach. (4) The LXX related the term to the Aramaic root שׁדא (“to pour out [wine]”) and rendered the phrase as οἰνοχόον καὶ οἰνοχόας (oinocoon kai oinocoas), “a male-butler and female cupbearers.” Aquila took a similar approach: κυλίκιον καὶ κυλίκια (kulikion kai kulikia), “wine cups and wine vessels.” This is reflected in the Vulgate and Douay: “cups and vessels to serve to pour out wine.” Although the semantic meaning of the term שִׁדָּה וְשִׁדּוֹת (“a breast of breasts”) is uncertain, the grammatical/syntactical form of the phrase is straightforward: (1) It is in apposition to the preceding line, “the delights of the son of men” (וְתַעֲנוּגֹת בְּנֵי הָאָדָם). (2) The phrase is a superlative construction. When the second word is plural and it follows a noun from the same root which is singular, it indicates the best or most outstanding example of the person or thing so described. In addition to the Judg 5:30 parallel cited above, see the expression “a generation, generations” in Pss 72:5; 102:25; Isa 51:8. Unlike, Eccl 2:8, this juxtapositioning of the singular and plural to express the superlative usually involves a construct form. See קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “the holy of holies,” i.e., the most holy place”; Exod 26:33), שִׁיר הַשִּׁירִים (shir hashirim, “the song of songs,” i.e., “the most excellent song”; Song 1:1), אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֲדֹנִים (’elohe ha’elohim va’adone ha’adonim, “the God of gods and Lord of lords,” i.e., “the Highest God and the Supreme Lord”; Deut 10:17), and עֶבֶד עֲבָדִים (’eved ’avadim, “a slave of slaves,” i.e., “the most abject slave”; Gen 9:25). See GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j. If the semantic meaning of the terms שִׁדָּה וְשִׁדּוֹת denotes “a breast (among) breasts” or “a lady (among) ladies” (Eccl 2:8, but see the previous note on the phrase “a man’s sensual delights”), the superlative construction may connote “the most beautiful breasts” (metonymy of part for the whole) or “the most beautiful woman.” This might refer to a harem of concubines or to one woman (the wife of the king?) who was the most beautiful woman in the land.

[2:8]  sn Concubines were slave women in ancient Near Eastern societies who were the legal property of their master, but who could have legitimate sexual relations with their master. A concubine’s status was more elevated than a mere servant, but she was not free and did not have the legal rights of a free wife. The children of a concubine could, in some instances, become equal heirs with the children of the free wife. After the period of the Judges concubines may have become more of a royal prerogative (2 Sam 21:10-14; 1 Kgs 11:3).

[9:17]  ¹⁴ tn Heb “Yahweh of armies.”

[9:17]  sn For the significance of this title see the notes at 2:19 and 7:3.

[9:17]  ¹⁵ tn Heb “Thus says Yahweh of armies.” However, without some addition it is not clear to whom the command is addressed. The words are supplied in the translation for clarity and to help resolve a rather confusing issue of who is speaking throughout vv. 16-21. As has been evident throughout the translation, the speaker is not always indicated. Sometimes it is not even clear who the speaker is. In general the translation and the notes have reflected the general consensus in identifying who it is. Here, however, there is a good deal of confusion about who is speaking in vv. 18, 20-21. The Greek translation has the Lord speaking throughout with second plural pronouns in vv. 18, 21 and the absence of the first line in v. 22. It would be hard to explain how the MT arose if it were the original text. Critical commentators such as J. Bright, W. Holladay, and W. McKane resolve the issue by dropping out the introductory formula in v. 17 and the first line of v. 22 and assigning the whole lament to Jeremiah. It seems obvious from the first plural pronouns and the content of v. 18 (and probably v. 21 as well) and the fact that the Lord is referred to in other than the first person in v. 20 that he is not the speaker of those verses. I have attempted to resolve the issue by having Jeremiah report the Lord’s command in v. 17 and have the rest of the speech be essentially that of Jeremiah. It should be admitted, however, that the issue is far from resolved. Most English versions simply ignore the problem. The GNB (= TEV) is a rare exception.

[9:17]  ¹⁶ tn Heb “Consider!”

[9:17]  ¹⁷ tn Heb “Call for the mourning women that they may come and send for the wise/skilled women that they may come.” The verbs here are masculine plural, addressed to the people.

[9:18]  ¹⁸ tn The words “And I said, ‘Indeed” are not in the text. They have been supplied in the translation to try and help clarify who the speaker is who identifies with the lament of the people.