Kejadian 24:29

24:29 (Now Rebekah had a brother named Laban.) ¹  Laban rushed out to meet the man at the spring.

Kejadian 24:58

24:58 So they called Rebekah and asked her, “Do you want ²  to go with this man?” She replied, “I want to go.”

Kejadian 26:13

26:13 The man became wealthy. ³  His influence continued to grow ⁴  until he became very prominent.

Kejadian 30:43

30:43 In this way Jacob ⁵  became extremely prosperous. He owned ⁶  large flocks, male and female servants, camels, and donkeys.

Kejadian 37:15

37:15 When Joseph reached Shechem, ⁷  a man found him wandering ⁸  in the field, so the man asked him, “What are you looking for?”

Kejadian 42:30

42:30 “The man, the lord of the land, spoke harshly to us and treated us ⁹  as if we were ¹⁰  spying on the land.

Kejadian 43:19

43:19 So they approached the man who was in charge of Joseph’s household and spoke to him at the entrance to the house.

[24:29]  ¹ tn The parenthetical disjunctive clause introduces the audience to Laban, who will eventually play an important role in the unfolding story.

[24:58]  ² tn The imperfect verbal form here has a modal nuance, expressing desire.

[26:13]  ³ tn Heb “great.” In this context the statement refers primarily to Isaac’s material wealth, although reputation and influence are included.

[26:13]  ⁴ tn Heb “and he went, going and becoming great.” The construction stresses that his growth in possessions and power continued steadily.

[30:43]  ⁵ tn Heb “the man”; Jacob’s name has been supplied in the translation for clarity.

[30:43]  ⁶ tn Heb “and there were to him.”

[37:15]  ⁷ tn Heb “and he [i.e., Joseph] went to Shechem.” The referent (Joseph) has been specified in the translation for clarity.

[37:15]  ⁸ tn Heb “and a man found him and look, he was wandering in the field.” By the use of וְהִנֵּה (vÿhinneh, “and look”), the narrator invites the reader to see the action through this unnamed man’s eyes.

[42:30]  ⁹ tn Heb “made us.”

[42:30]  ¹⁰ tn The words “if we were” have been supplied in the translation for stylistic reasons.