Hebrew poetry in the bible a guide for u

Hebrew Poetry in the Bible Helps for Translators UBS Handbook Series: A Handbook on Genesis Exodus Leviticus The Book of Joshua The Book of Ruth The Book of Esther The Book of Job Psalms Ecclesiastes Song of Songs Lamentations The Book of Daniel The Book of Amos The Books of Obadiah, Jonah, and Micah The Books of Nahum, Habakkuk, and Zephaniah The Gospel of Matthew The Gospel of Mark The Gospel of Luke The Gospel of John The Acts of the Apostles Paul’s Letter to the Romans Technical Helps: Bible Index Fauna and Flora of the Bible Greek-English Lexicon of the New Testament Hebrew Poetry in the Bible Marginal Notes for the Old Testament Marginal Notes for the New Testament Paul’s First Letter to the Corinthians Paul’s Second Letter to the Corinthians Paul’s Letter to the Galatians Paul’s Letter to the Ephesians Paul’s Letter to the Philippians Paul’s Letters to the Colossians and to Philemon Paul’s Letters to the Thessalonians Paul’s Letters to Timothy and to Titus The Letter to the Hebrews The Letter from James The First Letter from Peter The Letter from Jude and the Second Letter from Peter The Letters of John The Revelation to John New Testament Index Old Testament Quotations in the New Testament The Practice of Translating Short Bible Reference System The Theory and Practice of Translation Helps for Translators Hebrew Poetry in the Bible A Guide for Understanding Translating by Lynell Zogbo and Ernst R Wendland UBS Helps for Translators Series and for New York © 2000 by the United Bible Societies All Rights Reserved No part of this book may be translated or reproduced in any form without the written permission of the United Bible Societies Unless otherwise indicated, quotations of biblical texts are from the Revised Standard Version of the Bible, copyright 1946, 1952, 1971, by the Division of Christian Education of the National Council of the Churches of Christ in the U S A., and used by permission All rights reserved Quotations from Today’s English Version, © 1966, 1971, 1976, 1992 are used by permission of the copyright owner, the American Bible Society Books in the series of UBS Helps for Translators may be ordered from a national Bible Society or from either of the following centers: United Bible Societies European Production Fund P.O Box 81 03 40 D-70520 Stuttgart Germany United Bible Societies 1865 Broadway New York, NY 10023 U S A L C Cataloging-in-Publication Data ISBN 0-8267-0037-3 ABS-?/??-???-Q-1-106535 Contents CONTENTS CONTENTS CONTENTS Preface One of our colleagues has written a book in French with a captivating title: Traduire sans trahir (‘‘Translating without betraying’’) The title is challenging Many people indeed wonder whether faithful translation is possible How often we hear the phrase ‘‘Something is lost in the translation’’? Probably the ultimate challenge for the Bible translator is translating poetry The task is not small, since nearly one third of the Old Testament is in some kind of poetic form To complicate matters, many translators cannot read this poetry in Hebrew, the language in which it was written If they can read Hebrew, they may lack the skills necessary to adapt these poems into real poems in their own language Indeed, in many parts of the world, much of Old Testament poetry has been translated like any other portion of Scripture Some translators have arranged their translation into lines to give the impression of poetry, but this does not ensure that the beauty of the Hebrew forms is expressed This book is meant as a practical guide for the translator with limited or no background in Hebrew Its main purpose is to convince translators that, in certain contexts, rendering biblical poetry as poetry in their own language is a worthy goal It suggests ways translators can compare the stylistic techniques of the Hebrew text with those in their own language In this way they can try to create the same poetic effect in their translations It points out typical problems that Old Testament translators face and suggests ways to set out the text that will help the reader We are grateful to many colleagues who have shown interest in this book, especially Randy Buth, who provided an initial outline and several examples for chapter 3, and Jan Sterk, whose writings on the subject provided an important impetus Special thanks go to Loren Bliese, Louis Dorn, Ted Hope, and Giles Williams for providing case studies of poetic transfer in various languages (see Appendix) We also wish to thank Bob Bascom, Loren Bliese, Margaret Bohoussou, Reinier De Blois, Eric Hermanson, Phil Noss, Don Slager, and Timothy Wilt for their helpful comments on various drafts We thank Edesio SánchezCetina for providing examples in Spanish, and Elisabeth Gbongue for help with typing We want to express our deep gratitude to all our poet-translator friends on the African continent who have taught us so much When not otherwise cited, all Scriptural references in English are from the Revised Standard Version Any translations from French were done by L Zogbo Where quoted material contains words in bold type or in italics, these words have been highlighted by the authors of this book and are not bold type or italics in the original passage quoted GLOSSARY INDEPENDENT CLAUSE INDIRECT SPEECH See CLAUSE See DIRECT DISCOURSE occurs when a person says one thing but means another, often for the purpose of criticism, rebuke, or instruction When Job says to his friend, ‘‘How you have helped him who has no power!’’ he is using IRONY He means ‘‘You have not helped at all!’’ IRONY in a poem are those questions that are asked and then answered by the speaker or writer This literary device often begins a new discourse unit In Psa 24.3, for example, the psalmist asks ‘‘Who shall ascend the hill of the LORD?’’ and then answers the question: ‘‘He who has clean hands and a pure heart ’’ See also RHETORICAL QUESTION LEADING QUESTIONS LINGUISTIC refers to language, especially the formal structure of language refers to the ordinary or primary meaning of a word, phrase, or clause For example, the LITERAL meaning of ‘‘my cup overflows’’ is that liquid is streaming over the top of the speaker's cup The FIGURATIVE meaning is that the person is happy or satisfied A LITERAL TRANSLATION follows the SOURCE text very closely, trying to imitate the order of words or sentences, and translating expressions word-for-word Such translations are frequently unnatural, meaningless, or even incorrect LITERAL refers to a particular use of words or of language by an author to achieve special effects or to conform to a particular style This includes, for example, figures of speech, repetition, wordplays, and rhetorical or leading questions See also STYLE LITERARY DEVICE refers to liturgy, or public worship, including songs, prayers, responses, and so forth LITURGICAL language is often traditional or oldfashioned LITURGICAL MANUSCRIPTS are books, documents, or letters SCRIBE is one who copies a manuscript written or copied by hand A (MARKING) are features of words or of a discourse that signal some special meaning or some particular structure For example, words for speaking may mark the onset of direct discourse, a phrase such as ‘‘Once upon a time’’ may mark the beginning of a fairy story, and various types of parallelism are the dominant markers of biblical poetry MARKERS is a grammatical category usually referring to the male GENDER In some languages nouns, pronouns, and affixes may be MASCULINE or FEMININE However, sometimes words that seem unrelated to the male gender appear in this category For example, in Hebrew the word for ‘‘mountain’’ is masculine MASCULINE is the traditional written text of the Hebrew Old Testament established by Hebrew scholars during the eighth and ninth centuries A.D MASORETIC TEXT GLOSSARY is likening one object, event, or state (the ‘‘topic’’) to another (the ‘‘image’’) to which it is not directly or closely related in meaning For example, when a person says ‘‘I am a worm,’’ he is describing his state as being lowly, miserable, or of no value Biblical metaphors are often difficult to understand because the basis for the comparison is not always stated, as in the line ‘‘The LORD is my rock’’ (Psa 18.1) At other times either the image or the basis of comparison is unfamiliar or used differently in the receptor language For example, when the psalmist says ‘‘He remembers that we are dust’’ (103.14), he is not referring to the dirt or dust on our bodies Metaphors are the most commonly used figures of speech and are often so subtle that a speaker or writer is not conscious of the fact that he or she is using figurative language See SIMILE METAPHOR refers to a special rhythm in a verse, usually determined by the number of stressed syllables or accented words in a given line In Hebrew poetry the most common form is three accents per poetic line (COLON.) METER is to directly affect the meaning of another part of the sentence, as when an adjective modifies a noun or an adverb modifies a verb MOOD defines frame of mind or psychological background of an action or event, and involves such categories as possibility, necessity, and desire Some languages (for example, Greek) use specific verb forms to express mood MODIFY NOMINAL refers to nouns or noun-like words See NOUN NONFIGURATIVE involves the See FIGURE, FIGURATIVE NOUN use of words in their literal or ordinary sense is a word that names a person, place, thing, quality, action or idea ONOMATOPOEIA (ONOMATOPOEIC) is the use of words or series of words that cause one to think of the sounds that they refer to; for example, ‘‘swishing,’’ ‘‘bang!’’ or ‘‘the buzzing of bees.’’ is the way in which part of the meanings of two words cover the same general area of meaning, although the remainder of the meanings covered by the two words is not the same For example, ‘‘love’’ and ‘‘like’’ overlap in referring to human affection OVERLAPPING is a distinct unit of prose discourse that usually deals with a single topic or theme A PARAGRAPH is made up of SENTENCES PARAGRAPH refers to two or more poetic lines (COLA) that are alike in some way and need to be interpreted together They may be related in sound, meaning, or grammatical structure (or all three) In the following lines from Eccl 3.4, the lines are PARALLEL in meaning and structure In Hebrew, there are also similarities in sound: a time to weep and a time to laugh a time to mourn and a time to dance PARALLELISM GLOSSARY is a verbal adjective, that is, a word that retains some of the characteristics of a verb while functioning as an adjective In the phrase ‘‘land flowing with milk and honey,’’ ‘‘flowing’’ is a participle Participles are very common in Hebrew PARTICIPLE is a small word whose grammatical form does not change and which has a particular function In English the most common particles are prepositions and conjunctions, such as ‘‘with,’’ ‘‘into,’’ or ‘‘and.’’ PARTICLE PERSON, as a grammatical term, refers to the speaker, the person spoken to, or the person or thing spoken about FIRST PERSON is the person(s) speaking (such as ‘‘I,’’ ‘‘me,’’ ‘‘my,’’ ‘‘mine,’’ ‘‘we,’’ ‘‘us,’’ ‘‘our,’’ or ‘‘ours’’) SECOND PERSON is the person(s) or thing(s) spoken to (such as ‘‘thou,’’ ‘‘thee,’’ ‘‘thy,’’ ‘‘thine,’’ ‘‘ye,’’ ‘‘you,’’ ‘‘your,’’ or ‘‘yours’’) THIRD PERSON is the person(s) or thing(s) spoken about (such as ‘‘he,’’ ‘‘she,’’ ‘‘it,’’ ‘‘his,’’ ‘‘her,’’ ‘‘them,’’ or ‘‘their’’) The examples given here are all pronouns, but in many languages the verb forms have affixes that mark first, second, or third person and also indicate whether they are SINGULAR or PLURAL is a reference to an inanimate object or an abstract idea in terms that give it a personal or a human nature This figure of speech often emphasizes or highlights an idea In ‘‘Wisdom is calling out,’’ ‘‘wisdom’’ is referred to as if it were a person PERSONIFICATION is a dependent grammatical construction of two or more words, but less than a complete clause or a sentence A phrase is usually given a name according to its function in a sentence, such as that of a ‘‘noun phrase,’’ ‘‘verb phrase,’’ or ‘‘prepositional phrase.’’ For example, ‘‘the boy in front’’ is a noun phrase, ‘‘in front of the house’’ is a prepositional phrase, and ‘‘carried a heavy load’’ is a verb phrase PHRASE PLAY ON WORDS PLURAL refers SINGULAR See WORDPLAY to the form of a word that indicates more than one See POETRY (POETIC) refers to a literary genre that differs from everyday speech and from PROSE because of its rhythmic and heightened style Poets use special language to create a mood or image to be shared with the hearer or reader Each language has special stylistic devices such as figurative language, word order variation, wordplay, repetition or rhyming that are especially frequent in POETRY (compare Judges and 5) The boundary between beautiful, artistic PROSE and POETRY is sometimes difficult to determine, but speakers of a language can usually distinguish poetry from ordinary speech POETRY is usually written or spoken in measured or balanced lines, while prose is not See PROSE POINT OF VIEW See VIEWPOINT is a word whose function is to indicate the relation of a noun or pronoun to another noun, pronoun, verb, or adjective within a clause Some English prepositions are ‘‘for,’’ ‘‘from,’’ ‘‘in,’’ ‘‘to,’’ and ‘‘with.’’ PREPOSITION GLOSSARY refers to PREPOSITIONS A prepositional phrase or expression is one governed by a preposition ‘‘For his benefit’’ and ‘‘to a certain city’’ are prepositional phrases PREPOSITIONAL PRONOMINAL refers to PRONOUNS are words that are used in place of nouns, such as ‘‘he,’’ ‘‘him,’’ ‘‘his,’’ ‘‘she,’’ ‘‘we,’’ ‘‘them,’’ ‘‘who,’’ ‘‘which,’’ ‘‘this,’’ or ‘‘these.’’ PRONOUNS is the ordinary form of spoken or written language, without a special style and structure such as elaborate imagery, meter, and rhythm that are often characteristic of POETRY However, literary PROSE may share some of the features of poetry such as figures of speech, wordplay, repetition, or even parallelism PROSE READ, READING, refers to a particular interpretation of a written text Sometimes differences in versions or the uncertainty of the writing system make the interpretation of a text uncertain For example, in Sam 1.24 the Hebrew text says ‘‘three bulls,’’ but the Greek and Syriac versions say ‘‘a three-year-old bull.’’ These are different READINGS See also TEXT, TEXTUAL are repeated lines or sets of lines which occur regularly throughout a song or poem They may occur every other line, at the end of a stanza, or at the end of another literary unit REFRAINS is a dependent clause that describes the person, place, or thing to which it refers In ‘‘those who hate me without cause,’’ the RELATIVE CLAUSE is ‘‘who hate me without cause.’’ RELATIVE CLAUSE means to translate or express in a language different from the original RENDERING is the manner in which a specific passage is translated from one language to another RENDER RESTRUCTURE See STRUCTURE is an assertion or exhortation that is put in the form of a question, but one which is not intended to ask for information Rhetorical questions are usually employed for emphasis and often express the mood, emotion, or attitude of the person asking them When the prophet says ‘‘Have you not known? Have you not heard?’’ (Isa 40.21), he really means ‘‘You surely know and you have been told!’’ See also LEADING QUESTION RHETORICAL QUESTION is a sound pattern in a poem, where the endings of two or more words match In the following lines from Joyce Kilmore, the words ‘‘see’’ and ‘‘tree’’ RHYME: I think that I shall never see A poem lovely as a tree RHYME may occur at the end of lines or in the middle of lines The latter is called INTERNAL RHYME Deliberate rhyming is not as common in Hebrew poetry as it is in English poems RHYME GLOSSARY is the regular pattern of accented syllables in an utterance, a sequence of utterances, or line of poetry In some forms of poetry each line will have the same number of stressed syllables or accents This creates a regular beat In the English example under RHYME, each line has four beats RHYTHM refers to the smallest element of a word, from which other words may be derived For example, ‘‘friend’’ is the root of ‘‘friendliness.’’ In Hebrew most roots are made up of three consonants, and many words are formed on the basis of this root For example, the root b-r-k is the basis for the noun ‘‘blessing,’’ the adjective ‘‘blessed,’’ and the verb ‘‘to bless.’’ ROOT is a strong form of irony SARCASTIC comments are always negative and intended to ridicule or reprove the person or subject to which they are directed For example,‘‘Some king you are!’’ really means ‘‘You are a worthless king!’’ SARCASM, like irony, is often marked by special intonation, but in written form SARCASM must be recognized from the context SARCASM SCRIBE See MANUSCRIPT SECOND PERSON See PERSON refers to meaning SEMANTICS is the study of the meaning of any element of discourse, oral or written SEMANTIC is a grammatical construction composed of one or more clauses and capable of standing alone SENTENCES that have the same topic or theme combine to form a PARAGRAPH SENTENCE is a Greek translation of the Hebrew Old Testament This translation was completed about 200 years before the birth of Christ and was the Scripture used by many New Testament writers It is often abbreviated as LXX SEPTUAGINT (pronounced SIM-i-lee) is a FIGURE OF SPEECH that describes one event or object (the ‘‘topic’’) by comparing it to another event or object (the ‘‘image’’) SIMILES always use words of comparison such as ‘‘like’’ or ‘‘as.’’ ‘‘Your lips [the topic] are like a scarlet thread [the image]’’ is a SIMILE from Song of Songs 4.3 Similes differ from metaphors in that metaphors not mark the image with words that indicate comparison See METAPHOR SIMILE refers to the form of a word that indicates one thing or person, in contrast to PLURAL, which indicates more than one See PLURAL SINGULAR LANGUAGE is the language in which an original message is produced For the Old Testament the SOURCE TEXT is in Hebrew, while for the New Testament it is in Greek SOURCE SPECIFIC refers to the opposite of GENERAL, GENERIC See GENERIC STAIRSTEP PARALLELISM is a type of parallel poetic structure where one part of the first line is repeated in the second line, while something new GLOSSARY replaces another part of the first line Thus the poem moves upward one step as it focuses on some significant added information Psa 29.1 is a case of STAIRSTEP PARALLELISM: Ascribe to the Lord, O heavenly beings, Ascribe to the Lord glory and strength are major divisions in a poem In written poems an empty line is normally used to mark the division between STANZAS A pause longer than usual performs a similar function in the case of oral poetry STANZAS refers to a set of poetic lines which are grouped together by some common theme or pattern STROPHES may combine together to form larger poetic units, which are called STANZAS STROPHES in poetry correspond to PARAGRAPHS in prose STROPHE is the systematic arrangement of the elements of language, including the ways in which words combine into phrases, phrases into clauses, clauses into sentences, and sentences into larger discourse units To separate and rearrange the various components of a sentence or some other unit of discourse in the translation process is to RESTRUCTURE it STRUCTURE is the form or manner in which the content of a discourse is expressed Each language has its own set of STYLISTIC devices that make a text pleasing to the reader or hearer For example, in Hebrew, repetition is much appreciated, while in English, repetition is often avoided by the use of synonyms Authors or storytellers may also have their own individual STYLE STYLE is one of the two major divisions of a clause, the other being the predicate In ‘‘The small boy walked to school,’’ ‘‘The small boy’’ is the subject Typically the subject is a noun phrase SUBJECT means that two or more words, phrases, or clauses are similar in meaning ‘‘Happy’’ and ‘‘content’’ are SYNONYMS in English SYNONYMOUS PARALLELISM refers to two lines that mean nearly the same thing, as seen in the example from Psa 62.10a: Put no confidence in extortion, set no vain hopes on robbery SYNONYMOUS refers to syntax, which is the arrangement of and relationship between words, phrases, clauses, sentences, and larger units of discourse SYNTACTIC refers to a set of parallel lines in which the second line completes or builds upon the meaning of the first one Each line has a separate sense, but the two lines together form a unit of meaning, as seen in Psa 79.10: Why should the nations say, ‘‘Where is their God?’’ This type of parallelism differs from both SYNONYMOUS and ANTITHETIC PARALLELISM SYNTHETIC PARALLELISM GLOSSARY TARGET (or RECEPTOR) LANGUAGE refers to the language into which the SOURCE TEXT is being translated In the case of Today’s English Version, the TARGET LANGUAGE is English TARGET CULTURE refers to the cultural CONTEXT or life-setting of the people who speak the TARGET LANGUAGE TEXT, TEXTUAL, refers to the various Greek, Aramaic, and Hebrew manuscripts of the Scriptures TEXTUAL PROBLEMS arise when it is difficult to reconcile or to account for conflicting forms of the same text in two or more manuscripts See also MANUSCRIPTS is the central idea or main point of a discourse For example, we can say that ‘‘purification from sin’’ is the major THEME in Psalm 51 THEME THIRD PERSON See PERSON is the psychological attitude, character, or emotional effect of a passage or discourse TONE refers to a language that distinguishes words by their pitch structure In many languages words with the same consonants and vowels may have different meanings, depending on their pitch For example, in one language the word su with a high TONE means ‘‘push,’’ with a mid TONE means ‘‘tree,’’ and with a low TONE means ‘‘to be hot.’’ TONE LANGUAGE is the transfer of a message from a SOURCE LANGUAGE text into another language, the RECEPTOR LANGUAGE A good translation aims at giving the closest natural equivalent in the TARGET LANGUAGE in terms of meaning (content and function) and, if possible, also form (style and structure) TRANSLATION is to represent in the TARGET LANGUAGE the approximate or letters of words occurring in the SOURCE LANGUAGE TRANSLITERATING is different from TRANSLATING For example,‘‘Amen’’ in Hebrew may be TRANSLITERATED in one language as ‘‘amin,’’ or it may be TRANSLATED as ‘‘so be it.’’ TRANSLITERATE sounds are a grammatical class of words that express existence, action, state, or occurrence, such as ‘‘be,’’ ‘‘run,’’ ‘‘become,’’ or ‘‘think.’’ In some languages ideas expressed by adjectives in English may be better expressed by verbs; for example, ‘‘to be hot’’ or ‘‘to be angry.’’ VERBAL refers to words being used in oral or written communication It may also describe a word that is like a VERB VERBS are different translations of the same SOURCE LANGUAGE document Some ancient VERSIONS of the Bible include the Greek Septuagint, the Syriac, and the Ethiopic versions Modern VERSIONS in English include the Revised Standard Version and Today’s English Version VERSIONS VIEWPOINT (POINT OF VIEW) is the location or situation or circumstance from which a speaker or writer presents a message If, for example, the VIEWPOINT PLACE is the top of a hill, movement in the area will be described differently from the way one would describe it from the bottom GLOSSARY of a hill If the VIEWPOINT PERSON is a priest, he will speak of the temple in a way that differs from that of a common person describes a word or phrase used to address a person or group in direct speech In ‘‘Save me, O God’’ (Psa 54.1), ‘‘O God’’ is a VOCATIVE Some languages have a special grammatical form to show that a word is used in this way VOCATIVE are speech sounds of the vocal cords, produced by unobstructed air passing from the lungs though the mouth The written letters representing those sounds are also called VOWELS; for example, ‘‘a,’’ ‘‘i,’’ or ‘‘u,’’ which are the most common vowels found in the world’s languages In Hebrew VOWELS were originally not written, but they were added later as small marks written under or above the consonants See also CONSONANTS VOWELS WORDPLAYS, or PLAYS ON WORDS, are constructions that highlight the similarity in sound between two words In the Bible they are used to draw attention to a certain point or to create a special effect For example, in Hebrew the name ‘‘Isaac’’ sounds like the word ‘‘laughs.’’ This PLAY ON WORDS reminds the reader that his mother Sarah laughed when she was told that she, an old woman, would have a son Bible References BIBLE REFERENCES Genesis 2.23 11, 72, 87, 146, 205 2.23-25 3.1 41 3.14-19 9, 146 4.15 .72 4.23, 24 .146 4.23-24 9, 205 4.24 .11 Exodus 14.1-5 14.10 .3 14.10, 21-22 14.2 14.22, 29 14.23,26 14.23-25 14.26-29 14.30 .3 14.30-31 14.31 .4 15 61, 146 15.1-12 4, 15.1-18 11 15.21 .11 Deuteronomy 3.8-9 112 6.13 .172 6.14-15 172 32 13 32.15 .53 Judges 13, 61, 146 5.2-31 11 5.22 .37 14.14 .13, 202 Ruth 1.16-17 146 9–10 .14 9.8 20 9.9 22, 82 9.13-14 126 10 61 10.1 47, 90 12.2 .213 13 51, 61 14.1 .22 14.7b 213 15.1 .92 15.1-3 48 16.5 .59 16.9-10 113 18 13, 14, 51 18.2 .42 Samuel 18.7 .25 25.25 .87 Samuel 14 1.19-27 13, 61, 63 22.9 .20 Chronicles 16 12 Job 75 3.3 .112 3.3–42.6 75 10.16 .39 21 89 26.2-3 49 27.8,9 89 30.1 .89 38.4 .49 40.10 .83 Psalms 15, 140, 144, 151, 206 1.2-3 43 1.3 88 1.4 85 1.6 30, 215 14, 61, 166 2.2 .215 2.4 44 3.7 27 5.10b 212 5.11 .215 61 6.3 47 6.6 49 7.3-5 13 14, 33, 83, 146 8.4 89 18.26-30 51 18.27 114 18.28 .28 18.31 .28 18.7 .216 19 14 19.1-6 14 19.10 103 19.2 .104 19.7-14 15, 51 20 14 21 14 21.12 .27 22.1 47, 89 22.6 .42 23 .46, 50, 51, 131, 185, 207 BIBLE REFERENCES 23.1 .42, 187 24 12 25 15 25.3 .114 26 34 26.1 .34 26.11-12 34 26.4 .31 27.1 .47 27.14 .33 28.3-5 117 29 12 30 13, 14 30.1-5 55 30.5 .21 31 51 31.22 .25 32 13, 14 34 14 34.1 .23 35 14 38.21 .28 40.1-12 14 42 13 42.1 .26 43 15 44.19 .46 44–45 .13 45 .12-15, 61 45.7 .46 66.5,8 57 67 13 68.31 .45 69 14 70.1 .108 72 14 72.4 .214 74.1, 10-11 47 76.1 .23 76–77 .13 77.7-10 47 78 13, 72 79.11 .24 80.1 .119 81 15 81–82 .12 82.8 .24 83 14 84.4 .216 84.8 .30 84.8-12 115 85.1 .45 85.10-11 44 85.3 .101 46 13 46.8-11 52 46.9 .46 47 13 47.6 .78 47.7 .13 48 12, 13 49.9 .46 50.12-13 50 50.22-23 52, 133 51 14 51.5 .122 52.3 .44 52.5 .43 52.8 43, 46 52–55 .13 53.3 .20 54.1-3 115 55 12 55.10 104 56 15 56.12-13 113 57.3,4 57 57.4 .46 60.3 .27 63.11 .45 63.8 .45 64–65 .13 65–68 .13 66.1,2,5,8,16,20 55 87.2 .46 87–88 .13 88 13 89 13 91.7 .49 91.9-10 215 92 14, 216 92.1 .35 92.2-4 213 92–94 .12 94.11 .22 94.9 .47 96.1 .45 96.11 .22 98.1 .44 99.5 .129 100 14 101 14 102.11 59 103 34 103.11-14 29 103.12 26 104 14 105 72 BIBLE REFERENCES 105.5-6 109 105.6 .25, 160 106 72 107 14 107.6 .24 108 13, 14 108.3-4 105 109 14 110 14 115.5-6 88 116 14 116.2 .24 118 14, 15 118.2-4 33 118.8-9 116 118.10-12 33 119 15, 57 119.1 125 119.1-5 57 119.97 26 120 61 120–134 12, 13 147–150 83 147.7 213 147.12 45 148 14 150 50 Proverbs 1.1-6 204 1.7 .204 1.8 25, 106 1.8-19 204 3.6 24 3.10 .155 3.15 .123 6.16 .25 7.1-27 15 10 204 10.1 .22 12.22 .45 13.20 .15 14 15 14.11 .46 18.14 .25 19.21 .71, 103 23.29-35 15 23.34 111 26.1 .102 26.7 .36 27.8 .36 29.11 .21 31 15 Ecclesiastes 1.2 33, 147 121 48, 53, 54 121.1-2 29 121.2 .26 121.6 .22 122.9 215 124 14 126.1-2 121 129 14 130.5-6 135 83 135.10 214 136 15, 32, 85, 216 136.1-3 118 136.3 120 136.10-15 118 137 12 139.8 .23 139.10 24 143 14 144.12 25, 106 145–150 61 145.18 22 1.3 48 1.4-11 37, 145 2.4-6 145 50 3.1 31 3.1-4 36 3.1-8 145 3.2-8 31, 32 3.3 79 3.4 31 3.8 31 4.1 .145 5.1-3 145 5.3 .113 147 6.11-12 148 6.12 .147 15, 147 7.1-2 148 7.1-3 147 7.1-8 71, 145 7.4 26 10.8, 9, 11 145 11.3 .24 12 43 12.1-8 145 12.8 .33, 147 12.14 104 Song of Songs 1.1 37, 133 1.4 66 1.13 .122 BIBLE REFERENCES 1.13,14 123 1.14 .125 1.15 .128 2.3,13 123 2.7 33, 54 3.1 54 3.5 33, 54 3.6 54 3.6-11 12 3.9-11 157 3.10 .159 3.11 .55 4.1 55 4.8 66, 112 8.11-12 50 Isaiah 1.10 23, 28 1.18 24, 42 1.3 21, 28, 120 1.3a .21 1.3b .20 1.4-8 60 1.6 .112 1.7 24, 27 2.3 .105, 110 40 5.1-5 15 5.1-7 16, 180 5.7 40 5.18 .130 6.3 38 6.10 .30 7.14 .171, 174 10.14 .37 14 16 24.1-23 16 28.1-5 126 29.8 .42 29.14 168 37.22-29 16 40.3 .157 42.1 .166 44.8 .25 44.8b .20 45.20-21 16 48.12 109 48.14 108 51.9 .55 51.12-16 16 51.17 .46 52.1 .55 54.7 .59 54.9 .56 55.1 .56 4.12-15 124 5.1 38 5.2-6 67 5.8 33 5.9 48 5.10 .55 5.10-16 48 5.16 .55 6.4-10 51 6.13 .55 7.6-8 53 7.11 .66 8.4 33, 54 8.8-10 50 62 15 63.7-14 16 66.1 .129 Jeremiah 43, 130 8.12 .47 22.6 .56 46.10 .44 51.38-40 56 51.41 .57 Lamentations 1.4 44 2.1 .129 3.19-21 35 5.2 21, 39, 120 Hosea 1.9 .186 3.1 .187 Amos 1.2 23 5.18 .56 5.24 .105 6.1 56, 119 6.4 56 8.1-2 87 9.1b-4 74 9.2-4 58 9.4 .104 Micah 1.1-7 16 1,10-16 40 7.17 .129 Nahum 2.7 .129 3.12 .128 Habakkuk 16 3.3 .105 3.18 .28 Zechariah BIBLE REFERENCES 9.9 .171 Matthew 1.20 .171 1.22 .166 1.22-23 170 2.17 .166 1.2-3 170 1.3 .157 1.11 .166 14.26 .12 Acts 2.19-20 167 2.25 .166 Romans 3.10 .167 9.25 .166 14.11 167 15.9 .167 15.21 173 Corinthians 2.18 .169 4.10 .172 21.5 .171 21.7 .171 Mark 1.2 .166 1.19 .168, 169 5.5 .167 Galatians 4.27 .167 Thessalonians 5.2 .167 Peter 2.22b 203 Hebrews 2.6 .167 Revelation 16.14 167 PRINTED IN THE UNITED STATES OF AMERICA