The Beloved to Her Lover:
2:15 Catch 1 the foxes 2 for us,
the little foxes, 3
that ruin the vineyards 4 –
for our vineyard is in bloom.
3:8 All of them are skilled with a sword, 5
well-trained in the art of warfare. 6
Each has his sword at his side,
to guard against the terrors of the night.
7:8 I want 7 to climb the palm tree, 8
and take hold of its fruit stalks.
May your breasts be like the clusters of grapes, 9
and may the fragrance of your breath be like apricots! 10
3:4 Scarcely 11 had I passed them by
when I found my beloved!
I held onto him 12 tightly and would not let him go 13
until I brought him to my mother’s house, 14
to the bedroom chamber 15 of the one who conceived me.
1 tn The imperative אֶחֱזוּ (’ekhezu, “catch”) is plural in form (Qal imperative 2nd person masculine plural from אָחַז, ’akhaz). Some commentators suggest that the woman is speaking to a large audience, perhaps the maidens of Jerusalem mentioned in 2:7. However, the Hebrew plural can function in an intensive sense when used in reference to a single individual (IBHS 122 §7.4.3a). As noted previously, the bride often uses the plural in reference to herself or to her bridegroom in Sumerian love literature. Thus, the woman simply may be speaking to her beloved, as in 2:16-17, but with particularly intense passion.
2 sn The term “foxes” is used metaphorically. Foxes are always spoken of in a negative light in the OT and in the ancient world were particularly associated with their destructive tendencies with regard to vineyards (Judg 15:4; Neh 4:3; Ps 63:10; Lam 5:18; Ezek 13:4). The description of these foxes as being destructive here seems to confirm that this is the point of comparison in mind.
3 sn In ancient Near Eastern love literature it was common to use wild animals to symbolize potential problems which could separate lovers and destroy their love. For instance, in Egyptian love songs it is the crocodile, rather than the foxes, which were used as figures for obstacles which might threaten a couple’s love. Here the “foxes” are probably used figuratively to represent potentially destructive problems which could destroy their romantic relationship and which could hinder it from ripening into marriage.
4 sn The term “vineyard” is also a figure. In 1:6 she used the vineyard motif as a metaphor for her physical appearance, but here it is “our vineyards” which is probably a figure for their romantic relationship. The phrase “in bloom” makes the metaphor more specific, so that the phrase “our vineyards are in bloom” means that their romantic love relationship was in its initial stages, that is, before it had ripened into marriage.
5 tn Heb “trained of sword” or “girded of sword.” Alternately, “girded with swords.” The genitive construct phrase אֲחֻזֵי חֶרֶב (’akhuze kherev) is interpreted in two ways: (1) Most interpret it with the assumption that אָחַז (’akhaz) denotes “to physically grasp, hold” (HALOT 31-32 s.v. I אחז; BDB 28 s.v. אָחַז). Most translations adopt this approach, although differing on whether the participle functions substantivally (NASB), verbally (KJV, NIV), or adjectivally (RSV), they all are heading in the same direction: “[all] hold swords” (KJV), “girded with sword” (RSV), “wielders of the sword” (NASB), and “wearing the sword” (NIV). This, however, provides only a vague parallel with the following colon: מְלֻמְּדֵי מִלְחָמָה (mÿlummÿde milkhamah, “trained in warfare”). (2) Others, however, suggest taking אחז in its rare metaphorical sense of “to learn” (= mentally grasp, take hold of): “learned, skillful” (R. Gordis, Song of Songs and Lamentations, 85; J. Lewy, “Lexicographical Notes,” HUCA 12/13 (1937/1938): 98-99). This nuance is much more common in the related Akkadian verb ahazu “to learn,” as HALOT 31 notes. Likewise, JB renders it “skilled swordsmen,” and NJPS suggests “trained in warfare” for Song 3:8, citing Akkadian ahazu “to learn.” The Akkadian verb ahazu has a broad range of meanings including: (1) to seize, hold a person, (2) to take a wife, to marry, (3) to hold, possess, take over, grasp something, to take to (a region), and (4) to learn, to understand (CAD 1:1:173). The concrete, physical sense of grasping or taking an object in one’s hands lent itself to the metaphorical sense of mentally grasping something, that is, learning or understanding. The category ahazu 4 (“to learn, to understand”) is used in reference to general learning, as well to specialized knowledge involving a special skill, professional craft, or ability acquired through instruction and experience (CAD 1:1:177). The causative form suhuzu means “to teach, educate, train” someone to become a skilled craftsman in a professional trade (CAD 1:1:180). This provides a tight parallelism with the following colon: אֲחֻזֵי חֶרֶב (’akhuze kherev, “skillful in swordsmanship”) precisely parallels מְלֻמְּדֵי מִלְחָמָה (“well-trained in [the art of] warfare”). The AB:AB parallelism between the two lines is exact: (1) אֲחֻזֵי “learned, skillful” parallels מְלֻמְּדֵי “trained, instructed,” and (2) חֶרֶב “in respect to swordsmanship” (genitive of specification or limitation) exactly parallels מִלְחָמָה “in regard to [the art of] warfare” (genitive of specification or limitation). The term חֶרֶב (“sword”) may be nuanced metonymically as “swordsmanship” in the light of (a) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (“skilled”), and (b) the connotation “swordsmanship” can be sustained in a few cases, e.g., “It was not by their swordsmanship that they won the land, nor did their arm bring them victory” (Ps 44:3). In the genitive construct phrase אֲחֻזֵי חֶרֶב, the genitive noun חֶרֶב (“sword”) may be classified either as (1) a genitive of specification; “[skilled] in respect to swordsmanship” or (2) a genitive of instrument; “[skilled] with a sword.”
6 tn Heb “trained of war.” In the genitive construct מְלֻמְּדֵי מִלְחָמָה (mÿlummÿde milkhamah, “trained of war”) the noun מִלְחָמָה (“war, battle”) is a genitive of specification or limitation, that is, it specifies the extent to which the expertise of the subjects applies: “in regard to warfare.” The term מִלְחָמָה (“warfare”) may be nuanced metonymically as “the art of warfare” in the light of (1) its collocation with terms for professional expertise: מְלֻמְּדֵי (“trained”) and אֲחֻזֵי (’akhuze, “skilled”), and (2) its parallelism with חֶרֶב (kherev, “sword, swordsmanship”).
9 tn Heb “I said, ‘I will climb….’” The verb אָמַר (’amar, “to say”) is often used metonymically in reference to the thought process, emphasizing the spontaneity of a decision or of an idea which has just entered the mind of the speaker moments before he speaks (Gen 20:11; 26:9; 44:28; Exod 2:14; Num 24:11; Ruth 4:4; 1 Sam 20:4, 26; 2 Sam 5:6; 12:22; 2 Kgs 5:11). M. H. Pope renders it appropriately: “Methinks” (Song of Songs [AB], 635).
10 sn A Palestinian palm tree grower would climb a palm tree for two reasons: (1) to pluck the fruit and (2) to pollinate the female palm trees. Because of their height and because the dates would not naturally fall off the tree, the only way to harvest dates from a palm tree is to climb the tree and pluck the fruit off the stalks. This seems to be the primary imagery behind this figurative expression. The point of comparison here would be that just as one would climb a palm tree to pluck its fruit so that it might be eaten and enjoyed, so too Solomon wanted to embrace his Beloved so that he might embrace and enjoy her breasts. It is possible that the process of pollination is also behind this figure. A palm tree is climbed to pick its fruit or to dust the female flowers with pollen from the male flowers (the female and male flowers were on separate trees). To obtain a better yield and accelerate the process of pollination, the date grower would transfer pollen from the male trees to the flowers on the female trees. This method of artificial pollination is depicted in ancient Near Eastern art. For example, a relief from Gozan (Tel Halaf) dating to the 9th century
11 tn Heb “of the vine.”
12 tn The Hebrew noun תַּפּוּחַ (tappukha) has been traditionally been translated as “apple,” but modern botanists and the most recent lexicographers now identify תַּפּוּחַ with the “apricot” (BDB 656 s.v. I תַּפּוּחַ). This might better explain the association with the sweet smelling scent,
especially since the term is derived from a Semitic root denoting “aromatic scent.” Apricots were often associated with their sweet scent in the ancient world (Fauna and Flora of the Bible, 92-93).
13 tn Heb “like a little.” The term כִּמְעַט (kim’at), which is composed of the comparative preposition כְּ (kÿ, “like”) prefixed to the noun מְעַט (mÿ’at, “the small, the little, the few”), is an idiom that means “within a little” or “scarcely” (BDB 590 s.v. מְעַט b.2.a).
14 tn Heb “I held him” (אֲחַזְתִּיו, ’akhaztiv). The term אָחַז (’akhaz, “grasp”) denotes to forcefully seize someone to avoid losing hold of him (BDB 28 s.v. אָחַז b).
15 tn The verb רָפָה (rafah, “to let go”) means to relax one’s grip on an object or a person (HALOT 1276-77 s.v. רפה; BDB 952 s.v. רָפָה 2). The Hiphil stem means “to let loose” (Job 7:19; 27:6; Song 3:4; Sir 6:27) or “to release from one’s hands” (Deut 9:14; Josh 10:6; Ps 37:8). The negative expression לֹא רָפָה (lo’ rafah, “to not let [someone or something] go”) denotes an intense desire or effort to not lose possession of someone or something (Job 27:6; Prov 4:13). Here the expression וְלֹא אַרְפֶּנּוּ (vÿlo’ ’arpennu, “I would not let him go”) pictures her determination to hold on to him so she would not lose him again. The shift from a suffix-conjugation (perfect) אֲחַזְתִּיו (’akhaztiv, “I grasped him”) to a prefix-conjugation (imperfect) אַרְפֶּנּוּ (’arpennu, “I would [not] let him go”) depicts a shift from a completed/consummative action (perfect: she took hold of his hand) to an ongoing/progressive action (imperfect: she would not let go of it). A basic distinction between the perfect and imperfect tenses is that of consummative versus progressive action. The literary/syntactical structure of אֲחַזְתִּיו וְלֹא אַרְפֶּנּוּ (“I grasped him and I would not let him go”) in 3:4 mirrors that of בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv vÿlo’ mÿtsa’tiv, “I searched for him but I could not find him”) in 3:1-2. This parallelism in the literary and syntactical structure emphasizes the fortunate reversal of situation.
16 sn There is debate about the reason why the woman brought her beloved to her mother’s house. Campbell notes that the mother’s house is sometimes referred to as the place where marital plans were made (Gen 24:28; Ruth 1:8). Some suggest, then, that the woman here was unusually bold and took the lead in proposing marriage plans with her beloved. This approach emphasizes that the marriage plans in 3:4 are followed by the royal wedding procession (3:6-11) and the wedding night (4:1-5:1). On the other hand, others suggest that the parallelism of “house of my mother” and “chamber of she who conceived me” focuses on the bedroom of her mother’s house. Fields suggests that her desire was to make love to her beloved in the very bedroom chambers where she herself was conceived, to complete the cycle of life/love. If this is the idea, it would provide a striking parallel to a similar picture in 8:5 in which the woman exults that they had made love in the very location where her beloved had been conceived: “Under the apple tree I aroused you; it was there your mother conceived you, there she who bore you conceived you.”
17 tn The term חֶדֶר (kheder, “chamber”) literally means “dark room” (HALOT s.v. חֶדֶר 293) and often refers to a bedroom (Gen 43:30; Exod 7:28; Judg 3:24; 15:1; 16:9, 12; 2 Sam 4:7; 13:10; 1Kgs 1:15; 2 Kgs 6:12; 9:2; Eccl 10:20; Isa 26:20; Joel 2:16; Prov 24:4; Song 1:4; 3:4).