Deuteronomy 20:6

20:6 Or who among you has planted a vineyard and not benefited from it? He may go home, lest he die in battle and someone else benefit from it.

Deuteronomy 28:30

28:30 You will be engaged to a woman and another man will rape ¹  her. You will build a house but not live in it. You will plant a vineyard but not even begin to use it.

Proverbs 24:30

24:30 I passed by the field of a sluggard,

by the vineyard of one who lacks wisdom. ² 

The Song of Songs 1:6

1:6 Do not stare at me because ³  I am dark,

for ⁴  the sun has burned my skin. ⁵ 

My brothers ⁶  were angry ⁷  with me;

they made me the keeper of the vineyards.

Alas, my own vineyard ⁸  I could not keep! ⁹ 

The Song of Songs 1:1

Title/Superscription

1:1 Solomon’s ¹⁰  Most Excellent ¹¹  Love Song. ¹² 

Colossians 1:7

1:7 You learned the gospel ¹³  from Epaphras, our dear fellow slave ¹⁴  – a ¹⁵  faithful minister of Christ on our ¹⁶  behalf –

[28:30]  ¹ tc For MT reading שָׁגַל (shagal, “ravish; violate”), the Syriac, Targum, and Vulgate presume the less violent שָׁכַב (shakhav, “lie with”). The unexpected counterpart to betrothal here favors the originality of the MT.

[24:30]  ² tn Heb “lacks heart”; KJV “understanding”; NAB, NASB, NLT “sense.”

[1:6]  ³ tn The relative pronoun שֶׁ (she) on שֶׁאֲנִי (she’ani, “because I”) functions in a causal sense, as in the following colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

[1:6]  ⁴ tn The relative pronoun שֶׁ (she) on שֶׁשֱּׁזָפַתְנִי (sheshshezafatni) functions in a causal sense, as in the preceding colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

[1:6]  ⁵ tn Heb “the sun has stared at me.” The verb שָׁזַף (shazaf) means “to look at, catch sight of, glance at” (e.g., Job 20:9; 28:7) (HALOT 1456 s.v. שׁזף; BDB 1004 s.v. שָׁזַף). The Beloved personifies the sun (הַשָּׁמֶשׁ, hashshamesh) as having looked at the Beloved too long, that is, it burned her skin.

[1:6]  ⁶ tn Heb “the sons of my mother.”

[1:6]  ⁷ sn The verb הָרָה (harah, “to burn in anger, to be angry”) creates an interesting wordplay or pun on the preceding line: “The sun burned me (= my skin).” The sun burned her skin, because her brothers had burned (נִהֲרוּ, niharu) in anger against her. This is an example of a polysemantic wordplay which explains the two basic meanings of הָרָה (“to burn, to be angry”) (W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 241-42).

[1:6]  ⁸ sn The noun כֶּרֶם (kerem, “vineyard”) is used figuratively in this line (see following note on the wordplays in this verse). Some suggest that her “vineyard” refers to her virginity, that is, she lost her virginity. However, this runs contrary to the moral purity accorded to the Beloved throughout the Song (e.g., 4:12; 8:8-10). It is better to take the “vineyard” imagery as a reference to her ability to take care of her physical appearance which had been thwarted by being forced to work outside where her skin had been darkened by the scorching rays of the sun, as alluded to throughout 1:4-5[5-6].

[1:6]  ⁹ sn The repetition of the noun כֶּרֶם (kerem, “vineyard”) and the verb נָטַר (natar, “to keep, maintain”) creates a series of eloquent wordplays. The first occurrence of כֶּרֶם (“vineyard”) and נָטַר (“to keep”) is literal, the second occurrence of both is figurative (hypocatastasis). Her brothers forced her to work outside in the sun, taking care of the vineyards; as a result, she was not able to take care of her appearance (“my own vineyard I could not keep”).

[1:1]  ¹⁰ tn The preposition ל in אֲשֶׁר לִשְׁלֹמֹה (’asher lishlomoh) has been taken as: (1) authorship: “which is written by Solomon.” The lamed of authorship (also known as lamed auctoris) is well attested in Hebrew (see GKC 421 §130.b), particularly in the psalms (e.g., Pss 18:1; 30:1; 34:1; 51:1; 52:1; 54:1; 56:1; 57:1; 59:1; 60:1; 63:1; 72:21); (2) dedication: “which is dedicated for Solomon.” The lamed of dedication is attested in Ugaritic psalms dedicated to Baal or about Baal (CTA 6.1.1 = UT 49.1); or (3) topic: “which is about/concerning Solomon.” The lamed of topic is attested in Hebrew (e.g., 1 Chr 24:20) and in Ugaritic, e.g., lb`l “About Baal” (CTA 6.1.1 = UT 49.1). The ל is most likely denoting authorship. The ל followed by a name in the superscription of a poetic composition in the OT, usually (if not always) denotes authorship. Just as the superscription לְדָוִד (lÿdavid) claims Davidic authorship within the Psalter, the heading claims Solomonic authorship. Whether or not this attribution is historically reliable or simply a matter of Jewish tradition is debated in scholarship, just as the Davidic superscriptions in the Psalter are debated (see study note on the word “Song” in the superscription).

[1:1]  ¹¹ tn Heb “the song of songs.” The genitive construct שִׁיר הַשִׁירִים (shir hashirim) is translated literally as “the song of songs” in the early versions: Greek LXX (ᾀσμα ᾀσμάτων, asma asmatwn), Latin Vulgate (canticum canticorum) and Syriac Peshitta (tesŒbÿhat tesŒbÿha„ta„á). The phrase שִׁיר הַשִׁירִים may be understood in two ways: (1) The noun הַשִׁירִים is a plural of number (“songs”) and functions as a genitive of composition: “the song composed of several songs,” that is, the book is a unified collection (hence the singular שִׁיר “song”) composed of individual love songs (see note on the expression “Her Lover” in v. 1). (2) The expression may be a superlative genitive construction denoting par excellence (see IBHS 154 §9.5.3j; GKC 431 §133.i; R. J. Williams, Hebrew Syntax, 11, §44; 17-18, §80). For example, קֹדֶשׁ קָדָשִׁים (qodesh qadashim, “the holy of holies”) means the most holy place (Exod 29:37); אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הָאֲדֹנִים (’elohe ha’elohim va’adone ha’adonim, “the God of Gods and Lord of Lords”) means the Highest God and the Supreme Lord (Deut 10:17); and עֶבֶד עֲבָדִים (’eved ’avadim,“a slave of slaves”) means an abject slave (Gen 9:25). The title “the Song of Songs” is an expression of great esteem for the composition. It has been translated variously: “The Song of Songs, which is Solomon’s” (KJV, NKJV, RSV, NRSV, NASB), “Solomon’s Song of Songs” (NIV), “The most beautiful of songs, by Solomon” (TEV), “dedicated to,” or “about Solomon” (TEV margin), “Solomon’s most beautiful song” (CEV), “This is Solomon’s song of songs, more wonderful than any other” (NLT).

[1:1]  ¹² tn Heb “song.” The noun שִׁיר (shir) may refer to a musical song that was sung (Exod 15:1; Num 21:17; Ps 33:3; Isa 42:10) or a poetic composition that was simply read (Deut 31:19, 21, 22; 30; 32:44) (BDB 1010 s.v. שׁיר). Several factors suggest that the Song of Songs was poetry to be read and enjoyed rather than sung: (a) its sheer length, (b) absence of musical notations or instrumental instructions, (c) testimony of Jewish tradition and interpretation, (d) lack of evidence of its musical performance in the history of Israel, and (e) comparison with ancient Egyptian love poetry. The term שִׁיר here probably refers to love poetry (e.g., Isa 5:1) (BDB 1010 s.v. 1; W. L. Holladay, Concise Hebrew and Aramaic Lexicon, 368). The Song appears to be a collection of individual love songs rather than a single multistanza poem. For comparison of the Song of Songs with ancient Egyptian loves songs, see M. V. Fox, The Song of Songs and the Ancient Egyptian Love Songs, and J. B. White, Language of Love in the Song of Songs and Ancient Egyptian Poetry (SBLDS).

[1:7]  ¹³ tn Or “learned it.” The Greek text simply has “you learned” without the reference to “the gospel,” but “the gospel” is supplied to clarify the sense of the clause. Direct objects were frequently omitted in Greek when clear from the context.

[1:7]  ¹⁴ tn The Greek word translated “fellow slave” is σύνδουλος (sundoulo"); the σύν- prefix here denotes association. Though δοῦλος is normally translated “servant,” the word does not bear the connotation of a free individual serving another. BDAG notes that “‘servant’ for ‘slave’ is largely confined to Biblical transl. and early American times…in normal usage at the present time the two words are carefully distinguished” (BDAG 260 s.v.). The most accurate translation is “bondservant” (sometimes found in the ASV for δοῦλος), in that it often indicates one who sells himself into slavery to another. But as this is archaic, few today understand its force.

[1:7]  ¹⁵ tn The Greek text has “who (ὅς, Jos) is a faithful minister.” The above translation conveys the antecedent of the relative pronoun quite well and avoids the redundancy with the following substantival participle of v. 8, namely, “who told” (ὁ δηλώσας, Jo dhlwsa").

[1:7]  ¹⁶ tc ‡ Judging by the superior witnesses for the first person pronoun ἡμῶν (Jhmwn, “us”; Ì⁴⁶ א* A B D* F G 326* 1505 al) vs. the second person pronoun ὑμῶν (Jumwn, “you”; found in א² C D¹ Ψ 075 33 1739 1881 Ï lat sy co), ἡμῶν should be regarded as original. Although it is possible that ἡμῶν was an early alteration of ὑμῶν (either unintentionally, as dittography, since it comes seventeen letters after the previous ἡμῶν; or intentionally, to conform to the surrounding first person pronouns), this supposition is difficult to maintain in light of the varied and valuable witnesses for this reading. Further, the second person is both embedded in the verb ἐμάθετε (emaqete) and is explicit in v. 8 (ὑμῶν). Hence, the motivation to change to the first person pronoun is counterbalanced by such evidence. The second person pronoun may have been introduced unintentionally via homoioarcton with the ὑπέρ (Juper) that immediately precedes it. As well, the second person reading is somewhat harder for it seems to address Epaphras’ role only in relation to Paul and his colleagues, rather than in relation to the Colossians. Nevertheless, the decision must be based ultimately on external evidence (because the internal evidence can be variously interpreted), and this strongly supports ἡμῶν.