John 10:3

10:3 The doorkeeper ¹  opens the door ²  for him, ³  and the sheep hear his voice. He ⁴  calls his own sheep by name and leads them out. ⁵ 

The Song of Songs 2:8-14

The Arrival of the Lover

The Beloved about Her Lover:

2:8 Listen! ⁶  My lover is approaching! ⁷ 

Look! ⁸  Here he comes,

leaping over the mountains,

bounding over the hills!

2:9 My lover is like a gazelle or a young stag. ⁹ 

Look! There he stands behind our wall,

gazing through the window,

peering through the lattice.

The Season of Love and the Song of the Turtle-Dove

The Lover to His Beloved:

2:10 My lover spoke to me, saying:

“Arise, my darling;

My beautiful one, come away with me!

2:11 Look! The winter has passed,

the winter rains are over and gone.

2:12 The pomegranates have appeared ¹⁰  in the land,

the time for pruning and singing ¹¹  has come;

the voice of the turtledove is heard in our land.

2:13 The fig tree has budded,

the vines have blossomed and give off their fragrance.

Arise, come away my darling;

my beautiful one, come away with me!”

The Dove in the Clefts of En-Gedi

The Lover to His Beloved:

2:14 O my dove, ¹²  in the clefts of the rock,

in the hiding places of the mountain crags,

let me see your face,

let me hear your voice;

for your voice is sweet,

and your face is lovely.

Mark 10:49

10:49 Jesus stopped and said, “Call him.” So ¹³  they called the blind man and said to him, “Have courage! Get up! He is calling you.”

[10:3]  ¹ tn Or “porter” (British English).

[10:3]  ² tn The words “the door” are not in the Greek text but are implied. Direct objects in Greek were often omitted when clear from the context.

[10:3]  ³ tn Grk “For this one.”

[10:3]  ⁴ tn Grk “And he.” Because of the difference between Greek style, which often begins sentences or clauses with “and,” and English style, which generally does not, καί (kai) has not been translated here.

[10:3]  ⁵ sn He calls his own sheep by name and leads them out. Some interpreters have suggested that there was more than one flock in the fold, and there would be a process of separation where each shepherd called out his own flock. This may also be suggested by the mention of a doorkeeper in v. 3 since only the larger sheepfolds would have such a guard. But the Gospel of John never mentions a distinction among the sheep in this fold; in fact (10:16) there are other sheep which are to be brought in, but they are to be one flock and one shepherd.

[2:8]  ⁶ tn Heb “The voice of my beloved!” The exclamation קוֹל (qol, “Listen!”) is an introductory exclamatory particle used to emphasize excitement and the element of surprise.

[2:8]  ⁷ tn The phrase “is approaching” does not appear in Hebrew but is supplied in the translation for the sake of clarity.

[2:8]  ⁸ tn The exclamation הִנֵּה־זֶה (hinneh-zeh, “Look!”) is used of excited speech when someone is seen approaching (Isa 21:9).

[2:9]  ⁹ sn Gazelles are often associated with sensuality and masculine virility in ancient Near Eastern love literature. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3). In ancient Near Eastern love literature gazelles often symbolize the excitement and swiftness of the lover coming to see his beloved, as in an ancient Egyptian love song: “O that you came to your sister swiftly like a bounding gazelle! Its feet reel, its limbs are weary, terror has entered its body. A hunter pursues it with his hounds, they do not see it in its dust; It sees a resting place as a trap, it takes the river as its road. May you find her hiding-place before your hand is kissed four times. Pursue your sister’s love, the Golden gives her to you, my friend!” (“Three Poems” in the Papyrus Chester Beatty 1 collection).

[2:12]  ¹⁰ tn Heb “are seen.”

[2:12]  ¹¹ tn Alternately, “the time of singing” or “the time of pruning.” The homonymic root זָמִיר (zamir) means “song, singing” (HALOT 273 s.v. I זָמִיר; DCH 3:117 s.v. זָמִיר a), while זָמִיר II means “pruning, trimming” (HALOT 273 s.v. II; DCH 3:117 s.v. II). The intended root is debated among the ancient versions (LXX, Aquila, Symmachus, Vulgate, Targum), Hebrew lexicographers (HALOT 273; DCH 3:117), and translations: “singing” (KJV, NIV, NASB margin, NJPS margin), “pruning” (NASB, NJPS). However, rather than choosing between these two roots, it is likely that this is an example of intentional ambiguity. The preceding line draws out the meaning of זָמִיר (“trimming, pruning”): “The pomegranates are seen in the land, the time of pruning has come.” The following line draws out the meaning of זָמִיר (“singing”): “The time of singing has come, the voice of the turtledove is heard in the land.” This homonymic wordplay creates an example of “janus parallelism” between the three poetic lines which play off both root meanings of the intentionally ambiguous homonym. This elegant wordplay and the AB:BA “janus parallelism” may be represented thus: “The pomegranates are seen in the land, the time has come for pruning // singing, the voice of the turtledove is heard in the land.”

[2:14]  ¹² sn The dove was a common figure for romantic love in ancient Near Eastern love literature. This emphasis seems to be suggested by his use of the term “my dove.” Just as the young man heard the voice of the turtledove in 2:12, so now he wants to hear her voice. Doves were often associated with timidity in the ancient world. Being virtually defenseless, they would often take refuge in crevices and cliffs for safety (Jer 48:28). The emphasis on timidity and the need for security is undoubtedly the emphasis here because of the explicit description of this “dove” hiding in the “clefts of the rock” and in “the hiding places of the mountain crevice.” Fortresses were sometimes built in the clefts of the rocks on mountainsides because they were inaccessible and therefore, in a secure place of safety (Jer 49:16; Obad 3). Perhaps he realized it might be intimidating for her to join him and communicate with him freely. She would need to feel secure in his love to do this. It would be easy for her to hide from such emotionally exposing experiences.

[10:49]  ¹³ tn Here καί (kai) has been translated as “so” to indicate the implied result of previous action(s) in the narrative.