Psalms 42:1-2

Book 2
(Psalms 42-72)

Psalm 42 ¹ 

For the music director; a well-written song ²  by the Korahites.

42:1 As a deer ³  longs ⁴  for streams of water,

so I long ⁵  for you, O God!

42:2 I thirst ⁶  for God,

for the living God.

I say, ⁷  “When will I be able to go and appear in God’s presence?” ⁸ 

Psalms 63:1-2

Psalm 63 ⁹ 

A psalm of David, written when he was in the Judean wilderness. ¹⁰ 

63:1 O God, you are my God! I long for you! ¹¹ 

My soul thirsts ¹²  for you,

my flesh yearns for you,

in a dry and parched ¹³  land where there is no water.

63:2 Yes, ¹⁴  in the sanctuary I have seen you, ¹⁵ 

and witnessed ¹⁶  your power and splendor.

Psalms 73:26

73:26 My flesh and my heart may grow weak, ¹⁷ 

but God always ¹⁸  protects my heart and gives me stability. ¹⁹ 

Psalms 119:20

119:20 I desperately long to know ²⁰ 

your regulations at all times.

Psalms 119:81

כ (Kaf)

119:81 I desperately long for ²¹  your deliverance.

I find hope in your word.

Psalms 143:6

143:6 I spread my hands out to you in prayer; ²² 

my soul thirsts for you in a parched ²³  land. ²⁴ 

The Song of Songs 2:4-5

The Banquet Hall for the Love-Sick

The Beloved about Her Lover:

2:4 He brought me ²⁵  into the banquet hall, ²⁶ 

and he looked ²⁷  at me lovingly. ²⁸ 

2:5 Sustain ²⁹  me with raisin cakes, ³⁰ 

refresh me with apples, ³¹ 

for I am faint with love. ³² 

The Double Refrain: Embracing and Adjuration

The Song of Songs 5:8

The Triumph of Love: The Beloved Praises Her Lover

The Beloved to the Maidens:

5:8 O maidens of Jerusalem, I command you –

If you find my beloved, what will you tell him?

Tell him that I am lovesick! ³³ 

[42:1]  ¹ sn Psalm 42. The psalmist recalls how he once worshiped in the Lord’s temple, but laments that he is now oppressed by enemies in a foreign land. Some medieval Hebrew mss combine Psalms 42 and 43 into a single psalm.

[42:1]  ² tn The meaning of the Hebrew term מַשְׂכִּיל (maskil) is uncertain. The word is derived from a verb meaning “to be prudent; to be wise.” Various options are: “a contemplative song,” “a song imparting moral wisdom,” or “a skillful [i.e., well-written] song.” The term occurs in the superscriptions of Pss 32, 42, 44, 45, 52-55, 74, 78, 88, 89, and 142, as well as in Ps 47:7.

[42:1]  ³ tn Since the accompanying verb is feminine in form, the noun אָיִּל (’ayyil, “male deer”) should be emended to אַיֶּלֶת (’ayyelet, “female deer”). Haplography of the letter tav has occurred; note that the following verb begins with tav.

[42:1]  ⁴ tn Or “pants [with thirst].”

[42:1]  ⁵ tn Or “my soul pants [with thirst].” The Hebrew term נֶפֶשׁ (nefesh) with a pronominal suffix is often equivalent to a pronoun, especially in poetry (see BDB 660 s.v. נֶפֶשׁ 4.a).

[42:2]  ⁶ tn Or “my soul thirsts.”

[42:2]  ⁷ tn The words “I say” are supplied in the translation for stylistic reasons and for clarification.

[42:2]  ⁸ tn Heb “When will I go and appear [to] the face of God?” Some emend the Niphal verbal form אֵרָאֶה (’era’eh, “I will appear”) to a Qal אֶרְאֶה (’er’eh, “I will see”; see Gen 33:10), but the Niphal can be retained if one understands ellipsis of אֶת (’et) before “face” (see Exod 34:24; Deut 31:11).

[63:1]  ⁹ sn Psalm 63. The psalmist expresses his intense desire to be in God’s presence and confidently affirms that God will judge his enemies.

[63:1]  ¹⁰ sn According to the psalm superscription David wrote the psalm while in the “wilderness of Judah.” Perhaps this refers to the period described in 1 Sam 23-24 or to the incident mentioned in 2 Sam 15:23.

[63:1]  ¹¹ tn Or “I will seek you.”

[63:1]  ¹² tn Or “I thirst.”

[63:1]  ¹³ tn Heb “faint” or “weary.” This may picture the land as “faint” or “weary,” or it may allude to the effect this dry desert has on those who are forced to live in it.

[63:2]  ¹⁴ tn The Hebrew particle כֵּן (ken) is used here to stress the following affirmation (see Josh 2:4).

[63:2]  ¹⁵ tn The perfect verbal form is understood here as referring to a past experience which the psalmist desires to be repeated. Another option is to take the perfect as indicating the psalmist’s certitude that he will again stand in God’s presence in the sanctuary. In this case one can translate, “I will see you.”

[63:2]  ¹⁶ tn Heb “seeing.” The preposition with the infinitive construct here indicates an accompanying circumstance.

[73:26]  ¹⁷ tn The Hebrew verb כָלָה (khalah, “to fail; to grow weak”) does not refer here to physical death per se, but to the physical weakness that sometimes precedes death (see Job 33:21; Pss 71:9; 143:7; Prov 5:11).

[73:26]  ¹⁸ tn Or “forever.”

[73:26]  ¹⁹ tn Heb “is the rocky summit of my heart and my portion.” The psalmist compares the Lord to a rocky summit where one could go for protection and to landed property, which was foundational to economic stability in ancient Israel.

[119:20]  ²⁰ tn Heb “my soul languishes for longing for.”

[119:81]  ²¹ tn Heb “my soul pines for.” See Ps 84:2.

[143:6]  ²² tn The words “in prayer” are supplied in the translation to clarify that the psalmist is referring to a posture of prayer.

[143:6]  ²³ tn Heb “faint” or “weary.” See Ps 63:1.

[143:6]  ²⁴ tc Heb “my soul like a faint land for you.” A verb (perhaps “thirsts”) is implied (see Ps 63:1). The translation assumes an emendation of the preposition -כְּ (kÿ, “like”) to -בְּ (bÿ, “in,” see Ps 63:1; cf. NEB “athirst for thee in a thirsty land”). If the MT is retained, one might translate, “my soul thirsts for you, as a parched land does for water/rain” (cf. NIV, NRSV).

[2:4]  ²⁵ tc The MT vocalizes consonantal הביאני as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular with 1st person common singular suffix, “He has brought me”). However, several medieval Hebrew mss vocalize the form as הֲבִיאֻנִי (havi’uni, Hiphil imperative 2nd person masculine singular with 1st person common singular suffix, “Bring me!”). This is also reflected in LXX (εἰσαγαγετε με, eisagagete me, “Bring me!”) and Syriac. This alternate vocalization tradition has several factors that make it a viable option: (1) It respects the consonantal text; (2) It is supported by the LXX and Syriac; (3) It provides a tighter parallelism with the two identical imperatival forms in 2:5a (both 2nd person masculine plural imperatives with 1st person common singular suffixes); (4) It provides thematic unity to the entire poetic unit of 2:4-5; and (5) It helps make better sense of an enigmatic unit. This approach is strengthened if the MT reading וְדִגְלוֹ (vÿdiglo, “and his banner”) is revocalized to the imperative וְדִגְלוּ (vÿdiglu, “and feed [me]”) (see translator’s note below). In this case, the parallelism throughout 2:4-5 would be very tight. It would feature four parallel imperatives of request, all revolving around the theme of love-sickness: “Bring me into the banquet hall, feed me with love; sustain me with raisin cakes, refresh me with apples, because I am faint with love.” The weakness with the revocalization to הֲבִיאֻנִי (“Bring me!”) is that it demands, due to the dictates of synonymous parallelism, the questionable revocalization of the MT’s וְדִגְלוֹ (“and his banner”) to the imperative וְדִגְלוּ (“and feed [me]”).

[2:4]  ²⁶ tn Heb “house of wine.” The expression בֵּית הַיָּיִן (bet hayyayin, lit. “house of wine” or “place of wine”) refers to a banquet house where wine is drunk or a vineyard where grapes to produce wine are grown (HALOT 409 s.v. יַיִן). G. L. Carr favors the vineyard view due to the agricultural metaphors in 2:1-5. However, most commentators favor the banquet house view because of the reference to “raisin-cakes” and “apples” (2:4) which were served at banquets in the ancient Near East. Moreover, the expression בֵּית הַיָּיִן in in Song 2:4 may be equivalent to בֵּית מִשְׁתֵּה הַיַּיִן (bet mishte hayyayin, “house of the drinking of wine”) in Esther 7:8 (HALOT 409 s.v. יַיִן). Second, raisin cakes are mentioned in this context in 2:5, and they were often eaten to celebrate festive occasions (2 Sam 6:19; Isa 16:7; Hos 3:1); therefore, the banquet motif finds support. Selected Bibliography: E. Würthwein, “Zum Verständnis des Hohenliedes,” TRu 32 (1967): 205; G. L. Carr, Song of Solomon [TOTC], 90-91.

[2:4]  ²⁷ tc The MT vocalizes דגלו as the noun דְּגֶל (dÿgel) with 3rd person masculine singular suffix דִּגְלוֹ (diglo, “his banner [over me is love]”). However, several medieval Hebrew mss vocalize דגלו as Qal mp imperative וְדִגְלוּ (vÿdihlu, “Set [love before me].”) This is also reflected in LXX τάξατε ἐπ’ ἐμὲ ἀγάπην (taxate ep eme agaphn, “Set love before me!”).

[2:4]  ²⁸ tn The syntax of the noun אַהֲבָה (’ahavah, “love”) has been taken as: (1) predicate nominative: “His banner over me [was] love” or “His intention toward me [was] lovemaking” (M. H. Pope, Song of Songs [AB], 376-77; G. L. Carr, Song of Solomon [TOTC], 91); (2) genitive of attribute/content: “His banner of love [was] over me,” and (3) adverbial or adjectival accusative: “His look upon me was loving” or “He looked upon me lovingly” (R. Gordis, Song of Songs and Lamentations, 81-82). Examples of adverbial or adjectival accusatives, e.g., “I am peace” = “I am peaceful” (Ps 120:7); “I will love them as a free gift” = “I will love them freely” (Hos 14:5).

[2:5]  ²⁹ tn The imperatives סַמְּכוּנִי (sammÿkhuni, “sustain me”) and רַפְּדוּנִי (rappÿduni, “revive me”) are both plural in address (Piel 2nd person masculine plural imperatives with 1st person common singular suffixes). Thus, some commentators suggest that the woman is speaking to a large audience, perhaps the banquet guests implied in 2:4 or the maidens mentioned in 2:7 (R. Gordis, Song of Songs and Lamentations, 82). However, the Hebrew plural can be used in reference to a single individual when functioning in an intensive sense (IBHS 122 §7.4.3a). Thus, the woman may be speaking to her beloved, as in the rest of 2:3-6, but with intense passion. Similarly, in Sumerian love literature the bride sometimes uses plural verbs in reference to herself or her bridegroom (S. N. Kramer, The Sacred Marriage Rite, 92, 99).

[2:5]  ³⁰ sn The term אֲשִׁישׁוֹת (’ashishot, “raisin cakes,” from אֲשִׁישָׁה, ’ashishah) refers to an expensive delicacy made of dried compressed grapes (HALOT 95 s.v. אֲשִׁישָׁה; BDB 84 s.v. אֲשִׁישָׁה; Jastrow 128 s.v. אֲשִׁישָׁה). Raisin cakes were used as cultic offerings by many ancient Near Easterners, and were especially prominent in ancient Near Eastern fertility rites (e.g., Isa 16:7; Hos 3:1). In ancient Israel they were eaten during festive celebrations, being viewed as enhancing sexual fertility (2 Sam 6:19; 1 Chr 16:3). Scholars regard the “raisin cakes” as (1) literal food viewed as an aphrodisiac to “cure” her love-sickness; (2) a figurative expression (hypocatastasis) for sexual passion or lovemaking; or (3) double entendre referring to the literal food as an aphrodisiac and her desire for lovemaking.

[2:5]  ³¹ tn Or “apricots.” The term תַּפּוּחִים (tappukhim, “apples,” from תַּפּוּחַ, tappukha) occurs four times in the book (Song 2:3, 5; 7:9; 8:5) and twice outside (Prov 25:4; Joel 1:12). It is usually defined as “apples” (BDB 656 s.v. תַּפּוּחַ); however, some argue for “apricots” (FFB 92-93). The Hebrew noun תַּפּוּחַ (“apple”) is derived from the Hebrew root נָפַח (nafakh, “scent, breath”) which is related to the Arabic root nafahu “fragrant scent” (HALOT 708 s.v. נפח). Hence, the term refers to a fruit with a fragrant scent. This may explain why the mere scent of this fruit was thought to have medicinal powers in the ancient Near East (G. E. Post, Flora of Syria, Palestine and Sinai, 128). This imagery draws upon two motifs associated with apples. First, apples were viewed as medicinal in ancient Syro-Palestinian customs; the sick were given apples to eat or smell in order to revive them. Similarly, the Mishnah and Talmud refer to apples as a medication like wine and grapes. Second, apples were considered an aphrodisiac in the ancient Near East. Both motifs are combined here because the Beloved is “love-sick” and only the embrace of her beloved can cure her, as 2:6 indicates (T. H. Ratzaby, “A Motif in Hebrew Love Poetry: In Praise of the Apple,” Ariel 40 [1976]: 14).

[2:5]  ³² tn Heb “sick of love.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “sick of love”) is an example of the causative use of the genitive construct: “I am sick because of love,” that is, “I am love-sick.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “faint with love”) is a figure which compares physical or medical illness caused by a physically draining disease to sexual desire which is so intense that a person is so physically drained that they feel as if they could faint. The term חוֹל (khol, “sick”) refers to the physical weakness which consumes a person who is suffering from a medical illness (Gen 48:1; 1 Sam 19:14). It is used figuratively as a hyperbolic hypocatastasis for being so consumed with sexual desire that it saps one of his/her physical and emotional strength (BDB 317 s.v. 2). This is commonly referred to as “love-sickness.” It was associated with such deep longing for physical and sexual fulfillment that it weighed so heavily upon a person that he/she was physically and emotionally drained (2 Sam 13:2).

[5:8]  ³³ tn The genitive construct חוֹלַת אַהֲבָה (kholat ’ahavah, “sick of love”) denotes “lovesick.” This is an example of a genitive of cause, that is, the Beloved was (physically/emotionally) sick because of her unrequited love for him. See study note on Song 2:5.