The Song of Songs 1:16

The Beloved to Her Lover:

1:16 Oh, how handsome you are, my lover! ¹ 

Oh, ²  how delightful ³  you are!

The lush foliage ⁴  is our canopied bed; ⁵ 

The Song of Songs 5:4

5:4 My lover thrust his hand ⁶  through ⁷  the hole, ⁸ 

and my feelings ⁹  were stirred ¹⁰  for him.

The Song of Songs 6:12

6:12 ¹¹ I was beside myself with joy! ¹² 

There please give me your myrrh, ¹³ 

O daughter of my princely people. ¹⁴ 

[1:16]  ¹ sn The statement הִנָּךְ יָפָה רַעְיָתִי (hinnakh yafah ra’yati, “How beautiful you are, my darling”) in 1:15 is virtually mirrored by the Beloved’s statement in 1:16, הִנְּךְ יָפֶה דוֹדִי (hinnÿkh yafeh dodi, “How handsome you are, my lover”).

[1:16]  ² tn The term אַף (’af, “how”) is used to: (1) introduce additional information; (2) to emphasize a point; (3) to enhance a statement; (4) to create an antithesis (HALOT 76 s.v. אַף). The usage here is to enhance “how pleasant” or “certainly pleasant” (HALOT 76). The particle אַף is often used in Hebrew poetry to emphatically introduce a thought in the second colon which is a step beyond what was asserted in the first colon (e.g., Deut 33:3, 20, 28; 1 Sam 2:7; Pss 16:6, 7, 9; 18:49; 65:14; 68:9, 17; 74:16; 89:28; 93:1; Prov 22:19; 23:28) (BDB 64 s.v. b.1). Sometimes, אַף is used to introduce a surprise or something unexpected (e.g., Job 14:3; 15:4) (BDB 65 s.v. a.1). The particle אַף (“Oh!”), which introduces this line, is often used in Hebrew poetry to emphatically introduce a new thought and indicates that this is an addition to the previous statement; it is something far greater.

[1:16]  ³ tn The term נָעִים (na’im, “pleasant, delightful”) can refer to physical attractiveness or to personal character (BDB 653 I נָעֵם; HALOT 705 s.v. I נעם). Some suggest that it refers to the pleasantness of his character and personality; however, it is better to take this as a reference to his handsome physical appearance for several reasons: (1) The terms יָפֶה (yafeh, “handsome”) and נָעִים (“delightful”) are probably used in synonymous rather than synthetic parallelism. (2) The emphasis in 1:15-16 is on physical beauty as the repetition of the term “beautiful, handsome” (יָפֶה) suggests. (3) The related verb נָּעַמְתְּ (na’amtÿ, “to be delightful”) is used in Song 7:7 in synonymous parallelism with יָפָת (yafat, “to be beautiful”) in the description of the Beloved’s physical beauty. (4) Hebrew lexicographers classify this usage of נָעִים in Song 1:16 in terms of physical beauty rather than personal character (BDB 653 s.v. 2).

[1:16]  ⁴ tn The term רַעֲנָנָה (ra’ananah, “lush, verdant”) refers to the color “green” and is often used in reference to luxuriant foliage or trees (Pss 37:35; 52:8; Jer 11:16; Hos 14:8). The impression 1:16c-17 gives is that the young man and young woman are lying down together on the grass in the woods enjoying the delights of their caresses. They liken the grass below and the green leaves above to a marriage couch or canopied bed.

[1:16]  ⁵ tn Or “The lush foliage is our marriage couch.” The term עֶרֶשׂ (’eres, “bed”) describes a canopied bed (Pss 6:7; 41:4; 132:2; Prov 7:16) or marriage couch (Song 1:16) (BDB 793 s.v. עֶרֶשׂ).

[5:4]  ⁶ tn Possibly a euphemism (double entendre). The term יָד (yad, “hand”) normally refers simply to the physical hand (HALOT 386 s.v. I יָד 1; BDB 388 s.v. יָד 1). There are, however, at least three occasions when יָד refers to tall stone pillars (translated “monument” or “pillar”), such as those used in Canaanite fertility-cults in the form of phallic representations (1 Sam 15:12; 2 Sam 18:18; Isa 56:5). It is clearly used as a euphemism for the male copulative organ in Isa 57:8, 10. It is now an established fact that yad is sometimes used as a euphemism for the male sexual organ in Ugaritic literature (e.g., text no. 52:33-35) (UT 1072). The noun יָד is also used in the Qumran literature in this sense in a list of penalties for indecent exposure (Manual of Discipline 7:12-15). Thus, several scholars suggest that a subtle double entendre in 5:4-6. The imagery of the man thrusting his “hand” through the “hole” in the door, and the Beloved “opening” to her lover, with her fingers dripped with “myrrh” on the “handles of the lock,” might have a double reference to the literal attempt to gain entry to her bedroom and his desire to make love to her. See M. Delcour, “Two Special Meanings of the Word yd in Biblical Hebrew,” JSS 12 (1967): 230-40.

[5:4]  ⁷ tn Heb “sent his hand through.” Most scholars suggest that it denotes “to send through,” that is, “to thrust through” or “to extend through.” For example, BDB 1018 s.v. שָׁלַח 3.a proposes that מִן + שָׁלַח (shalakh + min) means “to stretch out (his hand) from the outside, inward.” He was attempting to open the door from the outside by extending his hand inside the door through some kind of latch-opening: “he put in his hand by the opening of the door” (KJV), “he extended his hand through the opening” (NASB), “he thrust his hand through the latch-opening” (NIV). Others, however, suggest that the construction.
מִן + שָׁלַח denotes “to withdraw from” (e.g., 1 Kgs 13:4). The preposition מִן is taken to mean, not “through,” but “away from.” Thus, he was withdrawing his hand from the latch-opening, that is, he had given up and was leaving. This approach is adopted by NJPS: “My beloved took his hand off the latch.” His departure is clearly stated in 5:6, “I opened [the door] for my beloved, but my beloved had already turned and gone away; my heart sank at his departure!” (see study notes below on 5:6).

[5:4]  ⁸ tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear – “hole” – there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kaffot hamman’ul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19.

[5:4]  ⁹ tn Heb “my inward parts,” “my intestines,” or “my bowels.” Alternately, “my feelings” or “my emotions.” The term מֵעֶה (me’eh) is used of the internal organs in general (“inward parts”) (e.g., 2 Sam 20:10; 2 Chr 21:15, 18; Pss 22:14; 40:9) or the digestive organs in particular (“intestines, bowels, stomach”) (e.g., Num 5:22; Job 20:14; Ezek 3:3; 7:19; Jonah 2:1-2). It is frequently used as a metonymy of adjunct for the emotions which Hebrew psychology associated with these internal organs (see H. W. Wolff, Anthropology of the Old Testament, 63-66). These include pity (Isa 16:11), lamentation (Jer 48:36), distress (Jer 4:19; Lam 1:20; 2:11), and compassion (Isa 63:15; Jer 31:20) (HALOT 610-11 s.v. מֵעֶה 3; BDB 589 s.v. מֵעֶה 5). Most scholars suggest that the Beloved’s feelings of love were revived – a reversal of her feelings of indifference and apathy in 5:3. This is reflected in many translations which use equivalent English idioms: “the core of my being” (JB) and “my heart” (NIV, NJPS) over the woodenly literal “my bowels” (KJV, NEB, AV). On the other hand, the term is also used to refer to the procreative organs, both male (e.g., Gen 15:4; 2 Sam 7:12; 16:11; Isa 48:19; 2 Chr 32:21) and female (e.g., Gen 25:23; Ruth 1:11; Ps 71:6; Isa 49:1). NASB well renders the line, “my feelings were aroused for him” (NASB).

[5:4]  ¹⁰ tn The exact meaning of this Hebrew verb is uncertain. The exact connotation of the verb הָמוּ (hamu) in 5:4 is debated. The verb הָמָה (hamah, “to murmur, growl, roar, be boisterous”) is related to the noun הָמוֹן (hamon, “sound, murmur, roar, noisy crowd”), הֶמְיָה (hemyah, “sound, music”), and perhaps even הָמֻלָה (hamulah, “noise, noisy crowd, crowd”). The Hebrew root המה is related to Aramaic המא (“to roar; to be agitated”). The Hebrew verb הָמָה has a basic two-fold range of meanings: (1) literal: “to make a noise” of some kind and (2) figurative: “to be in commotion, uproar” (e.g., often associated with noise or a noisy crowd). The lexicons suggest six distinct categories: (1) “to make a noise” or “to be in commotion,” particularly by a tumultuous crowd (1 Kgs 1:41; Pss 39:7; 46:7; Prov 1:21; Is 22:2; Mic 2:12); (2) “to roar,” of the sea and sea-waves (Isa 17:12; 51:15; Jer 5:22; 6:23; 31:35; 50:42; 51:55; Ps 46:4); (3) “to make a sound,” e.g., bear growling (Isa 59:11), dog barking (Ps 59:7, 15), bird chirping (Ps 102:8), dove cooing (Ezek 7:16); (4) “to moan,” (Ps 39:7; 55:18; Prov 1:21; Lam 2:18; Ezek 7:16; Zech 9:15); (5) “to be turbulent, boisterous” (Prov 7:11; 9:13; 20:1; Zech 9:5); and (6) figuratively of the internal organs: “to murmur, be restless, be turbulent,” used in reference to pity (Isa 16:11; Jer 4:19; 31:20; 48:36), discouragement (Ps 42:6, 12; 43:5), and murmuring in prayer (Pss 55:18; 77:4) (HALOT 250 s.v. המה; BDB 242 s.v. הָמָה). HALOT suggests “to be turbulent” for Song 5:4 (HALOT 250 s.v. 4), while BDB suggests “the thrill of deep-felt compassion or sympathy” (BDB 242 s.v. 2). Commentators offer a spectrum of opinions from the Beloved feeling agitation, pity, compassion, sexual arousal, or a revival of her love for him. A survey of the translations reveals the same lack of consensus: “my bowels were moved for him” (KJV), “my bowels stirred within me” (NEB), “my heart was thrilled within me” (RSV), “I trembled to the core of my being” (JB), “my heart trembled within me” (NAB), “my heart was stirred for him” (JPS, NJPS), “my feelings were aroused for him” (NASB), and “my heart began to pound for him” (NIV). While the precise meaning may never be agreed upon, whatever she was feeling she roused herself from her indifferent apathetic inactivity to arise and open for her beloved in 5:5. The phrase is used similarly elsewhere in OT, rousing the subject to irresistible action (Jer 4:19). The simplest course of action is to nuance this term metonymically (cause for effect), e.g., “my feelings were stirred up for him.”

[6:12]  ¹¹ tn Most scholars agree that the Hebrew text of 6:12 is the most elusive in the entire Song. The syntax is enigmatic and the textual reading is uncertain. The difficulty of this verse has generated a plethora of different translations: “Or ever I was aware, my soul made me [like] the chariots of Ammi-nadib” (KJV), “Before I knew it, my soul made me like the chariots of Ammi-nadib” (AV), “Before I knew it, my fancy set me in a chariot beside my prince” (AT), “Before I knew…my desire hurled me on the chariots of my people, as their prince” (JB), “Before I knew it, my desire set me mid the chariots of Ammi-nadib” (JPSV), “I did not know myself, she made me feel more than a prince reigning over the myriads of his people” (NEB), “Before I knew it, my heart had made me the blessed one of my kins-women” (NAB), “Before I was aware, my soul set me [over] the chariots of my noble people” (NASB), “Before I realized it, my desire set me among the royal chariots of my people” (NIV), “…among the chariots of Amminadab” (NIV margin), “…among the chariots of the people of the prince” (NIV margin), and “Before I realized it, I was stricken with a terrible homesickness and wanted to be back among my own people” (NLT). For discussion, see R. Gordis, Song of Songs and Lamentations, 95; R. Tournay, “Les Chariots d’Aminadab (Cant. VI 12): Israel, Peuple Theophore,” VT 9 (1959): 288-309; M. H. Pope, Song of Songs (AB), 584-92; R. E. Murphy, “Towards a Commentary on the Song of Songs,” CBQ 39 (1977): 491-92; S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 (1978): 545-47; G. L. Carr, Song of Solomon [TOTC], 151-53.

[6:12]  ¹² tn Alternately, “Before I realized it, my soul placed me among the chariots of my princely people.” There is debate whether נַפְשִׁי (nafshi, “my soul” = “I”) belongs with the first or second colon. The MT accentuation connects it with the second colon; thus, the first colon introduces indirect discourse: לֹא יָדַעְתִּי (lo’ yada’ti) “I did not know” or “Before I realized it….” According to MT accentuation, the fs noun נַפְשִׁי (“my soul”) is the subject of שָׂמַתְנִי (samatni, Qal perfect 3rd person feminine singular from שִׂים, sim, + 1st person common singular suffix, “to put”): “my soul placed me….” This approach is followed by several translations (KJV, NASB, AV, AT, JB, JPSV, NAB, NIV). On the other hand, the LXX takes נַפְשִׁי (“my soul” = “I”) as the subject of לֹא יָדַעְתִּי and renders the line, “My soul [= I] did not know.” NEB follows suit, taking נַפְשִׁי as the subject of לֹא יָדַעְתִּי and renders the line: “I did not know myself.” R. Gordis and S. M. Paul posit that לֹא יָדַעְתִּי נַפְשִׁי (literally “I did not know myself”) is an idiom describing the emotional state of the speaker, either joy or anguish: “I was beside myself” (e.g., Job 9:21; Prov 19:2). S. Paul notes that the semantic equivalent of this Hebrew phrase is found in the Akkadian expression ramansu la ude (“he did not know himself”) which is a medical idiom describing the loss of composure, lucidity, or partial loss of consciousness. He suggests that the speaker in the Song is beside himself/herself with anguish or joy (S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 [1978]: 545-47; R. Gordis, Song of Songs and Lamentations, 95).

[6:12]  ¹³ tc While MT reads מַרְכְּבוֹת (markÿvot, “chariots”) some medieval Hebrew mss add the locative preposition בְּ (bÿ) or comparative particle כְּ (kÿ) before מַרְכְּבוֹת to produce “in/on/among/like the chariots.” Most translations supply a preposition: “My soul made me [like] the chariots of Ammi-nadib” (KJV, AV); “My fancy set me [in] a chariot beside my prince” (AT); “My soul set me [over] the chariots of my noble people” (NASB); “My desire set me [among] the chariots of Amminadab” (JPS, NJPS, NIV margin); “My desire set me [among] the royal chariots of my people” (NIV); “My desire set me [among] the chariots of the people of the prince” (NIV margin); “My desire hurled me [on] the chariots of my people, [as their] prince” (JB). R. Gordis offers a creative solution to the enigma of שָׂמַתְנִי מַרְכְּבוֹת עַמִּי־נָדִיב (samatni markÿvot ’ammi-nadiv) by redividing the text and revocalizing it as שָׁם תֵּנִי מֹרֶךְ בַּת עַמִּי־נָדִיב (sham teni morekh ’ammi-nadiv) “There, give me your myrrh, O nobleman’s daughter!” This involves two steps: (1) He redivides the MT’s שָׂמַתְנִי (“it placed me”) into two words שָׁם תֵּנִי (“There, give me”); and (2) He redivides the MT’s מַרְשְּׂבוֹת (“chariots”) into מֹרךְ בַּת (“your myrrh, O daughter”). This approach is supported somewhat by the LXX, which had a difficult time with the line: “There I will give my breasts to you!” The approach of R. Gordis is explained and supported by several factors: (1) He take מֹרךְ (“your myrrh”) as a figure (hypocatastasis) for her love (e.g., 4:6, 14; 5:1, 5, 13). (2) The word-division of בַּת עַמִּי־נָדִיב (“O noble kinsman’s daughter”) is paralleled by the nearly identical descriptive בַּת־נָדִיב (“O nobleman’s daughter”) in 7:2. (3) Arabs referred to a girl as bint el akbar (“nobleman’s daughter”). (4) The referent of שָׁם (“there”) is the garden/valley mentioned in 6:11. (5) This fits into the other literary parallels between 6:11-12 and 7:12- 14, listed as follows: (a) “I went down to the nut grove” (6:11a) and “Let us go to the vineyards” (7:12a). (b) “to look for new growth in the valley, to see if the vines had budded, or if the pomegranates were in bloom” (6:11b) and “Let us see if the vines have budded, if the blossoms have opened, if the pomegranates are in bloom” (7:13a). (c) “There…give me your myrrh = love” (6:12b) and “There I will give you my love” (7:13b). See R. Gordis, Song of Songs and Lamentations, 95.

[6:12]  ¹⁴ tc MT vocalizes and divides the text as עַמִּי־נָדִיב (’ammi-nadiv, “my princely people”); however, several other mss read עַמִּינָדָב (’amminadav, “Amminadab”). This alternate textual tradition is also reflected in the LXX (Αμιναδαβ, Aminadab) and Vulgate.