The Song of Songs 1:2

The Desire for Love

The Beloved to Her Lover: ¹ 

1:2 Oh, how I wish you ²  would kiss me passionately! ³ 

For your lovemaking ⁴  is more delightful ⁵  than wine. ⁶ 

The Song of Songs 1:4

1:4 Draw me ⁷  after you; let us hurry! ⁸ 

May the king ⁹  bring ¹⁰  me into his ¹¹  bedroom chambers! ¹² 

The Maidens ¹³  to the Lover:

We will ¹⁴  rejoice and delight in you; ¹⁵ 

we will praise ¹⁶  your love more than wine.

The Beloved to Her Lover:

How rightly ¹⁷  the young women ¹⁸  adore you!

[1:2]  ¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (1:5; 3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

[1:2]  ² tn Heb “May he kiss me….” The shift from 3rd person masculine singular forms (“he” and “his”) in 1:2a to 2nd person masculine singular forms (“your”) in 1:2b-4 has led some to suggest that the Beloved addresses the Friends in 1:2a and then her Lover in 1:2b-4. A better solution is that the shift from the 3rd person masculine singular to 2nd person masculine singular forms is an example of heterosis of person: a poetic device in which the grammatical person shifts from line to line (M. H. Pope, Song of Songs [AB], 297). The third person is put for the second person (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1; Song 4:2; 6:6) (E. W. Bullinger, Figures of Speech, 524-25). Similar shifts occur in ancient Near Eastern love literature (cf. S. N. Kramer, The Sacred Marriage Rite, 92, 99). Most translations render 1:2 literally and preserve the shifts from 3rd person masculine singular to 2nd person masculine singular forms (KJV, AV, NASB, NIV); others render 1:2 with 2nd person masculine singular forms throughout (RSV, NJPS).

[1:2]  ³ tn Heb “May he kiss me with the kisses of his mouth!” The phrase יִשָּׁקֵנִי מִנְּשִׁיקוֹת (yishshaqeni minnÿshiqot, “kiss me with kisses”) is a cognate accusative construction used for emphasis.

[1:2]  ⁴ tc The MT vocalizes consonantal דדיך as דֹּדֶיךָ (dodekha, “your loves”; mpl noun from דּוֹד, dod, “love” + 2nd person masculine singular suffix). The LXX and Vulgate reflect the vocalization דַּדֶּיךָ (daddekha, “your breasts”; mpl noun from דַּד, dad, “breast” + 2nd person masculine singular suffix). This alternate tradition was well known; it was followed by Hippolytus of Rome (d. 235) in his exposition of Canticles 1:2 and by Rabbi Yohanan of Tiberias (3rd century a.d.) as recorded in the Jewish midrashim on Canticles Rabbah 1:2.2. However, the MT vocalization is preferred. In terms of external evidence, the MT vocalization tradition is generally more reliable. In terms of internal evidence, the LXX form דַּדֶּיךָ (daddekha, “your [male!] breasts”) is a bit shocking, to say the least. On the other, the plural form דּוֹדִים (dodim, “loves”) is used in the Song to refer to multiple expressions of love or multiple acts of lovemaking (e.g., 1:4; 4:10; 5:1; 7:13 [ET 12]).

[1:2]  ⁵ tn Heb “better than.” With the comparison of lovemaking to wine, the idea is probably “more intoxicating than wine” or “more delightful than wine.”

[1:2]  ⁶ tn The young woman compares his lovemaking to the intoxicating effects of wine. A man is to be “intoxicated” with the love of his wife (Prov 5:20). Wine makes the heart glad (Deut 14:26; Judg 9:13; Ps 104:15) and revives the spirit (2 Sam 16:1-2; Prov 31:4-7). It is viewed as a gift from God, given to enable man to enjoy life (Eccl 2:24-25; 5:18). The ancient Egyptian love poems use the imagery of wine and intoxication to describe the overwhelming effects of sexual love. For example, an ancient Egyptian love song reads: “I embrace her and her arms open wide; I am like a man in Punt, like someone overwhelmed with drugs. I kiss her and her lips open; and I am drunk without beer” (ANET 467-69).

[1:4]  ⁷ sn The verb מָשַׁךְ (mashakh, “draw”) is a figurative expression (hypocatastasis) which draws an implied comparison between the physical acting of leading a person with the romantic action of leading a person in love. Elsewhere it is used figuratively of a master gently leading an animal with leather cords (Hos 11:4) and of a military victor leading his captives (Jer 31:3). The point of comparison might be that the woman wants to be the willing captive of the love of her beloved, that is, a willing prisoner of his love.

[1:4]  ⁸ tn The three verbs in this line are a good example of heterosis of person, that is, a shift from 2nd person masculine singular to 1st person common plural to 3rd person masculine singular forms: מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from מָשַׁךְ, mashakh, “to draw” + 1st person common singular suffix:), נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”), and הֱבִיאַנִי (hevi’ani, “he has brought me” or “bring me!”; Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix). Heterosis from second to third person occurs elsewhere in the Song in 1:2-3; 4:2; 6:6 (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1).

[1:4]  ⁹ tn Or “O king, bring me into your chambers!” The article on the noun הַמֶּלֶךְ (hammelekh, “the king”) may be taken in two ways: (1) the particularizing use of the article: “The king” (e.g., NIV: “The king has brought me into his chambers”) or (2) the vocative use of the article: “O king!” (NJPS margin: “O king, bring me into your chambers!”) (For the vocative use of the article, see GKC 405 §126.e; Joüon 2:506-7 §137.f; R. J. Williams, Hebrew Syntax, 19, §89; IBHS 247 §13.5.2c). The syntactical classification of the article is dependent upon: (1) Whether the MT reading of the 3rd person masculine singular suffix on חֲדָרָיו (khadarav, “his chambers”) is retained or whether the text is emended to the 2nd person masculine singular suffix form חַדְרֶךָ (khadrekha, “your chamber”) as reflected in Syriac (see textual note below). (2) Whether הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular from בּוֹא, bo’, “to bring” + 1st person common singular suffix) is classified as a perfect of past action (“The king has brought me into his chambers”) or a precative perfect (“O king, bring me into your chambers!”) (see syntactical note below). (3) Whether the consonantal form הביאני should be vocalized as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular + 1st person common singular suffix) as preserved in MT or as הֲבִיאֵנִי (havi’eni, Hiphil imperative 2nd person masculine singular + 1st person common singular suffix) as reflected in Symmachus and Syriac (see textual note below).

[1:4]  ¹⁰ tn Or “has brought me.” The verb הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix) may be classified in two ways: (1) perfect of past action: “The king has brought me into his chambers” or (2) precative perfect: “May the king bring me into his chambers!” (J. S. Deere, “Song of Solomon,” BKCOT, 1012). While some older grammarians denied the existence of the precative (volitional) function of the perfect in Hebrew (e.g., S. R. Driver, Tenses in Hebrew, 25-26; GKC 312-13 §106.n, n. 2), its existence is accepted in more recent grammars (e.g., IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). While the perfect of past action is the more common use of the perfect, the context suggests the more rare precative. As IBHS 494-95 §30.5.4d notes, the precative can be recognized contextually by its parallelism with the other volitive forms. The parallelism of precative הֱבִיאַנִי (“bring me!”) with the volitives in the two preceding parallel colons – מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from משַׁךְ, mashakh, “to draw” + 1st person common singular suffix:) and נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”) – favors the precative function of the perfect. The volitive function of consonantal הביאני is reflected in Syriac. The BHS editors suggest revocalizing MT to הֲבִיאֵנִי “bring me!” The precative function of the perfect הֱבִיאַנִי may explain the origin of this variant vocalization tradition reflected in Syriac. In terms of connotation, the precative functions as a volitive as an example of the irreal modal or optative function of the perfect (IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). In contrast to the use of the irreal perfect for situations which the speaker expresses as a wish without expectation of fulfillment (contrary-to-fact situations, hypothetical assertions, and expressions of a wish that is not expected to be realized), the precative refers to situations the speaker expresses his desire for and expects to be realized (IBHS 494-95 §30.5.4d). It is used most often in contexts of prayers to God which the speakers expect to be answered (e.g., Pss 3:8; 22:22; 31:5-6). Here, she expresses her desire that her lover consummate their love in his bedroom chambers; she expects this desire to be realized one day (e.g., 4:1-5:1). There are, however, several problems with nuancing the form as a precative: (a) this would demand emending MT חֲדָרָיו (khadarav, “his chambers”) to חַדְרֶךָ (khadrekha, “your chamber[s]”) – which is, however, reflected by Syriac Peshitta and Symmachus, and (b) it would demand nuancing the article on הַמֶּלֶךְ (hammelekh) as a vocative (“O king!”).

[1:4]  ¹¹ tc The MT reads the 3rd person masculine singular suffix on a plural noun חֲדָרָיו (khadarav, “his chambers”). This is reflected in LXX, Targums, and Vulgate. However, the 2nd person masculine singular suffix on a singular noun חַדְרֶךָ (khadrekha, “your chambers”) is reflected by Syriac Peshitta and Symmachus. See preceding note on the text-critical significance of these variant readings.

[1:4]  ¹² tn The term חֶדֶר (kheder, “chamber”) is used frequently in reference to a bedroom (Gen 43:30; Judg 15:1; 16:9; 2 Sam 13:10; 1 Kgs 1:15; Ps 105:30; Isa 26:20). It refers explicitly to a bedroom when used with the noun מִשְׁכָּב (mishkav, “bed”) in the expression חֶדֶר מִשְׁכָּב “bedroom chamber” (Exod 7:28; 2 Sam 4:7; 2 Kgs 6:12; Eccl 10:20). The plural form חֲדָרָיו (khadarav, “his chambers”) functions as a plural of extension rather than a plural or number; it refers to one bedroom composed of several parts rather than referring to several different bedrooms. The expression “Bring me into your chambers” is a metonymy of cause for effect, that is, her desire for lovemaking in his bedroom chambers.

[1:4]  ¹³ sn Normally in the Song, the person/gender of the pronouns and suffixes makes the identify of the speaker or addressee clear. However, there are several places in which there is grammatical ambiguity that makes it difficult to identify either the speaker or the addressee (e.g., 6:11-13; 7:9b). This is particularly true when 1st person common plural or 3rd person common plural verbs or suffixes are present (1:3[4]; 2:15; 5:1b; 8:8-9), as is the case in the three lines of 1:3b[4b]. There are four views to the identity of the speaker(s): (1) NASB attributes all three lines to the maidens, (2) NIV attributes the first two lines to the friends and the third line to the Beloved (= woman), (3) NJPS attributes all three lines to the Beloved, speaking throughout 1:2-4, and (4) The first line could be attributed to the young man speaking to his beloved, and the last two lines attributed to the Beloved who returns praise to him. The referents of the 1st person common plural cohortatives and the 2sg suffixes have been taken as: (1) the maidens of Jerusalem, mentioned in 1:4[5] and possibly referred to as the 3rd person common plural subject of אֲהֵבוּךָ (’ahevukha, “they love you”) in 1:3b[4b], using the 1st person common plural cohortatives in reference to themselves as they address her lover: “We (= maidens) will rejoice in you (= the young man).” (2) The Beloved using 1st person common plural cohortatives in a hortatory sense as she addresses her lover: “Let us (= the couple) rejoice in you (= the young man), let us praise your lovemaking…” (3) The Beloved using the 1st person common plural cohortatives in reference to herself – there are examples in ancient Near Eastern love literature of the bride using 1st person common plural forms in reference to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99) – as she addresses the young man: “We (= I) will rejoice in you (= the young man).” Note: This problem is compounded by the ambiguity of the gender on בָּךְ (bakh, “in you”) which appears to be 2nd person feminine singular but may be 2nd person masculine singular in pause (see note below).

[1:4]  ¹⁴ tn Alternately, “Let us rejoice and delight in you.” There is debate whether the cohortatives נָגִילָה (nagilah, Qal cohortative 1st person common plural from גִּיל, gil, “to exult”), וְנִשְמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”) and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) should be classified as (1) cohortatives of resolve, expressing the resolution or determination of the speakers to adopt or accomplish a course of action: “We will rejoice…we will delight…we will praise” (e.g., KJV, NASB, NIV) or (2) hortatory cohortatives, exhorting others to join in doing something: “Let us rejoice…let us delight…let us praise” (e.g., NJPS).

[1:4]  ¹⁵ tn A shift occurs in 1:4 from 1st person common singular forms to 1st person common plural forms: “Draw me (מָשְׁכֵנִי, mashÿkeni)…Let us run (נּרוּצָה, narutsah)…Bring me (הֱבִיאַנִי, hevi’ani)…We will be glad (נָגִילָה, nagilah)…We will rejoice in you (וְנִשְׁמְחָה, vÿnishmÿkhah)…We will remember (נַזְכִּירָה, nazkirah)…They love you (אֲהֵבוּךָ, ’ahevukha)….” Several translations and many commentators end the words of the Beloved at 1:4a and begin the words of the Friends in 1:4b and revert back to the words of the Beloved in 1:4c. The subject of the 1st person common plural forms may be the “young women” (עֲלָמוֹת) previously mentioned in 1:3. This is supported by the fact that in 1:3 the Beloved says, “The young women love you” (עֲלָמוֹת אֲהֵבוּךָ, ’alamot ’ahevukha) and in 1:4c she again says, “Rightly do they [the young women] love you” (מֵישָׁרִים אֲהֵבוּךָ, mesharim ’ahevukha). On the other hand, in ANE love literature the bride often uses plural pronouns to refer to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99). Some commentators suggest that the young man is addressing his beloved because בָּךְ (bakh) appears to have a 2nd person feminine singular suffix. However, the suffix on בָּךְ is in pause (after the accent) therefore, the normal 2nd person masculine singular suffix בָּךָ has reduced to shewa. The parallelism with the 2nd person masculine singular suffix on דֹדֶיךָ (dodekha, “your love”) supports the 2nd person masculine singular classification.

[1:4]  ¹⁶ tn Alternately, “remember.” The verb נַזְכִּירָה (nazkirah, Hiphil imperfect 1st person common plural from זָכַר, zakhar) is traditionally rendered “we will remember” (KJV), but is better nuanced “we will extol” (NASB) or “we will praise” (NIV). The verb זָכַר has a wide range of meanings: “to remember, call to mind” (Gen 8:1; Deut 24:9; Judg 8:34), “to name, mention” (Jer 20:9; 23:36; 31:20; Pss 63:7; 77:4), “to summon, command” (Nah 2:6), “to swear by” (Amos 6:10; 1 Chr 16:4), and “to praise, extol” (Exod 23:13; Josh 23:7; Pss 45:18; 71:16; Isa 26:13; 48:1; 62:6). The Hiphil stem has four denotations, and “to remember” is not one of them: (1) “to take to court,” (2) “to mention,” (3) “to make known,” and (4) “to praise, profess” (HALOT 269-70 s.v. I זכר). NJPS offers a poetic nuance that plays upon the wine motif: “savoring it more than wine.”

[1:4]  ¹⁷ tn Alternately, “The righteous love you.” Scholars debate whether מֵישָׁרִים (mesharim) should be taken as a substantive (“the righteous”), abstract noun (“righteousness”), or adverb (“rightly”). The LXX’s εὐθύτης ἠγάπησεν σε (euquths hgaphsen, “righteousness loves you”) is awkward. The adverbial sense is preferred for several reasons: (1) The verb אֲהֵבוּךָ (’ahevuka, “they love you”) in 1:4c is repeated from 1:3c where it was used in reference to the maiden’s love for her lover. (2) There is no group designated as “the righteous” elsewhere in the Song. (3) To introduce an additional party into this poetic unit is unnecessary when it can be easily understood as a reference to the maidens of 1:3c.

[1:4]  ¹⁸ tn Heb “they love you.” The words “the young women” do not appear in the Hebrew but are supplied in the translation for the sake of clarity. The shift from the 1st person common plural subjects in the three cohortatives – נָגִילָה (nagilah, Qal cohortative 1st person common plural from גּיל, gil, “to exult”), וְנִשְׂמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”), and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) – to the 3rd person common plural subject in the verb אֲהֵבוּךָ (’ahevukha, Qal perfect 3rd person common plural from אָהֵב, ’ahev, “to love” + 2nd person masculine singular suffix) suggests to many scholars that a shift in speakers occurs at this point: the maidens praise the young man in the first two lines, while the Beloved affirms the appropriateness of their praise in the last line (e.g., NIV). However, the shift in person might simply be another example of heterosis of person (as already seen in 1:2-4a) – this time from first person to third person. Thus, the shift in grammatical person does not necessarily indicate a shift in speakers. It is possible that the maidens are speaking throughout all three lines, and that the third line should be nuanced, “How rightly we love you!”