Discovery BoxThe Song of Songs 1:5
ContextThe Beloved to the Maidens:
1:5 I am dark but lovely, O maidens 1 of Jerusalem,
dark 2 like the tents of Qedar, 3
lovely 4 like the tent curtains 5 of Salmah. 6
The Song of Songs 1:8
ContextThe Lover to His Beloved:
1:8 If you do not know, O most beautiful of women,
simply follow the tracks of my flock,
and pasture your little lambs
beside the tents of the shepherds.
The Song of Songs 6:10
Context6:10 “Who 7 is this who appears 8 like the dawn? 9
Beautiful as the moon, 10 bright 11 as the sun,
awe-inspiring 12 as the stars in procession?” 13
Psalms 45:11
Context45:11 Then 14 the king will be attracted by 15 your beauty.
After all, he is your master! Submit 16 to him! 17
Psalms 110:3
Context110:3 Your people willingly follow you 18 when you go into battle. 19
On the holy hills 20 at sunrise 21 the dew of your youth 22 belongs to you. 23
Ephesians 5:27
Context5:27 so that he 24 may present the church to himself as glorious – not having a stain or wrinkle, or any such blemish, but holy and blameless. 25
Colossians 1:22
Context1:22 but now he has reconciled you 26 by his physical body through death to present you holy, without blemish, and blameless before him –
Colossians 1:1
Context1:1 From Paul, 27 an apostle of Christ Jesus by the will of God, and Timothy our brother,
Colossians 3:4
Context3:4 When Christ (who is your 28 life) appears, then you too will be revealed in glory with him.
Jude 1:24
Context1:24 Now to the one who is able to keep you from falling, 29 and to cause you to stand, rejoicing, 30 without blemish 31 before his glorious presence, 32
[1:5] 1 tn Heb “O daughters of Jerusalem.”
[1:5] 2 sn The term “dark” does not appear in the Hebrew in this line but is supplied in the translation from the preceding line for the sake of clarity. The poetic structure of this tricolon is an example of redistribution. The terms “black but beautiful” in the A-line are broken up – the B-line picks up on “black” and the C-line picks up on “beautiful.” The Beloved was “black” like the rugged tents of Qedar woven from the wool of black goats, but “beautiful” as the decorative inner tent-curtains of King Solomon (J. L. Kugel, The Idea of Biblical Poetry, 40; W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 181).
[1:5] 3 sn The comparison of her dark, outdoors appearance to the “tents of Qedar” is quite fitting for two reasons. First, the name “Qedar” refers to an ancient Arabian tribe of bedouin who lived in tents and inhabited a region in northern Arabia. Their tents were traditionally woven from the wool of black goats. They were not beautiful to look at; they were rough, rustic, rugged, and weather-beaten. Second, the terms שְׁחוֹרָה (shÿkhorah, “black”) and קֵדָר (qedar, “Qedar”) create a wordplay because the root קָדַר (qadar) means “dark, dirty” (HALOT 1072 s.v. קדר). The point of the comparison is that the Beloved had dark skin and a rugged outdoors appearance because she had been forced to work outdoors, and so her skin had become dark as 1:6 states.
[1:5] 4 tn The term “lovely” does not appear in the Hebrew in this line but is supplied in the translation from the first line in this verse for the sake of clarity.
[1:5] 5 sn There is debate whether the terms “tents” אָהֳלֵי (’ahale, “tents”) and יְרִיעוֹת (yÿri’ot, “tent-curtains”) used here as synonyms or antonyms. The term אֹהֶל (’ohel, “tent”) is often used in reference to an overall tent assembly, with particular emphasis on the external structure (e.g., Gen 4:20; 18:1; 31:33; Exod 26:13; 40:19; Judg 4:17; Isa 54:2; Jer 37:10) (HALOT 19 s.v. I אֹהֶל). The term “tent-curtains” (יְרִיעוֹה) is used to refer to (1) inner hanging curtains, such as decorative hangings or tapestries inside a tent (e.g., Exod 26:1-2, 7; Num 4:25) and (2) a tent as a whole (e.g., 2 Sam 7:2; Jer 4:20; 10:20; Hab 3:7) (HALOT 439 s.v. יְרִיעוֹת). The two terms are often used in parallelism as an A-B word pair (Isa 54:2; Jer 4:20; 10:20; 49:29; Hab 3:7). Like the “tents” (אֹהָלִים) of Qedar which were made from the wool of black goats, “tent-curtains” (יְרִיעוֹה) also were sometimes made from goat hair (Exod 26:7). If the two are synonymous, the point is that the tents of Qedar and the tent-curtains of Salmah were both black but beautiful. If the two terms are antonyms, the point is that the tents of Qedar are black but the tent-curtains of Salmah are beautiful. In either case, her point is that she is black, but nonetheless beautiful. Rabbinic midrash misses the point; it views the metaphor as contrasting her swarthy outward appearance with her inner beauty: “Just as the tents of Kedar, although from outside they look ugly, black, and ragged, yet inside contain precious stones and pearls, so the disciples of the wise, although they look repulsive and swarthy in this world, yet have within them knowledge of the Torah, Scriptures, Mishnah, Midrash, Halachoth, Talmud, Toseftas and Haggadah” (Midrash Rabbah 4:54-55).
[1:5] 6 tc The MT vocalizes שׁלמה as שְׁלֹמֹה (shÿlomoh, “Solomon”); however, the BHS editors suggest the vocalization שַׁלְמָה (shalmah); cf. NAB “Salma.” Salmah is the name of an ancient Arabian tribe mentioned in Assyrian and South Arabic sources, as well as Targum Onqelos (Gen 15:19; Num 24:21; Judg 4:17). Like the tribe of Qedar, Salmah was an Arabian nomadic tribe which inhabited a region in northern Arabia and the region of Petra. The proposed revocalization produces tighter parallelism between Qedar and Salmah, than Qedar and Solomon. This also creates a striking wordplay on the name שְׁלֹמֹה (M. H. Pope, Song of Songs [AB], 320).
[6:10] 7 sn This rhetorical question emphasizes her position among women (e.g., Mic 2:7; Joel 2:1).
[6:10] 8 tn Alternately, “rises” or “looks forth.” Delitzsch renders הַנִּשְׁקָפָה (hannishqafah) as “who rises,” while NIV opts for “who appears.” The verb means “to look down upon [something] from a height” and is derived from the related noun “ceiling, roof, sky” (BDB 1054 s.v. שָׁקַף; HALOT 1645 s.v. שׁקף). The verb is used of looking down over a plain or valley from the vantage point of a mountain-top (Num 21:20; 23:28; 1 Sam 13:18); of God looking down from heaven (Ps 14:2); or of a person looking down below out of an upper window (Judg 5:28; 2 Sam 6:16; Prov 7:6). M. H. Pope (The Song of Songs [AB], 571-72) suggests that this verb implies the idea of her superiority over the other women, that is, she occupies a “higher” position over them due to his choice of her. But another interpretation is possible: The verb creates personification (i.e., the dawn is attributed with the human action of looking). Just as the dawn is the focus of attention during the morning hours and looks down upon the earth, so too she is the focus of his attention and is in the privileged position over all the other women.
[6:10] 9 sn The common point in these four comparisons is that all are luminaries. In all four cases, each respective luminary is the focus or center of attention at the hour at hand because it dwarfs its celestial surroundings in majesty and in sheer brilliance. All other celestial objects pale into insignificance in their presence. This would be an appropriate description of her because she alone was the center and focus of his attention. All the other women paled into the background when she was present. Her beauty captured the attention of all that saw her, especially Solomon.
[6:10] 10 tn The term לְבָנָה (lÿvanah) literally means “the white one” (BDB 526 s.v. לְבָנָה) and is always used in reference to the moon. It is only used elsewhere in the OT in parallelism with the term used to designate the sun (Isa 24:23; 30:26), which likewise is not the ordinary term, but literally means “the hot one,” emphasizing the heat of the sun (Job 30:28; Ps 19:6). Both of these terms, “the white one” and “the hot one,” are metonymies of adjunct in which an attribute (i.e., color and heat) are substituted for the subject itself. The white moon in contrast to the dark night sky captures one’s attention, just as the red-hot sun in the afternoon sky is the center of attention during the day. The use of the figurative comparisons of her beauty to that of the dawn, sun, moon, and stars is strikingly similar to the Hebrews’ figurative comparison of Simon the high priest coming out of the sanctuary to the morning star, moon, sun, and rainbow: “How glorious he was when the people gathered round him as he came out of the inner sanctuary! Like the morning star among the clouds, like the moon when it is full; like the sun shining upon the temple of the Most High, and like the rainbow gleaming in glorious clouds” (See G. Gerleman, Ruth, Das Hohelied [BKAT], 171).
[6:10] 11 tn Heb “pure as the sun.”
[6:10] 12 tn The adjective אָיֹם (’ayom) has been nuanced “terrible” (KJV, RSV), “frightful, fear-inspiring” (Delitzsch), “majestic” (NIV), “awesome” (NASB). In the light of its parallelism with יָפָה (yafah, “beautiful”) and נָאוָה (na’vah, “lovely”) in 6:4, and יָפָה (“fair”) and בָּרָה (barah, “bright”) in 6:10, it should be nuanced “awe-inspiring” or “unnervingly beautiful.”
[6:10] 13 tn Heb “as bannered armies.” The term כַּנִּדְגָּלוֹת (kannidgalot, “as bannered armies”) is used figuratively (hypocatastasis) in reference to stars which are often compared to the heavenly armies. This nuance is clear in the light of the parallelism with the dawn, moon, and sun.
[45:11] 14 tn After the preceding imperatives, the jussive verbal form with vav (ו) conjunctive is best understood as introducing a purpose (“so that the king might desire your beauty”) or result clause (see the present translation and cf. also NASB). The point seems to be this: The bride might tend to be homesick, which in turn might cause her to mourn and diminish her attractiveness. She needs to overcome this temptation to unhappiness and enter into the marriage with joy. Then the king will be drawn to her natural beauty.
[45:11] 17 sn Submit to him. The poet here makes the point that the young bride is obligated to bring pleasure to her new husband. Though a foreign concept to modern western culture, this was accepted as the cultural norm in the psalmist’s day.
[110:3] 18 tn Heb “your people, free will offerings.” Perhaps the people, in their willingness to volunteer, are compared metaphorically to freewill offerings. Following the LXX, some revocalize the text and read “with you is nobility.”
[110:3] 19 tn Heb “in the day of your power.”
[110:3] 20 tc Heb “in splendor of holiness.” The plural construct form הַדְרֵי (hadrey, from הָדַר, hadar, “splendor”) occurs only here; it may indicate degree or perhaps refer by metonymy to garments (see Pss 29:2 and 96:9, where the phrase הַדְרַת קֹדֶשׁ [hadrat qodesh] refers to “holy attire”). If one retains the reading of the MT, this phrase should probably be taken with the preceding line. However, because of the subsequent references to “dawn” and to “dew,” it is better to emend the text to הַרְרֵי קֹדֶשׁ (harrey qodesh, “mountains of holiness”), a reading found in many medieval Hebrew
[110:3] 21 tn Heb “from the womb of dawn.” The Hebrew noun רֶחֶם (rekhem, “womb”) is probably used here metonymically for “birth.” The form מִשְׁחָר (mishkhar) occurs only here and should be emended to שַׁחַר (shakhar, “dawn”) with the mem (מ) being understood as dittographic (note the final mem [ם] on the preceding word). The phrase “womb [i.e., “birth”] of dawn” refers to sunrise.
[110:3] 22 sn The point of the metaphor is not entirely clear. The dew may symbolize the king’s youthful vitality or, more likely (note the parallelism), may refer to his army of strong, youthful warriors.
[110:3] 23 tn Heb “to you [is].”
[5:27] 24 tn The use of the pronoun αὐτός (autos) is intensive and focuses attention on Christ as the one who has made the church glorious.
[5:27] 25 tn Grk “but in order that it may be holy and blameless.”
[1:22] 26 tc Some of the better representatives of the Alexandrian and Western texts have a passive verb here instead of the active ἀποκατήλλαξεν (apokathllaxen, “he has reconciled”): ἀποκατηλλάγητε (apokathllaghte) in (Ì46) B, ἀποκατήλλακται [sic] (apokathllaktai) in 33, and ἀποκαταλλαγέντες (apokatallagente") in D* F G. Yet the active verb is strongly supported by א A C D2 Ψ 048 075 [0278] 1739 1881 Ï lat sy. Internally, the passive creates an anacoluthon in that it looks back to the accusative ὑμᾶς (Juma", “you”) of v. 21 and leaves the following παραστῆσαι (parasthsai) dangling (“you were reconciled…to present you”). The passive reading is certainly the harder reading. As such, it may well explain the rise of the other readings. At the same time, it is possible that the passive was produced by scribes who wanted some symmetry between the ποτε (pote, “at one time”) of v. 21 and the νυνὶ δέ (nuni de, “but now”) of v. 22: Since a passive periphrastic participle is used in v. 21, there may have a temptation to produce a corresponding passive form in v. 22, handling the ὑμᾶς of v. 21 by way of constructio ad sensum. Since παραστῆσαι occurs ten words later, it may not have been considered in this scribal modification. Further, the Western reading (ἀποκαταλλαγέντες) hardly seems to have arisen from ἀποκατηλλάγητε (contra TCGNT 555). As difficult as this decision is, the preferred reading is the active form because it is superior externally and seems to explain the rise of all forms of the passive readings.
[1:1] 27 tn Grk “Paul.” The word “from” is not in the Greek text, but has been supplied to indicate the sender of the letter.
[3:4] 28 tc Certain
[1:24] 29 tn The construction in Greek is a double accusative object-complement. “You” is the object and “free from falling” is the adjectival complement.
[1:24] 30 tn Grk “with rejoicing.” The prepositional clause is placed after “his glorious presence” in Greek, but most likely goes with “cause you to stand.”
[1:24] 31 tn The construction in Greek is a double accusative object-complement. “You” is the object and “without blemish” is the adjectival complement.
[1:24] 32 tn Or “in the presence of his glory,” “before his glory.”
