The Song of Songs 2:3

The Beloved about Her Lover:

2:3 Like ¹  an apple tree ²  among the trees of the forest,

so is my beloved among the young men.

I delight ³  to sit ⁴  in his shade, ⁵ 

and his fruit ⁶  is sweet ⁷  to my taste. ⁸ 

The Song of Songs 3:1-4

The Lost Lover is Found

The Beloved about Her Lover:

3:1 All night long ⁹  on my bed ¹⁰ 

I longed for ¹¹  my lover. ¹² 

I longed for ¹³  him but he never appeared. ¹⁴ 

3:2 “I will arise ¹⁵  and look all around ¹⁶  throughout the town,

and throughout the streets ¹⁷  and squares;

I will search for my beloved.”

I searched for him but I did not find him. ¹⁸ 

3:3 The night watchmen found me – the ones who guard the city walls. ¹⁹ 

“Have you seen my beloved?” ²⁰ 

3:4 Scarcely ²¹  had I passed them by

when I found my beloved!

I held onto him ²²  tightly and would not let him go ²³ 

until I brought him to my mother’s house, ²⁴ 

to the bedroom chamber ²⁵  of the one who conceived me.

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! ²⁶ 

The Song of Songs 5:10

The Beloved to the Maidens:

5:10 My beloved ²⁷  is dazzling ²⁸  and ruddy; ²⁹ 

he stands out ³⁰  in comparison to ³¹  all other men. ³² 

The Song of Songs 5:16

5:16 His mouth is very sweet; ³³ 

he is totally desirable. ³⁴ 

This is my beloved!

This is my companion, O maidens of Jerusalem!

Psalms 18:1

Psalm 18 ³⁵ 

For the music director; by the Lord’s servant David, who sang ³⁶  to the Lord the words of this song when ³⁷  the Lord rescued him from the power ³⁸  of all his enemies, including Saul. ³⁹ 

18:1 He said: ⁴⁰ 

“I love ⁴¹  you, Lord, my source of strength! ⁴² 

Psalms 116:1

Psalm 116 ⁴³ 

116:1 I love the Lord

because he heard my plea for mercy, ⁴⁴ 

Isaiah 5:1

A Love Song Gone Sour

5:1 I ⁴⁵  will sing to my love –

a song to my lover about his vineyard. ⁴⁶ 

My love had a vineyard

on a fertile hill. ⁴⁷ 

Isaiah 26:9

26:9 I ⁴⁸  look for ⁴⁹  you during the night,

my spirit within me seeks you at dawn,

for when your judgments come upon the earth,

those who live in the world learn about justice. ⁵⁰ 

Matthew 10:37

10:37 “Whoever loves father or mother more than me is not worthy of me, and whoever loves son or daughter more than me is not worthy of me.

John 21:17

21:17 Jesus ⁵¹  said ⁵²  a third time, “Simon, son of John, do you love me?” Peter was distressed ⁵³  that Jesus ⁵⁴  asked ⁵⁵  him a third time, “Do you love me?” and said, ⁵⁶  “Lord, you know everything. You know that I love you.” Jesus ⁵⁷  replied, ⁵⁸  “Feed my sheep.

John 21:1

Jesus’ Appearance to the Disciples in Galilee

21:1 After this ⁵⁹  Jesus revealed himself again to the disciples by the Sea of Tiberias. ⁶⁰  Now this is how he did so. ⁶¹ 

John 1:8

1:8 He himself was not the light, but he came to testify ⁶²  about the light.

John 2:7

2:7 Jesus told the servants, ⁶³  “Fill the water jars with water.” So they filled them up to the very top.

[2:3]  ¹ tn Like the preceding line, this is a case of emblematic parallelism. An illustrative simile appears in the A-line (object of the comparison) and the subject of comparison appears in the B-line. The particles כֵּן…כְּ (kÿ…ken, “like…so”) form an emphatic comparative construction (e.g., Ps 123:2); cf. IBHS 641-42 §38.5a.

[2:3]  ² sn Apple trees were not native to Palestine and had to be imported and cultivated. To find a cultivated apple tree growing in the forest among other wild trees would be quite unusual; the apple tree would stand out and be a delightful surprise. Like a cultivated apple tree, the Lover was unique and stood out among all other men. In ancient Near Eastern love literature, the apple tree was a common symbol for romantic love and sexual fertility (S. N. Kramer, The Sacred Marriage Rite, 100-101). The “apple tree” motif is used in the Song in a similar manner (e.g., Song 2:3; 8:5). Likewise, the motif of “apples” is used as a symbol of fertility (Joel 1:12) and sexual desire (Song 2:5, 7, 9).

[2:3]  ³ tn Alternately, “I desired” or “I took delight in.” The meaning of this use of the verb חָמַד (khamad, “delight, desire”) is debated. The root has a basic two-fold range of meanings: (1) “to take pleasure in, delight in” (Job 20:20; Pss 39:12; 68:17; Prov 1:22; Isa 1:29; 44:9; 53:2) and (2) “to desire passionately, to desire illicitly” (Exod 20:17; 34:24; Deut 5:21; 7:25; Josh 7:21; Prov 1:22; 6:25; 12:12; Mic 2:2) (HALOT 325 s.v. חמד; BDB 326 s.v. חָמַד). The related noun חֶמְדָּה (khemÿkhah) describes objects which are “delightful, precious, desirable” (HALOT 325 s.v. חֶמְדָּה). Commentators who adopt an erotic view of the extended metaphor in 2:3 opt for the sexual desire nuance: “I desired (sexually).” Those who adopt the less erotic approach favor the more general connotation: “I took delight in” or “I delight in.”

[2:3]  ⁴ tn Heb “I delighted and I sat down.” Alternately, “I sat down with delight….” The verbs חִמַּדְתִּי וְיָשַׁבְתִּי (khimmadti vÿyashavti, “I delighted and I sat down”) form a verbal hendiadys (GKC 386 §120.d): “I sat down with delight…” or “I delight to sit….” The sequence of a perfect followed by another perfect with vav conjunctive creates the coordination of the complementary verbal idea (first verb) with the idea of the main (second) verb. The main idea is indicated by the second verb; the first verb indicates the manner of action. The first verb functions adverbially while the second verb carries its full verbal sense (see IBHS 653-54 §39.2.5).

[2:3]  ⁵ sn The term צֵל (tsel, “shade”) is used figuratively to depict protection and relief. This term is used in OT literally (physical shade from the sun) and figuratively (protection from something) (HALOT 1024-25 s.v. צֵל): (1) Literal: The physical shade of a tree offers protection from the heat of the midday sun (Judg 9:15; Ezek 17:23; 31:6, 12, 17; Hos 4:13; Jonah 4:6; Job 7:22; 40:22). Similar protection from the sun is offered by the shade of a vine (Ps 80:11), root (Gen 19:8), mountain (Judg 9:36), rock (Isa 32:2), cloud (Isa 25:5), and hut (Jonah 4:5). (2) Figurative (hypocatastasis): Just as physical shade offers protection from the sun, the Israelite could find “shade” (protection) from God or the king (e.g., Num 14:9; Isa 30:2; 49:2; 51:16; Hos 14:8; Pss 17:8; 36:8; 57:2; 63:8; 91:1; 121:5; Lam 4:20; Eccl 7:12). The association between “shade” and “protection” is seen in the related Akkadian sillu “shade, covering, protection” (AHw 3:1101; CAD S:189). The epithets of several Akkadian deities are sillu and sululu (“Shade, Protector”). The motif of protection, rest, and relief from the sun seems to be implied by the expression וְיָשַׁבְתִּי (vÿyashavti, “I sat down”) in 2:3b. During the summer months, the temperature often reaches 110-130ºF in the Negev. Those who have never personally experienced the heat of the summer sun in the Negev as they performed strenuous physical labor cannot fully appreciate the relief offered by any kind of shade! Previously, the young woman had complained that she had been burned by the sun because she had been forced to labor in the vineyards with no shade to protect her (Song 1:5-6). She had urged him to tell her where she could find relief from the sun during the hot midday hours (Song 1:7). Now she exults that she finally had found relief from the scorching sun under the “shade” which he offered to her (Song 2:3). S. C. Glickman writes: “Whereas before she came to him she worked long hours on the sun (1:6), now she rests under the protective shade he brings. And although formerly she was so exhausted by her work she could not properly care for herself, now she finds time for refreshment with him” (A Song for Lovers, 40).

[2:3]  ⁶ sn The term פִּרְיוֹ (piryo, “his fruit”) is a figure for the young man himself or perhaps his kisses which the young woman delights to “taste” (e.g., Song 4:11; 5:13). It is possible to take the imagery of the young woman tasting his “fruit” as kissing. Likewise, the imagery of the gazelles grazing among the lilies is probably a picture of the young man caressing and kissing his beloved (Song 2:16; 6:3).

[2:3]  ⁷ sn The term מָתוֹק (matoq, “sweet”) is used literally and figuratively. When used literally, it describes pleasant tasting foods, such as honey (Judg 14:14, 18; Prov 24:13; Ps 19:11) or sweet water (Num 33:28; Prov 9:17). Used figuratively, it describes what is pleasant to experience: friendship (Job 20:12; Ps 55:15; Prov 27:9), life (Eccl 11:7; Sir 40:18), sleep for the weary (Eccl 5:11), eloquence in speech (Prov 16:21, 24), and scripture (Ps 19:11). Those who adopt the “hyper-erotic” approach opt for the literal meaning: his “fruit” tastes sweet to her palate. The nonerotic approach takes the term in its figurative sense: The experience of his love was pleasant.

[2:3]  ⁸ tn Heb “my palate.” The term חִכִּי (khikki, “my palate”) is used metonymically in reference to the sensation of taste which is associated with a person’s palate. The idea of “tasting” is used as a metaphor in the OT for the experiential knowledge which is acquired through a person’s relationship with someone (e.g., Ps 34:9). Just as a person would learn whether a fruit was ripe and delicious by tasting it, so a person could learn of the quality of a person’s character by experiencing it through personal interaction. This extended metaphor compares the delights of his love to (1) the refreshment of sitting in the shade of a tree for refuge from the desert sun, and (2) the delight of tasting a sweet apple – a fruit that was not indigenous to Palestine.

[3:1]  ⁹ tn Alternately, “at night” or “night after night.” The noun בַּלֵּילוֹת (ballelot, plural of “night”) functions as an adverbial accusative of time. The plural form בַּלֵּילוֹת from לַיְלָה (laylah, “night”) can be classified in several ways: (1) plural of number: “night after night” (NASB, NEB); (2) plural of extension: “all night long” (NIV); (3) plural of composition: “by night” (KJV) and “at night” (NJPS); or (4) plural of intensity: “during the blackest night.” The plural of extension (“all night long”) is supported by (1) the four-fold repetition of the verb בָּקַשׁ (baqash, “to seek”) in 3:1-2 which emphasizes that the Beloved was continually looking for her lover all night long, (2) her decision to finally arise in the middle of the night to look for him in 3:2-4, and (3) her request in the immediately preceding verse (2:17) that he make love to her all night long: “until the day breathes and the shadows flee….” One should note, however, that the plural בַּלֵּילוֹת occurs in 3:8 where it is a plural of composition: “by night” (NJPS) or “of the night” (NASB, NIV) or “in the night” (KJV).

[3:1]  ¹⁰ tn The term מִשְׁכָּב (mishkav, “bed”) in 3:1 is the common term for marriage bed (HALOT 646 s.v. מִשְׁכָּב; BDB 1012 s.v. מִשְׁכָּב) in distinction from the common term for עֶרֶש (’eresh, “couch”) in 1:16. Several uses of the term מִשְׁכָּב (“bed”) have overt sexual connotations, denoting the place of copulation (Gen 49:4; Lev 18:22; 20:13; Num 31:17, 35; Judg 21:11, 12; Prov 7:17; Isa 57:7-8). The noun is used in the expression מִשְׁכָּב דֹּדִים (mishkav dodim, “love-bed”) with obvious sexual connotations (Ezek 23:17).

[3:1]  ¹¹ tn Heb “I sought….” The verb בָּקַשׁ (baqash, “to seek”) denotes the attempt to physically find someone (e.g., 1 Sam 13:14; 16:16; 28:7; 1 Kgs 1:2-3; Isa 40:20; Ezek 22:30; Esth 2:2; Job 10:6; Prov 18:1) (HALOT 152 s.v. בקשׁ). However, it is clear in 3:1 that this “search” took place upon her bed. It does not make sense in the context that the Beloved was looking around in her bed to find her lover – how big could her bed be that she had lost him? Rather, בָּקַשׁ (“to seek”) is used metonymically to reference to her longing for her absent lover, that is, seeking in the sense of anticipation. The perfect tense should be classified as a past constantive action, describing a past action which covered an extended period of time, as indicated by the phrase בַּלֵּילוֹת (ballelot, plural of extension, “all night long”) in 3:1. This continual action is emphasized by the four-fold repetition of בָּקַשׁ (“seek”) in 3:1-2.

[3:1]  ¹² tn Heb “the one whom my soul loves.” The expression נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole (= the woman). The expression נַפְשִׁי (“my soul”) is often used as independent personal pronoun. It often expresses personal preference, such as love or hatred (e.g., Gen 27:4, 25; Lev 26:11, 30; Judg 5:24; Isa 1:14) (HALOT 712 s.v. נֶפֶשׁ). The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times in OT to refer to the seat of a person’s emotions and passions (BDB 660 s.v. נֶפֶשׁ c.6.a) (e.g., Deut 12:15, 20, 21; 14:26; 18:6; 21:14; 24:15; 1 Sam 3:21; 23:30; 2 Sam 14:14; 1 Kgs 11:37; Isa 26:8; Jer 2:24; 22:27; 34:16; 44:14; Ezek 16:27; Hos 4:8; Mic 7:1; Pss 10:3; 24:4; 25:1; 35:25; 78:18; 86:4; 105:22; 143:8; Prov 13:4; 19:8; 21:10; Job 23:13; Song 5:6). It often refers to the seat of love (BDB 660 s.v. d.6.e) (e.g., Gen 34:3, 8; Jer 12:7; Ps 63:9; Song 1:7; 3:1-4). The expression אֵת־שֶׁאָהֲבָה נַפְשִׁי (’et-she’ahavah nafshi, “the one whom I love”; Heb “the one whom my soul loves”) is repeated four times in 3:1-4. The repetition emphasizes her intense love for her beloved. The noun אָהֲבָה (’ahavah, “love”) is often used in reference to the love between a man and woman, particularly in reference to emotional, romantic, or sexual love (2 Sam 1:26; 13:15; Prov 5:19; 7:18; Song 2:4-5, 7; 3:5; 5:8; 8:4, 6-7; Jer 2:2, 33). Likewise, the verb אָהֵב (’ahev, “to love”) often refers to emotional, romantic, or sexual love between a man and woman (e.g., Gen 24:67; 29:20, 30, 32; 34:3; Deut 21:15, 16; Judg 14:16; 16:4, 15; 1 Sam 1:5; 18:20; 2 Sam 13:1, 4, 15; 1 Kgs 11:1; 2 Chr 11:21; Neh 13:26; Esth 2:17; Eccl 9:9; Song 1:3, 4, 7; 3:1-4; Jer 22:20, 22; Ezek 16:33, 36-37; 23:5, 9, 22; Hos 2:7-15; 3:1; Lam 1:19).

[3:1]  ¹³ tn Heb “I searched for him” or “I sought him” (see study note above).

[3:1]  ¹⁴ tc The LXX adds “I called him but he did not answer me” (ἐκάλεσα αὐτόν καὶ οὐχ ὑπήκουσέν μου, ekalesa auton kai ouc Juphkousen) to 3:2d on the basis of its appearance in the parallel expressions in Song 5:6. There is no textual support for its inclusion here.

[3:2]  ¹⁵ sn Three 1st person common singular cohortatives appear in verse 2: אָקוּמָה (’aqumah, “I will arise”), אֲסוֹבְבָה (’asovÿvah, “I will go about”), and אֲבַקְשָׁה (’avaqshah, “I will seek”). These cohortatives have been taken in two basic senses: (1) resolve: “I will arise…I will go about…I will seek” (KJV, NIV) or (2) necessity: “I must arise…I must go about…I must seek” (NASB, NJPS). There is no ethical or moral obligation/necessity, but the context emphasizes her intense determination (e.g., 3:4b). Therefore, they should be classified as cohortatives of resolve, expressing the speaker’s determination to pursue a course of action. The three-fold repetition of the cohortative form emphasizes the intensity of her determination.

[3:2]  ¹⁶ tn The root סָבַב (savav) in the Qal stem means “to go around, to do a circuit” (1 Sam 7:16; 2 Chr 17:9; 23:2; Eccl 12:5; Song 3:3; Isa 23:16; Hab 2:16), while the Polel stem means “to prowl around” (Ps 59:7, 15; Song 3:2) (HALOT 739-740 s.v. סבב). The idea here is that the Beloved is determined to “look all around” until she finds her beloved.

[3:2]  ¹⁷ sn There is a consonantal wordplay in 3:2 between the roots בּקשׁ and בּשׁק, that is, between אֲבַקְשָׁה (’avaqshah, “I will seek [him]”) and בַּשְּׁוָקִים (bashshÿvaqim, “streets”). The wordplay emphasizes that she searched in every nook and cranny.

[3:2]  ¹⁸ sn The statement בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv vÿlo’ mÿtsa’tiv, “I sought him but I did not find him”) appears twice in 3:1-2. In both cases it concludes a set of cola. The repetition depicts her mounting disappointment in her failure to locate her beloved. It stands in strong contrast with 3:4.

[3:3]  ¹⁹ tn Heb “those who go around the city” or “those who go around in the city.” The expression הַסֹּבְבִים בָּעִיר (hassovÿvim ba’ir, “those who go around the city”) probably refers to the watchmen of the city walls rather than night city street patrol (e.g., Ps 127:1; Song 5:7; Isa 21:11; 62:6). The Israelite night watchmen of the walls is paralleled by the Akkadian sahir duri (“one who goes around the wall”) which appears in a lexical text as the equivalent of ma-sar musi (“night watchman”) (CAD 4:192). See M. H. Pope, Song of Songs (AB), 419. There is a wordplay in 3:2-3 between the verb וַאֲסוֹבְבָה (va’asovÿvah, “I will go about”) and הַסֹּבְבִים (hassovÿvim, “those who go around”). This wordplay draws attention to the ironic similarity between the woman’s action and the action of the city’s watchmen. Ironically, she failed to find her beloved as she went around in the city, but the city watchmen found her. Rather than finding the one she was looking for, she was found.

[3:3]  ²⁰ tn Heb “the one whom my soul loves – have you seen [him]?” The normal Hebrew word-order (verb-subject-direct object) is reversed in 3:3 (direct object-verb-subject) to emphasize the object of her search: אֵת שֶׁאָהֲבָה נַפְשִׁי רְאִיתֶם (’et she’ahavah nafshi rÿ’item, “The one whom my soul loves – have you seen [him]?”).

[3:4]  ²¹ tn Heb “like a little.” The term כִּמְעַט (kim’at), which is composed of the comparative preposition כְּ (kÿ, “like”) prefixed to the noun מְעַט (mÿ’at, “the small, the little, the few”), is an idiom that means “within a little” or “scarcely” (BDB 590 s.v. מְעַט b.2.a).

[3:4]  ²² tn Heb “I held him” (אֲחַזְתִּיו, ’akhaztiv). The term אָחַז (’akhaz, “grasp”) denotes to forcefully seize someone to avoid losing hold of him (BDB 28 s.v. אָחַז b).

[3:4]  ²³ tn The verb רָפָה (rafah, “to let go”) means to relax one’s grip on an object or a person (HALOT 1276-77 s.v. רפה; BDB 952 s.v. רָפָה 2). The Hiphil stem means “to let loose” (Job 7:19; 27:6; Song 3:4; Sir 6:27) or “to release from one’s hands” (Deut 9:14; Josh 10:6; Ps 37:8). The negative expression לֹא רָפָה (lo’ rafah, “to not let [someone or something] go”) denotes an intense desire or effort to not lose possession of someone or something (Job 27:6; Prov 4:13). Here the expression וְלֹא אַרְפֶּנּוּ (vÿlo’ ’arpennu, “I would not let him go”) pictures her determination to hold on to him so she would not lose him again. The shift from a suffix-conjugation (perfect) אֲחַזְתִּיו (’akhaztiv, “I grasped him”) to a prefix-conjugation (imperfect) אַרְפֶּנּוּ (’arpennu, “I would [not] let him go”) depicts a shift from a completed/consummative action (perfect: she took hold of his hand) to an ongoing/progressive action (imperfect: she would not let go of it). A basic distinction between the perfect and imperfect tenses is that of consummative versus progressive action. The literary/syntactical structure of אֲחַזְתִּיו וְלֹא אַרְפֶּנּוּ (“I grasped him and I would not let him go”) in 3:4 mirrors that of בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv vÿlo’ mÿtsa’tiv, “I searched for him but I could not find him”) in 3:1-2. This parallelism in the literary and syntactical structure emphasizes the fortunate reversal of situation.

[3:4]  ²⁴ sn There is debate about the reason why the woman brought her beloved to her mother’s house. Campbell notes that the mother’s house is sometimes referred to as the place where marital plans were made (Gen 24:28; Ruth 1:8). Some suggest, then, that the woman here was unusually bold and took the lead in proposing marriage plans with her beloved. This approach emphasizes that the marriage plans in 3:4 are followed by the royal wedding procession (3:6-11) and the wedding night (4:1-5:1). On the other hand, others suggest that the parallelism of “house of my mother” and “chamber of she who conceived me” focuses on the bedroom of her mother’s house. Fields suggests that her desire was to make love to her beloved in the very bedroom chambers where she herself was conceived, to complete the cycle of life/love. If this is the idea, it would provide a striking parallel to a similar picture in 8:5 in which the woman exults that they had made love in the very location where her beloved had been conceived: “Under the apple tree I aroused you; it was there your mother conceived you, there she who bore you conceived you.”

[3:4]  ²⁵ tn The term חֶדֶר (kheder, “chamber”) literally means “dark room” (HALOT s.v. חֶדֶר 293) and often refers to a bedroom (Gen 43:30; Exod 7:28; Judg 3:24; 15:1; 16:9, 12; 2 Sam 4:7; 13:10; 1Kgs 1:15; 2 Kgs 6:12; 9:2; Eccl 10:20; Isa 26:20; Joel 2:16; Prov 24:4; Song 1:4; 3:4).

[5:8]  ²⁶ 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.

[5:10]  ²⁷ sn The Beloved’s praise of his appearance follows the typical literary structure of the ancient Near Eastern wasfs song: (1) introductory summary praise (5:10), (2) detailed descriptive praise from head to foot (5:11-16a), and (3) concluding summary praise (5:16b). There are several striking features about this song that are unique from the typical wasfs. (1) The ordinary setting of the ancient Near Eastern wasfs songs was the wedding night. (2) They were ordinarily sung only by a man in praise of his bride. (3) Normally, the wasfs song will conclude with the feet after the legs; however, the Beloved concludes by praising his mouth after his legs.

[5:10]  ²⁸ sn The term צַח (tsakh, “dazzling”) is ordinarily used to describe the shining surface of jewelry or of smoothed rocks (Ezek 24:7-8; 26:4, 14; Neh 4:7). Likewise, אָדֹם (’adom, “ruddy”) can describe the redness of rubies (Lam 4:7). Throughout 5:11-15 she compares his appearance to valuable jewels, gems, and precious metals.

[5:10]  ²⁹ tn The adjective אָדֹם (’adom) denotes either “manly” or “ruddy,” depending upon whether it is derived from אָדָם (’adam, “man”; HALOT 14 s.v. I אָדָם) or אָדֹם (“red”; HALOT 14 s.v. אָדֹם). If it is “manly,” the idea is that he is the epitome of masculinity and virility. On the other hand, the emphasis would be upon his health and virility, evidenced by his ruddy complexion, or it could be a comparison between his ruddy coloring and the redness of rubies (Lam 4:7).

[5:10]  ³⁰ tn Heb “outstanding.” The participle דָּגוּל (dagul) functions as a predicate adjective: “My beloved is…outstanding among ten thousand.” The verb דָּגַל (dagal) is relatively rare, being derived from the noun דֶּגֶל (degel, “banner”) which often refers to a military standard which, when lifted up, was conspicuous for all to see (Num 2:3-4; 10:14-15). The verb דָּגַל only occurs three other times, all referring to raising military banners for all to see (Ps 20:6; Song 6:4, 10). Song 5:10 uses the term figuratively (hypocatastasis) to denote “outstanding” (HALOT 213 s.v. דֶּגֶל). This sense is closely related to the cognate Akkadian verb dagalu “to look, contemplate” and the noun diglu “eyesight, view (what is looked at).” Like a banner lifted high, he attracted the attention of all who looked at him.

[5:10]  ³¹ tn Heb “from, among.” The preposition מִן (min) prefixed to רְבָבָה (rÿvavah, “ten thousand”) is taken in a comparative, locative sense: “outstanding among ten thousand” (e.g., KJV, RSV, NASB, NIV, NJPS).

[5:10]  ³² tn Heb “among ten thousand.” The numeral “ten thousand” is the highest number used in comparisons in Hebrew poetry (1 Sam 18:7-8; 21:12; 29:5; Ps 91:7). It is not used to mark out a specific number, but to denote an indefinite number of persons of the largest possible proportions (Gen 24:60; Num 10:36; Deut 33:2; Ps 3:7). Her point is simply this: no other man could possibly compare to him in appearance, even if he were in a group of an infinite number of men.

[5:16]  ³³ tn Heb “sweetnesses.” Alternately, “very delicious.” The term מַמְתַקִּים (mamtaqqim, “sweetness”; HALOT 596 s.v. מַמְתַקִּים; BDB 609 s.v. מַמְתַקִּים) is the plural form of the noun מֹתֶק (moteq, “sweetness”). This may be an example of the plural of intensity, that is, “very sweet” (e.g., IBHS 122 §7.4.3a). The rhetorical use of the plural is indicated by the fact that מַמְתַקִּים (“sweetness”) is functioning as a predicate nominative relative to the singular subjective nominative חִכּוֹ (khikko, “his mouth”).

[5:16]  ³⁴ tn The term מַחֲמַדִּים (makhmaddim, “desirable”) is the plural form of the noun מַחְמַד (makhmad, “desire, desirable thing, precious object”; HALOT 570 s.v. מַחְמָד 1; BDB 326 s.v. מַחְמַד). Like the plural מַמְתַקִּים (“sweetness”) in the preceding parallel line, this use of the plural is probably an example of the plural of intensity: “very desirable.”

[18:1]  ³⁵ sn Psalm 18. In this long song of thanks, the psalmist (a Davidic king, traditionally understood as David himself) affirms that God is his faithful protector. He recalls in highly poetic fashion how God intervened in awesome power and delivered him from death. The psalmist’s experience demonstrates that God vindicates those who are blameless and remain loyal to him. True to his promises, God gives the king victory on the battlefield and enables him to subdue nations. A parallel version of the psalm appears in 2 Sam 22:1-51.

[18:1]  ³⁶ tn Heb “spoke.”

[18:1]  ³⁷ tn Heb “in the day,” or “at the time.”

[18:1]  ³⁸ tn Heb “hand.”

[18:1]  ³⁹ tn Heb “and from the hand of Saul.”

[18:1]  ⁴⁰ tn A number of translations (e.g., NASB, NIV, NRSV) assign the words “he said” to the superscription, in which case the entire psalm is in first person. Other translations (e.g., NAB) include the introductory “he said” at the beginning of v. 1.

[18:1]  ⁴¹ tn The verb רָחַם (rakham) elsewhere appears in the Piel (or Pual) verbal stem with the basic meaning, “have compassion.” The verb occurs only here in the basic (Qal) stem. The basic stem of the verbal root also occurs in Aramaic with the meaning “love” (see DNWSI 2:1068-69; Jastrow 1467 s.v. רָחַם; G. Schmuttermayr, “rhm: eine lexikalische Studie,” Bib 51 [1970]: 515-21). Since this introductory statement does not appear in the parallel version in 2 Sam 22:1-51, it is possible that it is a later addition to the psalm, made when the poem was revised for use in worship.

[18:1]  ⁴² tn Heb “my strength.” “Strength” is metonymic here, referring to the Lord as the one who bestows strength to the psalmist; thus the translation “my source of strength.”

[116:1]  ⁴³ sn Psalm 116. The psalmist thanks the Lord for delivering him from a life threatening crisis and promises to tell the entire covenant community what God has done for him.

[116:1]  ⁴⁴ tn Heb “I love because the Lord heard my voice, my pleas.” It is possible that “the Lord” originally appeared directly after “I love” and was later accidentally misplaced. The translation assumes the prefixed verbal form is a preterite. The psalmist recalls that God heard his cry for help (note the perfect in v. 2a and the narrative in vv. 3-4).

[5:1]  ⁴⁵ tn It is uncertain who is speaking here. Possibly the prophet, taking the role of best man, composes a love song for his friend on the occasion of his wedding. If so, יָדִיד (yadid) should be translated “my friend.” The present translation assumes that Israel is singing to the Lord. The word דוֹד (dod, “lover”) used in the second line is frequently used by the woman in the Song of Solomon to describe her lover.

[5:1]  ⁴⁶ sn Israel, viewing herself as the Lord’s lover, refers to herself as his vineyard. The metaphor has sexual connotations, for it pictures her capacity to satisfy his appetite and to produce children. See Song 8:12.

[5:1]  ⁴⁷ tn Heb “on a horn, a son of oil.” Apparently קֶרֶן (qeren, “horn”) here refers to the horn-shaped peak of a hill (BDB 902 s.v.) or to a mountain spur, i.e., a ridge that extends laterally from a mountain (HALOT 1145 s.v. קֶרֶן; H. Wildberger, Isaiah, 1:180). The expression “son of oil” pictures this hill as one capable of producing olive trees. Isaiah’s choice of קֶרֶן, a rare word for hill, may have been driven by paronomastic concerns, i.e., because קֶרֶן sounds like כֶּרֶם (kerem, “vineyard”).

[26:9]  ⁴⁸ tn Heb “with my soul I.” This is a figure for the speaker himself (“I”).

[26:9]  ⁴⁹ tn Or “long for, desire.” The speaker acknowledges that he is eager to see God come in judgment (see vv. 8, 9b).

[26:9]  ⁵⁰ tn The translation understands צֶדֶק (tsedeq) in the sense of “justice,” but it is possible that it carries the nuance “righteousness,” in which case one might translate, “those who live in the world learn to live in a righteous manner” (cf. NCV).

[21:17]  ⁵¹ tn Grk “He”; the referent (Jesus) has been specified in the translation for clarity.

[21:17]  ⁵² tn Grk “said to him.” The words “to him” are clear from the context and slightly redundant in English.

[21:17]  ⁵³ tn Or “was sad.”

[21:17]  ⁵⁴ tn Grk “he”; the referent (Jesus) has been specified in the translation for clarity.

[21:17]  ⁵⁵ tn Grk “said to.”

[21:17]  ⁵⁶ tn Grk “and said to him.” The words “to him” are clear from the context and slightly redundant in English.

[21:17]  ⁵⁷ tc ‡ Most witnesses, especially later ones (A Θ Ψ Ë¹³ Ï), read ὁ ᾿Ιησοῦς (Jo Ihsou", “Jesus”) here, while B C have ᾿Ιησοῦς without the article and א D W ˹ 33 565 al lat lack both. Because of the rapid verbal exchange in this pericope, “Jesus” is virtually required for clarity, providing a temptation to scribes to add the name. Further, the name normally occurs with the article. Although it is possible that B C accidentally omitted the article with the name, it is just as likely that they added the simple name to the text for clarity’s sake, while other witnesses added the article as well. The omission of ὁ ᾿Ιησοῦς thus seems most likely to be authentic. NA²⁷ includes the words in brackets, indicating some doubts as to their authenticity.

[21:17]  ⁵⁸ tn Grk “Jesus said to him.”

[21:1]  ⁵⁹ tn The time reference indicated by μετὰ ταῦτα (meta tauta) is indefinite, in comparison with the specific “after eight days” (μεθ᾿ ἡμέρας ὀκτώ, meq’ Jhmera" oktw) between the two postresurrection appearances of Jesus in 20:26.

[21:1]  ⁶⁰ sn The Sea of Tiberias is another name for the Sea of Galilee (see 6:1).

[21:1]  ⁶¹ tn Grk “how he revealed himself.”

[1:8]  ⁶² tn Or “to bear witness.”

[2:7]  ⁶³ tn Grk “them” (it is clear from the context that the servants are addressed).