Discovery BoxThe Song of Songs 2:4-5
ContextThe Beloved about Her Lover:
2:4 He brought me 1 into the banquet hall, 2
and he looked 3 at me lovingly. 4
2:5 Sustain 5 me with raisin cakes, 6
refresh me with apples, 7
for I am faint with love. 8
The Double Refrain: Embracing and Adjuration
The Song of Songs 7:6
Context7:6 How beautiful you are! How lovely,
O love, 9 with your delights! 10
The Song of Songs 3:10
Context3:10 Its posts were made 11 of silver; 12
its back 13 was made of gold.
Its seat was upholstered with purple wool; 14
its interior was inlaid 15 with leather 16 by the maidens 17 of Jerusalem.
The Song of Songs 5:8
ContextThe 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! 18
The Song of Songs 8:6
ContextThe Beloved to Her Lover:
8:6 Set me like a cylinder seal 19 over your heart, 20
like a signet 21 on your arm. 22
For love is as strong as death, 23
passion 24 is as unrelenting 25 as Sheol.
Its flames burst forth, 26
it is a blazing flame. 27
[2:4] 1 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
[2:4] 2 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] 3 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
[2:4] 4 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] 5 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] 6 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] 7 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] 8 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).
[7:6] 9 tn Alternately, “O beloved one.” Consonantal אהבה is vocalized by the Masoretes as אַהֲבָה (’ahavah, “love”). However, a variant Hebrew
[7:6] 10 tc The MT preserves a syntactically difficult reading בַּתַּעֲנוּגִים (batta’anugim, “in/with delights”). A variant Hebrew textual tradition preserves the alternate reading בַּת תַּעֲנוּגִים (bat ta’anugim, “daughter of delights” or “delightful daughter”). The textual variant is either due to haplography (mistakenly writing ת once instead of twice) or dittography (mistakenly writing ת twice instead of once). The alternate textual tradition is reflected in Aquila θυγάτηρ τρυφῶν (qugarhr trufwn, “daughter of delights”). However, the MT reading אַהֲבָה בַּתַּעֲנוּגִים (’ahavah batta’anugim, “O love, in your delights”) is אַהֲבָה בַּתַּעֲנוּגִים (“O love, in your delights”) is supported by LXX (Old Greek) ἀγάπη, ἐν τρυφαῖς σου (agaph, en trufais sou, “O love, in your delights”).
[3:10] 13 tn Heb “He made its posts of silver.”
[3:10] 14 tn The nouns כֶסֶף (kesef, “silver”), זָהָב (zahav, “gold”) and אַרְגָּמָן (’argaman, “purple”) function as genitives of material out of which their respective parts of the palanquin were made: the posts, base, and seat. The elaborate and expensive nature of the procession is emphasized in this description. This litter was constructed with the finest and most expensive materials. The litter itself was made from the very best wood: cedar and cypress from Lebanon. These were the same woods which Solomon used in constructing the temple (1 Kgs 5:13-28). Silver was overlaid over the “posts,” which were either the legs of the litter or the uprights which supported its canopy, and the “back” of the litter was overlaid with gold. The seat was made out of purple material, which was an emblem of royalty and which was used in the tabernacle (Exod 26:1f; 27:16; 28:5-6) and in the temple (2 Chr 3:14). Thus, the litter was made of the very best which Solomon could offer. Such extravagance reflected his love for his Beloved who rode upon it and would be seen upon it by all the Jerusalemites as she came into the city.
[3:10] 15 tn The noun רְפִידָה (rÿfidah) is a hapax legomenon whose meaning is uncertain. It may be related to the masculine noun רָפַד (rafad, “camping place, station”) referring to a stopping point in the wilderness march of Israel (Exod 17:1, 8; 19:2; Num 33:14); however, what any semantic connection might be is difficult to discern. The versions have translated רְפִידָה variously: LXX ἀνάκλιτον (anakliton, “chair for reclining”), Vulgate reclinatorium (“support, back-rest of a chair”) Peshitta teshwiteh dahba (“golden cover, throne sheathed in gold leaf”). Modern translators have taken three basic approaches: (1) Following the LXX and Vulgate (“support, rest, back of a chair”), BDB suggests “support,” referring to the back or arm of the chair of palanquin (BDB 951 s.v. רָפַד). Several translations take this view, e.g., NRSV: “its back,” NEB/REB: “its headrest,” and NJPS: “its back.” (2) Koehler-Baumgartner suggest “base, foundation of a saddle, litter” (KBL 905). Several translations follow this approach, e.g., KJV: “the bottom,” NASB: “its base” (margin: “its support,” and NIV: “its base.” (3) G. Gerleman suggests the meaning “cover,” as proposed by Peshitta. The first two approaches are more likely than the third. Thus, it probably refers either to (1) the back of the sedan-chair of the palanquin or (2) the foundation/base of the saddle/litter upon which the palanquin rested (HALOT 1276 s.v. רפד).
[3:10] 16 tn The Hebrew noun אַרְגָּמָן (’argaman, “purple fabric”) is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” and Aramaic argwn “purple” (HALOT 84 s.v. אַרְגָּמָן). The Hebrew term refers to wool dyed with red purple (BRL2 153; HALOT 84). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). Purple cloth and fabrics were costly (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26). Thus, this was a sedan-chair fit for a king. KJV and NIV render it simply as “purple,” NASB as “purple fabric,” and NJPS “purple wool.”
[3:10] 17 tn The participle רָצוּף (ratsuf) probably functions verbally: “Its interior was fitted out with love/lovingly.” Taking it adjectivally would demand that ַאהֲבָה (’ahavah, “love”) function as a predicate nominative and given an unusual metonymical connotation: “Its inlaid interior [was] a [gift of] love.”
[3:10] 18 tn The accusative noun אַהֲבָה (’ahavah, “love” or “leather”) functions either as an accusative of material out of which the interior was made (“inlaid with leather”) or an accusative of manner describing how the interior was made (“inlaid lovingly,” that is, “inlaid with love”). The term אַהֲבָה is a homonymic noun therefore, there is an interesting little debate whether אַהֲבָה in 3:10 is from the root אַהֲבָה “love” (BDB 13 s.v. אָהֵב; DCH 1:141 s.v. אַהֲבָה) or אהבה “leather” (HALOT 18 s.v. II אַהֲבָה). The homonymic root אַהֲבָה “leather” is related to Arabic `ihab “leather” or “untanned skin.” It probably occurs in Hos 11:4 and may also appear in Song 3:10 (HALOT 18 s.v. II). Traditionally, scholars and translations have rendered this term as “love” or “lovingly.” The reference to the “daughters of Jerusalem” suggests “love” because they had “loved” Solomon (1:4). However, the context describes the materials out of which the palanquin was made (3:9-10) thus, an interior made out of leather would certainly make sense. Perhaps the best solution is to see this as an example of intentional ambiguity in a homonymic wordplay: “Its interior was inlaid with leather // love by the maidens of Jerusalem.” See G. R. Driver, “Supposed Arabisms in the Old Testament,” JBL 55 (1936): 111; S. E. Loewenstamm, Thesaurus of the Language of the Bible, 1:39; D. Grossberg, “Canticles 3:10 in the Light of a Homeric Analogue and Biblical Poetics,” BTB 11 (1981): 75-76.
[3:10] 19 tn Heb “daughters” (also in the following line).
[5:8] 17 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.
[8:6] 21 sn In the ancient Near East חוֹתָם (khotam, “seal”) was used to denote ownership and was thus very valuable (Jer 22:24; Hag 2:23; Eccl 17:22). Seals were used to make a stamp impression to identify the object as the property of the seal’s owner (HALOT 300 s.v. I חוֹתָם). Seals were made of semi-precious stone upon which was engraved a unique design and an inscription, e.g., LMLK [PN] “belonging to king […].” The impression could be placed upon wet clay of a jar or on a writing tablet by rolling the seal across the clay. Because it was a valuable possession its owner would take careful precautions to not lose it and would keep it close to him at all times.
[8:6] 22 tn The term לֵבָב (levav, “heart”) is used figuratively here as (1) a metonymy (container for the thing contained) for his chest over which the cylinder seal was hung or (2) a metonymy (concrete body part for the abstract emotions with which it is associated) for his emotions, such as love and loyalty to the Beloved (e.g., Judg 16:25; Ruth 3:7; 1 Sam 25:36; 2 Sam 13:28; 1 Kgs 8:66) (HALOT 514-15 s.v. לֵב) (see H. W. Wolff, Anthropology of the Old Testament, 40-58).
[8:6] 23 tn Literally “cylinder-seal” or “seal.” The term חוֹתָם (khotam, “cylinder-seal”) is repeated in 8:6 for emphasis. The translation above uses the terms “cylinder seal” and “signet” simply for the sake of poetic variation. The Beloved wanted to be as safe and secure as a cylinder seal worn on the arm or around the neck, hanging down over the heart. She also wanted to be placed on his heart (emotions), like the impression of a cylinder seal is written on a document. She wanted to be “written” on his heart like the impression of a cylinder seal, and kept secure in his love as a signet ring is worn around his arm/hand to keep it safe.
[8:6] 24 tn Alternately, “wrist.” In Palestine cylinder seals were often hung on a bracelet worn around one’s wrist. The cylinder seal was mounted on a pin hanging from a bracelet. The cylinder seal in view in Song 8:6 could be a stamp seal hung from a bracelet of a type known from excavations in Israel. See W. W. Hallo, “‘As the Seal Upon Thy Heart’: Glyptic Roles in the Biblical World,” BRev 2 (1985): 26.
[8:6] 25 sn It was a common practice in the ancient world to compare intense feelings to death. The point of the expression “love is as strong as death” means that love is extremely strong. The expression “love is as cruel as Sheol” may simply mean that love can be profoundly cruel. For example: “His soul was vexed to death,” means that he could not stand it any longer (Judg 16:16). “I do well to be angry to death,” means that he was extremely angry (Jonah 4:9). “My soul is sorrowful to death,” means that he was exceedingly sorrowful (Matt 26:38 = Mark 14:34) (D. W. Thomas, “A Consideration of Some Unusual Ways of Expressing the Superlative in Hebrew,” VT 3 [1953]: 220-21).
[8:6] 26 tn Alternately, “jealousy.” The noun קִנְאָה (qin’ah) has a wide range of meanings: “jealousy” (Prov 6:34; 14:30; 27:4), “competitiveness” (Eccl 4:4; 9:6), “anger” (Num 5:14, 30), “zeal” (2 Kgs 10:16; Pss 69:10; 119:139; Job 5:2; Sir 30:24), and “passion” (Song 8:6). The Hebrew noun is related to the Akkadian and Arabic roots that mean “to become intensely red” or “become red with passion,” suggesting that the root denotes strong emotion. Although קִנְאָה is traditionally rendered “jealousy” (KJV, RSV, NASB, NIV), the parallelism with אַהֲבָה (’ahavah, “love”) suggests the nuance “passion” (NJPS). Coppes notes, “This word is translated in the KJV in a bad sense in Song 8:6, ‘jealousy is as cruel as the grave,’ but it could be taken in a good sense in parallel with the preceding, ‘ardent zeal is as strong as the grave’” (TWOT 2:803).
[8:6] 27 tn Heb “harsh” or “severe.”
[8:6] 28 tn Heb “Its flames are flames of fire.”
[8:6] 29 tn The noun שַׁלְהֶבֶתְיָה (shalhevetyah, “mighty flame”) is related to the nouns שַׁלְהֶבֶת (shalhevet, “flame”), לֶהָבָה (lehavah, “flame”), and לַהַב (lahav, “flame”), all of which are derived from the root להב “to burn, blaze, flame up” (HALOT 520 s.v. לַהַב). The form שַׁלְהֶבֶתְיָה is an unusual noun pattern with (1) a prefix ־שׁ that is common in Akkadian but rare in Hebrew; it has an intensive adjective meaning, (2) a feminine ־ת ending, and (3) a suffix ־יָה whose meaning is debated. The suffix ־יָה has been taken in three ways by scholars and translators: (1) יָה is an abbreviated form of the divine name יהוה (“Yahweh”), functioning as a genitive of source: “the flame of the
