The Song of Songs 2:9

2:9 My lover is like a gazelle or a young stag. ¹ 

Look! There he stands behind our wall,

gazing through the window,

peering through the lattice.

The Song of Songs 3:1

The Lost Lover is Found

The Beloved about Her Lover:

3:1 All night long ²  on my bed ³ 

I longed for ⁴  my lover. ⁵ 

I longed for ⁶  him but he never appeared. ⁷ 

The Song of Songs 3:7

3:7 Look! It is Solomon’s portable couch! ⁸ 

It is surrounded by sixty warriors,

some of Israel’s mightiest warriors.

The Song of Songs 6:13

The Love Song and Dance

The Lover to His Beloved:

6:13 (7:1) ⁹  Turn ¹⁰ , turn, O ¹¹  Perfect One! ¹² 

Turn, turn, that I ¹³  may stare at you!

The Beloved to Her Lover:

Why ¹⁴  do you gaze upon the Perfect One

like the dance of the Mahanaim? ¹⁵ 

The Song of Songs 6:10

6:10 “Who ¹⁶  is this who appears ¹⁷  like the dawn? ¹⁸ 

Beautiful as the moon, ¹⁹  bright ²⁰  as the sun,

awe-inspiring ²¹  as the stars in procession?” ²² 

The Song of Songs 2:8

The Arrival of the Lover

The Beloved about Her Lover:

2:8 Listen! ²³  My lover is approaching! ²⁴ 

Look! ²⁵  Here he comes,

leaping over the mountains,

bounding over the hills!

The Song of Songs 6:11

The Return to the Vineyards

The Lover to His Beloved: ²⁶ 

6:11 I went down to the orchard of walnut trees, ²⁷ 

to look for the blossoms of the valley, ²⁸ 

to see if the vines had budded

or if the pomegranates were in bloom.

The Song of Songs 7:4

7:4 Your neck is like a tower made of ivory. ²⁹ 

Your eyes are the pools in Heshbon

by the gate of Bath-Rabbim. ³⁰ 

Your nose is like the tower of Lebanon

overlooking Damascus.

The Song of Songs 1:6

1:6 Do not stare at me because ³¹  I am dark,

for ³²  the sun has burned my skin. ³³ 

My brothers ³⁴  were angry ³⁵  with me;

they made me the keeper of the vineyards.

Alas, my own vineyard ³⁶  I could not keep! ³⁷ 

The Song of Songs 4:9

4:9 You have stolen my heart, ³⁸  my sister, ³⁹  my bride!

You have stolen my heart with one glance of your eyes, ⁴⁰ 

with one jewel of your necklace.

The Song of Songs 3:11

3:11 Come out, O maidens of Zion,

and gaze upon King Solomon!

He is wearing the crown with which his mother crowned him

on his wedding day,

on the most joyous day of his life! ⁴¹ 

The Song of Songs 2:11

2:11 Look! The winter has passed,

the winter rains are over and gone.

The Song of Songs 6:1

The Lost Lover Found

The Maidens to the Beloved:

6:1 Where has your beloved gone,

O most beautiful among women?

Where has your beloved turned?

Tell us, ⁴²  that we may seek him with you. ⁴³ 

The Song of Songs 3:2

3:2 “I will arise ⁴⁴  and look all around ⁴⁵  throughout the town,

and throughout the streets ⁴⁶  and squares;

I will search for my beloved.”

I searched for him but I did not find him. ⁴⁷ 

The Song of Songs 4:8

The Wedding Night: Beautiful as Lebanon

4:8 Come with me from Lebanon, my bride,

come with me from Lebanon.

Descend from the crest of Amana,

from the top of Senir, the summit of Hermon,

from the lions’ dens

and the mountain haunts of the leopards.

The Song of Songs 5:6

5:6 I opened for my beloved,

but my lover had already turned ⁴⁸  and gone away. ⁴⁹ 

I fell into despair ⁵⁰  when he departed. ⁵¹ 

I looked for him but did not find him;

I called him but he did not answer me.

The Song of Songs 8:1

The Beloved’s Wish Song

The Beloved to Her Lover:

8:1 Oh, how I wish you were ⁵²  my little brother, ⁵³ 

nursing at my mother’s breasts;

if I saw ⁵⁴  you outside, I could kiss you –

surely ⁵⁵  no one would despise me! ⁵⁶ 

The Song of Songs 2:4

The Banquet Hall for the Love-Sick

The Beloved about Her Lover:

2:4 He brought me ⁵⁷  into the banquet hall, ⁵⁸ 

and he looked ⁵⁹  at me lovingly. ⁶⁰ 

The Song of Songs 5:15

5:15 His legs are like pillars of marble set on bases of pure gold.

His appearance is like Lebanon, choice as its cedars.

The Song of Songs 6:5

6:5 Turn your eyes away from me –

they overwhelm ⁶¹  me!

Your hair is like a flock of goats

descending from Mount Gilead.

[2:9]  ¹ sn Gazelles are often associated with sensuality and masculine virility in ancient Near Eastern love literature. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3). In ancient Near Eastern love literature gazelles often symbolize the excitement and swiftness of the lover coming to see his beloved, as in an ancient Egyptian love song: “O that you came to your sister swiftly like a bounding gazelle! Its feet reel, its limbs are weary, terror has entered its body. A hunter pursues it with his hounds, they do not see it in its dust; It sees a resting place as a trap, it takes the river as its road. May you find her hiding-place before your hand is kissed four times. Pursue your sister’s love, the Golden gives her to you, my friend!” (“Three Poems” in the Papyrus Chester Beatty 1 collection).

[3:1]  ² 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]  ³ 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]  ⁴ 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]  ⁵ 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]  ⁶ tn Heb “I searched for him” or “I sought him” (see study note above).

[3:1]  ⁷ 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.

[3:7]  ³ tn The term מִטָּה (mittah) refers to a “royal portable couch” spread with covers, cloth, and pillows (HALOT 573 s.v. מִטָּה; BDB 641 s.v. מִטָּה). The Hebrew noun is related to Ugaritic mtt “bed” (UT 1465). The term מִטָּה (“bed, couch”) itself can refer to a number of similar but different kinds of pieces of reclining furniture: (1) the bed of a common person, found in the bedchamber for reposing and sleeping at night (Gen 47:31; 48:2; 49:33; Exod 8:3[7:28]; 2 Sam 4:7; 1 Kgs 17:19; 2 Kgs 4:10, 21, 32; Ps 6:6[7]; Prov 26:14); (2) the royal bed of the king or nobility, often elevated and made of expensive materials (1 Kgs 21:4; 2 Kgs 1:4, 6, 16; 2 Chr 24:25; Esth 7:8; Amos 6:4; Ezek 23:41); (3) the couch of a common person for reclining or sitting during the day (1 Sam 28:23); (4) a royal banqueting couch for reclining at feasts or carousing (Ezek 23:41; Amos 3:12; 6:4; Esth 1:6; 7:8); (5) a portable light-weight bed for transporting the sick (1 Sam 19:15); (6) a portable bed, such as a funeral bier for transporting the dead (2 Sam 3:31); and (7) a portable royal couch for transporting the king (Song 3:7). The royal couch was often made of expensive materials, such as ivory, silver, and gold (Ezek 23:41; Amos 6:4; Song 3:9-10; Esth 1:6).

[6:13]  ⁴ sn The chapter division comes one verse earlier in the Hebrew text (BHS) than in the English Bible; 6:13 ET = 7:1 HT, 7:1 ET = 7:2 HT, through 7:13 ET = 7:14 HT. Beginning with 8:1 the verse numbers in the Hebrew Bible and the English Bible are again the same.

[6:13]  ⁵ tn Alternately, “Return…Return…!” The imperative שׁוּבִי (shuvi, “Turn!”) is used four times for emphasis. There are two basic interpretations to the meaning/referent of the imperative שׁוּבִי (“Turn!”): (1) The villagers of Shunem are beckoning her to return to the garden mentioned in 6:11-12: “Come back! Return!” R. Gordis nuances these uses of שׁוּבִי as “halt” or “stay” (“Some Hitherto Unrecognized Meanings of the Verb SHUB,” JBL 52 [1933]: 153-62); (2) In the light of the allusion to her dancing in 7:1 (Heb 7:2), several scholars see a reference to an Arabic bridal dance. Budde emends the MT’s שׁוּבִי to סוֹבִי (sovi, “revolve, spin”) from סָבַב (savav, “to turn around”). M. H. Pope (Song of Songs [AB], 595-96) also emends the MT to the Hebrew verbal root יָסַב (yasav, “to leap, spin around”) which he connects to Arabic yasaba (“to leap”). These emendations are unnecessary to make the connection with some kind of dance because שׁוּבִי has a wide range of meanings from “turn” to “return.”

[6:13]  ⁶ tn The article on הַשּׁוּלַמִּית (hashshulammit) functions as a vocative (“O Shulammite”) rather than in a definite sense (“the Shulammite”). The article is often used to mark a definite addressee who is addressed in the vocative (e.g., 1 Sam 17:55, 58; 24:9; 2 Kgs 6:26; 9:5; Prov 6:6; Eccl 11:9; Zech 3:8). 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.

[6:13]  ⁷ tn Heb “O Perfect One.” Alternately, “O Shunammite” or “O Shulammite.” The term הַשּׁוּלַמִית (hashshulammit) has been variously translated: “Shulammite maiden” (NEB); “maiden of Shulam” (JB); “O maid of Shulem” (NJPS); “the Shulammite” (KJV; NASB; NIV). The meaning of the name הַשּׁוּלַמִית is enigmatic and debated. LXX renders it ἡ Σουλαμιτἰ ({h Soulamiti, “O Shulamite”) and Vulgate renders it Sulamitis (“O Shulamite”). A few Hebrew mss read the plural הַשּׁוּלַמוֹת (hashshulamot) but the Masoretic tradition reads הַשּׁוּלַמִית as the versions confirm. Eight major views have emerged in the history of interpretation of the Song. They are arranged, as follows, in order from most likely (views 1-2), plausible (views 3-5), unlikely (view 6), to bizarre (views 7-8): (1) שׁוּלַמִית is a substantival use of the adjectival form qutal שׁוּלָם (shulam, “perfection”) with the gentilic suffix ית- from the root שָׁלֵם (shalem, “to be complete, perfect”): “the perfect, unblemished one” (Fox). This approach is reflected in rabbinic exegesis of the 12th century: “The meaning of the Shulammite is ‘perfect, without spot’” (Midrash Rabbah). (2) שׁוּלַמִית is Qal passive participle with the feminine adjectival suffix ית- from the root שָׁלֵם (“peace”): “the peaceful one” or “the pacified one” (Andre, Robert, Joüon). This is reflected in Vulgate pacificus (“the pacified one”), and Aquila and Quinta ἡ ἐηρυνεούσα ({h ehruneousa) “the peaceful one” (Andre Robert, Joüon). (3) שׁוּלַמִית is an alternate form of the gentilic name “Shunammite” (שׁוּנַמִית) used to refer to inhabitants of Shunem (1 Kgs 1:15; 2 Kgs 4:12). This is reflected in LXX ἡ Σουλαμιτἰ ({h Soulamiti, “O Shulamite”). This is supported by several factors: (a) Gentilic names are formed by the suffix ית- and the prefixed article to a place-name, e.g., הַיְּרוּשָׁלַמִית (hayyÿrushalamit, “the Jerusalemite”) is from יְרוּשָׁלַם (yÿrushalam, “Jerusalem”); (b) the interchange between lateral dental ל (l) and nasal dental נ (n) is common in the Semitic languages (S. Moscati, Comparative Grammar, 32, §8.26); (c) the town of Shunem was also known as Shulem, due to the common interchange between נ (n) and ל (l) in Hebrew (Aharoni, 123), as seen in Eusebius’ Onomasticon in which Shunem = Shulem; and (d) later revisions of the LXX read ἡ Σουναμωτἰ (“the Shunamite”) instead of the Old Greek ἡ Σουλαμωτἰ (“the Shulamite”). Shunem was a town in the Jezreel Valley at the foot of Mount Moreh near Mount Tabor and situated about nine miles east of Megiddo, fifteen miles northwest of Beth-shean, and five miles north of Jezreel (Josh 19:18; 1 Sam 28:4; 2 Kgs 4:8). During the Roman period, the town was called Shulem. See Y. Aharoni, The Land of the Bible, 24, 152, 172, 442, 308. Some scholars suggest that “Shul/nammite” refers to Abishag, the beautiful virgin from the village of Shunem who warmed elderly King David and was sought by Adonijah (1 Kgs 2:13- 25). Other scholars argue that Abishag has been imported in the Song on too slender grounds. (4) שׁוּלַמִית is the feminine form of the masculine name שְׁלֹמֹה (shÿlomoh, “Solomon”), just as Judith is the feminine of Judah: “Shulamith” or “Solomonette” or “Solomoness” (Lowth, Goodspeed, Rowley). The feminine ending ־ית may be suffixed to masculine personal names to transform them into feminine names. A similar form occurs in the Ugaritic designation of Daniel’s wife as Lady Daniel (e.g., mtt dnty). An anonymous Jewish commentator of the 12th century wrote: “The Shulammite was beloved of Solomon, for she was called after the name of her beloved.” The 16th century commentator Joseph Ibn Yahya wrote: “And the calling of her ‘Shulammite’ was determined by reason of her devotion to the Holy One (Blessed be He) who is called Shelomoh.” (5) As a combination of views 1-2, שׁוּלַמִית is a wordplay formed by the combination of the feminine name שְׁלֹמִית (shÿlomit, “Shelomite”) from שְׁלֹמֹה (“Solomon”) and the gentilic name הַשּׁוּנַמִית (“the Shunammite”) denoting a woman from Shunem: “Solomoness/Shunammite.” (6) שׁוּלַמִית is related to the Arabic root salama “consummation gift” (given to a bride the morning after the wedding): “O Consummated One” or “O Bride” (Hirschberg). (7) Those espousing a cultic interpretation of Canticles take שׁוּלַמִית as the name or epithet of the Canaanite moon goddess Ishtar, designated by the feminine form of the name Shelem, the name of her lover Tammuz, called Dod or Shelem (T. J. Meek). (8) An alternate cultic interpretation takes שׁוּלַמִית as a conflation of the name of the Assyrian war-goddess “Shulmanith” (Ishtar) and the gentilic name “the Shunammite” for a woman from Shunem (Albright). See M. V. Fox, The Song of Songs and the Egyptian Love Songs, 157-58; T. J. Meek, “Canticles and the Tammuz Cult,” AJSL 39 (1922-23): 1-14; E. J. Goodspeed, “The Shulammite,” AJSL 50 (1933): 102-104; H. H. Rowley, “The Meaning of ‘The Shulammite’,” AJSL 56 (1938): 84-91; W. F. Albright, “The Syro-Mesopotamian God Sulman-Esmun and Related Figures,” AfO 7 (1931-32): 164-69; W. F. Albright, “Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 5; H. H. Hirschberg, “Some Additional Arabic Etymologies in Old Testament Lexicography,” VT 11 (1961): 373-85; M. H. Pope, Song of Songs (AB), 596-600.

[6:13]  ⁸ tn Heb “we.” In ancient Near Eastern love literature, plural verbs and plural pronouns are often used in reference to singular individuals. See note on Song 2:15.

[6:13]  ⁹ tn Alternately, “What do you see in…?” or “Why should you look upon…?” The interrogative pronoun מַה (mah) normally denotes “what?” or “why?” (BDB 552 s.v. מָה; HALOT 550-52 s.v. מָה). However, Gesenius suggests that the phrase מַה־תֶּחֱזוּ (mah-tekhezu) is the idiom “Look now!” on the analogy of Arabic ma tara (“Look now!”) (GKC 443 §137.b, n. 1).

[6:13]  ¹⁰ tc The MT reads כִּמְחֹלַת (kimkholat, “like the dance”), while other Hebrew mss read בִּמְחֹלוֹת (bimkholot, “in the dances”). The LXX’s ὠ χοροὶ (w coroi, “like the dances”) reflects כִּמְחֹלוֹת and Symmachus’ ἐν τρώσεσιν (en tpwsesin, “in the injury”) reflects the locative preposition but a confusion of the noun.

[6:10]  ⁵ sn This rhetorical question emphasizes her position among women (e.g., Mic 2:7; Joel 2:1).

[6:10]  ⁶ 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]  ⁷ 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]  ⁸ 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]  ⁹ tn Heb “pure as the sun.”

[6:10]  ¹⁰ 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]  ¹¹ 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.

[2:8]  ⁶ tn Heb “The voice of my beloved!” The exclamation קוֹל (qol, “Listen!”) is an introductory exclamatory particle used to emphasize excitement and the element of surprise.

[2:8]  ⁷ tn The phrase “is approaching” does not appear in Hebrew but is supplied in the translation for the sake of clarity.

[2:8]  ⁸ tn The exclamation הִנֵּה־זֶה (hinneh-zeh, “Look!”) is used of excited speech when someone is seen approaching (Isa 21:9).

[6:11]  ⁷ sn It is difficult to determine whether the speaker in 6:11-12 is Solomon or the Beloved.

[6:11]  ⁸ tn The term אֱגוֹז (’egoz, “nut”) probably refers to the “walnut” or “walnut tree” (juglans regia) (DCH 1:116 s.v. אֱגוֹז). The singular form is used collectively here to refer to a grove of walnut trees.

[6:11]  ⁹ sn It is not clear whether the “valley” in 6:12 is a physical valley (Jezreel Valley?), a figurative description of their love relationship, or a double entendre.

[7:4]  ⁸ tn Alternately, “the ivory tower.” The noun הַשֵּׁן (hashshen, “ivory”) is a genitive of composition, that is, a tower made out of ivory. Solomon had previously compared her neck to a tower (Song 4:4). In both cases the most obvious point of comparison has to do with size and shape, that is, her neck was long and symmetrical. Archaeology has never found a tower overlaid with ivory in the ancient Near East and it is doubtful that there ever was such a tower. The point of comparison might simply be that the shape of her neck looks like a tower, while the color and smoothness of her neck was like ivory. Solomon is mixing metaphors: her neck was long and symmetrical like a tower; but also elegant, smooth, and beautiful as ivory. The beauty, elegance, and smoothness of a woman’s neck is commonly compared to ivory in ancient love literature. For example, in a piece of Greek love literature, Anacron compared the beauty of the neck of his beloved Bathyllus to ivory (Ode xxxix 28-29).

[7:4]  ⁹ sn It is impossible at the present time to determine the exact significance of the comparison of her eyes to the “gate of Bath-Rabbim” because this site has not yet been identified by archaeologists.

[1:6]  ⁹ tn The relative pronoun שֶׁ (she) on שֶׁאֲנִי (she’ani, “because I”) functions in a causal sense, as in the following colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

[1:6]  ¹⁰ tn The relative pronoun שֶׁ (she) on שֶׁשֱּׁזָפַתְנִי (sheshshezafatni) functions in a causal sense, as in the preceding colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

[1:6]  ¹¹ tn Heb “the sun has stared at me.” The verb שָׁזַף (shazaf) means “to look at, catch sight of, glance at” (e.g., Job 20:9; 28:7) (HALOT 1456 s.v. שׁזף; BDB 1004 s.v. שָׁזַף). The Beloved personifies the sun (הַשָּׁמֶשׁ, hashshamesh) as having looked at the Beloved too long, that is, it burned her skin.

[1:6]  ¹² tn Heb “the sons of my mother.”

[1:6]  ¹³ sn The verb הָרָה (harah, “to burn in anger, to be angry”) creates an interesting wordplay or pun on the preceding line: “The sun burned me (= my skin).” The sun burned her skin, because her brothers had burned (נִהֲרוּ, niharu) in anger against her. This is an example of a polysemantic wordplay which explains the two basic meanings of הָרָה (“to burn, to be angry”) (W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 241-42).

[1:6]  ¹⁴ sn The noun כֶּרֶם (kerem, “vineyard”) is used figuratively in this line (see following note on the wordplays in this verse). Some suggest that her “vineyard” refers to her virginity, that is, she lost her virginity. However, this runs contrary to the moral purity accorded to the Beloved throughout the Song (e.g., 4:12; 8:8-10). It is better to take the “vineyard” imagery as a reference to her ability to take care of her physical appearance which had been thwarted by being forced to work outside where her skin had been darkened by the scorching rays of the sun, as alluded to throughout 1:4-5[5-6].

[1:6]  ¹⁵ sn The repetition of the noun כֶּרֶם (kerem, “vineyard”) and the verb נָטַר (natar, “to keep, maintain”) creates a series of eloquent wordplays. The first occurrence of כֶּרֶם (“vineyard”) and נָטַר (“to keep”) is literal, the second occurrence of both is figurative (hypocatastasis). Her brothers forced her to work outside in the sun, taking care of the vineyards; as a result, she was not able to take care of her appearance (“my own vineyard I could not keep”).

[4:9]  ¹⁰ tn The Piel denominative verb לבב is derived from the noun לֵבָב (levav, “heart”), and occurs only here. Its meaning is debated: (1) metonymical sense: “you have encouraged me,” that is, given me heart (BDB 525 s.v. לֵב; AV, RSV); (2) intensive sense: “you have made my heart beat faster” (KBL 471 s.v. I לבב); and (3) privative sense: “you have ravished my heart” or “you have stolen my heart” (HALOT 515 s.v. I לבב; GKC 141-42 §52.h) (NIV). While the Niphal stem has a metonymical nuance (cause for effect): to get heart, that is, to get understanding (Job 11:12), the Piel stem may have a privative nuance: to take away heart, that is, to take away the senses. Her beauty was so overwhelming that it robbed him of his senses (e.g., Hos 4:11). This is paralleled by a modern Palestinian love song: “She stood opposite me and deprived me of reason (literally, “took my heart”), your dark eyes slew me while I was singing, your eyebrows drove shame from me…the darkness of your eyes have slain me; O one clad in purple clothes, it is worthwhile falling in love with you, for your eyes are black and sparkle, and have slain me indeed.” Less likely is the proposal of Waldeman who relates this to Akkadian lababu (“to rage, be aroused to fury”), suggesting that Song 4:9 means “to become passionately aroused” or “to be aroused sexually.” See S. H. Stephan, “Modern Palestinian Parallels to the Song of Songs,” JPOS 2 (1922): 13; R. Gordis, Song of Songs and Lamentations, 85-86; N. M. Waldman, “A Note on Canticles 4:9,” JBL 89 (1970): 215-17; H. W. Wolff, Anthropology of the Old Testament, 40-58.

[4:9]  ¹¹ sn It is clear from Song 8:1 that the young man and his bride were not physical brother and sister, yet he addresses his bride as אֲחֹתִי (’akhoti, “my sister”) several times (4:9, 10, 12; 5:1). This probably reflects any one of several ancient Near Eastern customs: (1) The appellatives “my sister” and “my brother” were both commonly used in ancient Near Eastern love literature as figurative descriptions of two lovers. For instance, in a Ugaritic poem when Anat tried to seduce Aqhat, she says, “Hear, O hero Aqhat, you are my brother and I your sister” (Aqhat 18 i. 24). In the OT Apocrypha husband and wife are referred to several times as “brother” and “sister” (Add Esth 15:9; Tob 5:20; 7:16). This “sister-wife” motif might be behind Paul’s perplexing statement about a “sister-wife” (1 Cor 9:5). (2) In several Mesopotamian societies husbands actually could legally adopt their wives for a variety of reasons. For instance, in Hurrian society husbands in the upper classes sometimes adopted their wives as “sisters” in order to form the strongest of all possible marriage bonds; a man could divorce his wife but he could not divorce his “sister” because she was “family.” At Nuzi a husband could adopt his wife to give her a higher status in society. See M. Held, “A Faithful Lover in Old Babylonian Dialogue,” JCS 15 (1961): 1-26 and S. N. Kramer, The Sacred Marriage Rite, 103-5; T. Jacobsen, “The Sister’s Message,” JANESCU 5 (1973): 199-212; E. A. Speiser, “The Wife-Sister Motif in the Patriarchal Narratives,” Oriental and Biblical Studies, 15- 28; G. R. Driver, Canaanite Myths and Legends, 111.

[4:9]  ¹² tn Alternately, “eye-stone [of your necklace].” The term עִינַיִךְ (’inayikh, “your eyes”) probably refers to her physical eyes (e.g., 4:1). However, in Sumero-Akkadian literature the term “eye” sometimes refers to the eye-stone of a necklace. Agate-stones were cut so that white stripes appeared around the black or brown core to look like the pupil on the eye. M. H. Pope (Song of Songs [AB], 482-83) suggests that the parallelism between the A and B lines suggests the following: “with one of your eye-stones” and “with one jewel of your necklace.” See W. G. Lambert, “An Eye Stone of Esarhaddon’s Queen and Other Similar Gems,” RA 63 (1969): 65-71.

[3:11]  ¹¹ tn Heb “the day of the joy of his heart.” In the genitive construct phrase וּבְיוֹם שִׂמְחַת (uvÿyom simkhat, “the day of joy”) the noun שִׂמְחָה (simkhah, “joy”) functions as a descriptive genitive of attribute (attributive genitive), that is, the genitive identifies the outstanding quality of the construct noun: “the joyous day” or “the day characterized by joy.” In the second genitive construct phrase שִׂמְחַת לִבּוֹ (simkhat livvo, “joy of his heart”) the noun לִבּוֹ (“his heart”) is a subjective genitive: “his heart rejoices.” The term לֵב (lev, “heart”) is a synecdoche of part for the whole (= Solomon himself), that is, “the day Solomon greatly rejoiced” or “the day of Solomon’s great joy.”

[6:1]  ¹² tn The phrase “Tell us!” does not appear in the Hebrew but is supplied in the translation for the sake of smoothness.

[6:1]  ¹³ tn Heb “And we may seek him with you.” The vav-conjunctive on וּנְבַקְשֶׁנּוּ (unÿvaqshennu, “and we may seek him with you”) denotes purpose/result.

[3:2]  ¹³ 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]  ¹⁴ 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]  ¹⁵ 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]  ¹⁶ 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.

[5:6]  ¹⁴ tn The verb חָמַק (khamaq) occurs only in Song 5:6 (Qal: “to turn away, go leave”) and in Jer 31:22 (Hitpael: “to turn hither and thither”) (HALOT 330 s.v. חמק; BDB 330 s.v. חָמַק). It is related to the noun חָמוּק (“curve, curved lines” of a woman’s hips) which appears only in Song 7:2. This root does not appear in Mishnaic Hebrew nor has it yet been attested in any cognate language. However, it was understood in this sense by LXX παρῆλθεν (parhlqen, “he turned aside”), and also handled in a similar manner in Aquila, Symmachus, Peshitta, and Vulgate.

[5:6]  ¹⁵ tn The verbs עָבָר חָמַק (khamaq ’avar, “he turned away, he went away”) may form a verbal hendiadys. Normally, the first verb will function as an adverb modifying the second which functions in its full verbal sense. Each functions as a perfect of recent past perfect action, describing a past event that took place shortly before another past event: “I opened [past action] for my beloved, but my lover had already turned and gone away [past perfect action].”

[5:6]  ¹⁶ tn Heb “my soul went out.” The term נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole person. The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times as a metonymy of association with feelings: sorrow and distress, joy, love, desire, passion, hatred, loathing, avarice (HALOT 713 s.v. נֶפֶשׁ 8; BDB 660 s.v. נֶפֶשׁ 6). The phrase נַפְשִׁי יָצְאָה (nafshi yats’ah, literally, “my soul went out”) is a Hebrew idiom connoting great despair (e.g., Gen 35:18; Jer 15:9). The phrase is well rendered by NIV: “my heart sank at his departure.” Verses 6-7 clearly indicate that the Beloved fell into despair when he had departed: She searched desperately for him, but could not find him; she called for him, but he did not answer.

[5:6]  ¹⁷ tn Alternately, “spoke.” Traditionally, the term בְדַבְּרוֹ (bÿdabbÿro) has been related to the common root דָּבַר (davar, “to speak”) which occurs nearly 1150 times in verbal forms and nearly 1500 times as a noun. This approach is seen as early as the LXX (although the LXX treated דָּבָר as a noun rather than an infinitive construct because it was working with an unpointed text): ἐν λογῷ αὐτοῦ (en logw autou, “in his word”). Although they differ on whether the preposition בְ (bÿ) is temporal (“when”) or respect (“at”), many translations adopt the same basic approach as the LXX: “when he spake” (KJV), “as he spoke” (NASB), “when he spoke” (NIV margin), “at what he said” (JPS, NJPS). However, many recent scholars relate בְדַבְּרוֹ to the homonymic root דָּבַר (“to turn away, depart”) which is related to Akkadian dabaru D “to go away,” Dt “to drive away, push back” (CAD 3:186ff), and Arabic dabara “to turn one’s back, be behind, depart, retreat” (HALOT 209 s.v. II דבר). Several examples of this root have been found (Pss 18:48; 47:4; 56:6; 75:6; 116:10; 127:5; 2 Chr 22:10; Job 19:18; Song 5:6; Isa 32:7) (HALOT 209-10 s.v. I). Several recent translations take this approach: “when he turned his back” (NEB), “at his flight” (JB), and “at his departure” (NIV). This makes better sense contextually (Solomon did not say anything after 5:2a), and it provides a tighter parallelism with the preceding line that also describes his departure: “My beloved had turned away (חָמַק, khamaq); he was gone (עָבַר, ’avar)” (NIV).

[8:1]  ¹⁵ tn The imperfect יִתֶּנְךָ (yittenka) may denote a desire or wish of the subject, e.g., Gen 24:58; Exod 21:36; 1 Sam 21:10 (IBHS 509 §31.4h). The optative particle מִי (mi) with an imperfect expresses an unreal wish, e.g., Judg 9:29; 2 Sam 15:4; Mal 1:10. The construction יִתֶּנְךָ מִי (mi yittenka) is an idiom expressing an unreal wish in the optative mood (HALOT 575 s.v. מִי), e.g., “Would that it were evening…Would that it were morning!” (KJV) or “If only it were evening…If only it were morning!” (NIV) (Deut 28:67); “Oh that I knew where I might find him” (KJV, NASB, NJPS), “I wish I had known,” “If only I knew where to find him; if only I could go to his dwelling!” (NIV) (Job 23:3); “I wish that all the LORD’s people were prophets!” (NIV), “Would that all the LORD’s people were prophets” (NASB) (Num 11:29). Evidently, the LXX did not understand the idiom; it rendered the line in wooden literalness: Τίς δώῃ σε ἀδελφιδόν μου (Tis dwh se adelfidon mou, “Who might give/make you as my brother?”).

[8:1]  ¹⁶ tn Heb “you were to me like a brother.”

[8:1]  ¹⁷ tn Heb “found” or “met.” The juxtaposition of the two imperfects without an adjoining vav forms a conditional clause denoting a real condition (GKC 493 §159.b). The first imperfect is the protasis; the second is the apodosis: “If I found you אֶמְצָאֲךָ (’emtsa’aka) outside, I would kiss you (אֶשָּׁקְךָ, ’eshshaqÿkha).” The imperfects are used to express a condition and consequence which are regarded as being capable of fulfillment in the present or future time (GKC 493 §159.b). The simple juxtaposition of two verbal clauses without any grammatical indicator, such as vav or a conditional particle, is rather rare: “If you rebel (תִּמְעָלוּ, tim’alu), I will disperse you (אָפִיץ, ’afits) among the nations” (Neh 1:8); “If I counted them (אֶסְפְּרֵם, ’esppÿrem), they would be more numerous (יִרְבּוּן, yirbun) than the sand!” (Ps 139:18); “If a man has found a wife (מָצָא, matsa’), he has found (מָצָא) a good thing” (Prov 18:22) (Joüon 2:627 §167.a.1). On the other hand, LXX treated the imperfects as denoting future temporal sequence: εὑροῦσά σε ἒξω, φιλήσω σε (eurousa se exw, filhsw se, “I will find you outside, I will kiss you”). Ordinarily, however, vav or a temporal particle introduces a temporal clause (Joüon 2:627 §167.a; GKC 502 §164.d). The English translation tradition generally adopts the conditional nuance: “If I found you outdoors, I would kiss you” (NASB), “Then, if I found you outside, I would kiss you” (NIV). However, a few translations adopt the temporal nuance: “When I should find thee without, I would kiss thee” (KJV), “Then I could kiss you when I met you in the street” (NJPS).

[8:1]  ¹⁸ tn The particle גַּם (gam, “surely”) is used with לֹא (lo’, “no one”) for emphasis: “yea, none” (HALOT 195 s.v. גַּם). Similar examples: לֹא...גָם אָחַד (lo’…gam ’ekhad, “not even one”; 2 Sam 17:12); גַּם אֵין (gam ’en, “yet there is no one”; Eccl 4:8).

[8:1]  ¹⁹ sn Song 8:1-2 may be classified as a “a lover’s wish song” that is similar in content and structure to an ancient Egyptian love song in which the lover longs for greater intimacy with his beloved: “I wish I were her Negro maid who follows at her feet; then the skin of all her limbs would be revealed to me. I wish I were her washerman, if only for a month; then I would be [entranced], washing out the Moringa oils in her diaphanous garments. I wish I were the seal ring, the guardian of her [fingers]; then […]” (The Cairo Love Songs, 25-27, in W. K. Simpson, ed., The Literature of Ancient Egypt, 311). The Egyptian and Hebrew parallels display a similar structure: (1) introductory expression of the lover’s wish to be something/someone in a position of physical closeness with the Beloved; (2) description of the person/thing that is physically close to the Beloved; and (3) concluding description of the resultant greater degree of intimacy with the Beloved. In the Egyptian parallel it is the man who longs for greater closeness; in the Hebrew song it is the woman. The Egyptian love song borders on the sensual; the Hebrew love song is simply romantic. The Beloved expresses her desire for greater freedom to display her affection for Solomon. In ancient Near Eastern cultures the public display of affection between a man and woman was frowned upon – sometimes even punished. For example, in Assyrian laws the punishment for a man kissing a woman in public was to cut off his upper lip. On the other hand, public displays of affection between children and between family members were allowed. Accordingly, the Beloved hyperbolically wished that she and Solomon were children from the same family so she could kiss him anytime she wished without fear of punishment or censure.

[2:4]  ¹⁶ 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 mss vocalize the form as הֲבִיאֻנִי (havi’uni, Hiphil imperative 2nd person masculine singular with 1st person common singular suffix, “Bring me!”). This is also reflected in LXX (εἰσαγαγετε με, eisagagete me, “Bring me!”) and Syriac. This alternate vocalization tradition has several factors that make it a viable option: (1) It respects the consonantal text; (2) It is supported by the LXX and Syriac; (3) It provides a tighter parallelism with the two identical imperatival forms in 2:5a (both 2nd person masculine plural imperatives with 1st person common singular suffixes); (4) It provides thematic unity to the entire poetic unit of 2:4-5; and (5) It helps make better sense of an enigmatic unit. This approach is strengthened if the MT reading וְדִגְלוֹ (vÿdiglo, “and his banner”) is revocalized to the imperative וְדִגְלוּ (vÿdiglu, “and feed [me]”) (see translator’s note below). In this case, the parallelism throughout 2:4-5 would be very tight. It would feature four parallel imperatives of request, all revolving around the theme of love-sickness: “Bring me into the banquet hall, feed me with love; sustain me with raisin cakes, refresh me with apples, because I am faint with love.” The weakness with the revocalization to הֲבִיאֻנִי (“Bring me!”) is that it demands, due to the dictates of synonymous parallelism, the questionable revocalization of the MT’s וְדִגְלוֹ (“and his banner”) to the imperative וְדִגְלוּ (“and feed [me]”).

[2:4]  ¹⁷ 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]  ¹⁸ 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 mss vocalize דגלו as Qal mp imperative וְדִגְלוּ (vÿdihlu, “Set [love before me].”) This is also reflected in LXX τάξατε ἐπ’ ἐμὲ ἀγάπην (taxate ep eme agaphn, “Set love before me!”).

[2:4]  ¹⁹ 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).

[6:5]  ¹⁷ tn The verb רָהַב (rahav) should be nuanced “overwhelm” or “arouse” rather than “storm against,” “make proud,” “confuse,” “dazzle,” or “overcome” (BDB 923 s.v. רָהַב).