The Song of Songs 4:1

The Wedding Night: Praise of the Bride ¹ 

The Lover to His Beloved:

4:1 Oh, ²  you are beautiful, my darling! ³ 

Oh, you are beautiful!

Your eyes behind your veil are like doves. ⁴ 

Your hair is like a flock of female goats

descending ⁵  from Mount Gilead.

The Song of Songs 4:9

4:9 You have stolen my heart, ⁶  my sister, ⁷  my bride!

You have stolen my heart with one glance of your eyes, ⁸ 

with one jewel of your necklace.

The Song of Songs 6:5

6:5 Turn your eyes away from me –

they overwhelm ⁹  me!

Your hair is like a flock of goats

descending from Mount Gilead.

Ephesians 1:17-18

1:17 I pray that ¹⁰  the God of our Lord Jesus Christ, the Father of glory, ¹¹  may give you spiritual wisdom and revelation ¹²  in your growing knowledge of him, ¹³  1:18 – since the eyes of your ¹⁴  heart have been enlightened ¹⁵  – so that you may know what is the hope of his calling, ¹⁶  what is the wealth of his glorious ¹⁷  inheritance in the saints,

Ephesians 3:18-19

3:18 you may be able to comprehend with all the saints what is the breadth and length and height and depth, ¹⁸  3:19 and thus to know the love of Christ that surpasses knowledge, so that you may be filled up to ¹⁹  all the fullness of God.

[4:1]  ¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot – comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.

[4:1]  ² sn The introductory demonstrative particle הִנֵּךְ (hinneh, “Behold!”) is repeated for rhetorical effect. This particle is often used with verbs of seeing or discovering, making the narrative graphic and vivid. It enables the reader to enter into the surprise, wonder, and delight of the speaker (BDB 243 s.v. הִנֵּךְ c).

[4:1]  ³ sn The repetition of יָפָה רַעְיָתִי (yafah ra’yati, “You are beautiful, my darling”) in 4:1 and 4:7 forms an inclusion, marking off the song of descriptive praise in 4:1-7.

[4:1]  ⁴ sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes.

[4:1]  ⁵ tn Heb “flowing down” or “descending.” The verb שֶׁגָּלְשׁוּ (sheggalÿshu, “flowing down”) may be nuanced “descending.” The most recent lexicons define גָּלַשׁ (galash) as “to flow, leap” (DCH 2:357 s.v. גלשׁ); “to hop, move down” (HALOT 195 s.v. גלשׁ); and “to go down, glide down” (E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 102). Earlier lexicons suggested the meanings “to sit, sit up, recline” (BDB 167 s.v. גָּלַשׁ). The Hebrew root is probably related to Arabic jalasa “to go up, to go down, sit up” (HALOT 195).

[4:9]  ⁶ 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]  ⁷ 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]  ⁸ 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.

[6:5]  ⁹ 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).

[1:17]  ¹⁰ tn The words “I pray” are not in the Greek text, but have been supplied to clarify the meaning; v. 17 is a subordinate clause to v. 16 (“I pray” in v. 17 is implied from v. 16). Eph 1:15-23 constitutes one sentence in Greek, but a new sentence was started here in the translation in light of contemporary English usage.

[1:17]  ¹¹ tn Or “glorious Father.” The genitive phrase “of glory” is most likely an attributive genitive. The literal translation “Father of glory” has been retained because of the parallelism with the first line of the verse: “the God of our Lord Jesus Christ, the Father of glory.”

[1:17]  ¹² tn Or “the Spirit of wisdom and revelation,” or “a spirit of wisdom and revelation.” Verse 17 involves a complex exegetical problem revolving around the Greek term πνεῦμα (pneuma). Some take it to mean “the Spirit,” others “a spirit,” and still others “spiritual.” (1) If “the Spirit” is meant, the idea must be a metonymy of cause for effect, because the author had just indicated in vv. 13-14 that the Spirit was already given (hence, there is no need for him to pray that he be given again). But the effect of the Spirit is wisdom and revelation. (2) If “a spirit” is meant, the idea may be that the readers will have the ability to gain wisdom and insight as they read Paul’s letters, but the exact meaning of “a spirit” remains ambiguous. (3) To take the genitives following πνεῦμα as attributed genitives (see ExSyn 89-91), in which the head noun (“S/spirit”) functions semantically like an adjective (“spiritual”) is both grammatically probable and exegetically consistent.

[1:17]  ¹³ tn Grk “in the knowledge of him.”

[1:18]  ¹⁴ tc ‡ Most witnesses, especially of the Byzantine and Western texttypes, though with a few important Alexandrian witnesses (א A D F G Ψ 0278 Ï latt sy), add ὑμῶν (Jumwn, “your”) after καρδίας (kardias, “heart”), though it is clearly implied in the shorter (Alexandrian) reading (found in Ì⁴⁶ B 6 33 1175 1739 1881 pc). The longer reading thus looks to be a clarifying gloss, as is frequently found in the Byzantine and Western traditions. The translation above also uses “your” because of English requirements, not because of textual basis.

[1:18]  ¹⁵ tn The perfect participle πεφωτισμένους (pefwtismenou") may either be part of the prayer (“that the eyes of your heart may be enlightened”) or part of the basis of the prayer (“since the eyes of your heart have been enlightened”). Although the participle follows the ἵνα (Jina) of v. 17, it is awkward grammatically in the clause. Further, perfect adverbial participles are usually causal in NT Greek. Finally, the context both here and throughout Ephesians seems to emphasize the motif of light as a property belonging to believers. Thus, it seems that the author is saying, “I know that you are saved, that you have had the blinders of the devil removed; because of this, I can now pray that you will fully understand and see the light of God’s glorious revelation.” Hence, the translation takes the participle to form a part of the basis for the prayer.

[1:18]  ¹⁶ tn Or “the hope to which he has called you.”

[1:18]  ¹⁷ tn Grk “of the glory of his inheritance.” Here “inheritance” is taken as an attributed genitive and the head noun, “glory,” is thus translated as an adjective, “glorious inheritance.”

[3:18]  ¹⁸ sn The object of these dimensions is not stated in the text. Interpreters have suggested a variety of referents for this unstated object, including the cross of Christ, the heavenly Jerusalem (which is then sometimes linked to the Church), God’s power, the fullness of salvation given in Christ, the Wisdom of God, and the love of Christ. Of these interpretations, the last two are the most plausible. Associations from Wisdom literature favor the Wisdom of God, but the immediate context favors the love of Christ. For detailed discussion of these interpretive options, see A. T. Lincoln, Ephesians (WBC), 207-13, who ultimately favors the love of Christ.

[3:19]  ¹⁹ tn Or “with.”