Discovery BoxThe Song of Songs 4:1--7:13
ContextThe 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.
4:2 Your teeth are like a flock of newly-shorn sheep
coming up from the washing place; 6
each of them has a twin,
and not one of them is missing.
4:3 Your lips are like a scarlet thread; 7
your mouth is lovely.
Your forehead 8 behind your veil
is like a slice of pomegranate.
4:4 Your neck is like the tower 9 of David
built with courses of stones; 10
one thousand shields are hung on it –
all shields of valiant warriors. 11
4:5 Your two breasts are like two fawns,
twins of the gazelle
grazing among the lilies.
and the shadows flee,
I will go up to the mountain of myrrh,
and to the hill of frankincense.
4:7 You are altogether beautiful, my darling!
There is no blemish in you!
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.
4:9 You have stolen my heart, 13 my sister, 14 my bride!
You have stolen my heart with one glance of your eyes, 15
with one jewel of your necklace.
4:10 How delightful is your love, my sister, my bride!
How much better is your love than wine;
the fragrance of your perfume is better than any spice!
4:11 Your lips drip sweetness like the honeycomb, my bride,
honey and milk are under your tongue.
The fragrance of your garments is like the fragrance of Lebanon.
The Lover to His Beloved:
4:12 You are a locked garden, 16 my sister, my bride;
you are an enclosed spring, a sealed-up fountain.
4:13 Your shoots are a royal garden 17 full of pomegranates
with choice fruits:
henna with nard,
4:14 nard and saffron;
calamus and cinnamon with every kind of spice,
myrrh and aloes with all the finest spices. 18
4:15 You are a garden spring, 19
a well 20 of fresh water 21 flowing down from Lebanon.
The Beloved to Her Lover:
4:16 Awake, O north wind; come, O south wind!
Blow on my garden so that its fragrant spices may send out their sweet smell. 22
May my beloved come into his garden
and eat its delightful fruit!
The Lover to His Beloved:
5:1 I have entered my garden, O my sister, my bride;
I have gathered my myrrh with my balsam spice.
I have eaten my honeycomb and my honey;
I have drunk my wine and my milk!
The Poet to the Couple: 23
Eat, friends, and drink! 24
Drink freely, O lovers!
The Beloved about Her Lover:
5:2 I was asleep, but my mind 25 was dreaming. 26
Listen! 27 My lover 28 is knocking 29 at the door! 30
The Lover to His Beloved:
“Open 31 for me, my sister, my darling,
my dove, my flawless one!
My head is drenched with dew,
my hair with the dampness of the night.”
The Beloved to Her Lover:
5:3 “I have already taken off my robe – must I put it on again?
I have already washed my feet – must I soil them again?”
5:4 My lover thrust his hand 32 through 33 the hole, 34
and my feelings 35 were stirred 36 for him.
5:5 I arose to open for my beloved;
my hands dripped with myrrh –
my fingers flowed with myrrh
on the handles of the lock.
5:6 I opened for my beloved,
but my lover had already turned 37 and gone away. 38
I fell into despair 39 when he departed. 40
I looked for him but did not find him;
I called him but he did not answer me.
5:7 The watchmen found me as they made their rounds in the city.
They beat me, they bruised me;
they took away my cloak, those watchmen on the walls!
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! 41
The Maidens to The Beloved:
5:9 Why is your beloved better than others, 42
O most beautiful of women?
Why is your beloved better than others,
that you would command us in this manner?
The Beloved to the Maidens:
5:10 My beloved 43 is dazzling 44 and ruddy; 45
he stands out 46 in comparison to 47 all other men. 48
5:11 His head is like the most pure gold. 49
His hair is curly 50 – black like a raven.
5:12 His eyes are like doves by streams of water,
washed in milk, mounted like jewels.
5:13 His cheeks are like garden beds full of balsam trees 51 yielding 52 perfume.
His lips are like lilies dripping with drops of myrrh.
5:14 His arms are like rods of gold set with chrysolite.
His abdomen 53 is like polished ivory inlaid with sapphires.
5:15 His legs are like pillars of marble set on bases of pure gold.
His appearance is like Lebanon, choice as its cedars.
5:16 His mouth is very sweet; 54
he is totally desirable. 55
This is my beloved!
This is my companion, O maidens of Jerusalem!
The Maidens to the Beloved:
6:1 Where has your beloved gone,
O most beautiful among women?
Where has your beloved turned?
Tell us, 56 that we may seek him with you. 57
The Beloved to the Maidens:
6:2 My beloved has gone down to his garden, 58
to the flowerbeds of balsam spices, 59
to graze 60 in the gardens,
and to gather lilies. 61
The Beloved about Her Lover:
6:3 I am my lover’s 62 and my lover is mine; 63
he grazes among the lilies.
The Lover to His Beloved:
6:4 My darling, you are as beautiful as Tirzah, 64
as lovely as Jerusalem, 65
as awe-inspiring 66 as bannered armies!
6:5 Turn your eyes away from me –
they overwhelm 67 me!
Your hair is like a flock of goats
descending from Mount Gilead.
6:6 Your teeth are like a flock of sheep
coming up from the washing;
each has its twin;
not one of them is missing.
6:7 Like a slice of pomegranate
is your forehead 68 behind your veil.
6:8 There may be sixty 69 queens,
and eighty concubines,
and young women 70 without number.
My dove, my perfect one!
She is the special daughter 72 of her mother,
she is the favorite 73 of the one who bore her.
The maidens 74 saw her and complimented her; 75
the queens and concubines praised her:
6:10 “Who 76 is this who appears 77 like the dawn? 78
Beautiful as the moon, 79 bright 80 as the sun,
awe-inspiring 81 as the stars in procession?” 82
The Lover to His Beloved: 83
6:11 I went down to the orchard of walnut trees, 84
to look for the blossoms of the valley, 85
to see if the vines had budded
or if the pomegranates were in bloom.
6:12 86 I was beside myself with joy! 87
There please give me your myrrh, 88
O daughter of my princely people. 89
The Lover to His Beloved:
6:13 (7:1) 90 Turn 91 , turn, O 92 Perfect One! 93
Turn, turn, that I 94 may stare at you!
The Beloved to Her Lover:
Why 95 do you gaze upon the Perfect One
like the dance of the Mahanaim? 96
The Lover to His Beloved:
7:1 (7:2) How beautiful are your sandaled 97 feet,
O nobleman’s daughter! 98
The curves 99 of your thighs 100 are like jewels,
the work of the hands of a master craftsman.
7:2 Your navel 101 is a round mixing bowl 102 –
may it never lack 103 mixed wine! 104
Your belly 105 is a mound of wheat,
encircled 106 by lilies.
7:3 Your two breasts are like two fawns,
twins of a gazelle.
7:4 Your neck is like a tower made of ivory. 107
Your eyes are the pools in Heshbon
by the gate of Bath-Rabbim. 108
Your nose is like the tower of Lebanon
overlooking Damascus.
7:5 Your head crowns 109 you like Mount Carmel. 110
The locks of your hair 111 are like royal tapestries 112 –
the king is held captive 113 in its tresses!
7:6 How beautiful you are! How lovely,
O love, 114 with your delights! 115
The Lover to His Beloved:
7:7 Your stature 116 is like a palm tree, 117
and your breasts are like clusters of grapes. 118
7:8 I want 119 to climb the palm tree, 120
and take hold of its fruit stalks.
May your breasts be like the clusters of grapes, 121
and may the fragrance of your breath be like apricots! 122
7:9 May your mouth 123 be like the best wine,
flowing smoothly for my beloved,
gliding gently over our lips as we sleep together. 124
The Beloved about Her Lover:
7:10 I am my beloved’s,
and he desires me! 125
The Beloved to Her Lover:
7:11 Come, my beloved, let us go to the countryside;
let us spend the night in the villages.
7:12 Let us rise early to go to the vineyards,
to see if the vines have budded,
to see if their blossoms have opened,
if the pomegranates are in bloom –
there I will give you my love.
7:13 The mandrakes 126 send out their fragrance;
over our door is every delicacy, 127
both new and old, which I have stored up for you, my lover.
[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).
[4:2] 6 tn Alternately, “the watering-hole” or “watering-place.” The noun רַחְצָה (rakhtsah) may be nuanced “washing-place” (BDB 934 s.v. רַחְצָה) or “watering-hole, watering-place” (HALOT 1221 s.v. רַחְצָה). The related verb רָחַץ (rakhats) means “to wash, bathe, rinse off” (BDB 934 s.v. רָחַץ; HALOT 1220-21 s.v. רחץ). The metaphor describing the beautiful teeth of the bride probably pictures freshly washed sheep rather than freshly watered sheep. He praises his bride’s teeth by comparing them to freshly washed sheep. In the ancient Near East it was customary to wash sheep before shearing them. The picture of freshly washed sheep depicts the whiteness of the bride’s teeth.
[4:3] 7 tn The phrase חוּט הַשָּׁנִי (khut hashshani, “thread of scarlet”) is a genitive construct with the genitive functioning adjectivally. This phrase is used three times in classical Hebrew to denote a scarlet colored “thread” or “cord” (Josh 2:18; Song 4:3; 11 QT 49:3) (HALOT 296-97 s.v. חוּט; DCH 3:170-71 s.v. חוּט). This is a comparison of sight, describing the color and shape of her lips.
[4:3] 8 tn Alternately, “cheek,” or “temple” (see Judg 4:21).
[4:4] 9 tn The term מִגְּדַל (miggÿdal, “tower”) refers to a military structure, such as a stronghold, arsenal, or defensive tower on the walls of a city (e.g., Judg 8:9, 17; 9:51; 2 Kgs 9:17; 17:9; 18:8; 2 Chr 14:6; 26:15; 27:4; 32:5).
[4:4] 10 tn The feminine noun לְתַלְפִּיּוֹת (lÿtalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis qalpiwq) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tal, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis {uyh), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian
labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banu lÿtalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lp’ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition לְ (lÿ) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpi’ot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.
[4:4] 11 tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.
[4:6] 12 tn Heb “until the day breathes.”
[4:9] 13 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] 14 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] 15 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.
[4:12] 16 sn The twin themes of the enclosed garden and sealed spring are highlighted by the wordplay (paronomasia) between the Hebrew expressions גַּן נָעוּל (gan na’ul, “a garden locked up”) and גַּל נָעוּל (gal na’ul, “an enclosed spring”).
[4:13] 17 sn The noun פַּרְדֵּס (pardes, “garden, parkland, forest”) is a foreign loanword that occurs only 3 times in the Hebrew Bible (Song 4:13; Eccl 2:5; Neh 2:8). The original Old Persian (Avestan) term pairidaeza designated the enclosed parks and pleasure-grounds which were the exclusive domain of the Persian kings and nobility in the Achaemenid period (HALOT 963 s.v. פַּרְדֵּס; LSJ 1308). The Babylonian term pardesu means “marvelous garden,” in reference to the enclosed parks of the kings (AHw 2:833.a and 3:1582.a). The term passed into Greek as παραδείσος (paradeisos, “enclosed park, pleasure-ground”), referring to the enclosed parks and gardens of the Persian kings (LSJ 1308). The Greek term was transliterated into English as “paradise.”
[4:14] 18 tn Or “with all the finest balsam trees.” The Hebrew term בֹּשֶׂם (bosem) can refer either to the balsam tree, the spice associated with it, or by extension any fragrant aroma used as perfuming oil or incense.
[4:15] 19 tn Heb “a fountain of gardens” or “a headwaters for gardens.” The term מַעְיַן (m’yan, “fountain”) denotes “source, headwaters” as the place of origin of streams (HALOT 612 s.v. מַעְיַן). The term does not refer to a water fountain such as commonly found in modern cultivated gardens or parks; rather, it refers to the headwaters of streams and rivers, such as Banyas as the headwaters of the Jordan. The genitive construct מַעְיַן גַּנִּים (m’yan gannim, “a fountain of gardens”) is an unusual expression that has been treated in various ways: (1) “a garden fountain,” that is, a fountain located in a garden (HALOT 198 s.v. גַּן); (2) “a fountain of gardens,” that is, the headwaters of many spring-watered gardens. The latter is preferred. In Song 4:12-14 the bride is figuratively described as a garden with exotic plants; however, in 4:15 the metaphor shifts to the source of the water for the garden: מַעְיַן (“headwaters”) and בְּאֵר (bÿ’er, “well”) of fresh water flowing down from Lebanon.
[4:15] 20 tn Heb “a watering place” or “well of underground water.” The term בְּאֵר (bÿ’er, “well”) refers to an underground well that is dug in the ground to provide fresh water for humans and beasts (e.g., Gen 21:19, 25, 30; 26:15, 18, 19, 22, 32) (HALOT 106 s.v. I בְּאֵר; DCH 2:87 s.v. I בְּאֵר). The term is often used in parallelism with בּוֹר (bor, “cistern”), עַיִן (’ayin, “spring”), and שׁוּחָה (shukhah, “water-hole”).
[4:15] 21 tn Heb “living water.” The phrase מַיִם חַיִּים (mayim khayyim, “living water”) refers to flowing, fresh water in contrast to standing, stagnant water (Gen 26:19; Lev 14:5-6, 50-52; 15:13; Num 19:17; Jer 2:13; 17:13; Zech 14:8; Song 4:15; 1QH 8:7, 16; 4Q418 103.2:6; 4QDibHama 1.5:2; 11QT 45:16) (DCH 3:202 s.v. I חַי 1; HALOT 308 s.v. חיה 1; BDB 312 s.v. חַי f). The adjective חַיִּים (“living”) frequently refers to what is fresh (Gen 26:19), healthy (Sir 30:14), or thriving (Gen 43:7, 27). Fresh, flowing water is pictured as pure (Lev 14:5-6, 50-52; 15:13) and a source of refreshment (Gen 26:19). See P. Reymond, L’eau, sa vie, et sa signification dans l’Ancien Testament (VTSup), 136.
[5:1] 23 sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests – an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them – in a poetic sense – in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b.
[5:1] 24 sn The physical love between the couple is compared to eating and drinking at a wedding feast. This is an appropriate figure of comparison because it would have been issued during the feast which followed the wedding and the consummation. The term “drink” refers to intoxication, that is, it compares becoming drunk on wine with enjoying the physical love of one’s spouse (e.g., Prov 5:19-20).
[5:2] 25 tn Heb “my heart.” The term לִבִּי (livvi, “my heart”) is a metonymy of association for emotions (e.g., Prov 15:13; Song 3:11) or thoughts (e.g., Ps 90:12; Prov 18:15) or a synecdoche of part for the whole. If this verse is introducing a dream sequence in 5:2-8, this is a metonymy for the Beloved’s thoughts in her dream: “I was sleeping but my mind was dreaming.” If this verse depicts the Beloved beginning to doze off to sleep – only to be awakened by his knocking at her door – then it is a synecdoche of part for the whole: “I was about to fall asleep when I was suddenly awakened.”
[5:2] 26 tn Heb “but my heart was awake.” Scholars have interpreted 5:2a in two basic ways: (1) The Beloved had been asleep or was just about to fall asleep when she was awakened by the sound of him knocking on the door of her bedroom chambers. The term לִבִּי (livvi, “my heart”) is a synecdoche of part for the whole: “my heart” = “I.” The participle עֵר (’er) functions verbally, describing a past ingressive state: “was awakened.” The line would be rendered: “I was sleeping when I (= my heart) was awakened.” (2) The Beloved was sleeping, but her mind was dreaming (in her dream she heard him knocking on her door). In this case, לִבִּי (“my heart”) is a metonymy of association for the thoughts (e.g., Ps 90:12; Prov 18:15) and emotions (e.g., Prov 15:13; Song 3:11) she experienced during her dream: “my heart” = “my mind.” The participle עֵר functions verbally, describing a past progressive state: “was awake.” The line could be nuanced, “I was asleep, but my mind was dreaming.” Many translations adopt this approach: “I was asleep but my heart waketh” (KJV), “I was asleep but my heart was awake” (NASB, NIV), and “I was asleep, but my heart was wakeful” (NJPS).
[5:2] 27 sn The noun קוֹל (qol, literally, “sound, noise, voice”) is used as an exclamation: “Listen!” or “Hark!” (e.g., Gen 4:10; Isa 13:4; 40:3; 52:8; Jer 3:21; 4:15; 10:22; 31:51; 50:28; 51:54; Mic 6:9; Zeph 1:14; 2:14; Song 2:8; 5:2) (HALOT 1085 s.v. קוֹל 8b; BDB 877 s.v. קוֹל 1.f; Joüon 2:614 §162.e; GKC 467 §146.b). The term often refers to a loud or unexpected sound that arrests the attention of a character in a narrative. The speaker/writer uses it as a rhetorical device to dramatically portray his/her own startled reaction to an unexpected sound that called his/her attention. The Beloved is startled from her sleep by the unexpected sound of him loudly knocking at her bedroom door late at night.
[5:2] 28 sn The phrase קוֹל דּוֹדִי (qol dodi, “Listen! My lover …!”) that introduces this scene in 5:2-8 is the exact same phrase used in 2:8 to introduce the courtship section 2:8-11. In 2:8-11, the Beloved was excited about his unexpected arrival; however, in 5:2-8 she is apathetic about his unexpected approach. One should not miss the dramatic contrast between the Beloved’s eagerness to see her lover in 2:8-11 and her apathy about his approach on this evening in 5:2-8. The repetition of קוֹל דּוֹדִי (“Listen! My lover …!”) in 2:8 and 5:2 is designed to draw out the parallels and contrasts between 2:8-11 and 5:2-8.
[5:2] 29 sn The participle דוֹפֵק (dofeq) connotes present progressive or iterative action. The verb דָּפַק (dafaq, “to knock, pound, beat”) occurs only three times in biblical Hebrew, twice in reference to knocking at a door (Judg 19:22; Song 5:2) and once of beating cattle in order to drive them along (Gen 33:13). The Qal stem depicts the normal action of knocking at a door, while the Hitpael denotes a more intensive pounding, e.g., Qal: “to knock at the door” (Song 5:2) and Hitpael: “to beat violently against the door” (Judg 19:22) (HALOT 229 s.v. דפק; BDB 200 s.v. דָּפַק). The same connotations are seen in Mishnaic Hebrew, e.g., the verbs דָּפַק and דְּפַק (dÿfaq), “to knock at the door” (Jastrow 317 s.v. דָּפַק), and the nouns דּוֹפֵק “door frame (= what someone knocks on), movable tomb stone,” and דּוֹפְקָנִין (dofÿqanin, “knockers”; Jastrow 287 s.v. דּוֹפְקָנִין). The collocation of the verb פתח “to open” a door (HALOT 986-87 s.v. פתח; BDB 835 s.v. פָּתַח) clearly suggests that he is at the Beloved’s bedroom door.
[5:2] 30 tn The phrase “at the door” does not appear in the Hebrew but is supplied in the translation for clarity.
[5:2] 31 tn Heb “Open to me!” Alternately, “Let me in!” The imperatival form of פִּתְחִי (pitkhi, “to open”) connotes a polite, but earnest request. The verb פָּתַח (patakh) refers to the action of opening various objects, e.g., sack (Gen 42:27), skin bottle (Judg 4:19), hamper (Exod 2:6), pit (Exod 21:33), mouth of a cave (Josh 10:22), grave (Ezek 37:12, 13), city gates (Neh 13:19; Isa 45:1), gate of a land (Nah 3:13), window (2 Kgs 13:17). When used with the accusative דֶּלֶת (delet, “door”), it refers to opening a door (e.g., Judg 3:25; 19:27; 1 Sam 3:15; 2 Kgs 9:3, 10; 2 Chr 29:3; Job 31:32) (HALOT 986-87 s.v. פתח; BDB 835 s.v. פָּתַח). Although the object דֶּלֶת (“door”) is here omitted, a bedroom door is clearly in mind in 5:2, as indicated by the collocated verb דָּפַק (dafaq, “to knock on a door”) in the preceding line. Translators have often rendered this line woodenly: “Open to me!” (KJV, NASB, NIV); however, NJPS nuances it well: “Let me in!”
[5:4] 32 tn Possibly a euphemism (double entendre). The term יָד (yad, “hand”) normally refers simply to the physical hand (HALOT 386 s.v. I יָד 1; BDB 388 s.v. יָד 1). There are, however, at least three occasions when יָד refers to tall stone pillars (translated “monument” or “pillar”), such as those used in Canaanite fertility-cults in the form of phallic representations (1 Sam 15:12; 2 Sam 18:18; Isa 56:5). It is clearly used as a euphemism for the male copulative organ in Isa 57:8, 10. It is now an established fact that yad is sometimes used as a euphemism for the male sexual organ in Ugaritic literature (e.g., text no. 52:33-35) (UT 1072). The noun יָד is also used in the Qumran literature in this sense in a list of penalties for indecent exposure (Manual of Discipline 7:12-15). Thus, several scholars suggest that a subtle double entendre in 5:4-6. The imagery of the man thrusting his “hand” through the “hole” in the door, and the Beloved “opening” to her lover, with her fingers dripped with “myrrh” on the “handles of the lock,” might have a double reference to the literal attempt to gain entry to her bedroom and his desire to make love to her. See M. Delcour, “Two Special Meanings of the Word yd in Biblical Hebrew,” JSS 12 (1967): 230-40.
[5:4] 33 tn Heb “sent his hand through.” Most scholars suggest that it denotes “to send through,” that is, “to thrust through” or “to extend through.” For example, BDB 1018 s.v. שָׁלַח 3.a proposes that מִן + שָׁלַח (shalakh + min) means “to stretch out (his hand) from the outside, inward.” He was attempting to open the door from the outside by extending his hand inside the door through some kind of latch-opening: “he put in his hand by the opening of the door” (KJV), “he extended his hand through the opening” (NASB), “he thrust his hand through the latch-opening” (NIV). Others, however, suggest that the construction.
מִן + שָׁלַח denotes “to withdraw from” (e.g., 1 Kgs 13:4). The preposition מִן is taken to mean, not “through,” but “away from.” Thus, he was withdrawing his hand from the latch-opening, that is, he had given up and was leaving. This approach is adopted by NJPS: “My beloved took his hand off the latch.” His departure is clearly stated in 5:6, “I opened [the door] for my beloved, but my beloved had already turned and gone away; my heart sank at his departure!” (see study notes below on 5:6).
[5:4] 34 tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear – “hole” – there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kaffot hamman’ul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19.
[5:4] 35 tn Heb “my inward parts,” “my intestines,” or “my bowels.” Alternately, “my feelings” or “my emotions.” The term מֵעֶה (me’eh) is used of the internal organs in general (“inward parts”) (e.g., 2 Sam 20:10; 2 Chr 21:15, 18; Pss 22:14; 40:9) or the digestive organs in particular (“intestines, bowels, stomach”) (e.g., Num 5:22; Job 20:14; Ezek 3:3; 7:19; Jonah 2:1-2). It is frequently used as a metonymy of adjunct for the emotions which Hebrew psychology associated with these internal organs (see H. W. Wolff, Anthropology of the Old Testament, 63-66). These include pity (Isa 16:11), lamentation (Jer 48:36), distress (Jer 4:19; Lam 1:20; 2:11), and compassion (Isa 63:15; Jer 31:20) (HALOT 610-11 s.v. מֵעֶה 3; BDB 589 s.v. מֵעֶה 5). Most scholars suggest that the Beloved’s feelings of love were revived – a reversal of her feelings of indifference and apathy in 5:3. This is reflected in many translations which use equivalent English idioms: “the core of my being” (JB) and “my heart” (NIV, NJPS) over the woodenly literal “my bowels” (KJV, NEB, AV). On the other hand, the term is also used to refer to the procreative organs, both male (e.g., Gen 15:4; 2 Sam 7:12; 16:11; Isa 48:19; 2 Chr 32:21) and female (e.g., Gen 25:23; Ruth 1:11; Ps 71:6; Isa 49:1). NASB well renders the line, “my feelings were aroused for him” (NASB).
[5:4] 36 tn The exact meaning of this Hebrew verb is uncertain. The exact connotation of the verb הָמוּ (hamu) in 5:4 is debated. The verb הָמָה (hamah, “to murmur, growl, roar, be boisterous”) is related to the noun הָמוֹן (hamon, “sound, murmur, roar, noisy crowd”), הֶמְיָה (hemyah, “sound, music”), and perhaps even הָמֻלָה (hamulah, “noise, noisy crowd, crowd”). The Hebrew root המה is related to Aramaic המא (“to roar; to be agitated”). The Hebrew verb הָמָה has a basic two-fold range of meanings: (1) literal: “to make a noise” of some kind and (2) figurative: “to be in commotion, uproar” (e.g., often associated with noise or a noisy crowd). The lexicons suggest six distinct categories: (1) “to make a noise” or “to be in commotion,” particularly by a tumultuous crowd (1 Kgs 1:41; Pss 39:7; 46:7; Prov 1:21; Is 22:2; Mic 2:12); (2) “to roar,” of the sea and sea-waves (Isa 17:12; 51:15; Jer 5:22; 6:23; 31:35; 50:42; 51:55; Ps 46:4); (3) “to make a sound,” e.g., bear growling (Isa 59:11), dog barking (Ps 59:7, 15), bird chirping (Ps 102:8), dove cooing (Ezek 7:16); (4) “to moan,” (Ps 39:7; 55:18; Prov 1:21; Lam 2:18; Ezek 7:16; Zech 9:15); (5) “to be turbulent, boisterous” (Prov 7:11; 9:13; 20:1; Zech 9:5); and (6) figuratively of the internal organs: “to murmur, be restless, be turbulent,” used in reference to pity (Isa 16:11; Jer 4:19; 31:20; 48:36), discouragement (Ps 42:6, 12; 43:5), and murmuring in prayer (Pss 55:18; 77:4) (HALOT 250 s.v. המה; BDB 242 s.v. הָמָה). HALOT suggests “to be turbulent” for Song 5:4 (HALOT 250 s.v. 4), while BDB suggests “the thrill of deep-felt compassion or sympathy” (BDB 242 s.v. 2). Commentators offer a spectrum of opinions from the Beloved feeling agitation, pity, compassion, sexual arousal, or a revival of her love for him. A survey of the translations reveals the same lack of consensus: “my bowels were moved for him” (KJV), “my bowels stirred within me” (NEB), “my heart was thrilled within me” (RSV), “I trembled to the core of my being” (JB), “my heart trembled within me” (NAB), “my heart was stirred for him” (JPS, NJPS), “my feelings were aroused for him” (NASB), and “my heart began to pound for him” (NIV). While the precise meaning may never be agreed upon, whatever she was feeling she roused herself from her indifferent apathetic inactivity to arise and open for her beloved in 5:5. The phrase is used similarly elsewhere in OT, rousing the subject to irresistible action (Jer 4:19). The simplest course of action is to nuance this term metonymically (cause for effect), e.g., “my feelings were stirred up for him.”
[5:6] 37 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] 38 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] 39 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] 40 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).
[5:8] 41 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.
[5:9] 42 tn Heb “How is your beloved [better] than [another] lover?”
[5:10] 43 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] 44 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] 45 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] 46 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] 47 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] 48 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.
[5:11] 49 tn Heb “his head is gold of pure gold.” In the genitive construct phrase כֶּתֶם פָּז (ketem paz, literally, “gold of pure gold”) the genitive noun פָּז (paz, “pure gold”) functions as an adjectival genitive modifying כֶּתֶם (“gold”), that is, “pure gold.” The repetition of two different words for “gold” suggests that the phrase should be nuanced “the most pure gold.” This phrase is a predicate nominate in a metaphorical statement: “his head is (like) the most pure gold.” In the OT gold is frequently used in comparisons to emphasize the idea of beauty, value, or rarity (Job 28:12-19; Pss 19:11; 119:127; Prov 8:19; Isa 13:12; Lam 4:2). Palestine had no known sources of gold, but had to import it, making it a rare and precious commodity (Ruth V. Wright and R. L. Chadbourne, The Gems and Minerals of the Bible, 65).
[5:11] 50 tn Literally “his locks [of hair] are curls.” The Hebrew adjective תַּלְתָּל (taltal) is a hapax legomenon whose meaning is somewhat unclear. BDB suggests that תַּלְתָּל is from the root תּלל (“mound, heap”; BDB 1068 s.v. I תּלל) which is related to Arabic tl “mound, hill, top” (E. W. Lane, Arabic-English Dictionary, 311) and Akkadian tilu “hill, mound” (AHw 3:1358). On the other hand, HALOT suggests that תַּלְתָּל means “date-panicle” and that it is related to the Akkadian noun taltallu “pollen of date-palm” (HALOT 1741 s.v. תַּלְתַּלִּים). The term occurs in Mishnaic Hebrew as תַּלְתָּל “curls, locks” (Jastrow 1674 s.v. תַּלְתָּל). It is used in the same way in the Song. The form tltl is a reduplicated pattern used for adjectives denoting an intense characteristic (S. Moscati, Comparative Grammar, 78-79, §12.9-13). It functions as a predicate adjective to the subjective nominative קוּצוֹתָיו (qutsotav, “his locks of hair”).
[5:13] 51 sn In the genitive construct phrase עֲרוּגַת הַבֹּשֶׂם (’arugat havvosem, literally, “beds of balsam”) the term בֹּשֶׂם (bosem) is a genitive of composition, identifying what these gardens were composed of. The term עֲרוּגַת (“garden-beds”) refers to a private garden terrace or garden bed, a rare luxury in Palestine and very expensive to own (Ezek 17:7, 10) (BDB 788 s.v. עֲרוּגָה). The term בֹּשֶׂם (bosem, “balsam”) refers to balsam trees which yielded sweet-smelling oils from which perfumes were produced. The balsam trees should be identified either as Astragalus tragacantha which grew everywhere in Palestine and exude resin from its thorns, or as Commiphora opobalsamum which was not native to Israel but to South Arabia from whence it had to be imported at great cost (2 Chr 9:1) (Fauna and Flora of the Bible, 177-78). She is comparing the beautiful scent of his cologned cheeks to fragrant beds of spice.
[5:13] 52 tn Alternately, “towers of perfume.” The MT reads מִגְדְּלוֹת (migdÿlot) which yields the awkward “towers of perfume.” The term מִגְדָּל (migdal, “tower”) is normally used in reference to (1) watch-towers, defended towers along the city wall, and individual towers in the countryside to protect the borders, (2) storehouses, and (3) a tower in a vineyard (HALOT 543-44 s.v. I מִגְדָּל). It is never used in OT in association with a flower garden. On the other hand, LXX reads φυουσαι (fuousai, “yielding”) which reflects an alternate vocalization tradition of מְגַדְּלוֹת (mÿgaddÿlot; Piel participle feminine plural from גָּדַל, gadal, “to increase, produce”). This makes good sense contextually because the Piel stem of גָּדַל means “to grow” plants and trees (Isa 44:14; Ezek 31:4; Jonah 4:10) (HALOT 179 s.v. I גדל 2). This revocalization is suggested by BHS editors, as well as the Hebrew lexicographers (HALOT 544 s.v. 2; 179 s.v. I 2; BDB 152 s.v. גָּדַל 1). Several translations follow LXX and revocalize the text (RSV, NIV, NJPS margin): “His cheeks are like beds of spice yielding perfume” (NIV) and “His cheeks are like beds of spice producing perfume” (NJPS margin). The other translations struggle to make sense of the MT, but are forced to abandon a literal rendering of מִגְדְּלוֹת (“towers”): “banks sweet herbs” (ASV), “banks sweetly scented” (JB), “treasure-chambers full of perfume” (NEB), “banks of sweet scented herbs” (NASB), and “banks of perfume” (JPS, NJPS).
[5:14] 53 tn The term מֵעֶה (me’eh) is used in reference to several things in the Old Testament: (1) the womb of a woman (Gen 25:23; Isa 49:1; Ps 71:6; Ruth 1:11), (2) a man’s loins (Gen 15:4; 2 Sam 7:12; Isa 48:19; 2 Chr 32:21), (3) the “inward parts” of a person, such as the stomach or intestines which are used to digest food (Num 5:22; Job 20:14; Ezek 3:3; Jonah 2:1-2), and (4) the external stomach or abdominal muscles: “abdomen” (Song 5:14).
[5:16] 54 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] 55 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.”
[6:1] 56 tn The phrase “Tell us!” does not appear in the Hebrew but is supplied in the translation for the sake of smoothness.
[6:1] 57 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.
[6:2] 58 sn The term גַּן (gan, “garden”) is used six other times in the Song. In five cases, it is used figuratively (hypocatastasis) to describe her body or the sexual love of the couple (4:12, 15, 16a, 16b; 5:1). There is only one usage in which it might refer to a real garden (8:13). Thus, this usage of “garden” might be figurative or literal: (1) He went to a real garden for repose. Solomon did, in fact, own a great many gardens (Eccl 2:4-7; 1 Chr 27:27). (2) The “garden” is a figurative description referring either to: (a) the young woman, (b) their sexual love, or (c) Solomon’s harem.
[6:2] 59 sn The phrase כַּעֲרוּגַת הַבֹּשֶׂם (ka’arugat havvosem, “flower-beds of balsam”) is used elsewhere in the Song only in 5:13 where it is a simile comparing his cheeks to a flower-bed of balsam yielding perfumed spices. The term הַבֹּשֶׂם (“balsam-spice”) by itself appears five times in the Song, each time as a figure for sexual love (4:10, 14, 16; 5:1; 8:14). Thus, the two options are: (1) the term refers to a real flower-bed of balsam to which Solomon had gone or (2) this term is a figure for sexual love.
[6:2] 60 tn The verb לִרְעוֹת (lir’ot, “to browse”; so NAB, NIV) is from the root רָעָה (ra’ah, “to feed, graze”) which is used seven times in the Song (1:7, 8a, 8b; 2:16; 4:5; 6:2, 3). All its uses appear to be either literal or figurative descriptions of sheep grazing. The verb is used twice in reference to sheep “grazing” in a pasture (1:7, 8). The participle is used once to designate “shepherds” (1:8), once in reference to two fawns which “which graze among the lilies” as a figurative description of her breasts (4:5), and twice as a figurative description of Solomon as “the one who grazes among the lilies” which is probably also a comparison of Solomon to a grazing sheep (2:16; 6:3). Therefore, it is likely that the usage of the term לִרְעוֹת (“to graze”) in 6:2 is also a figurative comparison of Solomon to a sheep grazing among garden flowers. Thus, there are two options: (1) nuance the term לִרְעוֹת as “to browse” (NAB, NIV) and take this as a literal action of Solomon walking through a real garden or (2) nuance the term לִרְעוֹת as “to graze” (NLT) and take this as a figure in which Solomon is pictured as a gazelle grazing on the flowers in a garden.
[6:2] 61 sn The term שׁוֹשַׁנָּה (shoshannah, “lily”) or שׁוֹשַׁנִים (shoshanim, “lilies”) appears eight times in the Song (2:1, 2, 16; 4:5; 5:13; 6:2, 3; 7:2). Of these five are unequivocally used figuratively as descriptions of a woman or women (2:1, 2), the color and softness of her breasts (4:5), the attractiveness of his lips (5:13), and her waist (7:2). The closest parallel to 6:2 is the description “the one who grazes among the lilies” (2:16; 6:3) which is a figurative expression comparing his romancing of his Beloved with a sheep feeding on lilies. However, this still leaves a question as to what the lilies represent in 2:16; 6:2, 3. The phrase “to gather lilies” itself appears only here in the Song. However, the synonymous phrase “to gather myrrh and balsam spice” is used in 5:1 as a figure (euphemistic hypocatastasis) for sexual consummation by the man of the woman. There are three basic options as to how “lilies” may be taken: (1) The lilies are real flowers; he has gone to a real garden in which to repose and she is picking real lilies. (2) The term “lilies” is a figure for the young woman; he is romancing her just as he had in 2:16 and 5:1. He is kissing her mouth just as a sheep would graze among lilies. (3) The term “lilies” is a figure expression referring to other women, such as his harem (e.g., 6:8-9). Two factors support the “harem” interpretation: (1) Solomon had recently departed from her, and she was desperate to find him after she refused him. (2) His harem is mentioned explicitly in 6:8-9. However, several other factors support the Beloved interpretation: (1) She expresses her confidence in 6:3 that he is devoted to her. (2) The immediately following use of “lilies” in 6:3 appears to refer to her, as in 2:16 and 5:1. (3) He praises her in 6:4-7, suggesting that he was romancing her in 6:2-3. (4) Although his harem is mentioned in 6:8-10, all these women acknowledge that he is disinterested in them and only loves her. (5) Her exultation “I am my beloved’s and my beloved is mine; the one who grazes among the lilies” (6:3) is a statement of assurance in their relationship and this would seem quite strange if he was cavorting with his harem while she said this.
[6:3] 62 sn This is the second occurrence of the poetic refrain that occurs elsewhere in 2:16 and 7:11. The order of the first two cola are reversed from 2:16: “My beloved is mine and I am his” (2:16) but “I am my beloved’s and he is mine” (6:3). The significance of this shift depends on whether the parallelism is synonymous or climactic. This might merely be a literary variation with no rhetorical significance. On the other hand, it might signal a shift in her view of their relationship: Originally, she focused on her possession of him, now she focused on his possession of her.
[6:3] 63 tn Or “I belong to my beloved, and my lover belongs to me.” Alternately, “I am devoted to my beloved, and my lover is devoted to me.”
[6:4] 64 tn He compares her beauty to two of the most beautiful and important cities in the Israelite United Kingdom, namely, Jerusalem and Tirzah. The beauty of Jerusalem was legendary; it is twice called “the perfection of beauty” (Ps 50:2; Lam 2:15). Tirzah was beautiful as well – in fact, the name means “pleasure, beauty.” So beautiful was Tirzah that it would be chosen by Jeroboam as the original capital of the northern kingdom (1 Kgs 15:33; 16:8, 15, 23). The ancient city Tirzah has been identified as Tel el-Far`ah near Nablus: see B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 60; R. de Vaux, “Le premiere campagne de fouilles a Tell el-Far`ah,” RB 54 (1947): 394-433.
[6:4] 65 map For location see Map5 B1; Map6 F3; Map7 E2; Map8 F2; Map10 B3; JP1 F4; JP2 F4; JP3 F4; JP4 F4.
[6:4] 66 sn The literary unity of 6:4-10 and boundaries of his praise are indicated by the repetition of the phrase אֲיֻמָּה כַּנִּדְגָּלוֹת (’ayummah kannidÿgalot, “majestic as bannered armies/stars in procession…”) in 6:4 and 6:10 which creates an inclusion. His praise includes his own personal statements (6:4-9a) as well as his report of the praise given to her by the maidens, queens, and concubines (6:9b-10). His praise indicates that he had forgiven any ingratitude on her part.
[6:5] 67 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).
[6:7] 68 tn Alternately, “your cheeks” or “your temple.” See 4:3.
[6:8] 69 sn The sequence “sixty…eighty…beyond number” is an example of a graded numerical sequence and is not intended to be an exact numeration (see W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 144-50).
[6:8] 70 sn The term עַלְמָה (’almah, “young woman”) refers to a young woman who is of marriageable age or a newly married young woman, usually before the birth of her first child (HALOT 835-36 s.v. עַלְמָה; BDB 761 s.v. עַלְמָה) (e.g., Gen 24:43; Exod 2:8; Ps 68:26; Prov 30:19; Song 1:3; 6:8; Isa 7:14). The only other use of the term “young women” (עֲלָמוֹת) in the Song refers to the young women of Solomon’s harem (Song 6:8). The root עלם denotes the basic idea of “youthful, strong, passionate” (HALOT 835 s.v. III). While the term עַלְמָה may be used in reference to a young woman who is a virgin, the term itself does not explicitly denote “virgin.” The Hebrew term which explicitly denotes “virgin” is בְּתוּלָה (bÿtulah) which refers to a mature young woman without any sexual experience with men (e.g., Gen 24:16; Exod 22:15-16; Lev 21:3; Deut 22:23, 28; 32:25; Judg 12:12; 19:24; 2 Sam 13:2, 18; 1 Kgs 1:2; 2 Chr 36:17; Esth 2:2-3, 17, 19; Job 31:1; Pss 45:15; 78:63; 148:12; Isa 23:4; 62:5; Jer 2:32; 31:3; 51:22; Lam 1:4, 18; 2:10, 21; 5:11; Ezek 9:6; Joel 1:8; Amos 9:13; Zech 9:17; HALOT 166-7 s.v. בְּתוּלָה; BDB 143 s.v. בְּתוּלָה). The related noun בְּתוּלִים (bÿtulim) means “state of virginity” (Lev 21:13; Judg 11:37-38; Ezek 23:3, 8; Sir 42:10) and “evidence of virginity” (Deut 22:14-15, 17, 20) (HALOT 167 s.v. בְּתוּלִים).
[6:9] 71 tn Alternately, “She alone is my dove, my perfect one.” The term אַחַת (’akhat) is used here as an adjective of quality: “unique, singular, the only one” (DCH 1:180 s.v. אֶחָד 1b). The masculine form is used elsewhere to describe Yahweh as the “only” or “unique” God of Israel who demands exclusive love and loyalty (Deut 6:4; Zech 14:9). Although Solomon possessed a large harem, she was the only woman for him.
[6:9] 72 tn Heb “the only daughter of her mother.” The phrase אַחַת לְאִמָּה (’akhat lÿ’immah) is sometimes translated as “the only daughter of her mother” (NIV, NASB) or “the only one of her mother” (KJV). K&D 18:112 suggests that she was not her mother’s only daughter, but her most special daughter. This is supported by the parallelism with בָּרָה (barah, “favorite”) in the following line. Similarly, Gen 22:2 and Prov 4:3 use the masculine term אֶחָד (’ekhad, “the only one”) to refer to the specially favored son, that is, the heir.
[6:9] 73 tn The term בָּרָה (barah) is sometimes nuanced “pure” (NASB) because the root ברר I denotes “to purify, purge out” (BDB 140-41 s.v. בָּרַר). However, the root בָּרַר also denotes “to choose, select” (BDB 141 s.v. 2) (Neh 5:18; 1 Chr 7:40; 9:22; 16:41). Most translations adopt the second root, e.g., “the choice one” (KJV), “the favorite” (NIV), “favorite” (JB). This is supported by the exegetical tradition of LXX, which translates בָּרָה as ἐκλεκτή (eklekth, “the chosen one”).
[6:9] 75 tn Heb “to call blessed.” The verb אָשַׁר (’ashar) is used of people whom others consider fortunate because they have prospered or are to be commended (Gen 30:13; Ps 72:17; Mal 3:12, 15). Likewise, the verb הָלַל (halal, “to praise”) is used elsewhere of people who are held in high esteem by others either due to a commendable moral quality (Prov 31:28, 31) or due to one’s physical beauty (Gen 12:15; 2 Sam 14:25). The actual content of their praise of her appears in Song 6:10 in which they compare her beauty to that of the dawn, moon, sun, and stars.
[6:10] 76 sn This rhetorical question emphasizes her position among women (e.g., Mic 2:7; Joel 2:1).
[6:10] 77 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] 78 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] 79 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] 80 tn Heb “pure as the sun.”
[6:10] 81 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] 82 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.
[6:11] 83 sn It is difficult to determine whether the speaker in 6:11-12 is Solomon or the Beloved.
[6:11] 84 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] 85 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.
[6:12] 86 tn Most scholars agree that the Hebrew text of 6:12 is the most elusive in the entire Song. The syntax is enigmatic and the textual reading is uncertain. The difficulty of this verse has generated a plethora of different translations: “Or ever I was aware, my soul made me [like] the chariots of Ammi-nadib” (KJV), “Before I knew it, my soul made me like the chariots of Ammi-nadib” (AV), “Before I knew it, my fancy set me in a chariot beside my prince” (AT), “Before I knew…my desire hurled me on the chariots of my people, as their prince” (JB), “Before I knew it, my desire set me mid the chariots of Ammi-nadib” (JPSV), “I did not know myself, she made me feel more than a prince reigning over the myriads of his people” (NEB), “Before I knew it, my heart had made me the blessed one of my kins-women” (NAB), “Before I was aware, my soul set me [over] the chariots of my noble people” (NASB), “Before I realized it, my desire set me among the royal chariots of my people” (NIV), “…among the chariots of Amminadab” (NIV margin), “…among the chariots of the people of the prince” (NIV margin), and “Before I realized it, I was stricken with a terrible homesickness and wanted to be back among my own people” (NLT). For discussion, see R. Gordis, Song of Songs and Lamentations, 95; R. Tournay, “Les Chariots d’Aminadab (Cant. VI 12): Israel, Peuple Theophore,” VT 9 (1959): 288-309; M. H. Pope, Song of Songs (AB), 584-92; R. E. Murphy, “Towards a Commentary on the Song of Songs,” CBQ 39 (1977): 491-92; S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 (1978): 545-47; G. L. Carr, Song of Solomon [TOTC], 151-53.
[6:12] 87 tn Alternately, “Before I realized it, my soul placed me among the chariots of my princely people.” There is debate whether נַפְשִׁי (nafshi, “my soul” = “I”) belongs with the first or second colon. The MT accentuation connects it with the second colon; thus, the first colon introduces indirect discourse: לֹא יָדַעְתִּי (lo’ yada’ti) “I did not know” or “Before I realized it….” According to MT accentuation, the fs noun נַפְשִׁי (“my soul”) is the subject of שָׂמַתְנִי (samatni, Qal perfect 3rd person feminine singular from שִׂים, sim, + 1st person common singular suffix, “to put”): “my soul placed me….” This approach is followed by several translations (KJV, NASB, AV, AT, JB, JPSV, NAB, NIV). On the other hand, the LXX takes נַפְשִׁי (“my soul” = “I”) as the subject of לֹא יָדַעְתִּי and renders the line, “My soul [= I] did not know.” NEB follows suit, taking נַפְשִׁי as the subject of לֹא יָדַעְתִּי and renders the line: “I did not know myself.” R. Gordis and S. M. Paul posit that לֹא יָדַעְתִּי נַפְשִׁי (literally “I did not know myself”) is an idiom describing the emotional state of the speaker, either joy or anguish: “I was beside myself” (e.g., Job 9:21; Prov 19:2). S. Paul notes that the semantic equivalent of this Hebrew phrase is found in the Akkadian expression ramansu la ude (“he did not know himself”) which is a medical idiom describing the loss of composure, lucidity, or partial loss of consciousness. He suggests that the speaker in the Song is beside himself/herself with anguish or joy (S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6,12 and Job 9,21,” Bib 59 [1978]: 545-47; R. Gordis, Song of Songs and Lamentations, 95).
[6:12] 88 tc While MT reads מַרְכְּבוֹת (markÿvot, “chariots”) some medieval Hebrew
[6:12] 89 tc MT vocalizes and divides the text as עַמִּי־נָדִיב (’ammi-nadiv, “my princely people”); however, several other
[6:13] 90 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] 91 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] 92 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] 93 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
[6:13] 94 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] 95 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] 96 tc The MT reads כִּמְחֹלַת (kimkholat, “like the dance”), while other Hebrew
[7:1] 97 sn Solomon calls attention to the sandals the “noble daughter” was wearing. While it was common for women in aristocratic circles in the ancient Near East to wear sandals, women of the lower classes usually went barefoot (e.g., Ezek 16:10).
[7:1] 98 tn Alternately, “noble daughter” or “magnificent daughter.” The title בַּת־נָדִיב (bat-nadiv, “princely daughter” or “daughter of the prince”; HALOT 673 s.v. נָדִיב; BDB 622 s.v. נָדִיב 2) suggests to some that this woman is not the Israelite country maiden of chapters 1-4 and 8, but the daughter of Pharaoh whom Solomon later married (1 Kgs 11:1). While the term נָדִיב often denotes nobility of position (“nobleman”), it can also denote nobility of character (“noble, willing, magnificent”) (e.g., Prov 17:26; Isa 32:5, 8) (HALOT 673-74; BDB 622 s.v. 2).
[7:1] 99 tn The term ַַחמּוּק (khammuq, “curve”) describes the shapely curvature of her legs (HALOT 327; BDB 330 s.v. 2) rather than a curving, dancing motion (Arabic bridal dance view). Although the verb חָמַק (khamaq, “turn”) appears twice (Song 5:6; Jer 31:22), the noun חַמּוּק is a hapax legomenon. In postbiblical Hebrew it refers to “rundles” (Jastrow 476 s.v. חַמּוּק). The term here has been translated in various ways: “[thigh] joints” (KJV), “rounded [thighs]” (RSV), “curves [of thighs]” (NASB), “graceful [thighs]” (NIV).
[7:1] 100 tn The term יָרֵךְ (yarekh, “thigh”) may refer to (1) the fleshy upper part of the thigh where the leg joins the pelvis (Gen 32:25-32; 46:26; Exod 1:5; Judg 8:30) or (2) the outside of the thigh from the hip down (Exod 32:27; Judg 3:16, 21; Ps 45:4; Song 3:8). The first usage is usually restricted to a figure for the male loins, the source of male procreation (Gen 46:26; Exod 1:5) and the locus of an oath (Gen 24:2, 9; 47:29).
[7:2] 101 tn The noun שֹׁרֶר (shorer) is a hapax legomenon, appearing in the OT only here. There is debate whether it means “navel” or “vulva”: (1) Lys and Pope suggest that שֹׁרֶר is related to Arabic srr (“secret place, pudenda, coition, fornication”). They suggest that this is contextually supported by three factors: (a) His descriptive praise of her is in ascending order, beginning with her feet and concluding with her hair. The movement from her thighs (7:1b), to her vulva (7:2a), and then to her waist (7:2b) would fit this. (b) The descriptive comparison to a glass of wine would be grotesque if her navel were in view – her navel was moist or filled with liquid? – but appropriate if her vulva were in view. (c) The navel would be a somewhat synonymous reference to the belly which is already denoted by בִּטְנֵךְ (bitnekh, “belly”) in the following line. Because 7:1-7 does not use synonymous parallelism, the term שֹׁרֶר would have to refer to something other than the belly. (2) The term שֹׁרֶר denotes “navel”: (a) It may be related to the bi-consonantal noun שֹׁר (shor, “navel, umbilical cord”) (Prov 3:8; Ezek 16:4). (b) Mishnaic Hebrew שָׁרָר (sharar) denotes “navel, umbilical cord” (Jastrow 1634 s.v. שָׁרָר). For example, in a midrash on the Book of Numbers, the noun שֹׁרֶר appears in an allusion to Song 7:3 to justify the seating of the Sanhedrin in the middle of the synagogue: “As the navel (שֹׁרֶר) is placed in the centre of the body, so are the Sanhedrin…” (Num. Rab. 1:4). On the other hand, the meaning “vulva” never appears in Mishnaic Hebrew. Therefore, apart from this disputed usage there is no evidence that this term was ever used in this manner in Hebrew. (c) Rather than שֹׁרֶר being related to Arabic sirr (“pudenda”), it could just as easily be related to the Arabic noun surr “navel.” It is methodologically more sound to define שֹׁרֶר as “navel” than as “vulva.” (d) The nuance “navel” is not as out of line contextually as Lys and Pope suggest. The navel would not be out of place in the ascending order of praise because the בִּטְנֵךְ (“abdomen”) which follows may be viewed as both above and below the navel. The figurative association of the שֹׁרֶר as a mixing bowl filled with wine does not imply that this bodily part must actually be moist or filled with liquid as Pope suggests. The point of comparison is not physical or visual but one of function, i.e., it is intoxicating. The comparison of the navel to a mixing bowl of wine is no more out of line than the comparison of the belly to a heap of wheat in the next line. In fact, the two go together – she is both the “drink” and “food” for Solomon. The shape of the navel is as congruent with the metaphor of the “round bowl” as the vulva; both are round and receding. (3) Since both terms are derived from the same geminate root – Hebrew שֹׁרֶר and Arabic srr – it is more prudent to take the term as a synecdoche of whole (lower region) for the parts (including navel and vulva). The attempt to decide between these two options may be illegitimately splitting hairs. See K&D 18:123; J. S. Deere, “Song of Solomon,” BKCOT, 199-200; D. Lys, “Notes sur de Cantique,” VTSup 17 (1969): 171-78; M. H. Pope, Song of Songs (AB), 617; G. L. Carr, Song of Solomon (TOTC), 157.
[7:2] 102 sn The expression אַגַּן הַסַּהַר (’aggan hassahar, “round mixing bowl”) refers to a vessel used for mixing wine. Archaeologists have recovered examples of such large, deep, two handled, ring-based round bowls. The Hebrew term אַגַּן (“mixing bowl”) came into Greek usage as ἂγγος (angos) which designates vessels used for mixing wine (e.g., Homer, Odyssey xvi 16) (LSJ 7). This is consistent with the figurative references to wine which follows: “may it never lack mixed wine.” Selected Bibliography: J. P. Brown, “The Mediterranean Vocabulary for Wine,” VT 19 (1969): 158; A. M. Honeyman, “The Pottery Vessels of the Old Testament,” PEQ 80 (1939): 79. The comparison of her navel to a “round mixing bowl” is visually appropriate in that both are round and receding. The primary point of comparison to the round bowl is one of sense, as the following clause makes clear: “may it never lack mixed wine.” J. S. Deere suggests that the point of comparison is that of taste, desirability, and function (“Song of Solomon,” BKCOT, 202). More specifically, it probably refers to the source of intoxication, that is, just as a bowl used to mix wine was the source of physical intoxication, so she was the source of his sexual intoxication. She intoxicated Solomon with her love in the same way that wine intoxicates a person.
[7:2] 103 tn The phrase אַל־יֶחְסַר (’al-yekhsar) has traditionally been taken as an imperfect: “it never lacks mixed wine” (M. H. Pope, Song of Songs [AB], 619); “which wanteth not liquor” (KJV); “in which liquor is never lacking” (RSV); “that never lacks mixed wine” (JB); “with no lack of wine” (NEB); “that shall never want for spiced wine” (NEB); “that never lacks blended wine” (NIV). This is also how LXX understood it: μὴ ὑστερούμενος κρᾶμα (mh usteroumenos, “not lacking liquor”). However, the negative אַל (’al) normally precedes a jussive expressing a wish or request: “May it never lack mixed wine!” (J. S. Deere, “Song of Solomon,” BKCOT, 202). This approach is adopted by several translations: “that should never lack for mixed wine” (NASB) and “Let mixed wine not be lacking!” (NJPS).
[7:2] 104 sn The term מָזֶג (mazeg, “mixed wine”) does not refer to wine mixed with water to dilute its potency, but to strong wine mixed with weaker wine. The practice of mixing wine with water is not attested in the Hebrew Bible. Both מָזֶג and מֶסֶךְ (mesekh) refer to strong wine mixed with weaker wine. The rabbis later distinguished between the two, stating that מָזֶג was strong wine mixed with weak wine, while מֶסֶךְ was wine mixed with water (Aboda Zara 58b). However, both types of wine were intoxicating. Mixed wine was the most intoxicating type of wine. In a midrash on the Book of Numbers a comment is made about the practice of mixing strong wine with weaker wine (e.g., Isa 5:22; Prov 23:30), stating its purpose: “They used to mix strong wine with weak wine so as to get drunk with it” (Num. Rab. 10:8). See J. P. Brown, “The Mediterranean Vocabulary of Wine,” VT 19 (1969): 154. The comparison of a wife’s sexual love to intoxicating wine is common in ancient Near Eastern love literature. Parallel in thought are the words of the Hebrew sage, “May your fountain be blessed and may you rejoice in the wife of your youth. A loving doe, a graceful deer – may her love (or breasts) always intoxicate you, may you ever stagger like a drunkard in her love” (Prov 5:18-19).
[7:2] 105 tn Alternately, “your waist.” The term בִּטְנֵךְ (bitnekh) probably refers to the woman’s “belly” rather than “waist.” It is associated with a woman’s abdominal/stomach region rather than her hips (Prov 13:25; 18:20; Ezek 3:3). The comparison of her belly to a heap of wheat is visually appropriate because of the similarity of their symmetrical shape and tannish color. The primary point of comparison, however, is based upon the commonplace association of wheat in Israel, namely, wheat was the main staple of the typical Israelite meal (Deut 32:14; 2 Sam 4:6; 17:28; 1 Kgs 5:25; Pss 81:14; 147:14). Just as wheat satisfied an Israelite’s physical hunger, she satisfied his sexual hunger. J. S. Deere makes this point in the following manner: “The most obvious commonplace of wheat was its function, that is, it served as one of the main food sources in ancient Palestine. The Beloved was both the ‘food’ (wheat) and ‘drink’ (wine) of the Lover. Her physical expression of love nourished and satisfied him. His satisfaction was great for the ‘mixed wine’ is intoxicating and the ‘heap of wheat’ was capable of feeding many. The ‘heap of wheat’ also suggests the harvest, an association which contributes to the emotional quality of the metaphor. The harvest was accompanied with a joyous celebration over the bounty yielded up by the land. So also, the Beloved is bountiful and submissive in giving of herself, and the source of great joy” (“Song of Solomon,” BKCOT, 203-204).
[7:2] 106 tn Heb “fenced around by.”
[7:4] 107 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] 108 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.
[7:5] 109 tn Heb “your head [is] upon you.”
[7:5] 110 sn The Carmel mountain range is a majestic sight. The mountain range borders the southern edge of the plain of Esdraelon, dividing the Palestinian coastal plain into the Plain of Acco to the north and the Plains of Sharon and Philistia to the south. Its luxuriant foliage was legendary (Isa 33:9; Amos 1:2; Nah 1:4). Rising to a height of approximately 1750 feet (525 m), it extends southeast from the Mediterranean for 13 miles (21 km). Due to its greatness and fertility, it was often associated with majesty and power (Isa 35:2; Jer 46:18). The point of the comparison is that her head crowns her body just as the majestic Mount Carmel rested over the landscape, rising above it in majestic and fertile beauty. See ZPEB 1:755; C. F. Pfeiffer and H. F. Vos, Wycliffe Historical Geography of Bible Lands, 100.
[7:5] 111 sn The term דַּלָּה (dallah, “locks, hair”) refers to dangling curls or loose hair that hangs down from one’s head (HALOT 222-23 s.v. I דַּלָּה). The Hebrew term is from a common Semitic root meaning “to hang down,” and is related to Arabic tadaldala “dangle” and Ethiopic delul “dangling curls” (KBL 222-23).
[7:5] 112 tn Heb “like purple” or “like purple fabric.” The term אַרְגָּמָן (’argaman, “purple fabric”) refers to wool dyed with red purple (HALOT 84 s.v. אַרְגָּמָן). 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). NASB translates it as “purple threads,” while NIV nuances this term as “royal tapestry.” M. H. Pope (The Song of Songs [AB], 629-30) adduces several ancient Near Eastern texts and suggests that it refers to purple hair-dye. The comparison is to hair which entangles Solomon like binding cords and therefore, it seems most likely that the idea here must be purple threads. The Hebrew noun is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” Aramaic argwn “purple” (HALOT 84). Purple cloth and threads were considered very valuable (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26).
[7:5] 113 tn Alternately, “captivated.” The verb אָסַר (’asar, “to bind, capture, hold captive, put in prison”) is commonly used of binding a prisoner with cords and fetters (Gen 42:34; Judg 15:10-13; 16:5-12; 2 Kgs 17:4; 23:33; 25:7; 2 Chr 33:11) (HALOT 75 s.v. אסר). It is frequently used as a figure to depict absolute authority over a person (Ps 105:22). The passive participle סוּר means “to be bound, held captive, imprisoned” (2 Sam 3:34; Jer 40:1; Job 36:8). Like a prisoner bound in cords and fetters and held under the complete control and authority of his captor, Solomon was captivated by the spellbinding power of her hair. In a word, he was the prisoner of love and she was his captor. Similar imagery appears in an ancient Egyptian love song: “With her hair she throws lassoes at me, with her eyes she catches me, with her necklace she entangles me, and with her seal ring she brands me” (Song 43 in the Chester Beatty Cycle, translated by W. K. Simpson, ed., The Literature of Ancient Egypt, 324). J. S. Deere suggests, “The concluding part of the metaphor, ‘The king is held captive by your tresses,’ is a beautiful expression of the powerful effect of love. A strong monarch was held prisoner by the beauty of his Beloved” (“Song of Solomon,” BKCOT, 206-207). This is a startling statement because Solomon emphasizes that the one who was being held captive like a prisoner in bonds was the “king”! At this point in world history, Solomon was the ruler of the most powerful and wealthy nation in the world (1 Kgs 3:13; 10:23-29). And yet he was held totally captive and subject to the beauty of this country maiden!
[7:6] 114 tn Alternately, “O beloved one.” Consonantal אהבה is vocalized by the Masoretes as אַהֲבָה (’ahavah, “love”). However, a variant Hebrew
[7:6] 115 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”).
[7:7] 116 tn The term קוֹמָתֵךְ (qomatek, “stature”) indicates the height of an object, e.g., tall person (1 Sam 16:7; Ezek 13:8), tall tree (2 Kgs 19:23; Isa 10:33; Ezek 31:3-5, 10-14), a towering vine (Ezek 19:11).
[7:7] 117 sn The term תָּמָר (tamar, “palm tree”) refers to the date palm tree (Phoenix dactyliferia) that can reach a height of 80 feet (24 m). It flourished in warm moist areas and oases from Egypt to India. Ancient Iraq was the leading grower of date palms and dates in the ancient world, as today (M. H. Pope, The Song of Songs [AB], 633). There is also a hint of eroticism in this palm tree metaphor because the palm tree was often associated with fertility in the ancient world. The point of comparison is that she is a tall, slender, fertile young woman. The comparison of a tall and slender lady to a palm tree is not uncommon in love literature: “O you, whose height is that of a palm tree in a serail” (Homer, Odyssey vi 162-63) (S. H. Stephan, “Modern Palestinian Parallels to the Song of Songs,” JPOS 2 [1922]: 76).
[7:7] 118 tn Alternately “clusters of figs.” The term אַשְׁכֹּלוֹת (’ashkolot, “clusters”) usually refers to (1) clusters of grapes, that is, the stalk on which the bunch of grapes grow and the bunch of grapes themselves (Gen 40:10; Num 13:23-24; Deut 32:32; Isa 65:8; Mic 7:1) or (2) the berry on a cluster of henna bush (Song 1:14) (HALOT 95 s.v. I אַשְׁכּוֹל). It is possible that this is an anomalous usage in reference to a cluster of dates rather than to a cluster of grapes for three reasons: (1) the תָּמָר (tamar, “palm tree”) referred to in 7:7 is a date palm, (2) the term סַנְסִנִּים (sansinnim, “fruit stalks”) in 7:8a refers to the fruit stalk of dates (Rademus dactylorum), being related to Akkadian sissinnu (“part of the date palm”), and (3) the reference to climbing the palm tree in 7:8a is best understood if it is a date palm and its fruit are dates. The comparison between her breasts and clusters of dates probably has to do with shape and multiplicity, as well as taste, as the rest of this extended metaphor intimates. M. H. Pope (The Song of Songs [AB], 634) notes: “The comparison of the breasts to date clusters presumably intended a pair of clusters to match the dual form of the word for ‘breasts.’ A single cluster of dates may carry over a thousand single fruits and weigh twenty pounds or more. It may be noted that the multiple breasts of the representations of Artemis of Ephesus look very much like a cluster of large dates, and it might be that the date clusters here were intended to suggest a similar condition of polymasty.”
[7:8] 119 tn Heb “I said, ‘I will climb….’” The verb אָמַר (’amar, “to say”) is often used metonymically in reference to the thought process, emphasizing the spontaneity of a decision or of an idea which has just entered the mind of the speaker moments before he speaks (Gen 20:11; 26:9; 44:28; Exod 2:14; Num 24:11; Ruth 4:4; 1 Sam 20:4, 26; 2 Sam 5:6; 12:22; 2 Kgs 5:11). M. H. Pope renders it appropriately: “Methinks” (Song of Songs [AB], 635).
[7:8] 120 sn A Palestinian palm tree grower would climb a palm tree for two reasons: (1) to pluck the fruit and (2) to pollinate the female palm trees. Because of their height and because the dates would not naturally fall off the tree, the only way to harvest dates from a palm tree is to climb the tree and pluck the fruit off the stalks. This seems to be the primary imagery behind this figurative expression. The point of comparison here would be that just as one would climb a palm tree to pluck its fruit so that it might be eaten and enjoyed, so too Solomon wanted to embrace his Beloved so that he might embrace and enjoy her breasts. It is possible that the process of pollination is also behind this figure. A palm tree is climbed to pick its fruit or to dust the female flowers with pollen from the male flowers (the female and male flowers were on separate trees). To obtain a better yield and accelerate the process of pollination, the date grower would transfer pollen from the male trees to the flowers on the female trees. This method of artificial pollination is depicted in ancient Near Eastern art. For example, a relief from Gozan (Tel Halaf) dating to the 9th century
[7:8] 121 tn Heb “of the vine.”
[7:8] 122 tn The Hebrew noun תַּפּוּחַ (tappukha) has been traditionally been translated as “apple,” but modern botanists and the most recent lexicographers now identify תַּפּוּחַ with the “apricot” (BDB 656 s.v. I תַּפּוּחַ). This might better explain the association with the sweet smelling scent,
especially since the term is derived from a Semitic root denoting “aromatic scent.” Apricots were often associated with their sweet scent in the ancient world (Fauna and Flora of the Bible, 92-93).
[7:9] 123 tn The term חֵךְ (khek, “palate, mouth”) is often used as a metonymy for what the mouth produces, e.g., the mouth is the organ of taste (Ps 119:103; Job 12:11; 20:13; 34:3; Prov 24:13; Song 2:3), speech (Job 6:30; 31:30; 33:2; Prov 5:3; 8:7), sound (Hos 8:1), and kisses (Song 5:16; 7:10) (HALOT 313 s.v. חֵךְ; BDB 335 s.v. חֵךְ). The metonymical association of her palate/mouth and her kisses is made explicit by RSV which translated the term as “kisses.”
[7:9] 124 tc The MT reads שִׁפְתֵי יְשֵׁנִים (shifte yÿshenim, “lips of those who sleep”). However, an alternate Hebrew reading of שְׂפָתַי וְשִׁנָּי (sÿfata vÿsinna, “my lips and my teeth”) is suggested by the Greek tradition (LXX, Aquila, Symmachus): χείλεσίν μου καὶ ὀδοῦσιν (ceilesin mou kai odousin, “my lips and teeth”). This alternate reading, with minor variations, is followed by NAB, NIV, NRSV, TEV, NLT.
[7:10] 125 tn Heb “his desire is for me” (so NASB, NIV, NRSV).
[7:13] 126 sn In the ancient Near East the mandrake was a widely used symbol of erotic love because it was thought to be an aphrodisiac and therefore was used as a fertility drug. The unusual shape of the large forked roots of the mandrake resembles the human body with extended arms and legs. This similarity gave rise to the popular superstition that the mandrake could induce conception and it was therefore used as a fertility drug. It was so thoroughly associated with erotic love that its name is derived from the Hebrew root דּוֹד (dod, “love”), that is, דּוּדָאִים (duda’im) denotes “love-apples.” Arabs used its fruit and roots as an aphrodisiac and referred to it as abd al- sal’m (“servant of love”) (R. K. Harrison, “The Mandrake and the Ancient World,” EQ 28 [1956]: 188-89; Fauna and Flora of the Bible, 138-39).
[7:13] 127 sn Her comparison of their love to fruit stored “over our door” reflects an ancient Near Eastern practice of storing fruit on a shelf above the door of a house. In the ancient Near East, fruits were stored away on shelves or cupboards above doorways where they were out of reach and left to dry until they became very sweet and delectable. The point of comparison in this figurative expression seems to be two-fold: (1) She was treasuring up special expressions of her sexual love to give to him, and (2) All these good things were for him alone to enjoy. See M. H. Pope, The Song of Songs [AB], 650.
