² tn The term הֶבֶל (hevel) here means “obscure,” that is, unknown. This sense is derived from the literal concept of breath, vapor or wind that cannot be seen; thus, the idea of “obscure; dark; difficult to understand; enigmatic” (see HALOT 236–37 s.v. I הֶבֶל; BDB 210–11 s.v. I הֶבֶל). It is used in this sense in reference to enigmas in life (6:2; 8:10, 14) and the future which is obscure (11:8).

² tn The root “vexation” (כַּעַס, ka’as) has a broad range of meanings: “anger” (Deut 4:25; 9:18), “irritation” (Deut 32:21), “offend” (2 Kgs 23:26; Neh 3:37), “vexation” or “frustration” (Ezek 20:28), “grief” (1 Sam 1:6), and “worry” (Ps 112:10; Eccl 7:9); cf. HALOT 491 s.v. כַּעַס. Here, it refers in general to unnecessary emotional stress and anxiety that can deprive a person of the legitimate enjoyment of life and its temporal benefits.

² tn The verb עָשָׂה (’asah, “to do”) may mean “to make” (HALOT 890 s.v. I עשׂה 3) or “to acquire” (HALOT 891 s.v. I עשׂה 6). The LXX rendered it as ποιῆσαι (poihsai, “making”), as do most English versions: “making” (KJV, YLT, RSV, NRSV, NAB, ASV, MLB, NIV, NJPS). However, several English versions reflect a different nuance: “there is no end to the buying of books” (Moffatt); “the use of books is endless” (NEB); and “the writing of many books is endless” (NASB).

¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (1:5; 3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

² tn Heb “the scent of your oils.” The term שֶׁמֶן (shemen, “cologne”) refers to perfumes or colognes (Eccl 7:1; 10:1; Song 4:10). In Israel bodily oils were expensive (1 Kgs 17:12ff; 2 Kgs 2:4ff). Possession of oils and perfumes was a sign of prosperity and luxury (Deut 32:8; 33:24; Job 29:6; Prov 21:17; Ezek 16:13, 20). Wearing cologne was associated with joy (Ps 45:8; Eccl 9:8; Isa 61:3) because they were worn on festive occasions (Prov 27:9).

¹ tn The subject of the 1st person common plural verb נַעֲשֶׂה (na’aseh) might be the maidens of Jerusalem mentioned in 1:4[5]. However, this might be an example of heterosis of number, that is, the 1st person common plural for 1st person common singular person. In this case, her lover – the speaker throughout the rest of 1:8-9[9-10] – would still be the speaker here. Other possible examples of heterosis of number of the plural for the singular in the Song include 1:3[4]; 2:15; 5:1b; 6:13[7:1].

² sn The Lover accommodates her self-denigrating comparison, but heightens it to praise her: If she insisted that she was nothing more than a common flower of the field, then he insisted that all other women were like thorns by comparison. The term חוֹח (khokh, “thorn”) is often used as a figure for utter desolation and the cause of pain; it is the antithesis of fertility and beautiful luxuriant growth (Job 31:40; Isa 34:13; Hos 9:6).

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

⁵ tn The term חֶדֶר (kheder, “chamber”) literally means “dark room” (HALOT s.v. חֶדֶר 293) and often refers to a bedroom (Gen 43:30; Exod 7:28; Judg 3:24; 15:1; 16:9, 12; 2 Sam 4:7; 13:10; 1Kgs 1:15; 2 Kgs 6:12; 9:2; Eccl 10:20; Isa 26:20; Joel 2:16; Prov 24:4; Song 1:4; 3:4).

¹ 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.

³ 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).

¹ tn Alternately, “O beloved one.” Consonantal אהבה is vocalized by the Masoretes as אַהֲבָה (’ahavah, “love”). However, a variant Hebrew ms tradition preserves the vocalization of the passive form אֲהֻבָה (’ahuvah, “beloved one, one who is loved”), as is also reflected in the Vulgate and Syriac. The term אַהֲבָה (“love”) usually refers to sexual (2 Sam 13:15; Prov 5:19) or emotional love between a man and a woman (2 Sam 1:26; Song 8:6-7) (HALOT 18 s.v. I אַהֲבָה).

¹ 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).

¹ sn The imagery of v. 6 is romantic: (1) His mother originally conceived him with his father under the apple tree, (2) his mother gave birth to him under the apple tree, and (3) the Beloved had now awakened him to love under the same apple tree. The cycle of life and love had come around full circle under the apple tree. While his mother had awakened his eyes to life, the Beloved had awakened him to love. His parents had made love under the apple tree to conceive him in love, and now Solomon and his Beloved were making love under the same apple tree of love.

¹ sn The simile if she is a wall draws a comparison between the impregnability of a city fortified with a strong outer wall and a virtuous young woman who successfully resists any assaults against her virginity. The term חוֹמָה (khomah, “wall”) often refers to an outside fortress wall that protects the city from enemy military attacks (e.g., Lev 25:29-30; Josh 6:5; 1 Kgs 3:1; Neh 2:8; 12:27; Jer 1:8; 15:20).

³ sn The reality behind the metaphor is not entirely clear from the context. The stone appears to represent someone or something that gives Zion stability. Perhaps the ideal Davidic ruler is in view (see 32:1). Another option is that the image of beginning a building project by laying a precious cornerstone suggests that God is about to transform Zion through judgment and begin a new covenant community that will experience his protection (see 4:3-6; 31:5; 33:20-24; 35:10).

¹ tc If original to Isaiah 38, vv. 21-22 have obviously been misplaced in the course of the text’s transmission, and would most naturally be placed here, between Isa 38:6 and 38:7. See 2 Kgs 20:7-8, where these verses are placed at this point in the narrative, not at the end. Another possibility is that these verses were not in the original account, and a scribe, familiar with the 2 Kgs version of the story, appended vv. 21-22 to the end of the account in Isaiah 38.

¹ tn Some suggest a tolerative use of the Hiphil here, “[why do] you allow us to stray?” (cf. NLT). Though the Hiphil of תָעָה (ta’ah) appears to be tolerative in Jer 50:6, elsewhere it is preferable or necessary to take it as causative. See Isa 3:12; 9:15; and 30:28, as well as Gen 20:13; 2 Kgs 21:9; Job 12:24-25; Prov 12:26; Jer 23:13, 32; Hos 4:12; Amos 2:4; Mic 3:5.

³ sn Compare, e.g., 2 Kgs 21:3, 5, 7; 23:4, 6; Ezek 8:3, 5, 10-12, 16. Manasseh had desecrated the temple by building altars, cult symbols, and idols in it. Josiah had purged the temple of these pagan elements. But it is obvious from both Jeremiah and Ezekiel that they had been replaced shortly after Josiah’s death. They were a primary cause of Judah’s guilt and punishment (see beside this passage, 19:5; 32:34-35).

⁵ tn Or “do not acknowledge me”; Heb “do not know me.” But “knowing” in Hebrew thought often involves more than intellectual knowledge; it involves emotional and volitional commitment as well. For יָדַע meaning “acknowledge” see 1 Chr 28:9; Isa 29:21; Hos 2:20; Prov 3:6. This word is also found in ancient Near Eastern treaty contexts where it has the idea of a vassal king acknowledging the sovereignty of a greater king (cf. H. Huffmon, “The Treaty Background of Hebrew yada,” BASOR 181 [1966]: 31-37).