² tn Heb “he has no burial.” The phrase וְגַם־קְבוּרָה לֹא־הָיְתָה (vÿgam-qÿvurah lo’-haytah, “he even has no burial”) is traditionally treated as part of a description of the man’s sorry final state, that is, he is deprived of even a proper burial (KJV, NEB, RSV, NRSV, ASV, NASB, NIV, NJPS, MLB, Moffatt). However, the preceding parallel lines suggest that this a hyperbolic protasis: “If he were to live one hundred years…even if he were never buried [i.e., were to live forever]….” A similar idea occurs elsewhere (e.g., Pss 49:9; 89:48). See D. R. Glenn, “Ecclesiastes,” BKCOT, 990.

¹ tn Heb “Do not all go to the same place?” The rhetorical question is an example of erotesis of positive affirmation, expecting a positive answer, e.g., Ps 56:13 [14] (see E. W. Bullinger, Figures of Speech, 947). It affirms the fact that both the miserly rich man who lives two thousand years, as well as the stillborn who never lived one day, both go to the same place – the grave. And if the miserly rich man never enjoyed the fruit of his labor during his life, his fate was no better than that of the stillborn who never had opportunity to enjoy any of the blessings of life. In a sense, it would have been better for the miserly rich man to have never lived than to have experienced the toil, anxiety, and misery of accumulating his wealth, but never enjoying any of the fruits of his labor.

³ tn It is difficult to determine whether the Hebrew term הֶבֶל (hevel) means “fleeting” or “useless” in this context. The imagery of quick-burning thorns under a cooking pot is ambiguous and can be understood in more than one way: (1) It is useless to try to heat a cooking pot by burning thorns because they burn out before the pot can be properly heated; (2) the heat produced by quick-burning thorns is fleeting – it produces quick heat, but lasts only for a moment. Likewise, the “laughter of a fool” can be taken in both ways: (1) In comparison to the sober reflection of the wise, the laughter of fools is morally useless: the burning of thorns, like the laughter of fools, makes a lot of noise but accomplishes nothing; (2) the laughter of fools is fleeting due to the brevity of life and certainty of death. Perhaps this is an example of intentional ambiguity.

⁷ tn The verbal root נוח means “to leave behind; to leave untouched” (HALOT 680 s.v. I נוח 2) in general, and in this passage, “to undo” or “to allay” offenses (HALOT 680 s.v. I נוח 3; BDB 629 s.v. נוּחַ 5) or “to avoid” offenses (BDB 629 נוּחַ 5). The point is either that (1) a composed response can calm or appease the anger of the ruler, or (2) a calm heart will help one avoid great sins that would offend the king. The root נוח (“to rest”) is repeated, creating a wordplay: “Do not leave” (אַל־תַּנַּח, ’al-tannakh) and “to avoid; to allay” (יַנִּיחַ, yanniakh). Rather than resigning (i.e., leaving), composure can appease a king (i.e., cause the anger of the king to leave).

² tn This line may be interpreted in one of three ways: (1) “the labor of fools wearies him because he did not know enough to go to a town,” referring to the labor of the peasants who had not been able to find a place in town where life was easier; (2) “the labor of the fools so wearies everyone of them (singular pronoun taken in a distributive sense) so much that he even does not know how to go to town,” that is, he does not even know how to do the easiest thing in the world; (3) “let the labor of fools so weary him that he may not even know how to go to town,” taking the verb as a jussive, describing the foolish man described in one%27s&tab=notes" ver="">10:12-14. See D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:592–93.

³ tn Heb “upon the surface of the waters.” This is traditionally viewed as extolling generosity from which a reward will be reaped. On the other hand, some scholars suggest that the imagery deals with commercial business through maritime trade. M. Jastrow took this verse as advice to take risks in business by trusting one’s goods or ships that will after many days return with a profit (A. Cohen, The Five Megilloth [SoBB], 181). Sea trade was risky in the ancient Near East, but it brought big returns to its investors (e.g., 1 Kgs 9:26-28; 10:22; Ps 107:23); see D. R. Glenn, “Ecclesiastes,” BKCOT, 1002-3. The verse is rendered thus: “Send your grain across the seas, and in time you will get a return” (NEB); or “Trust your goods far and wide at sea, till you get a good return after a while” (Moffatt).

² tn Heb “rises up.” The verb קוּם (qum, “to arise”) refers to being awakened from sleep in the middle of the night by a sound (e.g., Exod 12:30; 1 Sam 3:6, 8) and waking up early in the morning (e.g., Gen 24:54; Judg 16:3; Ruth 3:14; Neh 2:12; Job 14:12; 24:14); see HALOT 1086 s.v. קוּם 1; BDB 877 s.v. קוּם 1.a. Here it describes one of the frustrations of old age: the elderly person is unable to get a full night’s sleep because every little sound awakens him in the middle of the night or too early in the morning.

⁴ tn Heb “all the daughters of song.” The expression “the daughters of song” (בְּנוֹת הַשִּׁיר, bÿnot hashir) is an idiom for “songs; musical sounds; melodious notes” (HALOT 166 s.v. I בַּת 2; BDB 123 s.v. בַּת 5; GKC 418 §128.v). The genitive הַשִּׁיר (“song”) represents the nature, quality, character or condition of the construct בְּנוֹת (“daughters”); see IBHS 149-51 §9.5.3b. The idiom refers to the musical songs sung during one’s youth or to the ability to hear songs that are sung. This line is lamenting the loss of hearing which occurs at the onset of old age.

⁶ tn The noun אֲבִיּוֹנָה (’aviyyonah, “caper berry, caper fruit”) is a hapax legomenon, occurring only here in the Hebrew Bible. It refers to the Capparis spinosa fruit which was eaten as an aphrodisiac in the ancient Near East (HALOT 5 s.v. אֲבִיּוֹנָה; BDB 2–3 s.v. אֲבִיּוֹנָה). There are two options for the interpretation of this figure: (1) At the onset of old age, the sexual virility that marked one’s youth is nothing more than a distant memory, and even aphrodisiacs fail to stimulate sexual desire to allow for sexual intercourse. (2) The onset of old age is like the shriveling up of the caper berry fruit; the once virile youth has passed his prime just like a shriveled caper berry can no longer provide a sexual stimulant.

⁶ tn The term חֶדֶר (kheder, “chamber”) is used frequently in reference to a bedroom (Gen 43:30; Judg 15:1; 16:9; 2 Sam 13:10; 1 Kgs 1:15; Ps 105:30; Isa 26:20). It refers explicitly to a bedroom when used with the noun מִשְׁכָּב (mishkav, “bed”) in the expression חֶדֶר מִשְׁכָּב “bedroom chamber” (Exod 7:28; 2 Sam 4:7; 2 Kgs 6:12; Eccl 10:20). The plural form חֲדָרָיו (khadarav, “his chambers”) functions as a plural of extension rather than a plural or number; it refers to one bedroom composed of several parts rather than referring to several different bedrooms. The expression “Bring me into your chambers” is a metonymy of cause for effect, that is, her desire for lovemaking in his bedroom chambers.

¹ tn Heb “His left hand is under my head.” Ultimately, the only cure for her love-sickness is the caress of her beloved. The ancient Near Eastern love songs frequently portray the embrace of the lover as the only cure for the speaker’s love-sickness. For example, one Egyptian love song reads: “She will make the doctors unnecessary, because she knows my sickness” (Papyrus Harris one%27s&tab=notes" ver="">4:11). Similarly, “My salvation is her coming in from outside; when I see her, I will be healthy. When she opens her eye, my body is young; when she speaks, I will be strong. When I embrace her, she exorcises evil from me” (Papyrus Chester Beatty, Cone%27s&tab=notes" ver="">5:1-2).

⁴ sn The phrase קוֹל דּוֹדִי (qol dodi, “Listen! My lover …!”) that introduces this scene in one%27s&tab=notes" ver="">5:2-8 is the exact same phrase used in one%27s&tab=notes" ver="">2:8 to introduce the courtship section one%27s&tab=notes" ver="">2:8-11. In one%27s&tab=notes" ver="">2:8-11, the Beloved was excited about his unexpected arrival; however, in one%27s&tab=notes" ver="">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 one%27s&tab=notes" ver="">2:8-11 and her apathy about his approach on this evening in one%27s&tab=notes" ver="">5:2-8. The repetition of קוֹל דּוֹדִי (“Listen! My lover …!”) in one%27s&tab=notes" ver="">2:8 and 5:2 is designed to draw out the parallels and contrasts between one%27s&tab=notes" ver="">2:8-11 and 5:2-8.

¹ 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 (one%27s&tab=notes" ver="">4:12, 15, 16a, 16b; one%27s&tab=notes" ver="">5:1). There is only one usage in which it might refer to a real garden (one%27s&tab=notes" ver="">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.

⁵ 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.

¹ sn The term כֶּרֶם (kerem, “vineyard”) is used literally in one%27s&tab=notes" ver="">8:11 in reference to Solomon’s physical vineyard, but in one%27s&tab=notes" ver="">8:12 it is used figuratively (hypocatastasis) in reference to the Beloved: כַּרְמִי (karmi, “my vineyard”). Throughout the Song, the term כֶּרֶם (“vineyard”) is used figuratively (Song 1:6; 2:15; 8:12). In one%27s&tab=notes" ver="">8:12 it is used in reference to either (1) herself, (2) her choice of whom to give herself to in love, or (3) her physical body. In contrast to Solomon’s physical vineyard, whose fruit can be bought and sold (one%27s&tab=notes" ver="">8:11), she is not for sale: She will only give herself freely to the one whom she chooses to love.

² tn Heb “like a city besieged.” Unlike the preceding two comparisons, which are purely metaphorical, this third one identifies the reality of Israel’s condition. In this case the comparative preposition, as in v. one%27s&tab=notes" ver="">7b, has the force, “in every way like,” indicating that all the earmarks of a siege are visible because that is indeed what is taking place. The verb form in MT is Qal passive participle of נָצַר (natsar, “guard”), but since this verb is not often used of a siege (see BDB 666 s.v. I נָצַר), some prefer to repoint the form as a Niphal participle from II צוּר (tsur, “besiege”). However, the latter is not attested elsewhere in the Niphal (see BDB 848 s.v. II צוּר).

³ tn Heb “on a horn, a son of oil.” Apparently קֶרֶן (qeren, “horn”) here refers to the horn-shaped peak of a hill (BDB 902 s.v.) or to a mountain spur, i.e., a ridge that extends laterally from a mountain (HALOT 1145 s.v. קֶרֶן; H. Wildberger, Isaiah, 1:180). The expression “son of oil” pictures this hill as one capable of producing olive trees. Isaiah’s choice of קֶרֶן, a rare word for hill, may have been driven by paronomastic concerns, i.e., because קֶרֶן sounds like כֶּרֶם (kerem, “vineyard”).

² sn Verses one%27s&tab=notes" ver="">18-21 contain three “woe-sayings” that are purely accusatory and have no formal announcement of judgment attached (as in the “woe-sayings” recorded in vv. one%27s&tab=notes" ver="">8-17). While this lack of symmetry is odd, it has a clear rhetorical purpose. Having established a pattern in vv. one%27s&tab=notes" ver="">8-17, the prophet deviates from it in vv. one%27s&tab=notes" ver="">18-21 to grab his audience’s attention. By placing the “woes” in rapid succession and heaping up the accusatory elements, he highlights the people’s guilt and introduces an element of tension and anticipation. One is reasonably certain that judgment will come, and when it does, it will be devastating. This anticipated devastation is described in frightening detail after the sixth and final woe (see vv. one%27s&tab=notes" ver="">22-30).

¹ tc The Hebrew text has literally, “for nations from a distance.” The following verses use singular forms to describe this nation, so the final mem (ם) on לְגּוֹיִם (lÿgoyim) may be enclitic or dittographic. In the latter case one could read לְגוֹי מֵרָחוֹק (lÿgoy merakhoq, “for a nation from a distance”; see Deut 28:49; Joel 3:8). Another possibility is to emend the text from לַגּוֹיִם מֵרָחוֹק (laggoyim merakhoq) to לְגוֹי מִמֶּרְחָק (lÿgoy mimmerkhaq, “for a nation from a distant place”) a phrase which occurs in Jer 5:15. In this case an error of misdivision has occurred in MT, the mem of the prefixed preposition being accidentally taken as a plural ending on the preceding word.

¹ tn Hebrew שָׂרָף (saraf, “seraph”) literally means “burning one,” perhaps suggesting that these creatures had a fiery appearance (cf. TEV, CEV “flaming creatures”; NCV “heavenly creatures of fire”). Elsewhere in the OT the word “seraph” refers to poisonous snakes (Num 21:6; Deut 8:15; Isa 14:29; 30:6). Perhaps they were called “burning ones” because of their appearance or the effect of their venomous bites, which would cause a victim to burn up with fever. It is possible that the seraphs seen by Isaiah were at least partially serpentine in appearance. Though it might seem strange for a snake-like creature to have wings, two of the texts where “seraphs” are snakes describe them as “flying” (Isa 14:29; 30:6), perhaps referring to their darting movements. See the note at one%27s&tab=notes" ver="">14:29.