⁴ sn There is a phonetic wordplay (paronomasia) between אֶשָּׁקְךָ (’eshshaqÿkha, “I would kiss you” from נָשַׁק, nashaq, “to kiss”) in 8:1 and אַשְׁקְךָ (’ashqÿkha, “I would cause you to drink” from שָׁקָה, shaqah, “to drink”) in 8:2. This wordplay draws attention to the unity of her “wish song” in 8:1-2. In 8:1 the Beloved expresses her desire to kiss Solomon on the lips when they are outdoors; while in 8:2 she expresses her desire for Solomon to kiss her breasts when they are in the privacy of her home indoors.

² tn Each of the three terms in this line has the 1st person common singular suffix which is repeated three times for emphasis: כַּרְמִי (karmi, “my vineyard”), שֶׁלִּי (shelli, “which belongs to me”), and לְפָנָי (lÿfana, “at my disposal”). In contrast to King Solomon, who owns the vineyard at Baal-Hamon and who can buy and sell anything in the vineyard that he wishes, she proclaims that her “vineyard” (= herself or her body) belongs to her alone. In contrast to the vineyard, which can be leased out, and its fruit, which can be bought or sold, her “vineyard” is not for sale. Her love must and is to be freely given.

² tn The meaning of this line is debated. Some understand this line to mean “she has breathed out her life” (cf., e.g., BDB 656 s.v. נָפַח and 656 s.v. ֶנפֶשׁ 1.c). However, as several commentaries have noted (e.g., W. McKane, Jeremiah [ICC], 1:341; J. Bright, Jeremiah [AB], 109) it makes little sense to talk about her suffering shame and embarrassment if she has breathed her last. Both the Greek and Latin versions understand “soul” not as the object but as the subject and the idea being one of fainting under despair. This idea seems likely in light of the parallelism. Bright suggests the phrase means either “she gasped out her breath” or “her throat gasped.” The former is more likely. One might also render “she fainted dead away,” but that idiom might not be familiar to all readers.

³ tn Heb “the days of her poverty and her homelessness,” or “the days of her affliction and wandering.” The plural construct יְמֵי (yÿme, “days of”) functions in the general sense “the time of” or “when,” envisioning the time period in which this occurred. The principal question is whether the phrase is a direct object or an adverb. If a direct object, she remembers either the season when the process happened or she remembers, i.e. reflects on, her current season of life. An adverbial sense, “during” or “throughout” normally occurs with כֹּל (kol, “all”) in the phrase “all the days of…” but may also occur without כֹּל (kol) in poetry as in Job 10:20. The adverbial sense would be translated “during her poor homeless days.” Treating “days” adverbially makes better sense with line 7b, whereas treating “days” as a direct object makes better sense with line 7c.

¹ tn Grk “Leave her alone, that for the day of my burial she may keep it.” The construction with ἵνα (Jina) is somewhat ambiguous. The simplest way to read it would be, “Leave her alone, that she may keep it for the day of my burial.” This would imply that Mary was going to use the perfumed oil on that day, while vv. 3 and 5 seem to indicate clearly that she had already used it up. Some understand the statement as elliptical: “Leave her alone; (she did this) in order to keep it for the day of my burial.” Another alternative would be an imperatival use of ἵνα with the meaning: “Leave her alone; let her keep it.” The reading of the Byzantine text, which omits the ἵνα and substitutes a perfect tense τετήρηκεν (tethrhken), while not likely to be original, probably comes close to the meaning of the text, and that has been followed in this translation.

⁴ sn There is debate about the reason why the woman brought her beloved to her mother’s house. Campbell notes that the mother’s house is sometimes referred to as the place where marital plans were made (Gen 24:28; Ruth 1:8). Some suggest, then, that the woman here was unusually bold and took the lead in proposing marriage plans with her beloved. This approach emphasizes that the marriage plans in 3:4 are followed by the royal wedding procession (3:6-11) and the wedding night (4:1-5:1). On the other hand, others suggest that the parallelism of “house of my mother” and “chamber of she who conceived me” focuses on the bedroom of her mother’s house. Fields suggests that her desire was to make love to her beloved in the very bedroom chambers where she herself was conceived, to complete the cycle of life/love. If this is the idea, it would provide a striking parallel to a similar picture in 8:5 in which the woman exults that they had made love in the very location where her beloved had been conceived: “Under the apple tree I aroused you; it was there your mother conceived you, there she who bore you conceived you.”

⁴ tn The 3rd person feminine singular suffixes on the terms עָנְיָהּ וּמְרוּדֶיהָ (’onyah umÿrudeha, “her poverty and her homelessness,” or “the days of her affliction and wandering”) function as subjective genitives: “she became impoverished and homeless.” The plural noun וּמְרוּדֶיהָ (umÿrudeha, lit. “her homelessnesses”) is an example of the plural of intensity. The two nouns עָנְיָהּ וּמְרוּדֶיהָ (’onyah umÿrudeha, lit., “her poverty and her homelessness”) form a nominal hendiadys in which one noun functions adjectivally and the other retains its full nominal sense: “her impoverished homelessness” or “homeless poor” (GKC 397-98 §124.e). The nearly identical phrase עֲנִיִּים מְרוּדִים (’aniyyim mÿrudim, “homeless poor”) is used in Isa 58:7 (see GKC 226 §83.c), suggesting this was a Hebrew idiom. Jerusalem is personified as one of its inhabitants who became impoverished and homeless when the city was destroyed.

⁴ tn The verb מָהַר (mahar) means “pay the marriage price,” and the related noun is the bride price. B. Jacob says this was a proposal gift and not a purchase price (Exodus, 700). This is the price paid to her parents, which allowed for provision should there be a divorce. The amount was usually agreed on by the two families, but the price was higher for a pure bride from a noble family. Here, the one who seduces her must pay it, regardless of whether he marries her or not.

¹ tn After the preceding imperatives, the jussive verbal form with vav (ו) conjunctive is best understood as introducing a purpose (“so that the king might desire your beauty”) or result clause (see the present translation and cf. also NASB). The point seems to be this: The bride might tend to be homesick, which in turn might cause her to mourn and diminish her attractiveness. She needs to overcome this temptation to unhappiness and enter into the marriage with joy. Then the king will be drawn to her natural beauty.

⁵ sn The verb הָרָה (harah, “to burn in anger, to be angry”) creates an interesting wordplay or pun on the preceding line: “The sun burned me (= my skin).” The sun burned her skin, because her brothers had burned (נִהֲרוּ, niharu) in anger against her. This is an example of a polysemantic wordplay which explains the two basic meanings of הָרָה (“to burn, to be angry”) (W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 241-42).

⁷ sn The repetition of the noun כֶּרֶם (kerem, “vineyard”) and the verb נָטַר (natar, “to keep, maintain”) creates a series of eloquent wordplays. The first occurrence of כֶּרֶם (“vineyard”) and נָטַר (“to keep”) is literal, the second occurrence of both is figurative (hypocatastasis). Her brothers forced her to work outside in the sun, taking care of the vineyards; as a result, she was not able to take care of her appearance (“my own vineyard I could not keep”).

⁷ sn The three-fold repetition of the verb פָּתַח (patakh, “to open”) (Song 5:2, 5, 6) indicates that it is a key word (Leitwort) in this section. While it is clear that the verb describes her action of opening the door of her bedroom chamber in 5:2, some suggest that in 5:5-6 it is used figuratively (hypocatastasis: implied comparison) of the Beloved “opening” her female genitalia for sexual intercourse (but see study notes below).

³ 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.

¹ sn This verse exhibits a mixed metaphor of an advocate pleading someone’s case (cf., Jer 5:28; 22:18) and of a physician applying medicine to wounds and sores resulting from them (see, e.g., Jer 8:18 for the latter metaphor). Zion’s sins are beyond defense and the wounds inflicted upon her beyond healing. However, God, himself, in his own time will forgive her sins (Jer 31:34; 33:8) and heal her wounds (Jer 30:17).

³ sn The expression the disgraceful things we did in our earlier history refers to the disgrace that accompanied the sins that Israel did in her earlier years before she learned the painful lesson of submission to the Lord through the discipline of exile. For earlier references to the sins of her youth (i.e., in her earlier years as a nation) see 3:24-25; 22:21 and see also 32:29. At the time that these verses were written, neither northern Israel or Judah had expressed the kind of contrition voiced in vv. 18-19. As one commentator notes, the words here are both prophetic and instructive.

² sn Heb “Virgin Daughter of Egypt.” See the study note on Jer 14:17 for the significance of the use of this figure. The use of the figure here perhaps refers to the fact that Egypt’s geographical isolation allowed her safety and protection that a virgin living at home would enjoy under her father’s protection (so F. B. Huey, Jeremiah, Lamentations [NAC], 379). By her involvement in the politics of Palestine she had forfeited that safety and protection and was now suffering for it.

¹ tn Grk “living with her husband for seven years from her virginity and she was a widow for eighty four years.” The chronology of the eighty-four years is unclear, since the final phrase could mean “she was widowed until the age of eighty-four” (so BDAG 423 s.v. ἕως 1.b.α). However, the more natural way to take the syntax is as a reference to the length of her widowhood, the subject of the clause, in which case Anna was about 105 years old (so D. L. Bock, Luke [BECNT], 1:251-52; I. H. Marshall, Luke, [NIGTC], 123-24).

⁴ tn Heb “I was despised in her eyes.” The passive verb has been translated as active for stylistic reasons. Sarai was made to feel supplanted and worthless by Hagar the servant girl.

³ tn Heb “I will not look on the death of the child.” The cohortative verbal form (note the negative particle אַל,’al) here expresses her resolve to avoid the stated action.

² tn Heb “If [it is] so, why [am] I this [way]?” Rebekah wanted to know what was happening to her, but the question itself reflects a growing despair over the struggle of the unborn children.