⁵ sn You have humiliated her. Since divorce was considered rejection, the wife subjected to it would “lose face” in addition to the already humiliating event of having become a wife by force (21:11-13). Furthermore, the Hebrew verb translated “humiliated” here (עָנָה, ’anah), commonly used to speak of rape (cf. Gen 34:2; 2 Sam 13:12, 14, 22, 32; Judg 19:24), likely has sexual overtones as well. The woman may not be enslaved or abused after the divorce because it would be double humiliation (see also E. H. Merrill, Deuteronomy [NAC], 291).

⁴ tn In the Hebrew text the statement, “but now I am giving it back to you,” appears at the end of v. 3 and is spoken by the mother. But v. 4 indicates that she did not give the money back to her son. Unless the statement is spoken by the woman to the LORD, it appears to be misplaced and fits much better in v. 2. It may have been accidentally omitted from a manuscript, written in the margin, and then later inserted in the wrong place in another manuscript.

² tn The term יֶלֶד (yeled, “offspring”), from the verb יָלַד (yalad, “to give birth to”), is used only here of a married man. By shifting to this word from the more common term בֵּן (ben, “son”; see vv. 1-5a) and then using it in an unusual manner, the author draws attention to Naomi’s loss and sets up a verbal link with the story’s conclusion (cf. 4:16). Although grown men, they were still her “babies” (see E. F. Campbell, Ruth [AB], 56; F. W. Bush, Ruth, Esther [WBC], 66).

³ tn Heb “anyone in whose eyes I may find favor” (ASV, NIV similar). The expression אֶמְצָא־חֵן בְּעֵינָיו (’emtsa’-khen bÿ’enayv, “to find favor in the eyes of [someone]”) appears in Ruth 2:2, 10, 13. It is most often used when a subordinate or servant requests permission for something from a superior (BDB 336 s.v. חֵן). Ruth will play the role of the subordinate servant, seeking permission from a landowner, who then could show benevolence by granting her request to glean in his field behind the harvest workers.

³ tn Heb “and put your outer garment on yourself”; NAB “put on your best attire.” The noun שִׂמְלָה (simlah) may refer to clothes in general (see R. L. Hubbard, Jr., Ruth [NICOT], 197, n. 7) or a long outer garment (see F. W. Bush, Ruth, Esther [WBC], 150-51). Mourners often wore mourning clothes and refrained from washing or using cosmetics (Gen 38:14, 19; 2 Sam 12:20; 14:2), so Ruth’s attire and appearance would signal that her period of mourning was over and she was now available for remarriage (see Bush, 152).

² sn There may be a tinge of regret expressed in the king’s remembrance of Vashti. There is perhaps a hint that he wished for her presence once again, although that was not feasible from a practical standpoint. The suggestions by the king’s attendants concerning a replacement seem to be an effort to overcome this nostalgia. Certainly it was to their advantage to seek the betterment of the king’s outlook. Those around him the most were probably the most likely to suffer the effects of his ire.

⁵ tn The second colon now refers to people in general because of the plural construct מָרֵי נָפֶשׁ (mare nafesh, “those bitter of soul/life”). One may recall the use of מָרָה (marah, “bitter”) by Naomi to describe her pained experience as a poor widow in Ruth 1:20, or the use of the word to describe the bitter oppression inflicted on Israel by the Egyptians (Exod 1:14). Those who are “bitter of soul” are those whose life is overwhelmed with painful experiences and suffering.

¹ sn The setting is in the ancient world where a servant rarely advanced beyond his or her station in life. But there are notable exceptions (e.g., Gen 15:3 where the possibility is mentioned, 1 Chr 2:35 where it changed through marriage, and 2 Sam 16:1-4; 19:24-30, with the story of Ziba the servant of Mephibosheth). This proverb focuses on a servant who is wise, one who uses all his abilities effectively – a Joseph figure.

² tn The participle means “unfaithful [men]” (masculine plural); it could also be interpreted as “unfaithfulness” in the abstract sense. M. Dahood interprets it to mean “garments” (which would have to be repointed), saying that she collects garments in pledge for her service (M. Dahood, “To Pawn One’s Cloak,” Bib 42 [1961]: 359-66). But that is far-fetched; it might have happened on occasion, but as a common custom it is unlikely. Besides that, the text in the MT makes perfectly good sense without such a change.

⁴ sn There is a noticeable rhetorical sequence here: two daughters, three things, four (see W. M. Roth, “The Numerical Sequence x / x +1 in the Old Testament,” VT 12 [1962]: 300-311, and “Numerical Sayings in the Old Testament,” VT 13 [1965]: 86). W. McKane thinks the series builds to a climax with the four, and in the four the barren woman is the focal point, the other three being metaphors for her sexual desire (Proverbs [OTL], 656). This interpretation is a minority view, however, and has not won widespread support.

¹ tn The first word of the fourth line begins with דּ (dalet) the fourth letter of the Hebrew alphabet. The verb דָרַשׁ (darash) means “to seek; to inquire; to investigate.” The idea is that she looks for the wool and flax to do her work, but the whole verse assumes she has obtained it. This verb also occurs in the hymn of Ps 111, which says in v. 2 that “the works of the Lord are searched.” One word used in another passage is not that significant; but the cumulative effect of words and ideas suggest that the composition of this poem is influenced by hymnology.

³ tn Heb “the one who is full.” The feminine adjective מְלֵאָה (mÿle’ah, from מָלֵא, male’, “full”) is used as a substantive referring to a pregnant woman whose womb is filled with her infant (HALOT 584 s.v. מָלֵא 2; BDB 571 s.v. מָלֵא). This term is used in reference to a pregnant woman in later Hebrew (HALOT 584 s.v. מָלֵא). The LXX understood the term in this sense: κυοφορούσης (kuoforoushs, “pregnant woman”).

¹ sn The verb מָשַׁךְ (mashakh, “draw”) is a figurative expression (hypocatastasis) which draws an implied comparison between the physical acting of leading a person with the romantic action of leading a person in love. Elsewhere it is used figuratively of a master gently leading an animal with leather cords (Hos 11:4) and of a military victor leading his captives (Jer 31:3). The point of comparison might be that the woman wants to be the willing captive of the love of her beloved, that is, a willing prisoner of his love.

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].

³ sn In the ancient Near East there was an unusual emphasis on beauty of a woman’s eyes. This was probably due to the practice of women veiling themselves and wearing long robes so that no portion of their body or face was exposed to sight except for their eyes (e.g., Gen 26:17). The only indication of a woman’s beauty was her eyes. There was no better (and no other, in light of the attire) way to praise a woman’s beauty in the ancient Near East (G. L. Carr, Song of Solomon [TOTC], 86).

² tn The root סָבַב (savav) in the Qal stem means “to go around, to do a circuit” (1 Sam 7:16; 2 Chr 17:9; 23:2; Eccl 12:5; Song 3:3; Isa 23:16; Hab 2:16), while the Polel stem means “to prowl around” (Ps 59:7, 15; Song 3:2) (HALOT 739-740 s.v. סבב). The idea here is that the Beloved is determined to “look all around” until she finds her beloved.

¹ 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.

⁶ 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.

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 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.