¹ sn The book of Proverbs comes to a close with this poem about the noble wife. A careful reading of the poem will show that it is extolling godly wisdom that is beneficial to the family and the society. Traditionally it has been interpreted as a paradigm for godly women. And while that is valid in part, there is much more here. The poem captures all the themes of wisdom that have been presented in the book and arranges them in this portrait of the ideal woman (Claudia V. Camp, Wisdom and the Feminine in the Book of Proverbs, 92-93). Any careful reading of the passage would have to conclude that if it were merely a paradigm for women what it portrays may well be out of reach – she is a wealthy aristocrat who runs an estate with servants and conducts business affairs of real estate, vineyards, and merchandising, and also takes care of domestic matters and is involved with charity. Moreover, it says nothing about the woman’s personal relationship with her husband, her intellectual and emotional strengths, or her religious activities (E. Jacob, “Sagesse et Alphabet: Pr. 31:10-31,” Hommages à A. Dont-Sommer, 287-95). In general, it appears that the “woman” of Proverbs 31 is a symbol of all that wisdom represents. The poem, then, plays an important part in the personification of wisdom so common in the ancient Near East. But rather than deify Wisdom as the other ANE cultures did, Proverbs simply describes wisdom as a woman. Several features will stand out in the study of this passage. First, it is an alphabetic arrangement of the virtues of wisdom (an acrostic poem). Such an acrostic was a way of organizing the thoughts and making them more memorable (M. H. Lichtenstein, “Chiasm and Symmetry in Proverbs 31,” CBQ 44 [1982]: 202-11). Second, the passage is similar to hymns, but this one extols wisdom. A comparison with Psalm 111 will illustrate the similarities. Third, the passage has similarities with heroic literature. The vocabulary and the expressions often sound more like an ode to a champion than to a domestic scene. Putting these features together, one would conclude that Proverbs 31:10-31 is a hymn to Lady Wisdom, written in the heroic mode. Using this arrangement allows the sage to make all the lessons of wisdom in the book concrete and practical, it provides a polemic against the culture that saw women as merely decorative, and it depicts the greater heroism as moral and domestic rather than only exploits on the battlefield. The poem certainly presents a pattern for women to follow. But it also presents a pattern for men to follow as well, for this is the message of the book of Proverbs in summary.

⁵ 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.”

² sn The doubling of the time after the birth of a female child is puzzling (see the remarks in J. Milgrom, Leviticus [AB], 1:750-51; and G. J. Wenham, Leviticus [NICOT], 188). Some have argued, for example, that it derives from the relative status of the sexes, or a supposed longer blood flow for the birth of a woman, or even to compensate for the future menstrual periods of the female just born. Perhaps there is a better explanation. First, a male child must be circumcised on the eighth day, so the impurity of the mother could not last beyond the first seven days lest it interfere with the circumcision rite. A female child, of course, was not circumcised, so the impurity of the mother would not interfere and the length of the impure time could be extended further. Second, it would be natural to expect that the increased severity of the blood flow after childbirth, as compared to that of a woman’s menstrual period, would call for a longer period of impurity than the normal seven days of the menstrual period impurity (compare Lev 15:19 with 15:25-30). Third, this suggests that the fourteen day impurity period for the female child would have been more appropriate, and the impurity period for the birth of a male child had to be shortened. Fourth, not only the principle of multiples of seven but also multiples of forty applies to this reckoning. Since the woman’s blood discharge after bearing a child continues for more than seven days, her discharge keeps her from contact with sacred things for a longer period of time in order to avoid contaminating the tabernacle (note Lev 15:31). This ended up totaling forty days for the birth of a male child (seven plus thirty-three) and a corresponding doubling of the second set of days for the woman (fourteen plus sixty-six). See R. E. Averbeck, NIDOTTE 2:368-70. The fact that the offerings were the same for either a male or a female infant (vv. 6-8) suggests that the other differences in the regulations are not due to the notion that a male child had greater intrinsic value than a female child (J. E. Hartley, Leviticus [WBC], 169).

⁷ sn Normally in the Song, the person/gender of the pronouns and suffixes makes the identify of the speaker or addressee clear. However, there are several places in which there is grammatical ambiguity that makes it difficult to identify either the speaker or the addressee (e.g., 6:11-13; 7:9b). This is particularly true when 1st person common plural or 3rd person common plural verbs or suffixes are present (1:3[4]; 2:15; 5:1b; 8:8-9), as is the case in the three lines of 1:3b[4b]. There are four views to the identity of the speaker(s): (1) NASB attributes all three lines to the maidens, (2) NIV attributes the first two lines to the friends and the third line to the Beloved (= woman), (3) NJPS attributes all three lines to the Beloved, speaking throughout 1:2-4, and (4) The first line could be attributed to the young man speaking to his beloved, and the last two lines attributed to the Beloved who returns praise to him. The referents of the 1st person common plural cohortatives and the 2sg suffixes have been taken as: (1) the maidens of Jerusalem, mentioned in 1:4[5] and possibly referred to as the 3rd person common plural subject of אֲהֵבוּךָ (’ahevukha, “they love you”) in 1:3b[4b], using the 1st person common plural cohortatives in reference to themselves as they address her lover: “We (= maidens) will rejoice in you (= the young man).” (2) The Beloved using 1st person common plural cohortatives in a hortatory sense as she addresses her lover: “Let us (= the couple) rejoice in you (= the young man), let us praise your lovemaking…” (3) The Beloved using the 1st person common plural cohortatives in reference to herself – there are examples in ancient Near Eastern love literature of the bride using 1st person common plural forms in reference to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99) – as she addresses the young man: “We (= I) will rejoice in you (= the young man).” Note: This problem is compounded by the ambiguity of the gender on בָּךְ (bakh, “in you”) which appears to be 2nd person feminine singular but may be 2nd person masculine singular in pause (see note below).

³ tc The MT reads the 3rd person feminine singular suffix on a singular noun: רִכְבָּהּ (rikhbah, “her chariot”). However, the BHS editors suggest emending to the 2nd person feminine singular suffix on a plural noun: רִכְבֵּךְ (rikhbekh, “your chariots”) due to the use of 2nd person feminine singular suffixes throughout this verse and the anomaly of the singular noun. On the other hand, the Dead Sea Scrolls (4QpNah) read רובכה (“your abundance”) which is the plene spelling of רֹבְכָה (rovÿkhah). This reflects the transposition (metathesis) of כ (kaf) and ב (bet) in the consonantal forms רכבה and רבכה. The textual tradition attested at Qumran is reflected in the LXX’s πλῆθος σου (plhqo" sou, “your abundance”) which reflects a reading of רֹבְכָה (“your abundance”) as well. It should be noted that the plene form of the 2nd person feminine singular suffix appears elsewhere in the MT of this verse: מַלְאָכֵכֵה (mal’akhekheh, “your messenger”). Although there is good evidence for the alternate traditions, the MT reading may be retained for three reasons: (1) The burning of enemy chariots was a common threat in ancient Near Eastern warfare (see D. R. Hillers, Treaty-Curses and the Old Testament Prophets, 60; K. J. Cathcart, “Treaty-Curses and the Book of Nahum,” CBQ 35 [1973]: 182). (2) The singular רֶכֶב (rekhev, “chariot”) is often used collectively to refer to all the chariots of a nation (Exod 14:7; Josh 11:4; 24:6; Judg 4:7, 13; 5:28). (3) The abrupt shift from the 2nd person feminine singular suffix on אֵלַיִךְ (’elayikh, “I am against you!”) to the 3rd person feminine singular suffix on רִכְבָּהּ (“her chariot”) is an example of a common poetic/stylistic device: heterosis of second to third person (see E. W. Bullinger, Figures of Speech, 525 [4.5]). The 2nd person feminine singular suffix in the translation above is used simply for smooth literary style. This is a good example of how sensitivity to figures of speech, ancient Near Eastern backgrounds, and syntax can prevent unnecessary textual emendations.

¹ sn The next section of the book is often referred to as the “Call of Moses,” and that is certainly true. But it is much more than that. It is the divine preparation of the servant of God, a servant who already knew what his destiny was. In this section Moses is shown how his destiny will be accomplished. It will be accomplished because the divine presence will guarantee the power, and the promise of that presence comes with the important “I AM” revelation. The message that comes through in this, and other “I will be with you” passages, is that when the promise of God’s presence is correctly appropriated by faith, the servant of God can begin to build confidence for the task that lies ahead. It will no longer be, “Who am I that I should go?” but “I AM with you” that matters. The first little section, 2:23-25, serves as a transition and introduction, for it records the Lord’s response to Israel in her affliction. The second part is the revelation to Moses at the burning bush (3:1-10), which is one of the most significant theological sections in the Torah. Finally, the record of Moses’ response to the call with his objections (3:11-22), makes up the third part, and in a way, is a transition to the next section, where God supplies proof of his power.

² sn The next section (vv. 24-26) records a rather strange story. God had said that if Pharaoh would not comply he would kill his son – but now God was ready to kill Moses, the representative of Israel, God’s own son. Apparently, one would reconstruct that on the journey Moses fell seriously ill, but his wife, learning the cause of the illness, saved his life by circumcising her son and casting the foreskin at Moses’ feet (indicating that it was symbolically Moses’ foreskin). The point is that this son of Abraham had not complied with the sign of the Abrahamic covenant. No one, according to Exod 12:40-51, would take part in the Passover-exodus who had not complied. So how could the one who was going to lead God’s people not comply? The bold anthropomorphisms and the location at the border invite comparisons with Gen 32, the Angel wrestling with Jacob. In both cases there is a brush with death that could not be forgotten. See also, W. Dumbrell, “Exodus 4:24-25: A Textual Re-examination,” HTR 65 (1972): 285-90; T. C. Butler, “An Anti-Moses Tradition,” JSOT 12 (1979): 9-15; and L. Kaplan, “And the Lord Sought to Kill Him,” HAR 5 (1981): 65-74.

² tn The expression עַל־פָּנָי (’al-panay) has several possible interpretations. S. R. Driver suggests “in front of me,” meaning obliging me to behold them, and also giving a prominence above me (Exodus, 193-94). W. F. Albright rendered it “You shall not prefer other gods to me” (From the Stone Age to Christianity, 297, n. 29). B. Jacob (Exodus, 546) illustrates it with marriage: the wife could belong to only one man while every other man was “another man.” They continued to exist but were not available to her. The point is clear from the Law, regardless of the specific way the prepositional phrase is rendered. God demands absolute allegiance, to the exclusion of all other deities. The preposition may imply some antagonism, for false gods would be opposed to Yahweh. U. Cassuto adds that God was in effect saying that anytime Israel turned to a false god they had to know that the Lord was there – it is always in his presence, or before him (Exodus, 241).

¹ tn This line has occasioned a good deal of discussion. It may indicate that the child was killed, as in a miscarriage; or it may mean that there was a premature birth. The latter view is taken here because of the way the whole section is written: (1) “her children come out” reflects a birth and not the loss of children, (2) there is no serious damage, and (3) payment is to be set for any remuneration. The word אָסוֹן (’ason) is translated “serious damage.” The word was taken in Mekilta to mean “death.” U. Cassuto says the point of the phrase is that neither the woman or the children that are born die (Exodus, 275). But see among the literature on this: M. G. Kline, “Lex Talionis and the Human Fetus,” JETS 20 (1977): 193-201; W. House, “Miscarriage or Premature Birth: Additional Thoughts on Exodus 21:22-25,” WTJ 41 (1978): 108-23; S. E. Loewenstamm, “Exodus XXI 22-25,” VT 27 (1977): 352-60.

² tn The form is לְצַחֵק (lÿtsakheq), a Piel infinitive construct, giving the purpose of their rising up after the festal meal. On the surface it would seem that with the festival there would be singing and dancing, so that the people were celebrating even though they did not know the reason. W. C. Kaiser says the word means “drunken immoral orgies and sexual play” (“Exodus,” EBC 2:478). That is quite an assumption for this word, but is reflected in some recent English versions (e.g., NCV “got up and sinned sexually”; TEV “an orgy of drinking and sex”). The word means “to play, trifle.” It can have other meanings, depending on its contexts. It is used of Lot when he warned his sons-in-law and appeared as one who “mocked” them; it is also used of Ishmael “playing” with Isaac, which Paul interprets as mocking; it is used of Isaac “playing” with his wife in a manner that revealed to Abimelech that they were not brother and sister, and it is used by Potiphar’s wife to say that her husband brought this slave Joseph in to “mock” them. The most that can be gathered from these is that it is playful teasing, serious mocking, or playful caresses. It might fit with wild orgies, but there is no indication of that in this passage, and the word does not mean it. The fact that they were festive and playing before an idol was sufficient.

² tn See the note on Lev 5:15 above. The primary purpose of the “guilt offering” (אָשָׁם, ’asham) was to “atone” (כִּפֶּר, kipper, “to make atonement,” see v. 18 below and the note on Lev 1:4) for “trespassing” on the Lord’s “holy things,” whether sacred objects or sacred people. It is, therefore, closely associated with the reconsecration of the Lord’s holy people as, for example, here and in the case of the corpse contaminated Nazirite (Num 6:11b-12). Since the nation of Israel was “a kingdom of priests and a holy nation” to the Lord (Exod 19:6; cf. the blood splashed on all the people in Exod 24:8), the skin diseased person was essentially a member of the “holy nation” who had been expelled from the community. Therefore, he or she had been desecrated and the guilt offering was essential to restoring him or her to the community. In fact, the manipulation of blood and oil in the guilt offering ritual procedure for the healed person (see vv. 14-18 below) is reminiscent of that employed for the ordination offering in the consecration of the holy Aaronic priests of the nation (Exod 29:19-21; Lev 8:22-30).

³ tn The Hebrew text has הַכֻּשִׁית (hakkushit, “the Cushite”) as the modifier of “woman.” The Greek text interpreted this correctly as “Ethiopian.” The word Cush in the Bible can describe the Cassites, east of Babylon of the later period (Gen 10:18), or Ethiopia (Isa 20:3; Nah 3:5; et al). Another suggestion is that it would refer to Cushan of Hab 3:7, perhaps close to Midian, and so the area Moses had been. This would suggest it could be Zipporah – but the Bible does not identify the Cushite as Zipporah. The most natural understanding would be that it refers to an Egyptian/Ethiopian woman. The text does not say when Moses married this woman, or what Miriam’s problem with her was. It is clear that it was a racial issue, by virtue of the use of “Cushite.” Whether she was of darker skin than the Hebrews would be hard to say, since the Bible gives no further detail. Neither does it say if this is a second wife, or a woman Moses married since Zipporah went home (Exod 18:2). These do not seem to be the issues the text wishes to elaborate on; it is simply stating that this woman was the occasion for a deeper challenge.

² tc The MT of vv. 13b-14a reads simply, “He said to her, ‘If you weave the seven braids of my head with the web.’ And she fastened with the pin and said to him.” The additional words in the translation, “and secure it with the pin, I will become weak and be like any other man.’ 16:14 So she made him go to sleep, wove the seven braids of his hair into the fabric on the loom,” which without doubt represent the original text, are supplied from the ancient Greek version. (In both vv. 13b and 14a the Greek version has “to the wall” after “with the pin,” but this is an interpretive addition that reflects a misunderstanding of ancient weaving equipment. See G. F. Moore, Judges [ICC], 353-54.) The Hebrew textual tradition was accidentally shortened during the copying process. A scribe’s eye jumped from the first instance of “with the web” to the second, causing him to leave out inadvertently the intervening words.

¹ tc Heb “Thus God will do to the enemies of David and thus he will add.” Most of the Old Greek ms tradition has simply “David,” with no reference to his enemies. In OT imprecations such as the one found in v. 22 it is common for the speaker to direct malediction toward himself as an indication of the seriousness with which he regards the matter at hand. In other words, the speaker invites on himself dire consequences if he fails to fulfill the matter expressed in the oath. However, in the situation alluded to in v. 22 the threat actually does not come to fruition due to the effectiveness of Abigail’s appeal to David in behalf of her husband Nabal. Instead, David is placated through Abigail’s intervention. It therefore seems likely that the reference to “the enemies of David” in the MT of v. 22 is the result of a scribal attempt to deliver David from the implied consequences of this oath. The present translation follows the LXX rather than the MT here.

¹ sn This episode is especially significant in light of Ahab’s decision to promote Baal worship in Israel. In Canaanite mythology the drought that swept over the region (v. 1) would signal that Baal, a fertility god responsible for providing food for his subjects, had been defeated by the god of death and was imprisoned in the underworld. While Baal was overcome by death and unable to function like a king, Israel’s God demonstrated his sovereignty and superiority to death by providing food for a widow and restoring life to her son. And he did it all in Sidonian territory, Baal’s back yard, as it were. The episode demonstrates that Israel’s God, not Baal, is the true king who provides food and controls life and death. This polemic against Baalism reaches its climax in the next chapter, when the Lord proves that he, not Baal, controls the elements of the storm and determines when the rains will fall.

¹ tn Heb “what is the way of the wind.” Some take these words with what follows: “how the spirit comes to the bones in the womb of a pregnant woman.” There is debate whether הָרוּחַ מַה־דֶּרֶךְ (mah-derekh haruakh) refers to the wind (“the path of the wind”) or the human spirit of a child in the mother’s womb (“how the spirit comes”). The LXX understood it as the wind: “the way of the wind” (ἡ ὁδὸς τοῦ πνεύματος, Jh Jodos tou pneumatos); however, the Targum and Vulgate take it as the human spirit. The English versions are divided: (1) spirit: “the way of the spirit” (KJV, YLT, Douay); “the breath of life” (NAB); “how a pregnant woman comes to have…a living spirit in her womb” (NEB); “how the lifebreath passes into the limbs within the womb of the pregnant woman” (NJPS); “how the spirit comes to the bones in the womb of a woman with child” (RSV); “how the breath comes to the bones in the mother’s womb” (NRSV); and (2) wind: “the way of the wind” (ASV, RSV margin); “the path of the wind” (NASB, NIV); and “how the wind blows” (MLB, Moffatt).

² tn Heb “May he kiss me….” The shift from 3rd person masculine singular forms (“he” and “his”) in 1:2a to 2nd person masculine singular forms (“your”) in 1:2b-4 has led some to suggest that the Beloved addresses the Friends in 1:2a and then her Lover in 1:2b-4. A better solution is that the shift from the 3rd person masculine singular to 2nd person masculine singular forms is an example of heterosis of person: a poetic device in which the grammatical person shifts from line to line (M. H. Pope, Song of Songs [AB], 297). The third person is put for the second person (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1; Song 4:2; 6:6) (E. W. Bullinger, Figures of Speech, 524-25). Similar shifts occur in ancient Near Eastern love literature (cf. S. N. Kramer, The Sacred Marriage Rite, 92, 99). Most translations render 1:2 literally and preserve the shifts from 3rd person masculine singular to 2nd person masculine singular forms (KJV, AV, NASB, NIV); others render 1:2 with 2nd person masculine singular forms throughout (RSV, NJPS).

⁴ tn Heb “sick of love.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “sick of love”) is an example of the causative use of the genitive construct: “I am sick because of love,” that is, “I am love-sick.” The expression חוֹלַת אַהֲבָה (kholat ’ahavah, “faint with love”) is a figure which compares physical or medical illness caused by a physically draining disease to sexual desire which is so intense that a person is so physically drained that they feel as if they could faint. The term חוֹל (khol, “sick”) refers to the physical weakness which consumes a person who is suffering from a medical illness (Gen 48:1; 1 Sam 19:14). It is used figuratively as a hyperbolic hypocatastasis for being so consumed with sexual desire that it saps one of his/her physical and emotional strength (BDB 317 s.v. 2). This is commonly referred to as “love-sickness.” It was associated with such deep longing for physical and sexual fulfillment that it weighed so heavily upon a person that he/she was physically and emotionally drained (2 Sam 13:2).

³ 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.

³ 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.