² tn Or “he delivered.” The verb וּמִלַּט (umillat, from מָלַט, malat, “to deliver”) is functioning either in an indicative sense (past definite action: “he delivered”) or in a modal sense (past potential: “he could have delivered”). The literal meaning of זָכַר (zakhar, “to remember”) in the following line harmonizes with the indicative: “but no one remembered that poor man [afterward].” However, the modal is supported by v. 16: “A poor man’s wisdom is despised; no one ever listens to his advice.” This approach must nuance זָכַר (“to remember”) as “[no one] listened to [that poor man].” Most translations favor the indicative approach: “he delivered” or “he saved” (KJV, RSV, NRSV, NAB, ASV, NASB, MLB, NIV); however, some adopt the modal nuance: “he might have saved” (NEB, NJPS, NASB margin).

¹ tn Heb “bread.” The term לֶחֶם (lekhem) is used literally of “bread” and figuratively (i.e., by metonymy) for a “feast” (BDB 536–37 s.v. לֶחֶם). BDB suggests that עֹשִׂיה לֶחֶם (’osih lekhem) in Eccl 10:19 means “make a feast” (BDB 537 s.v. לֶחֶם 1.a). This obscure line has occasioned numerous proposals: “a feast is made for laughter” (KJV, ASV, NIV); “feasts are made for laughter” (NRSV); “men feast for merrymaking” (Moffatt); “men prepare a meal for enjoyment” (NASB); “the table has its pleasures” (NEB); “they [i.e., rulers of v. 16] make a banquet for revelry” (NJPS); “people prepare a banquet for enjoyment” (MLB); “for laughter they make bread and wine, that the living may feast” (Douay); “bread is made for laughter” (RSV); “bread [and oil] call forth merriment” (NAB).

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.

³ sn The superscription “Solomon’s Most Excellent Love Song” appears to be a late addition, just as many superscriptions in the Psalter appear to have been added to the psalms sometime after their original composition. R. E. Murphy (Song of Songs [Hermeneia], 119) notes that the use of the independent relative pronoun אֲשֶׁר (’asher) in 1:1 sharply distinguishes the superscription from the body of the Song as a whole where the short form -שֶׁ (she-) occurs thirty-two times (e.g., 1:6, 12; 6:5). The short form -שֶׁ also occurs frequently in Ecclesiastes which is traditionally attributed to Solomon. Therefore, it would appear that the superscription is a later addition to the Song. This, of course, raises the question whether or not the attribution of Solomonic authorship of the Song is historically reliable or simply a matter of later Jewish tradition.

⁶ tn The young woman compares his lovemaking to the intoxicating effects of wine. A man is to be “intoxicated” with the love of his wife (Prov 5:20). Wine makes the heart glad (Deut 14:26; Judg 9:13; Ps 104:15) and revives the spirit (2 Sam 16:1-2; Prov 31:4-7). It is viewed as a gift from God, given to enable man to enjoy life (Eccl 2:24-25; 5:18). The ancient Egyptian love poems use the imagery of wine and intoxication to describe the overwhelming effects of sexual love. For example, an ancient Egyptian love song reads: “I embrace her and her arms open wide; I am like a man in Punt, like someone overwhelmed with drugs. I kiss her and her lips open; and I am drunk without beer” (ANET 467-69).

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.

³ sn The comparison of her dark, outdoors appearance to the “tents of Qedar” is quite fitting for two reasons. First, the name “Qedar” refers to an ancient Arabian tribe of bedouin who lived in tents and inhabited a region in northern Arabia. Their tents were traditionally woven from the wool of black goats. They were not beautiful to look at; they were rough, rustic, rugged, and weather-beaten. Second, the terms שְׁחוֹרָה (shÿkhorah, “black”) and קֵדָר (qedar, “Qedar”) create a wordplay because the root קָדַר (qadar) means “dark, dirty” (HALOT 1072 s.v. קדר). The point of the comparison is that the Beloved had dark skin and a rugged outdoors appearance because she had been forced to work outdoors, and so her skin had become dark as 1:6 states.

² sn The term רַעְיָתִי (ra’yati, “my darling”) is from רֵעַ (re’a) “companion, friend” in general (e.g., Job 2:11; 6:27; 12:4; Pss 35:14; 122:8; Prov 14:20; 17:17; 19:6; 27:10) and “darling, beloved” in romantic relationships (e.g., Job 30:29; Jer 3:1, 20; Hos 3:1; Song 5:1, 16) (HALOT 1253-54 s.v. II רֵעַ; BDB 945 s.v. II רָעָה II.1). This is the most common term of affection to address the Beloved (Song 1:9, 15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4).

⁷ sn The term מָתוֹק (matoq, “sweet”) is used literally and figuratively. When used literally, it describes pleasant tasting foods, such as honey (Judg 14:14, 18; Prov 24:13; Ps 19:11) or sweet water (Num 33:28; Prov 9:17). Used figuratively, it describes what is pleasant to experience: friendship (Job 20:12; Ps 55:15; Prov 27:9), life (Eccl 11:7; Sir 40:18), sleep for the weary (Eccl 5:11), eloquence in speech (Prov 16:21, 24), and scripture (Ps 19:11). Those who adopt the “hyper-erotic” approach opt for the literal meaning: his “fruit” tastes sweet to her palate. The nonerotic approach takes the term in its figurative sense: The experience of his love was pleasant.

⁴ sn What does the expression to “arouse or awaken love” mean? There are three major views: (1) to force a love relationship to develop prematurely rather than to allow it to develop naturally; (2) to interfere with the experience of passionate love; or (3) to stir up sexual passion, that is, to become sexually active. As noted above, אַהֲבָה (’ahavah, “love”) probably denotes “sexual passion” (DCH 1:141 s.v. I אַהֲבָה; HALOT 18 s.v. I אַהֲבָה) and עוּר (’ur, “awaken…arouse”) probably denotes “to stir up, excite” (HALOT 802-803 s.v. II עוּר). Likewise, the verb עוּר (“awake”) is used in Song 4:16 and Hosea 7:4 in reference to stirring up sexual passion to excitement.

¹ tn The imperative אֶחֱזוּ (’ekhezu, “catch”) is plural in form (Qal imperative 2nd person masculine plural from אָחַז, ’akhaz). Some commentators suggest that the woman is speaking to a large audience, perhaps the maidens of Jerusalem mentioned in 2:7. However, the Hebrew plural can function in an intensive sense when used in reference to a single individual (IBHS 122 §7.4.3a). As noted previously, the bride often uses the plural in reference to herself or to her bridegroom in Sumerian love literature. Thus, the woman simply may be speaking to her beloved, as in 2:16-17, but with particularly intense passion.

² tn The term מִשְׁכָּב (mishkav, “bed”) in 3:1 is the common term for marriage bed (HALOT 646 s.v. מִשְׁכָּב; BDB 1012 s.v. מִשְׁכָּב) in distinction from the common term for עֶרֶש (’eresh, “couch”) in 1:16. Several uses of the term מִשְׁכָּב (“bed”) have overt sexual connotations, denoting the place of copulation (Gen 49:4; Lev 18:22; 20:13; Num 31:17, 35; Judg 21:11, 12; Prov 7:17; Isa 57:7-8). The noun is used in the expression מִשְׁכָּב דֹּדִים (mishkav dodim, “love-bed”) with obvious sexual connotations (Ezek 23:17).

² sn The phrase כַּעֲרוּגַת הַבֹּשֶׂם (ka’arugat havvosem, “flower-beds of balsam”) is used elsewhere in the Song only in 5:13 where it is a simile comparing his cheeks to a flower-bed of balsam yielding perfumed spices. The term הַבֹּשֶׂם (“balsam-spice”) by itself appears five times in the Song, each time as a figure for sexual love (4:10, 14, 16; 5:1; 8:14). Thus, the two options are: (1) the term refers to a real flower-bed of balsam to which Solomon had gone or (2) this term is a figure for sexual love.

¹ tn He compares her beauty to two of the most beautiful and important cities in the Israelite United Kingdom, namely, Jerusalem and Tirzah. The beauty of Jerusalem was legendary; it is twice called “the perfection of beauty” (Ps 50:2; Lam 2:15). Tirzah was beautiful as well – in fact, the name means “pleasure, beauty.” So beautiful was Tirzah that it would be chosen by Jeroboam as the original capital of the northern kingdom (1 Kgs 15:33; 16:8, 15, 23). The ancient city Tirzah has been identified as Tel el-Far`ah near Nablus: see B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 60; R. de Vaux, “Le premiere campagne de fouilles a Tell el-Far`ah,” RB 54 (1947): 394-433.

¹ tn The term חֵךְ (khek, “palate, mouth”) is often used as a metonymy for what the mouth produces, e.g., the mouth is the organ of taste (Ps 119:103; Job 12:11; 20:13; 34:3; Prov 24:13; Song 2:3), speech (Job 6:30; 31:30; 33:2; Prov 5:3; 8:7), sound (Hos 8:1), and kisses (Song 5:16; 7:10) (HALOT 313 s.v. חֵךְ; BDB 335 s.v. חֵךְ). The metonymical association of her palate/mouth and her kisses is made explicit by RSV which translated the term as “kisses.”

² tn Heb “Why arouse or awaken …?” Although the particle מָה (mah) is used most often as an interrogative pronoun (“What?” “Why?”), it also can be used as a particle of negation. For example, “How (מָה) could I look at a girl?” means “I have not looked at a girl!” (Job 31:1); “What (מַה) do we have to drink?” means “We have nothing to drink” (Exod 15:24); “What (מַה) part do we have?” means “We have no part” (1 Kgs 12:16); and “Why (מַה) arouse or awaken love?” means “Do not arouse or awaken love!” (Song 8:4). See HALOT 551 s.v. מָה C.

¹ sn The term כֶּרֶם (kerem, “vineyard”) is used literally in 8:11 in reference to Solomon’s physical vineyard, but in 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 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 (8:11), she is not for sale: She will only give herself freely to the one whom she chooses to love.

⁴ tn Elsewhere the adjective הָרָה (harah), when used predicatively, refers to a past pregnancy (from the narrator’s perspective, 1 Sam 4:19), to a present condition (Gen 16:11; 38:24; 2 Sam 11:5), and to a conception that is about to occur in the near future (Judg 13:5, 7). (There is some uncertainty about the interpretation of Judg 13:5, 7, however. See the notes to those verses.) In Isa 7:14 one could translate, “the young woman is pregnant.” In this case the woman is probably a member of the royal family. Another option, the one followed in the present translation, takes the adjective in an imminent future sense, “the young woman is about to conceive.” In this case the woman could be a member of the royal family, or, more likely, the prophetess with whom Isaiah has sexual relations shortly after this (see 8:3).

¹ tn Three cities are known by this name in the OT: (1) an Aroer located near the Arnon, (2) an Aroer in Ammon, and (3) an Aroer of Judah. (See BDB 792-93 s.v. עֲרֹעֵר, and HALOT 883 s.v. II עֲרוֹעֵר.) There is no mention of an Aroer in Syrian territory. For this reason some want to emend the text here to עֲזֻבוֹת עָרַיהָ עֲדֵי עַד (’azuvot ’arayha ’adey ’ad, “her cities are permanently abandoned”). However, Aroer near the Arnon was taken by Israel and later conquered by the Syrians. (See Josh 12:2; 13:9, 16; Judg 11:26; 2 Kgs 10:33). This oracle pertains to Israel as well as Syria (note v. 3), so it is possible that this is a reference to Israelite and/or Syrian losses in Transjordan.

⁴ sn In the Ugaritic mythological texts Leviathan is a sea creature that symbolizes the destructive water of the sea and in turn the forces of chaos that threaten the established order. Isaiah here applies imagery from Canaanite mythology to Yahweh’s eschatological victory over his enemies. Elsewhere in the OT, the battle with the sea motif is applied to Yahweh’s victories over the forces of chaos at creation and in history (cf. Pss 74:13-14; 77:16-20; 89:9-10; Isa 51:9-10). Yahweh’s subjugation of the chaos waters is related to His kingship (cf. Pss 29:3, 10; 93:3-4). Apocalyptic literature employs the imagery as well. The beasts of Dan 7 emerge from the sea, while Rev 13 speaks of a seven-headed beast coming from the sea.