¹ tc Many medieval Hebrew mss, along with some LXX mss and the Syriac, read “Zepho” (see Gen 36:11).

⁴ tn Heb “delight [is] in your right hand forever.” The plural form of the adjective נָעִים (na’im, “pleasant, delightful”) may here emphasize the degree of delight experienced (see Job 36:11).

³ sn Teman was the name of one of Esau’s descendants, the name of an Edomite clan and the name of the district where they lived (Gen 36:11, 15, 34). Like the name Bozrah, it is used poetically for all of Edom (Jer 49:20; Ezek 25:13).

¹ sn Teman, like Sela, was a prominent city of Edom. The name Teman is derived from the name of a grandson of Esau (cf. Gen 36:11). Here it is a synecdoche of part for whole, standing for all of Edom.

¹ tn The identification of this bird has been called into question by G. R. Driver, “Birds in the Old Testament,” PEQ 87 (1955): 137-38. He refers to this bird as an owl. That identification, however, is not reflected in any of the lexicons including the most recent, which still gives “ostrich” (HALOT 402 s.v. יַעֲנָה) as does W. S. McCullough, “Ostrich,” IDB 3:611. REB, NIV, NCV, and God’s Word all identify this bird as “owl/desert owl.”

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.”

¹ sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests – an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them – in a poetic sense – in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b.