Kidung Agung 1:2--2:7
KonteksThe Beloved to Her Lover: 1
1:2 Oh, how I wish you 2 would kiss me passionately! 3
For your lovemaking 4 is more delightful 5 than wine. 6
1:3 The fragrance 7 of your colognes 8 is delightful; 9
your name 10 is like the finest 11 perfume. 12
No wonder the young women 13 adore 14 you!
1:4 Draw me 15 after you; let us hurry! 16
May the king 17 bring 18 me into his 19 bedroom chambers! 20
The Maidens 21 to the Lover:
We will 22 rejoice and delight in you; 23
we will praise 24 your love more than wine.
The Beloved to Her Lover:
How rightly 25 the young women 26 adore you!
The Beloved to the Maidens:
1:5 I am dark but lovely, O maidens 27 of Jerusalem,
dark 28 like the tents of Qedar, 29
lovely 30 like the tent curtains 31 of Salmah. 32
1:6 Do not stare at me because 33 I am dark,
for 34 the sun has burned my skin. 35
My brothers 36 were angry 37 with me;
they made me the keeper of the vineyards.
Alas, my own vineyard 38 I could not keep! 39
The Beloved to Her Lover:
1:7 Tell me, O you whom my heart 40 loves,
where do you pasture your sheep?
Where do you rest your sheep during the midday heat?
Tell me lest 41 I wander around 42
beside the flocks of your companions!
The Lover to His Beloved:
1:8 If you do not know, O most beautiful of women,
simply follow the tracks of my flock,
and pasture your little lambs
beside the tents of the shepherds.
The Lover to His Beloved:
1:9 O my beloved, you are like 43 a 44 mare 45
among Pharaoh’s stallions. 46
1:10 Your cheeks are beautiful with ornaments;
your neck is lovely 47 with strings of jewels.
1:11 We 48 will make for you gold ornaments
studded with silver. 49
The Beloved about Her Lover:
1:12 While the king was at his banqueting table, 50
my nard 51 gave forth its fragrance. 52
1:13 My beloved is like a fragrant pouch of myrrh 53
spending the night 54 between my breasts.
1:14 My beloved is like a cluster of henna blossoms 55
in the vineyards of En-Gedi. 56
The Lover to His Beloved:
1:15 Oh, 57 how beautiful you are, my beloved! 58
Oh, how beautiful you are!
Your eyes 59 are like doves! 60
The Beloved to Her Lover:
1:16 Oh, how handsome you are, my lover! 61
Oh, 62 how delightful 63 you are!
The lush foliage 64 is our canopied bed; 65
1:17 the cedars are the beams of our bedroom chamber;
the pines are the rafters of our bedroom.
The Beloved to Her Lover:
2:1 I am a 66 meadow flower 67 from Sharon, 68
a lily 69 from the valleys.
The Lover to His Beloved:
2:2 Like 70 a lily among the thorns, 71
so is my darling among the maidens.
The Beloved about Her Lover:
2:3 Like 72 an apple tree 73 among the trees of the forest,
so is my beloved among the young men.
I delight 74 to sit 75 in his shade, 76
and his fruit 77 is sweet 78 to my taste. 79
The Beloved about Her Lover:
2:4 He brought me 80 into the banquet hall, 81
and he looked 82 at me lovingly. 83
2:5 Sustain 84 me with raisin cakes, 85
refresh me with apples, 86
for I am faint with love. 87
The Double Refrain: Embracing and Adjuration
2:6 His left hand caresses my head, 88
and his right hand stimulates me. 89
The Beloved to the Maidens:
2:7 I adjure you, 90 O maidens of Jerusalem,
by the gazelles and by the young does 91 of the open fields: 92
[1:2] 1 tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (1:5; 3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.
[1:2] 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).
[1:2] 3 tn Heb “May he kiss me with the kisses of his mouth!” The phrase יִשָּׁקֵנִי מִנְּשִׁיקוֹת (yishshaqeni minnÿshiqot, “kiss me with kisses”) is a cognate accusative construction used for emphasis.
[1:2] 4 tc The MT vocalizes consonantal דדיך as דֹּדֶיךָ (dodekha, “your loves”; mpl noun from דּוֹד, dod, “love” + 2nd person masculine singular suffix). The LXX and Vulgate reflect the vocalization דַּדֶּיךָ (daddekha, “your breasts”; mpl noun from דַּד, dad, “breast” + 2nd person masculine singular suffix). This alternate tradition was well known; it was followed by Hippolytus of Rome (d. 235) in his exposition of Canticles 1:2 and by Rabbi Yohanan of Tiberias (3rd century
[1:2] tn Although it may be understood in the general sense meaning “love” (Song 1:4), the term דּוֹד (dod) normally means “lovemaking” (Prov 7:18; Song 4:10; 7:12[13]; Ezek 16:8; 23:17). The plural form דֹּדֶיךָ (dodekha, lit. “your lovemakings”) is probably not a plural of number but an abstract plural (so BDB 187 s.v. דּוֹד 3).
[1:2] 5 tn Heb “better than.” With the comparison of lovemaking to wine, the idea is probably “more intoxicating than wine” or “more delightful than wine.”
[1:2] 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).
[1:3] 7 tn The preposition לְ (lÿ) of לְרֵיחַ (lÿrekha) has been understood in three ways: (a) dative of reference: “with respect to fragrance [your perfumes are pleasing]” (see GKC 430 §133.d); (b) asseverative or emphatic: “indeed the fragrance [of your perfumes is pleasing]” (see R. J. Williams, Hebrew Syntax, 50-51, §283); or (c) comparative: “[your lovemaking is better than wine], indeed better the scent [of precious ointments]” (W. F. Albright, “Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 2, n. 4).
[1:3] 8 tn Heb “the scent of your oils.” The term שֶׁמֶן (shemen, “cologne”) refers to perfumes or colognes (Eccl 7:1; 10:1; Song 4:10). In Israel bodily oils were expensive (1 Kgs 17:12ff; 2 Kgs 2:4ff). Possession of oils and perfumes was a sign of prosperity and luxury (Deut 32:8; 33:24; Job 29:6; Prov 21:17; Ezek 16:13, 20). Wearing cologne was associated with joy (Ps 45:8; Eccl 9:8; Isa 61:3) because they were worn on festive occasions (Prov 27:9).
[1:3] 9 sn The term טוֹבִים (tovim, “pleasing”) refers to what is pleasant to the olfactory senses (BDB 373 s.v. II טוֹב 1.c) (e.g., Jer 6:20).
[1:3] 10 sn The term שְׁמֶךָ (shÿmekha, “your name”) may be a metonymy of association for her lover. In Hebrew idiom, the name often represents the person (e.g., 1 Sam 25:25).
[1:3] 11 tn The meaning of the phrase שֶׁמֶן תּוּרַק (shemen turaq) is difficult to determine; several options have been proposed: (1) Traditionally, the term תּוּרַק is taken as a verb (Hophal imperfect 3rd person feminine singular from רִיק, riq, “to pour out”) which functions as an attributive adjective modifying the noun שֶׁמֶן (“oil, perfume”): “poured out oil.” The phrase is taken this way by LXX ἒλαιον ἐκχεομενον (“oil poured out”) which seems to reflect a Hebrew Vorlage of a passive verb functioning adjectivally. Accordingly, the phrase is traditionally translated “ointment/oil poured forth/poured out” (KJV, NKJV, ASV, NIV, RSV, NRSV, NJB), “purified oil” (NASB) or “spreading perfume” (NAB, CEV). However, this is syntactically awkward because: (a) the noun שֶׁמֶן (“oil”) is masculine (BDB 1032 s.v. שֶׁמֶן) but the verb תּוּרַק (“poured out”) is feminine (3rd person feminine singular); and (b) this would demand heterosis of the verb for an adjective function. (2) Aquila, who is known for his woodenly literal translation technique, reads ἒλαιον ἐκκενωθὲν (elaion ekkenwqen, “oil poured out”) which reflects a passive participle functioning adjectivally, perhaps מוּרָק (muraq; Hophal participle ms from רִיק “to pour out”). This involves simple orthographic confusion between ת and מ. This might be reflected in Qumran because Baillet’s restoration of 6QCant reads מרקחת מורקה (cited in BHS apparatus “c-c”) which would be vocalized מִרְקַחַת מוּרקָה (mirqakhat murqah, “perfumed poured out”). However, Baillet’s restoration is questioned by some scholars. (3) The BHS editors suggest emending MT תּוּרַק (turaq) to the noun תַּמְרוּק (tamruq, “purification”), used for oil of purification (e.g., Esth 2:3, 9, 12): תַּמְרוּק שֶׁמֶן (shemen tamruq) would mean “oil of purification” or “purified oil.” (4) A simpler solution is to take תּוּרַק as a previously unrecognized noun that is related to the Ugaritic noun trq which refers to high grade cosmetic oil (UT 145.20; 19.371). This approach is adopted by one other translation: “Your name is like finest oil” (NJPS).
[1:3] 12 sn The similar sounding terms שֵׁם (shem, “name”) and שֶׁמֶן (shemen, “perfume”) create a wordplay (paronomasia).
[1:3] 13 sn The term עַלְמָה (’almah, “young woman”) refers to a young woman who is of marriageable age or a newly married young woman, usually before the birth of her first child (HALOT 835-36 s.v. עַלְמָה; BDB 761 s.v. עַלְמָה) (e.g., Gen 24:43; Exod 2:8; Ps 68:26; Prov 30:19; Song 1:3; 6:8; Isa 7:14). The only other use of the term “young women” (עֲלָמוֹת) in the Song refers to the young women of Solomon’s harem (Song 6:8). The root עלם denotes the basic idea of “youthful, strong, passionate” (HALOT 835 s.v. III עלם). While the term עַלְמָה (“young woman”) may be used in reference to a young woman who is a virgin, the term itself does not explicitly denote “virgin.” The Hebrew term which explicitly denotes “virgin” is בְּתוּלָה (bÿtulah) which refers to a mature young woman without any sexual experience with men (e.g., Gen 24:16; Exod 22:15-16; Lev 21:3; Deut 22:23, 28; 32:25; Judg 12:12; 19:24; 2 Sam 13:2, 18; 1 Kgs 1:2; 2 Chr 36:17; Esth 2:2-3, 17, 19; Job 31:1; Pss 45:15; 78:63; 148:12; Isa 23:4; 62:5; Jer 2:32; 31:3; 51:22; Lam 1:4, 18; 2:10, 21; 5:11; Ezek 9:6; Joel 1:8; Amos 9:13; Zech 9:17 (HALOT 166-7 s.v. בְּתוּלָה; BDB 143 s.v. בְּתוּלָה). The related noun בְּתוּלִים (bÿtulim) means “state of virginity” (Lev 21:13; Judg 11:37-38; Ezek 23:3, 8; Sir 42:10) and “evidence of virginity” (Deut 22:14-15, 17, 20) (HALOT 167 s.v. בְּתוּלִים).
[1:4] 15 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.
[1:4] 16 tn The three verbs in this line are a good example of heterosis of person, that is, a shift from 2nd person masculine singular to 1st person common plural to 3rd person masculine singular forms: מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from מָשַׁךְ, mashakh, “to draw” + 1st person common singular suffix:), נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”), and הֱבִיאַנִי (hevi’ani, “he has brought me” or “bring me!”; Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix). Heterosis from second to third person occurs elsewhere in the Song in 1:2-3; 4:2; 6:6 (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).
[1:4] 17 tn Or “O king, bring me into your chambers!” The article on the noun הַמֶּלֶךְ (hammelekh, “the king”) may be taken in two ways: (1) the particularizing use of the article: “The king” (e.g., NIV: “The king has brought me into his chambers”) or (2) the vocative use of the article: “O king!” (NJPS margin: “O king, bring me into your chambers!”) (For the vocative use of the article, see GKC 405 §126.e; Joüon 2:506-7 §137.f; R. J. Williams, Hebrew Syntax, 19, §89; IBHS 247 §13.5.2c). The syntactical classification of the article is dependent upon: (1) Whether the MT reading of the 3rd person masculine singular suffix on חֲדָרָיו (khadarav, “his chambers”) is retained or whether the text is emended to the 2nd person masculine singular suffix form חַדְרֶךָ (khadrekha, “your chamber”) as reflected in Syriac (see textual note below). (2) Whether הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular from בּוֹא, bo’, “to bring” + 1st person common singular suffix) is classified as a perfect of past action (“The king has brought me into his chambers”) or a precative perfect (“O king, bring me into your chambers!”) (see syntactical note below). (3) Whether the consonantal form הביאני should be vocalized as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular + 1st person common singular suffix) as preserved in MT or as הֲבִיאֵנִי (havi’eni, Hiphil imperative 2nd person masculine singular + 1st person common singular suffix) as reflected in Symmachus and Syriac (see textual note below).
[1:4] 18 tn Or “has brought me.” The verb הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular בּוֹא, bo’, “to bring” + 1st person common singular suffix) may be classified in two ways: (1) perfect of past action: “The king has brought me into his chambers” or (2) precative perfect: “May the king bring me into his chambers!” (J. S. Deere, “Song of Solomon,” BKCOT, 1012). While some older grammarians denied the existence of the precative (volitional) function of the perfect in Hebrew (e.g., S. R. Driver, Tenses in Hebrew, 25-26; GKC 312-13 §106.n, n. 2), its existence is accepted in more recent grammars (e.g., IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). While the perfect of past action is the more common use of the perfect, the context suggests the more rare precative. As IBHS 494-95 §30.5.4d notes, the precative can be recognized contextually by its parallelism with the other volitive forms. The parallelism of precative הֱבִיאַנִי (“bring me!”) with the volitives in the two preceding parallel colons – מָשְׁכֵנִי (mashÿkheni, “draw me!”; Qal imperative 2nd person masculine singular from משַׁךְ, mashakh, “to draw” + 1st person common singular suffix:) and נָּרוּצָה (narutsah, “let us run!”; Qal cohortative 1st person common plural from רוּץ, ruts, “to run”) – favors the precative function of the perfect. The volitive function of consonantal הביאני is reflected in Syriac. The BHS editors suggest revocalizing MT to הֲבִיאֵנִי “bring me!” The precative function of the perfect הֱבִיאַנִי may explain the origin of this variant vocalization tradition reflected in Syriac. In terms of connotation, the precative functions as a volitive as an example of the irreal modal or optative function of the perfect (IBHS 494-95 §30.5.4d; Joüon 2:365 §112.k). In contrast to the use of the irreal perfect for situations which the speaker expresses as a wish without expectation of fulfillment (contrary-to-fact situations, hypothetical assertions, and expressions of a wish that is not expected to be realized), the precative refers to situations the speaker expresses his desire for and expects to be realized (IBHS 494-95 §30.5.4d). It is used most often in contexts of prayers to God which the speakers expect to be answered (e.g., Pss 3:8; 22:22; 31:5-6). Here, she expresses her desire that her lover consummate their love in his bedroom chambers; she expects this desire to be realized one day (e.g., 4:1-5:1). There are, however, several problems with nuancing the form as a precative: (a) this would demand emending MT חֲדָרָיו (khadarav, “his chambers”) to חַדְרֶךָ (khadrekha, “your chamber[s]”) – which is, however, reflected by Syriac Peshitta and Symmachus, and (b) it would demand nuancing the article on הַמֶּלֶךְ (hammelekh) as a vocative (“O king!”).
[1:4] 19 tc The MT reads the 3rd person masculine singular suffix on a plural noun חֲדָרָיו (khadarav, “his chambers”). This is reflected in LXX, Targums, and Vulgate. However, the 2nd person masculine singular suffix on a singular noun חַדְרֶךָ (khadrekha, “your chambers”) is reflected by Syriac Peshitta and Symmachus. See preceding note on the text-critical significance of these variant readings.
[1:4] 20 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.
[1:4] 21 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).
[1:4] 22 tn Alternately, “Let us rejoice and delight in you.” There is debate whether the cohortatives נָגִילָה (nagilah, Qal cohortative 1st person common plural from גִּיל, gil, “to exult”), וְנִשְמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”) and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) should be classified as (1) cohortatives of resolve, expressing the resolution or determination of the speakers to adopt or accomplish a course of action: “We will rejoice…we will delight…we will praise” (e.g., KJV, NASB, NIV) or (2) hortatory cohortatives, exhorting others to join in doing something: “Let us rejoice…let us delight…let us praise” (e.g., NJPS).
[1:4] 23 tn A shift occurs in 1:4 from 1st person common singular forms to 1st person common plural forms: “Draw me (מָשְׁכֵנִי, mashÿkeni)…Let us run (נּרוּצָה, narutsah)…Bring me (הֱבִיאַנִי, hevi’ani)…We will be glad (נָגִילָה, nagilah)…We will rejoice in you (וְנִשְׁמְחָה, vÿnishmÿkhah)…We will remember (נַזְכִּירָה, nazkirah)…They love you (אֲהֵבוּךָ, ’ahevukha)….” Several translations and many commentators end the words of the Beloved at 1:4a and begin the words of the Friends in 1:4b and revert back to the words of the Beloved in 1:4c. The subject of the 1st person common plural forms may be the “young women” (עֲלָמוֹת) previously mentioned in 1:3. This is supported by the fact that in 1:3 the Beloved says, “The young women love you” (עֲלָמוֹת אֲהֵבוּךָ, ’alamot ’ahevukha) and in 1:4c she again says, “Rightly do they [the young women] love you” (מֵישָׁרִים אֲהֵבוּךָ, mesharim ’ahevukha). On the other hand, in ANE love literature the bride often uses plural pronouns to refer to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99). Some commentators suggest that the young man is addressing his beloved because בָּךְ (bakh) appears to have a 2nd person feminine singular suffix. However, the suffix on בָּךְ is in pause (after the accent) therefore, the normal 2nd person masculine singular suffix בָּךָ has reduced to shewa. The parallelism with the 2nd person masculine singular suffix on דֹדֶיךָ (dodekha, “your love”) supports the 2nd person masculine singular classification.
[1:4] 24 tn Alternately, “remember.” The verb נַזְכִּירָה (nazkirah, Hiphil imperfect 1st person common plural from זָכַר, zakhar) is traditionally rendered “we will remember” (KJV), but is better nuanced “we will extol” (NASB) or “we will praise” (NIV). The verb זָכַר has a wide range of meanings: “to remember, call to mind” (Gen 8:1; Deut 24:9; Judg 8:34), “to name, mention” (Jer 20:9; 23:36; 31:20; Pss 63:7; 77:4), “to summon, command” (Nah 2:6), “to swear by” (Amos 6:10; 1 Chr 16:4), and “to praise, extol” (Exod 23:13; Josh 23:7; Pss 45:18; 71:16; Isa 26:13; 48:1; 62:6). The Hiphil stem has four denotations, and “to remember” is not one of them: (1) “to take to court,” (2) “to mention,” (3) “to make known,” and (4) “to praise, profess” (HALOT 269-70 s.v. I זכר). NJPS offers a poetic nuance that plays upon the wine motif: “savoring it more than wine.”
[1:4] 25 tn Alternately, “The righteous love you.” Scholars debate whether מֵישָׁרִים (mesharim) should be taken as a substantive (“the righteous”), abstract noun (“righteousness”), or adverb (“rightly”). The LXX’s εὐθύτης ἠγάπησεν σε (euquths hgaphsen, “righteousness loves you”) is awkward. The adverbial sense is preferred for several reasons: (1) The verb אֲהֵבוּךָ (’ahevuka, “they love you”) in 1:4c is repeated from 1:3c where it was used in reference to the maiden’s love for her lover. (2) There is no group designated as “the righteous” elsewhere in the Song. (3) To introduce an additional party into this poetic unit is unnecessary when it can be easily understood as a reference to the maidens of 1:3c.
[1:4] 26 tn Heb “they love you.” The words “the young women” do not appear in the Hebrew but are supplied in the translation for the sake of clarity. The shift from the 1st person common plural subjects in the three cohortatives – נָגִילָה (nagilah, Qal cohortative 1st person common plural from גּיל, gil, “to exult”), וְנִשְׂמְחָה (vÿnishmÿkhah, Qal cohortative 1st person common plural from שָמַח, shamakh, “to rejoice”), and נַזְכִּירָה (nazkirah, Hiphil cohortative 1st person common plural from זָכַר, zakhar, “to praise”) – to the 3rd person common plural subject in the verb אֲהֵבוּךָ (’ahevukha, Qal perfect 3rd person common plural from אָהֵב, ’ahev, “to love” + 2nd person masculine singular suffix) suggests to many scholars that a shift in speakers occurs at this point: the maidens praise the young man in the first two lines, while the Beloved affirms the appropriateness of their praise in the last line (e.g., NIV). However, the shift in person might simply be another example of heterosis of person (as already seen in 1:2-4a) – this time from first person to third person. Thus, the shift in grammatical person does not necessarily indicate a shift in speakers. It is possible that the maidens are speaking throughout all three lines, and that the third line should be nuanced, “How rightly we love you!”
[1:5] 27 tn Heb “O daughters of Jerusalem.”
[1:5] 28 sn The term “dark” does not appear in the Hebrew in this line but is supplied in the translation from the preceding line for the sake of clarity. The poetic structure of this tricolon is an example of redistribution. The terms “black but beautiful” in the A-line are broken up – the B-line picks up on “black” and the C-line picks up on “beautiful.” The Beloved was “black” like the rugged tents of Qedar woven from the wool of black goats, but “beautiful” as the decorative inner tent-curtains of King Solomon (J. L. Kugel, The Idea of Biblical Poetry, 40; W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 181).
[1:5] 29 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.
[1:5] 30 tn The term “lovely” does not appear in the Hebrew in this line but is supplied in the translation from the first line in this verse for the sake of clarity.
[1:5] 31 sn There is debate whether the terms “tents” אָהֳלֵי (’ahale, “tents”) and יְרִיעוֹת (yÿri’ot, “tent-curtains”) used here as synonyms or antonyms. The term אֹהֶל (’ohel, “tent”) is often used in reference to an overall tent assembly, with particular emphasis on the external structure (e.g., Gen 4:20; 18:1; 31:33; Exod 26:13; 40:19; Judg 4:17; Isa 54:2; Jer 37:10) (HALOT 19 s.v. I אֹהֶל). The term “tent-curtains” (יְרִיעוֹה) is used to refer to (1) inner hanging curtains, such as decorative hangings or tapestries inside a tent (e.g., Exod 26:1-2, 7; Num 4:25) and (2) a tent as a whole (e.g., 2 Sam 7:2; Jer 4:20; 10:20; Hab 3:7) (HALOT 439 s.v. יְרִיעוֹת). The two terms are often used in parallelism as an A-B word pair (Isa 54:2; Jer 4:20; 10:20; 49:29; Hab 3:7). Like the “tents” (אֹהָלִים) of Qedar which were made from the wool of black goats, “tent-curtains” (יְרִיעוֹה) also were sometimes made from goat hair (Exod 26:7). If the two are synonymous, the point is that the tents of Qedar and the tent-curtains of Salmah were both black but beautiful. If the two terms are antonyms, the point is that the tents of Qedar are black but the tent-curtains of Salmah are beautiful. In either case, her point is that she is black, but nonetheless beautiful. Rabbinic midrash misses the point; it views the metaphor as contrasting her swarthy outward appearance with her inner beauty: “Just as the tents of Kedar, although from outside they look ugly, black, and ragged, yet inside contain precious stones and pearls, so the disciples of the wise, although they look repulsive and swarthy in this world, yet have within them knowledge of the Torah, Scriptures, Mishnah, Midrash, Halachoth, Talmud, Toseftas and Haggadah” (Midrash Rabbah 4:54-55).
[1:5] 32 tc The MT vocalizes שׁלמה as שְׁלֹמֹה (shÿlomoh, “Solomon”); however, the BHS editors suggest the vocalization שַׁלְמָה (shalmah); cf. NAB “Salma.” Salmah is the name of an ancient Arabian tribe mentioned in Assyrian and South Arabic sources, as well as Targum Onqelos (Gen 15:19; Num 24:21; Judg 4:17). Like the tribe of Qedar, Salmah was an Arabian nomadic tribe which inhabited a region in northern Arabia and the region of Petra. The proposed revocalization produces tighter parallelism between Qedar and Salmah, than Qedar and Solomon. This also creates a striking wordplay on the name שְׁלֹמֹה (M. H. Pope, Song of Songs [AB], 320).
[1:6] 33 tn The relative pronoun שֶׁ (she) on שֶׁאֲנִי (she’ani, “because I”) functions in a causal sense, as in the following colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).
[1:6] 34 tn The relative pronoun שֶׁ (she) on שֶׁשֱּׁזָפַתְנִי (sheshshezafatni) functions in a causal sense, as in the preceding colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).
[1:6] 35 tn Heb “the sun has stared at me.” The verb שָׁזַף (shazaf) means “to look at, catch sight of, glance at” (e.g., Job 20:9; 28:7) (HALOT 1456 s.v. שׁזף; BDB 1004 s.v. שָׁזַף). The Beloved personifies the sun (הַשָּׁמֶשׁ, hashshamesh) as having looked at the Beloved too long, that is, it burned her skin.
[1:6] 36 tn Heb “the sons of my mother.”
[1:6] 37 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).
[1:6] 38 sn The noun כֶּרֶם (kerem, “vineyard”) is used figuratively in this line (see following note on the wordplays in this verse). Some suggest that her “vineyard” refers to her virginity, that is, she lost her virginity. However, this runs contrary to the moral purity accorded to the Beloved throughout the Song (e.g., 4:12; 8:8-10). It is better to take the “vineyard” imagery as a reference to her ability to take care of her physical appearance which had been thwarted by being forced to work outside where her skin had been darkened by the scorching rays of the sun, as alluded to throughout 1:4-5[5-6].
[1:6] 39 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”).
[1:7] 41 tn The causal relative pronoun שֶׁ (she, “because”; BDB 980 s.v. שֶׁ 3.b) is prefixed to the interrogative particle לָמָה (lamah, “why?”; BDB 554 s.v. מַה 4.d) to form the idiom שַׁלָּמָה (shallamah, “lest”; BDB 554 s.v. מַה 4.d.β; 980 s.v. שֶׁ 3b). BDB notes that לָמָה is used with an imperfect – as is the case here with אֶהְיֶה (’ehyeh, Qal imperfect 1st person common singular from הָיָה, haya, “to be”) – to deprecate a situation and for rhetorical emphasis to introduce the reason why something should, or should not, be done: “Why should?” (e.g., Gen 27:45; 47:19; Exod 32:12; 1 Sam 19:5, 17; 20:8, 32; 2 Sam 2:22; 13:26; 16:9; 20:19; 2 Kgs 14:10; 2 Chr 25:16; Neh 6:3; Pss 79:10; 115:2; Eccl 5:5; 7:16-17; Jer 40:15; Joel 2:17) (BDB 554 s.v. מַה 4.d.β). When connected with a foregoing sentence by the causal relative pronouns שֶׁ “because,” the idiom שַׁלָּמָה connotes “lest” (literally, “Because why should?”) (BDB 554 s.v. 4.d.β). The meaning of שַׁלָּמָה is identical to the parallel constructions אֲשֶׁר לָמָּה (’asher lammah, “lest”; Dan 1:10) and דִּי לְמָה (di lÿmah, “lest”; Ezra 7:23). In Song 1:6[7] the causal relative pronoun שֶׁ connects it to the preceding lines, and our idiom assumes the elided phrase לִי הַגִּידָהּ (haggidah li, “Tell me!”) which occurred earlier: “Tell me lest I …!” or “Tell me! For why should I…?”
[1:7] 42 tn The meaning of MT עֹטְיָה (’otÿyah, Qal active participle fs from עָטָה, ’atah, “to veil oneself”) is debated; several options have been proposed: (1) Some scholars attempt to explain this in light of ancient Israelite culture or customs. The term עָטָה describes a person wrapping oneself in a garment or with a veil (HALOT 813 s.v. I עטה) as (a) a sign of grief or mourning (Ezek 24:17, 22), uncleanness (Lev 13:45), or shame (Mic 3:7), and as (b) the clothing of the deceased (1 Sam 28:14) and veiled cult-prostitutes (Gen 28:14). The term is rendered “one who veils herself” (NASB), “one who is veiled” (NRSV, KJV margin) and “like a veiled woman” (ASV, NIV). BDB suggests that she veiled herself in mourning (BDB 741 s.v. I עָטָה). Rashi suggested that she veiled herself in mourning because she did not know where to find her beloved (Canticles Rabbah 1:6). Many commentators connect this with the veiled cult-prostitute soliciting business among shepherds. She wished to avoid what Tamar tried to do: to be mistaken as a harlot looking for business among the shepherds (Gen 38:14-23). If her beloved would not declare his whereabouts, she would be reduced to looking for him among the shepherds – an action that could be easily misunderstood. This is reflected in the CEV paraphrase: “Don’t let the other shepherds think badly of me.” R. E. Murphy (Song of Songs [Hermeneia], 131) writes: “Commentators have interpreted the covering as a sign of mourning (2 Sam 15:30) or as the sign of a harlot (Gen 38:14-15). These references are not helpful in explaining the context of v 7, and in neither of the instances is the word עָטָה used. She seems rather to refer to some kind of covering or disguise she will be forced to use unless she knows where to find him. One can infer that the disguise will enable her to avoid being identified by his ‘companions,’ but no reason is given (perhaps she does not want them to know about the rendezvous?)” (2) Other scholars resort to comparative lexicography. For example, S. R. Driver suggested that עֹטְיָה is not derived from עָטָה I (“to veil”), but from the Arabic root gth that came into Hebrew as the homonymic root עָטָה “to pick lice” (Isa 22:17; Jer 43:12) (HALOT 814 s.v. II עטה). Driver renders the line, “lest I be left picking lice,” that is, while away the siesta-time grooming herself. Most scholars reject this proposal; it seems strange in the context and unnecessarily creates a homonym for a well-known term that makes adequate sense contextually. Nevertheless, Driver’s proposal was adopted by the NEB: “that I may not be left picking lice.” See D. R. Driver, “Lice in the Old Testament,” PEQ 106 (1974): 159-160. (3) Still other scholars emend the text. MT reads כְּעֹטְיָה (kÿ’otÿyah, “like one who is veiled”) (preposition כְּ + Qal active participle fs עָטָה I “to veil”) which is also reflected in the LXX’s ὠ περιβαλλομενη (w periballomenh, “like one who is covered”; fs passive participle from περιβάλλω, periballw, “to cover”). However, several ancient versions (Greek: Symmachus, Syriac Peshitta, Vulgate) reflect a Hebrew Vorlage with metathesis of the first two consonants: כְּטֹעִיָּה (kÿto’iyyah) from טָעָה (ta’ah, “to wander about, to stray”; e.g., Ezek 13:10). The root טָעָה would be an Aramaizing form of Hebrew תָּעָה (“to wander”). This emendation is suggested by the BHS editors and the lexicons (HALOT 377 s.v. טעה; 814; BDB 742 s.v.); It is adopted by many translations: “like one who wanders” (RSV, AV, JB, NAB, NJV), “like one who strays” (JPS, NJPS) and “as one that turneth aside” (KJV). This would make nice sense contextually: she begs her beloved to tell her where to find him because she does not want to wander around like someone who is lost.
[1:9] 43 tn Heb “I compare you to.”
[1:9] 44 tn The hireq-yod ending on סֻסָתִי (susati) is a remnant of the old genitive ending (e.g., nominative: malku, genitive: malki, accusative: malka), the so-called hireq compaginis ending. Thus, סֻסָתִי בְּרִכְבֵי פַרְעֹה (susati berikve par’oh) is a double genitive-construct: “a mare among the chariot-horses of Pharaoh” (M. H. Pope, Song of Songs [AB], 338) or “a mare among the chariots of Pharaoh” (R. E. Murphy, Song of Songs [Hermeneia], 131). The hireq-yod ending was mistakenly treated as 1st person common singular possessive suffix “my mare” by LXX, Vulgate, Syriac. This approach is mistakenly adopted by several translations: “my mare” (NASB, NJB), “my filly” (NKJV) and “my company of horsemen” (DRA).
[1:9] 45 sn It was common in ancient love literature to compare a beautiful woman to a sleek filly. For example, Horace likened Lyde to a three year old filly: “She gambols over the spreading plains and shrinks from touch, to wedlock still a stranger, not yet ripe for eager mate” (Horace, Odes iii. xi. 9). Theocritus compared Helen of Troy to a graceful steed harnessed to a chariot: “As towers the cypress mid the garden’s bloom, as in the chariot proud Thessalian steed, thus graceful rose-complexion’d Helen moves” (Theocritus, Idyll xviii. 30-31).
[1:9] 46 tn Heb “among the chariot-horses” or “among the chariots.” The noun רֶכֶב (rekhev) has a wide range of meanings: “chariots, war-chariots” (Exod 14:17-18, 23; 15:19; Deut 11:4; 20:1; Josh 11:4) “chariot crews, chariot troops” (1 Kgs 9:22; 16:9; 22:31; 2 Kg 8:21), “column of chariots, troop of warriors” (Isa 21:7, 9), “charioteer” (Ps 76:7), and “chariot-horses” (Exod 14:9; 2 Sam 8:4; 1 Chr 18:4; Ezek 39:20) (HALOT 1233-35 s.v. רֶכֶב). Scholars have struggled with the meaning of בְּרִכְבֵי פַרְעֹה (bÿrikhbe par’oh, “[harnessed to (?)] Pharaoh’s chariot”; HALOT 1234 s.v. 6.b). M. H. Pope (Song of Songs [AB], 338) suggests that רִכְבֵי (rikhbe) be nuanced “chariot-horses” and the phrase rendered “among the chariot-horses of Pharaoh.” Pope offers the best explanation of this enigmatic picture: “A crucial consideration overlooked by commentators is the well-attested fact that Pharaoh’s chariots, like other chariotry in antiquity, were not drawn by a mare or mares but by stallions hitched in pairs. This bit of intelligence radically alters the usual understanding of the verse and dispels the notion that there is a grammatical incongruity, which needs harmonizing. The juxtaposition is between a single mare and a plurality of stallions and it requires only a modicum of what is called ‘horse sense’ to appreciate the thrust of the comparison. The situation envisaged is illustrated by the famous incident in one of the campaigns of Thutmose III against Qadesh. On his tomb at Thebes, the Egyptian soldier Amenemheb relates how the Prince of Qadesh sent forth a swift mare, which entered among the army. But Amenemheb ran after her on foot and with his dagger ripped open her belly, cut off her tail, and presented it to the king, thus preventing a debacle before the excited stallions could take out after the mare.”
[1:10] 47 tn The phrase “is lovely” does not appear in the Hebrew but is supplied in the translation for the sake of clarity to complete the parallelism with the preceding line.
[1:11] 48 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].
[1:11] 49 tn Or “We will make gold ornaments with your studs of silver.”
[1:12] 50 tn The lexicons suggest that מֵסַב (mesav) refers to a round banquet table (HALOT 604 s.v. מֵסַב) or divan with cushions (BDB 687 s.v. מֵסַב 2). In Mishnaic Hebrew the noun מֵסַב refers to a dining couch, banquet table, as well as cushions or pillows (HALOT 604). The related noun מְסִבָּה (mÿsibbah) refers to a banqueting party (HALOT 604 s.v. מְסִבָּה; Jastrow 803 s.v. מְסִבָּה). The versions took it as a reference to a resting place (see LXX, Vulgate, Syriac Peshitta). R. E. Murphy (Song of Songs [Hermeneia], 131) suggests that it refers to (1) a couch or divan on which a person declined while eating, (2) a group of people gathered in a circle, that is, an entourage, or (3) a private place such as an enclosure.
[1:12] tc The MT בִּמְסִבּוֹ (bimsibbo, “his banquet table”) is enigmatic: “While the king was at his banquet table, my nard gave forth its fragrance.” W. Rudolph suggests emending to מְסִבִּי (mÿsibbi, “around me”): “While the king surrounded me, my nard gave forth its fragrance” (Des Buch Ruth, das Hohe Lied, die Klagelieder [KAT], 27).
[1:12] 51 sn “Nard” (נֵרְדְּ, nerdÿ) was an aromatic oil extracted from the Valerian nardostachys jatamansi which was an aromatic drug from a plant which grew in the Himalaya region of India, used for perfume (HALOT 723 s.v. נֵרְדְּ). Nard was an expensive imported perfume, worn by women at banquets because of its seductive charms. It was used in the ANE as a love potion because of its erotic fragrance (R. K. Harrison, Healing Herbs of the Bible, 48-49).
[1:12] 52 tn Or “The fragrance of my myrrh wafted forth.”
[1:13] 53 sn The term מֹר (mor, “myrrh”) refers to an aromatic gum (Commiphora abessinica resin) which exudes from the bark of the Balsmodendron myrrha tree which was native only to Arabia, Abyssinia, and India (HALOT 629 s.v. מֹר). It was an expensive luxury item, which had to be imported into Israel. In liquid form it could be carried in small bottles like nard, but it was also used in solid form in which it was carried in a small cloth pouch or sachet worn next to the body. The myrrh was mixed with fat and shaped into cones and as the fat melted from the body heat, the aroma of myrrh and the anointing oil would perfume a woman’s body. Because it had a very strong aroma which would last for long periods of time, women often wore it to bed to perfume themselves for the next day. Because of its beautiful fragrance, it is associated with romance (e.g., Isa 3:24) (R. K. Harrison, Healing Herbs of the Bible, 45-46).
[1:13] 54 tn Alternately, “resting between my breasts.” The verb לִין (lin) has a three-fold range of meaning in the Qal stem: (1) “to leave overnight,” e.g., meat or corpse on a tree, (2) “to spend the night, stay overnight,” and (3) “to stay, dwell” (HALOT 529 s.v. לין). The myrrh motif (see study note above) suggests the nuance “to spend the night” (HALOT 529 s.v. 2). This is also the most appropriate nuance of its usage in Song 7:12 (e.g., Gen 19:2; 24:23, 25, 54; 28:11; 31:54; 32:14, 22; Num 22:8; Josh 3:1; 4:3; 6:11; 8:9; Judg 18:2; 19:4-15 (9x), 20; 20:4; 2 Sam 12:16; 17:8, 16; 19:8; 1 Kgs 19:9; Isa 21:13; 65:4; Jer 14:8; Joel 1:13; Zeph 2:14; Pss 25:13; 55:8; Job 24:7; 31:32; 39:9; Prov 19:23; Song 7:12; Ruth 1:16; 3:13; Neh 4:16; 13:20; 1 Chr 9:27). Several translations follow course: “he shall lie all night betwixt my breasts” (KJV) and “which lies all night between my breasts” (NASB). Others downplay the obvious sexual connotations: “resting between my breasts” (NIV) and “lodged between my breasts” (NJPS). The imperfect has been taken in two basic senses: (1) future time action: “he shall spend the night between my breasts” and (2) present characteristic or present progressive: “he spends the night between my breasts.” The latter is favored by the characteristic/progressive nature of the metaphors used through 1:12-13[13-14].
[1:14] 55 sn The henna plant (כֹּפֶר, kofer, “henna”; HALOT 495 s.v. III כֹּפֶר) is an inflorescent shrub with upward pointing blossoms, that have sweet smelling whitish flowers that grow in thick clusters (Song 4:13; 7:12). Like myrrh, the henna plant was used to make sweet smelling perfume. Its flowers were used to dye hair, nails, fingers, and toes orange.
[1:14] 56 sn En-Gedi is a lush oasis in the midst of the desert wilderness on the southwestern shore of the Dead Sea. The surrounding region is hot and bleak; its dry sands extend monotonously for miles. The Dead Sea region is a salty desert covered with a dusty haze and characterized by almost unbearable heat during most of the year. The lush oasis of En-Gedi is the only sign of greenery or life for miles around. It stands out as a surprising contrast to the bleak, dry desert wilderness around it. In the midst of this bleak desert wilderness is the lush oasis in which indescribable beauty is found. The lush oasis and waterfall brings welcome relief and refreshment to the weary desert traveler.
[1:15] 57 sn His praise begins with the exclamatory particle הִנֵּה (hinneh, “behold!”). This is often used to introduce a statement in which the speaker either newly asserts or newly recognizes something (BDB 244 s.v. הִנֵּה b.a).
[1:15] 58 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).
[1:15] 59 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).
[1:15] 60 tn Heb “Your eyes are doves.” This metaphor compares her eyes to doves. There is no lack of suggestions as to the point of the comparison: (1) Arabic love literature describes doves having sentimental eyes, the point here (Marcia Falk, Love Lyrics from the Bible, 113). (2) The comparison has to do with the color of her eyes (G. L. Carr, Song of Solomon [TOTC], 86). (3) The comparison has to do with the glistening color of the dove and its quick movements, that is, her eyes had a beautiful color and had lively motion (M. H. Pope, Song of Songs [AB], 356). (4) The comparison has to do with the fluttering of her eyes which reminded him of the fluttering of a dove’s wings (M. D. Goulder, The Song of Fourteen Songs [JSOTSup], 5). (5) The comparison has to do with gentleness and purity, as well as longing and simplicity (K&D 18:38).
[1:16] 61 sn The statement הִנָּךְ יָפָה רַעְיָתִי (hinnakh yafah ra’yati, “How beautiful you are, my darling”) in 1:15 is virtually mirrored by the Beloved’s statement in 1:16, הִנְּךְ יָפֶה דוֹדִי (hinnÿkh yafeh dodi, “How handsome you are, my lover”).
[1:16] 62 tn The term אַף (’af, “how”) is used to: (1) introduce additional information; (2) to emphasize a point; (3) to enhance a statement; (4) to create an antithesis (HALOT 76 s.v. אַף). The usage here is to enhance “how pleasant” or “certainly pleasant” (HALOT 76). The particle אַף is often used in Hebrew poetry to emphatically introduce a thought in the second colon which is a step beyond what was asserted in the first colon (e.g., Deut 33:3, 20, 28; 1 Sam 2:7; Pss 16:6, 7, 9; 18:49; 65:14; 68:9, 17; 74:16; 89:28; 93:1; Prov 22:19; 23:28) (BDB 64 s.v. b.1). Sometimes, אַף is used to introduce a surprise or something unexpected (e.g., Job 14:3; 15:4) (BDB 65 s.v. a.1). The particle אַף (“Oh!”), which introduces this line, is often used in Hebrew poetry to emphatically introduce a new thought and indicates that this is an addition to the previous statement; it is something far greater.
[1:16] 63 tn The term נָעִים (na’im, “pleasant, delightful”) can refer to physical attractiveness or to personal character (BDB 653 I נָעֵם; HALOT 705 s.v. I נעם). Some suggest that it refers to the pleasantness of his character and personality; however, it is better to take this as a reference to his handsome physical appearance for several reasons: (1) The terms יָפֶה (yafeh, “handsome”) and נָעִים (“delightful”) are probably used in synonymous rather than synthetic parallelism. (2) The emphasis in 1:15-16 is on physical beauty as the repetition of the term “beautiful, handsome” (יָפֶה) suggests. (3) The related verb נָּעַמְתְּ (na’amtÿ, “to be delightful”) is used in Song 7:7 in synonymous parallelism with יָפָת (yafat, “to be beautiful”) in the description of the Beloved’s physical beauty. (4) Hebrew lexicographers classify this usage of נָעִים in Song 1:16 in terms of physical beauty rather than personal character (BDB 653 s.v. 2).
[1:16] 64 tn The term רַעֲנָנָה (ra’ananah, “lush, verdant”) refers to the color “green” and is often used in reference to luxuriant foliage or trees (Pss 37:35; 52:8; Jer 11:16; Hos 14:8). The impression 1:16c-17 gives is that the young man and young woman are lying down together on the grass in the woods enjoying the delights of their caresses. They liken the grass below and the green leaves above to a marriage couch or canopied bed.
[1:16] 65 tn Or “The lush foliage is our marriage couch.” The term עֶרֶשׂ (’eres, “bed”) describes a canopied bed (Pss 6:7; 41:4; 132:2; Prov 7:16) or marriage couch (Song 1:16) (BDB 793 s.v. עֶרֶשׂ).
[2:1] 66 tn Or “the rose of Sharon…the lily of the valleys.” There is debate whether the expressions חֲבַצֶּלֶת הַשָּׁרוֹן (khavatselet hashsharon) and שׁוֹשַׁנַּת הָעֲמָקִים (shoshannat ha’amaqim) are definite (“the rose of Sharon…the lily of the valleys”) or indefinite (“a rose of Sharon…a lily”). Some translations adopt the definite sense (KJV, NKJV, NASB, NAU, NJB, NLT); others the indefinite sense (ASV, RSV, NRSV, NIV, NIB, NAB, NJPS, CEV).
[2:1] 67 tn Heb “meadow-saffron” or “crocus.” The noun חֲבַצֶּלֶת (khavatselet) traditionally has been translated “rose” (KJV, NKJV, ASV, NASB, RSV, NRSV, NIV, NJPS, NLT, CEV); however, recent translations suggest “crocus” (NIV margin, NJPS margin), “narcissus” (DBY) or simply “flower” (DRA, NAB). The LXX translated it with the generic term ἀνθος (anqos, “flower, blossom”). Early English translators knew that it referred to some kind of flower but were unsure exactly which type, so they arbitrarily chose “rose” because it was a well-known and beautiful flower. In the light of comparative Semitics, modern Hebrew lexicographers have settled on “asphodel,” “meadow-saffron,” “narcissus,” or “crocus” (BDB 287 s.v. חֲבַצֶּלֶת; HALOT 287 s.v. חֲבַצֶּלֶת; DCH 3:153 s.v. חֲבַצֶּלֶת). The Hebrew term is related to Syriac hamsalaita (“meadow saffron”) and Akkadian habasillatu (“flower-stalk, marsh plant, reed”). Lexicographers and botanists suggest that the Hebrew term refers to Ashodelos (lily family), Narcissus tazetta (narcissus or daffodil), or Colchicum autumnale (meadow-saffron or crocus). The location of this flower in Sharon suggests that a common wild flower would be more consonant than a rose. The term appears elsewhere only in Isa 35:1 where it refers to some kind of desert flower – erroneously translated “rose” (KJV, NJPS) but probably “crocus” (NASB, NIV, NJPS margin). Appropriately, the rustic maiden who grew up in the simplicity of rural life compares herself to a simple, common flower of the field (M. H. Pope, Song of Songs [AB], 367).
[2:1] 68 sn Sharon is a low coastal plain stretching south from Mount Carmel. It is well watered due to the Kurkar ridges running parallel to the shore which trapped the water run-off from the Samaritan hills. The combination of low sandy hills and swampy lowlands produced heavy vegetation and an abundance of wild flowers in the area (M. H. Pope, Song of Songs [AB], 367).
[2:1] 69 tn There is debate about the referent of שׁוֹשַׁנָּת (shoshannat, “lily”) because there are many different species of the lily family. Botanists note that among the many different species of the lily family only one grows in Palestine. This species may be identified as the Anthemis palaestina, the chamomile, a white-daisy-like plant, which was indigenous to Palestine (Fauna and Flora of the Bible, 134-36).
[2:2] 70 sn This is an example of emblematic parallelism. An illustrative simile appears in the A-line and the subject of the comparison is in the B-line. The particles כֵּן…כְּ (cÿ…ken, “like…so”) form an emphatic comparative construction (e.g., Ps 123:2), see IBHS 641-42 §38.5a.
[2:2] 71 tn Alternately, “thorn bushes.” The term הַחוֹחִים (hahokhim) is probably derived from חוֹח (khokh,“thorn-bush, briars, thistles, thorns”; HALOT 296 s.v. I חוֹחַ; BDB 296 s.v. חוֹחַ) rather than חוֹח (khokh, “crevice”; HALOT 296 s.v. II חוֹחַ): “Like a lily among the thorns” rather than “Like a lily among the rock crevices.” The picture is of a beautiful flower growing in the midst of thorn bushes (1 Sam 14:11; 2 Kgs 14:9; 2 Chr 25:18; Job 31:40; Prov 26:9; Isa 34:13; Hos 9:6) rather than a beautiful flower growing in the midst of rocky outcroppings (1 Sam 13:6; 2 Chr 33:11). The Hebrew term is related to Akkadian hahu and haiahu “thorn” and hahinnu “thorny plants” (AHw 1:308) and Aramaic hahhu (HALOT 296). The “thorn bush” is a thistle plant (Poterium spinosum) which has prickly spines covered with thistles, but also sprouts beautiful small red flowers (Fauna and Flora of the Bible, 184-85).
[2:2] sn The Lover accommodates her self-denigrating comparison, but heightens it to praise her: If she insisted that she was nothing more than a common flower of the field, then he insisted that all other women were like thorns by comparison. The term חוֹח (khokh, “thorn”) is often used as a figure for utter desolation and the cause of pain; it is the antithesis of fertility and beautiful luxuriant growth (Job 31:40; Isa 34:13; Hos 9:6).
[2:3] 72 tn Like the preceding line, this is a case of emblematic parallelism. An illustrative simile appears in the A-line (object of the comparison) and the subject of comparison appears in the B-line. The particles כֵּן…כְּ (kÿ…ken, “like…so”) form an emphatic comparative construction (e.g., Ps 123:2); cf. IBHS 641-42 §38.5a.
[2:3] 73 sn Apple trees were not native to Palestine and had to be imported and cultivated. To find a cultivated apple tree growing in the forest among other wild trees would be quite unusual; the apple tree would stand out and be a delightful surprise. Like a cultivated apple tree, the Lover was unique and stood out among all other men. In ancient Near Eastern love literature, the apple tree was a common symbol for romantic love and sexual fertility (S. N. Kramer, The Sacred Marriage Rite, 100-101). The “apple tree” motif is used in the Song in a similar manner (e.g., Song 2:3; 8:5). Likewise, the motif of “apples” is used as a symbol of fertility (Joel 1:12) and sexual desire (Song 2:5, 7, 9).
[2:3] 74 tn Alternately, “I desired” or “I took delight in.” The meaning of this use of the verb חָמַד (khamad, “delight, desire”) is debated. The root has a basic two-fold range of meanings: (1) “to take pleasure in, delight in” (Job 20:20; Pss 39:12; 68:17; Prov 1:22; Isa 1:29; 44:9; 53:2) and (2) “to desire passionately, to desire illicitly” (Exod 20:17; 34:24; Deut 5:21; 7:25; Josh 7:21; Prov 1:22; 6:25; 12:12; Mic 2:2) (HALOT 325 s.v. חמד; BDB 326 s.v. חָמַד). The related noun חֶמְדָּה (khemÿkhah) describes objects which are “delightful, precious, desirable” (HALOT 325 s.v. חֶמְדָּה). Commentators who adopt an erotic view of the extended metaphor in 2:3 opt for the sexual desire nuance: “I desired (sexually).” Those who adopt the less erotic approach favor the more general connotation: “I took delight in” or “I delight in.”
[2:3] 75 tn Heb “I delighted and I sat down.” Alternately, “I sat down with delight….” The verbs חִמַּדְתִּי וְיָשַׁבְתִּי (khimmadti vÿyashavti, “I delighted and I sat down”) form a verbal hendiadys (GKC 386 §120.d): “I sat down with delight…” or “I delight to sit….” The sequence of a perfect followed by another perfect with vav conjunctive creates the coordination of the complementary verbal idea (first verb) with the idea of the main (second) verb. The main idea is indicated by the second verb; the first verb indicates the manner of action. The first verb functions adverbially while the second verb carries its full verbal sense (see IBHS 653-54 §39.2.5).
[2:3] 76 sn The term צֵל (tsel, “shade”) is used figuratively to depict protection and relief. This term is used in OT literally (physical shade from the sun) and figuratively (protection from something) (HALOT 1024-25 s.v. צֵל): (1) Literal: The physical shade of a tree offers protection from the heat of the midday sun (Judg 9:15; Ezek 17:23; 31:6, 12, 17; Hos 4:13; Jonah 4:6; Job 7:22; 40:22). Similar protection from the sun is offered by the shade of a vine (Ps 80:11), root (Gen 19:8), mountain (Judg 9:36), rock (Isa 32:2), cloud (Isa 25:5), and hut (Jonah 4:5). (2) Figurative (hypocatastasis): Just as physical shade offers protection from the sun, the Israelite could find “shade” (protection) from God or the king (e.g., Num 14:9; Isa 30:2; 49:2; 51:16; Hos 14:8; Pss 17:8; 36:8; 57:2; 63:8; 91:1; 121:5; Lam 4:20; Eccl 7:12). The association between “shade” and “protection” is seen in the related Akkadian sillu “shade, covering, protection” (AHw 3:1101; CAD S:189). The epithets of several Akkadian deities are sillu and sululu (“Shade, Protector”). The motif of protection, rest, and relief from the sun seems to be implied by the expression וְיָשַׁבְתִּי (vÿyashavti, “I sat down”) in 2:3b. During the summer months, the temperature often reaches 110-130ºF in the Negev. Those who have never personally experienced the heat of the summer sun in the Negev as they performed strenuous physical labor cannot fully appreciate the relief offered by any kind of shade! Previously, the young woman had complained that she had been burned by the sun because she had been forced to labor in the vineyards with no shade to protect her (Song 1:5-6). She had urged him to tell her where she could find relief from the sun during the hot midday hours (Song 1:7). Now she exults that she finally had found relief from the scorching sun under the “shade” which he offered to her (Song 2:3). S. C. Glickman writes: “Whereas before she came to him she worked long hours on the sun (1:6), now she rests under the protective shade he brings. And although formerly she was so exhausted by her work she could not properly care for herself, now she finds time for refreshment with him” (A Song for Lovers, 40).
[2:3] 77 sn The term פִּרְיוֹ (piryo, “his fruit”) is a figure for the young man himself or perhaps his kisses which the young woman delights to “taste” (e.g., Song 4:11; 5:13). It is possible to take the imagery of the young woman tasting his “fruit” as kissing. Likewise, the imagery of the gazelles grazing among the lilies is probably a picture of the young man caressing and kissing his beloved (Song 2:16; 6:3).
[2:3] 78 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.
[2:3] 79 tn Heb “my palate.” The term חִכִּי (khikki, “my palate”) is used metonymically in reference to the sensation of taste which is associated with a person’s palate. The idea of “tasting” is used as a metaphor in the OT for the experiential knowledge which is acquired through a person’s relationship with someone (e.g., Ps 34:9). Just as a person would learn whether a fruit was ripe and delicious by tasting it, so a person could learn of the quality of a person’s character by experiencing it through personal interaction. This extended metaphor compares the delights of his love to (1) the refreshment of sitting in the shade of a tree for refuge from the desert sun, and (2) the delight of tasting a sweet apple – a fruit that was not indigenous to Palestine.
[2:4] 80 tc The MT vocalizes consonantal הביאני as הֱבִיאַנִי (hevi’ani, Hiphil perfect 3rd person masculine singular with 1st person common singular suffix, “He has brought me”). However, several medieval Hebrew
[2:4] tn Alternately, “Bring me!”
[2:4] 81 tn Heb “house of wine.” The expression בֵּית הַיָּיִן (bet hayyayin, lit. “house of wine” or “place of wine”) refers to a banquet house where wine is drunk or a vineyard where grapes to produce wine are grown (HALOT 409 s.v. יַיִן). G. L. Carr favors the vineyard view due to the agricultural metaphors in 2:1-5. However, most commentators favor the banquet house view because of the reference to “raisin-cakes” and “apples” (2:4) which were served at banquets in the ancient Near East. Moreover, the expression בֵּית הַיָּיִן in in Song 2:4 may be equivalent to בֵּית מִשְׁתֵּה הַיַּיִן (bet mishte hayyayin, “house of the drinking of wine”) in Esther 7:8 (HALOT 409 s.v. יַיִן). Second, raisin cakes are mentioned in this context in 2:5, and they were often eaten to celebrate festive occasions (2 Sam 6:19; Isa 16:7; Hos 3:1); therefore, the banquet motif finds support. Selected Bibliography: E. Würthwein, “Zum Verständnis des Hohenliedes,” TRu 32 (1967): 205; G. L. Carr, Song of Solomon [TOTC], 90-91.
[2:4] 82 tc The MT vocalizes דגלו as the noun דְּגֶל (dÿgel) with 3rd person masculine singular suffix דִּגְלוֹ (diglo, “his banner [over me is love]”). However, several medieval Hebrew
[2:4] tn The meaning of the term דִּגְלוֹ (diglo) is debated. Five basic views have emerged: (1) “his banner over me was love.” BDB relates דִּגְלוֹ to the noun דְּגֶל (dÿgel, “standard, banner”; BDB 186 s.v. דֶּגֶל) which refers to (a) banners, standards (Num 1:52; 2:2) and (b) battalion, company of troops, or division of a tribe signaled by a banner or standard (Num 2:3, 10, 17-18, 25, 31, 34; 10:14, 18, 22, 25). Thus, most translations render דִּגְלוֹ as “his banner” (KJV, NASB, NIV, NJPS). However, the expression “His banner over me was love” is enigmatic. (2) “serve love to me!” Delitzsch revocalized the noun וְדִגְלוֹ (“his banner”) as an imperative וְדִגְלוּ (vÿdiglu, “serve [me]”) from the root דָּגַל (dagal, “to serve food”) which is related to Akkadian dagalu II (“to serve food”). Delitzsch renders the passage: “Bring me into the banquet hall and serve me love…for I am faint with love.” This is supported by LXX which reads: εἰσαγάγετέ με εἰς οἶκον τοῦ οἲνου, τάξατε ἐπ’ ἐμὲ ἀγάπην (eisagagete me eis oikon tou oinou, taxate ep’ eme agaphn, “Bring me into the wine house, and set love before me”). However, R. Gordis points out the difficulties with Delitzsch’s proposal: (a) The meaning “serve” for דָּגַל is unparalleled in Hebrew thus, it would create a homonymic hapax legomenon; (b) We would expect the preposition לִי (li, “to me”) rather than עָלַי (’ala, “over me”) after the imperative; and (c) The Akkadian parallel is uncertain. (3) “its banner above me is love.” HALOT relates דִּגְלוֹ to the Akkadian noun diglu (“eyesight, view, look, gaze”) and proposes the nuance “sign of an inn,” such as a flag placed over taverns (HALOT 213 s.v. דֶּגֶל). This approach renders the line: “He has brought me to the banquet hall, and its banner above me is love.” (4) “his look toward me was loving” = “he looked at me lovingly.” Several lexicons relate דִּגְלוֹ to the homonymic root דָּגַל, “look, glance” (e.g., DCH 2:415 s.v. II דָּגַל). The Hebrew noun degel II is related to the Akkadian noun diglu “eyesight, view, look, gaze” (CAD 3:21; AHw 1:14). Likewise, the Hebrew verb II דָּגַל (“to look, behold”; Song 5:10; 6:4, 10; Eccl 9:13; Ps 20:6) (BDB 186 s.v. דָּגַל; HALOT 213 s.v. I דגל; DCH 2:414 s.v. I) is related to the Akkadian verb dagalu I “to look upon, to gaze, to look with astonishment, to look at with admiration” (CAD 3:21; AHw 1:14). Those who adopt this approach render the line: “His glance upon me is love” (DCH 2:414) or “His look upon me was loving” (R. Gordis, “The Root dgl in the Song of Songs,” JBL 88 [1969]: 203-204; idem, Song of Songs and Lamentations, 81-82); or “He looked upon me with love.” (5) “his wish regarding me was lovemaking.” M. H. Pope (Song of Songs [AB], 376-77) notes that the Assyrian noun diglu may denote “wish,” i.e., desire or intent (CAD 3:136). He renders the line: “His wish regarding me was lovemaking” or “His intentions were to make love.” Pope’s suggestion has been adopted by several recent commentators (e.g., G. L. Carr, Song of Solomon [TOTC], 91).
[2:4] 83 tn The syntax of the noun אַהֲבָה (’ahavah, “love”) has been taken as: (1) predicate nominative: “His banner over me [was] love” or “His intention toward me [was] lovemaking” (M. H. Pope, Song of Songs [AB], 376-77; G. L. Carr, Song of Solomon [TOTC], 91); (2) genitive of attribute/content: “His banner of love [was] over me,” and (3) adverbial or adjectival accusative: “His look upon me was loving” or “He looked upon me lovingly” (R. Gordis, Song of Songs and Lamentations, 81-82). Examples of adverbial or adjectival accusatives, e.g., “I am peace” = “I am peaceful” (Ps 120:7); “I will love them as a free gift” = “I will love them freely” (Hos 14:5).
[2:5] 84 tn The imperatives סַמְּכוּנִי (sammÿkhuni, “sustain me”) and רַפְּדוּנִי (rappÿduni, “revive me”) are both plural in address (Piel 2nd person masculine plural imperatives with 1st person common singular suffixes). Thus, some commentators suggest that the woman is speaking to a large audience, perhaps the banquet guests implied in 2:4 or the maidens mentioned in 2:7 (R. Gordis, Song of Songs and Lamentations, 82). However, the Hebrew plural can be used in reference to a single individual when functioning in an intensive sense (IBHS 122 §7.4.3a). Thus, the woman may be speaking to her beloved, as in the rest of 2:3-6, but with intense passion. Similarly, in Sumerian love literature the bride sometimes uses plural verbs in reference to herself or her bridegroom (S. N. Kramer, The Sacred Marriage Rite, 92, 99).
[2:5] 85 sn The term אֲשִׁישׁוֹת (’ashishot, “raisin cakes,” from אֲשִׁישָׁה, ’ashishah) refers to an expensive delicacy made of dried compressed grapes (HALOT 95 s.v. אֲשִׁישָׁה; BDB 84 s.v. אֲשִׁישָׁה; Jastrow 128 s.v. אֲשִׁישָׁה). Raisin cakes were used as cultic offerings by many ancient Near Easterners, and were especially prominent in ancient Near Eastern fertility rites (e.g., Isa 16:7; Hos 3:1). In ancient Israel they were eaten during festive celebrations, being viewed as enhancing sexual fertility (2 Sam 6:19; 1 Chr 16:3). Scholars regard the “raisin cakes” as (1) literal food viewed as an aphrodisiac to “cure” her love-sickness; (2) a figurative expression (hypocatastasis) for sexual passion or lovemaking; or (3) double entendre referring to the literal food as an aphrodisiac and her desire for lovemaking.
[2:5] 86 tn Or “apricots.” The term תַּפּוּחִים (tappukhim, “apples,” from תַּפּוּחַ, tappukha) occurs four times in the book (Song 2:3, 5; 7:9; 8:5) and twice outside (Prov 25:4; Joel 1:12). It is usually defined as “apples” (BDB 656 s.v. תַּפּוּחַ); however, some argue for “apricots” (FFB 92-93). The Hebrew noun תַּפּוּחַ (“apple”) is derived from the Hebrew root נָפַח (nafakh, “scent, breath”) which is related to the Arabic root nafahu “fragrant scent” (HALOT 708 s.v. נפח). Hence, the term refers to a fruit with a fragrant scent. This may explain why the mere scent of this fruit was thought to have medicinal powers in the ancient Near East (G. E. Post, Flora of Syria, Palestine and Sinai, 128). This imagery draws upon two motifs associated with apples. First, apples were viewed as medicinal in ancient Syro-Palestinian customs; the sick were given apples to eat or smell in order to revive them. Similarly, the Mishnah and Talmud refer to apples as a medication like wine and grapes. Second, apples were considered an aphrodisiac in the ancient Near East. Both motifs are combined here because the Beloved is “love-sick” and only the embrace of her beloved can cure her, as 2:6 indicates (T. H. Ratzaby, “A Motif in Hebrew Love Poetry: In Praise of the Apple,” Ariel 40 [1976]: 14).
[2:5] 87 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).
[2:6] 88 tn Heb “His left hand is under my head.” Ultimately, the only cure for her love-sickness is the caress of her beloved. The ancient Near Eastern love songs frequently portray the embrace of the lover as the only cure for the speaker’s love-sickness. For example, one Egyptian love song reads: “She will make the doctors unnecessary, because she knows my sickness” (Papyrus Harris 4:11). Similarly, “My salvation is her coming in from outside; when I see her, I will be healthy. When she opens her eye, my body is young; when she speaks, I will be strong. When I embrace her, she exorcises evil from me” (Papyrus Chester Beatty, C5:1-2).
[2:6] 89 tn Heb “embraces.” Alternately, “May his left hand be under my head, and [may] his right hand embrace me.” The verb חָבַק (khavaq) has a two-fold range of meanings in the Piel stem: (1) to embrace or hug someone (Gen 29:13; 33:4; 48:10; Job 24:8; Prov 4:8; Eccl 3:5; Lam 4:5) and (2) to fondle or sexually stimulate a lover (Prov 5:20; Song 2:6; 8:3) (HALOT 287 s.v. חבק; BDB 287 s.v. חָבַק). The verb designates an expression of love by the position or action of one’s hands (TWOT 1:259). The term is probably used here as a euphemism. The function of the prefixed verbal form of תְּחַבְּקֵנִי (tÿkhabbÿqeni, “embrace me”) may be classified several ways: (1) ingressive: “His right hand is beginning to stimulate me,” (2) instantaneous: “His right hand is stimulating me [right now],” (3) progressive: “His right hand stimulates me,” (4) jussive of desire: “May his right hand stimulate me!” (5) injunction: “Let his right hand stimulate me!” or (6) permission: “His right hand may stimulate me.” Based upon their view that the couple is not yet married, some scholars argue for an imperfect of desire (“May his right hand stimulate/embrace me!”). Other scholars suggest that the progressive imperfect is used (“His right hand stimulates me”). For a striking parallel, see S. N. Kramer, The Sacred Marriage Rite, 105.
[2:7] 90 sn Frequently, when oaths were taken in the ancient world, witnesses were invoked in order to solemnize the vow and to act as jurists should the oath someday be broken. Cosmic forces such as the “heavens and earth” were often personified to act as witnesses to an oath (e.g., Deut 32:1; Isa 1:2; Mic 1:2; 6:1-2; Ps 50:2). In this case, the “witnesses” are the “gazelles and stags of the field” (2:7; 3:5). These animals were frequently used as symbols of romantic love in the OT (Prov 5:19). And in Egyptian and Mesopotamian love literature and Ugaritic poetry the gazelle was often associated with sexual fertility. For instance, in the following excerpt from a Mesopotamian incantation text the stag is referred to in the context of sexual potency in which a woman urges an ailing male: “With the love-[making of the mountain goat] six times, with the lovemaking of a stag seven times, with the lovemaking of a partridge twelve times, make love to me! Make love to me because I am young! And the lovemaking of a stag…Make love to me!” (R. D. Biggs, Ancient Mesopotamian Potency Incantations [TCS], 26, lines 4-8).
[2:7] 91 tn Traditionally, “hinds.” A hind is a female deer, generally less than three years old.
[2:7] 92 tn Heb “of the field.” The Hebrew term refers to open fields or open country as the home of wild animals; if taken adjectivally this could modify the previous term: “wild young does” (cf. NRSV).
[2:7] sn The “gazelles” and “does of the fields” are probably zoomorphisms for love personified. In other words, the witness of this oath is “love” itself. Should the daughters violate this vow which they are asked to make, “love” itself would hold them accountable. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18; Isa 14:9; Zech 10:3).
[2:7] 93 tn Alternately, “arouse…awaken….” The root עוּר (’ur) is repeated twice in 2:7 for rhetorical emphasis. The first is the Hiphil imperative (“do not awake/excite…”) and the second is the Polel imperative (“do not awake/start to move…”). The Hiphil depicts a causative action (causing love to initially awaken) and the Polel depicts an intensive action (repeated efforts to awaken love or to set love into motion). On the other hand, G. L. Carr (Song of Solomon [TOTC], 94) writes: “The meaning is not stir up, i.e., a repetition of the same act, but is rather first the act of awakening or summoning something, and then doing what is necessary to sustain the activity already begun, i.e., being so fully awakened that sleep becomes impossible (e.g., 5:2).” The terms ָתּעִירוּ (ta’iru, “arouse”; Hiphil imperative from עוּר) and תְּעוֹרְרוּ (tÿ’orÿru, “awaken”; Polel imperative from עוּר) are probably figurative expressions (hypocatastasis) rather than literal, because the object does not refer to a person (her lover) but to an emotional state (“love”). The Hebrew root עוּר has two basic meanings: (1) to wake up and (2) to excite (HALOT 802 s.v. II עוּר). These two nuances are paralleled in the related Semitic roots: Ugaritic `r and `rr “to be excited” (UT 19.1849; 19.1926; WUS 2092) and Akkadian eru “to awake” (AHw 1:247) (HALOT 802 s.v. II). The Hiphil stem has a four-fold range of meanings: (1) to wake up someone/something, (2) to excite, put into motion, start to work, (3) to summons, (4) to disturb (HALOT 802-803 s.v. II). When used literally, the Hiphil describes waking up a sleeper (Zech 4:1) or stirring up a fire (Hos 7:4). When used figuratively, it describes stirring up (Isa 50:4; Pss 57:9; 108:3) strength (Dan 11:25), anger/wrath (Ps 78:38), jealous/zeal (Isa 42:13), and love/sexual passion (Song 2:7; 3:5; 8:4). The Polel stem has a three-fold range of meanings: (1) to awake, start to move, (2) to agitate, disturb, (3) to set in motion (HALOT 802-803 s.v. II). The expression “arouse or awaken love” is figurative (hypocatastasis). It draws an implied comparison between the literal action of arousing a person from sleep and stirring him/her up to excited action, with the figurative picture of a lover sexually stirring up, arousing and exciting the sexual passions of his beloved.
[2:7] 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.
[2:7] 94 tn The syntactical function of the article on הָאַהֲבָה (ha’ahavah, “love”) is debated. Most translations view this as an example of the article denoting an abstract concept. However, a few translations (KJV, AV, JB, NEB) view it as an abstract use of the article for the concrete (abstractum pro concreto), and render it as “my love” as referring either to the woman’s own feelings or the feelings of her lover. Throughout the Song, the term אַהֲבָה (’ahavah, “love”) is not used as a term for endearment in reference to one of the lovers; it typically refers to sexual passion (Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7). When used of the man/woman relationship, the term אַהֲבָה (“love”) may refer to emotional love (Eccl 9:1, 6; Prov 15:17; Ps 109:4-5) or sexual love/desire (Gen 29:20; 2 Sam 1:26; 13:4, 15; Prov 5:19-20; 7:18; Jer 2:33; Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7) (DCH 1:141 s.v. I אַהֲבָה; HALOT 18 s.v. I אַהֲבָה). The reference to sexual desire in 2:4-5 and חוֹלַת אַהֲבָה (kholat ’ahavah, “love-sickness”) in 2:5 suggests that the use of אַהֲבָה (“love”) in 2:7 is sexual desire. Love is personified in this picture.
[2:7] 95 tn Heb “If you arouse or if you awaken love before it pleases….” Paraphrase: “Promise that you will not arouse or awaken love until it pleases!” This line is a typical Hebrew negative oath formula in which the speaker urges his/her audience to take a vow to not do something that would have destructive consequences: (1) The expression הִשְׁבַּעְתִּי (hishba’ti, “I adjure you”) is used when a speaker urges his audience to take an oath. (2) The conditional clause אִם־תָּעִירוּ וְאִם־תְּעוֹרְרוּ אֶת־הָאַהֲבָה (’im-ta’iru vÿim-te’orÿru ’et-ha’ehavah, “If you arouse or awaken love…”) reflects the typical construction of a negative oath formula which consists of two parts: (1) protasis: the warning introduced by the conditional particle אִם (“if”) and (2) apodosis: the description of the disaster or penalty which would befall the person who broke the vow and violated the condition of the oath. (3) If the consequences of violating the oath were extremely severe, they would not even be spoken; the statement of the consequences would be omitted for emphasis – as is the case here, that is, the apodosis is omitted for rhetorical emphasis. As is typical in negative oath formulas, the sanction or curse on the violation of the condition is suppressed for rhetorical emphasis. The curse was so awful that one could not or dare not speak of them (M. H. Pope, IDB 3:575-77).
