¹ 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”).

² 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.

³ 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).

⁴ 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.

⁵ 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).

⁶ sn Gazelles are often associated with sensuality and masculine virility in ancient Near Eastern love literature. 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). In ancient Near Eastern love literature gazelles often symbolize the excitement and swiftness of the lover coming to see his beloved, as in an ancient Egyptian love song: “O that you came to your sister swiftly like a bounding gazelle! Its feet reel, its limbs are weary, terror has entered its body. A hunter pursues it with his hounds, they do not see it in its dust; It sees a resting place as a trap, it takes the river as its road. May you find her hiding-place before your hand is kissed four times. Pursue your sister’s love, the Golden gives her to you, my friend!” (“Three Poems” in the Papyrus Chester Beatty 1 collection).

⁷ tn Heb “are seen.”

⁸ tn Alternately, “the time of singing” or “the time of pruning.” The homonymic root זָמִיר (zamir) means “song, singing” (HALOT 273 s.v. I זָמִיר; DCH 3:117 s.v. זָמִיר a), while זָמִיר II means “pruning, trimming” (HALOT 273 s.v. II; DCH 3:117 s.v. II). The intended root is debated among the ancient versions (LXX, Aquila, Symmachus, Vulgate, Targum), Hebrew lexicographers (HALOT 273; DCH 3:117), and translations: “singing” (KJV, NIV, NASB margin, NJPS margin), “pruning” (NASB, NJPS). However, rather than choosing between these two roots, it is likely that this is an example of intentional ambiguity. The preceding line draws out the meaning of זָמִיר (“trimming, pruning”): “The pomegranates are seen in the land, the time of pruning has come.” The following line draws out the meaning of זָמִיר (“singing”): “The time of singing has come, the voice of the turtledove is heard in the land.” This homonymic wordplay creates an example of “janus parallelism” between the three poetic lines which play off both root meanings of the intentionally ambiguous homonym. This elegant wordplay and the AB:BA “janus parallelism” may be represented thus: “The pomegranates are seen in the land, the time has come for pruning // singing, the voice of the turtledove is heard in the land.”

⁹ 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.

¹⁰ sn The term “foxes” is used metaphorically. Foxes are always spoken of in a negative light in the OT and in the ancient world were particularly associated with their destructive tendencies with regard to vineyards (Judg 15:4; Neh 4:3; Ps 63:10; Lam 5:18; Ezek 13:4). The description of these foxes as being destructive here seems to confirm that this is the point of comparison in mind.

¹¹ sn In ancient Near Eastern love literature it was common to use wild animals to symbolize potential problems which could separate lovers and destroy their love. For instance, in Egyptian love songs it is the crocodile, rather than the foxes, which were used as figures for obstacles which might threaten a couple’s love. Here the “foxes” are probably used figuratively to represent potentially destructive problems which could destroy their romantic relationship and which could hinder it from ripening into marriage.

¹² sn The term “vineyard” is also a figure. In 1:6 she used the vineyard motif as a metaphor for her physical appearance, but here it is “our vineyards” which is probably a figure for their romantic relationship. The phrase “in bloom” makes the metaphor more specific, so that the phrase “our vineyards are in bloom” means that their romantic love relationship was in its initial stages, that is, before it had ripened into marriage.

¹³ 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.”

¹⁴ tc The MT reads שִׁפְתֵי יְשֵׁנִים (shifte yÿshenim, “lips of those who sleep”). However, an alternate Hebrew reading of שְׂפָתַי וְשִׁנָּי (sÿfata vÿsinna, “my lips and my teeth”) is suggested by the Greek tradition (LXX, Aquila, Symmachus): χείλεσίν μου καὶ ὀδοῦσιν (ceilesin mou kai odousin, “my lips and teeth”). This alternate reading, with minor variations, is followed by NAB, NIV, NRSV, TEV, NLT.

tn Or “his lips as he falls asleep.” Heb “the lips of sleepers.” Alternately, “over lips and teeth” (so NIV, NRSV, NLT).

¹⁵ sn In the ancient Near East the mandrake was a widely used symbol of erotic love because it was thought to be an aphrodisiac and therefore was used as a fertility drug. The unusual shape of the large forked roots of the mandrake resembles the human body with extended arms and legs. This similarity gave rise to the popular superstition that the mandrake could induce conception and it was therefore used as a fertility drug. It was so thoroughly associated with erotic love that its name is derived from the Hebrew root דּוֹד (dod, “love”), that is, דּוּדָאִים (duda’im) denotes “love-apples.” Arabs used its fruit and roots as an aphrodisiac and referred to it as abd al- sal’m (“servant of love”) (R. K. Harrison, “The Mandrake and the Ancient World,” EQ 28 [1956]: 188-89; Fauna and Flora of the Bible, 138-39).

¹⁶ sn Her comparison of their love to fruit stored “over our door” reflects an ancient Near Eastern practice of storing fruit on a shelf above the door of a house. In the ancient Near East, fruits were stored away on shelves or cupboards above doorways where they were out of reach and left to dry until they became very sweet and delectable. The point of comparison in this figurative expression seems to be two-fold: (1) She was treasuring up special expressions of her sexual love to give to him, and (2) All these good things were for him alone to enjoy. See M. H. Pope, The Song of Songs [AB], 650.