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.

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).

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.

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 a.d.) as recorded in the Jewish midrashim on Canticles Rabbah 1:2.2. However, the MT vocalization is preferred. In terms of external evidence, the MT vocalization tradition is generally more reliable. In terms of internal evidence, the LXX form דַּדֶּיךָ (daddekha, “your [male!] breasts”) is a bit shocking, to say the least. On the other, the plural form דּוֹדִים (dodim, “loves”) is used in the Song to refer to multiple expressions of love or multiple acts of lovemaking (e.g., 1:4; 4:10; 5:1; 7:13 [ET 12]).

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).

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.”

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).

⁷ 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”).

⁸ 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.

⁹ 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).

¹⁰ 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.

¹¹ 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).

¹² tn Heb “The voice of my beloved!” The exclamation קוֹל (qol, “Listen!”) is an introductory exclamatory particle used to emphasize excitement and the element of surprise.

¹³ tn The phrase “is approaching” does not appear in Hebrew but is supplied in the translation for the sake of clarity.

¹⁴ tn The exclamation הִנֵּה־זֶה (hinneh-zeh, “Look!”) is used of excited speech when someone is seen approaching (Isa 21:9).

¹⁵ 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.

¹⁶ 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.

¹⁷ 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.

¹⁸ 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.

¹⁹ sn Heb “until the day breathes,” which is figurative (personification) for the morning, that is, the time when the day begin its “life” (e.g., Song 4:6). Likewise, “the shadows flee” is figurative (personification) for the dawn, i.e., the time when the dark shadows of the night disappear, or the shadows of the evening which lengthen and are just as fleeting.

²⁰ tn The exact meaning of סֹב (sov, Qal imperative 2nd person masculine singular from סָבַב, savav, “to turn”) in this context is uncertain. The imperatival form may be classified as an invitation. HALOT notes that סָבַב (“to turn”) occasionally denotes “to sit [lie] at a table” (1 Sam 16:11; Sir 9:9) and suggests that this is a figurative use of this nuance (HALOT 739 s.v. סבב 2c). The Beloved would be issuing an invitation to him to “turn aside to sit” at her table, that is, to enjoy the delights of her love. On the other hand, סֹב (“Turn!”) may simply be a synonym for the following parallel imperative דְּמֵה (dÿmeh, “Be like!”), that is, “turn, change” (HALOT 224 s.v. דָּם). In keeping with the extended simile in which the Beloved compares him to a gazelle or stag leaping upon the mountains, the term סֹב may simply denote “turn oneself around, change direction” (HALOT 739 s.v. 1). Rather than leaping somewhere else, so to speak, she invites him to leap upon the “mountain gorges.”

²¹ tn The expression הָרֵי בָתֶר (hare bater, “mountains of Bethar”) is difficult because there is no known mountain-range which was ever called by this name. The meaning of the noun בֶּתֶר (beter) is uncertain. DCH distinguishes between three homonymic nouns: (1) בֶּתֶר I noun “part, piece” (Gen 15:10; Jer 34:19) related to the verb בֶּתֶר “to cut in two” (Gen 15:10); (2) בֶּתֶר II noun “gorge” (Song 2:17); and (3) בֶּתֶר III place name “Bether” in Judah and 6.5 miles (11 km) SW of Jerusalem (Josh 15:59; 1 Chr 6:44; perhaps Song 2:17) (DCH 2:291 s.v. בֶּתֶר). Thus, הָרֵי בָתֶר might mean “mountains of gorge[s]” or “mountains of Bether” (DCH 2:291 s.v. III). The Hebrew root בָּתַר (batar, “cut in pieces, cut in half”) is related to Arabic batara “to cut off” (HALOT 167 s.v. בתר; BDB 144 בָּתַר). The word does not appear in Ugaritic, Akkadian, or Syriac. Aramaic בָּאתַר (ba’tar, “after, behind”) was used frequently in Northwest Semitic (DISO 45-46) and Late Hebrew (Jastrow 201 s.v. בָּאתַר); however, it offers little to this problem. Many scholars take בֶּתֶר as a genitive of description functioning as an attributive adjective. For example, BDB suggests that בֶּתֶר means “mountains of cutting,” that is, “cleft mountains” (BDB 144 s.v. בֶּתֶר), while Koehler posits “ravine,” that is, mountains with a ravine (HALOT 167 s.v. II בֶּתֶר). This is reflected in the LXX’s κοιλωμάτων (koilwmatwn, “hollow places, basin, cavity”): ὄρη κοιλωμάτων (orh koilwmatwn) “mountains with many ravines.” This approach is adopted by several translations, e.g., “rugged mountains” (NLT). On the other hand, Vulgate, Aquila, and Symmachus took it as a place name referring to the town of Bether (LXX Βαιθηρ = Mishnaic Hebrew בִּיתֵּר) located 6.5 miles (11 km) southwest of Jerusalem (Josh 15:59; 1 Chr 6:44). This approach is adopted by several translations: “mountains of Bether” (KJV, ASV, RSV, NASB, NIV margin, TEV). Theodotion takes it as a figurative expression, reading θυμιαματων (qumiamatwn, “incense”) which reflects a variant Hebrew reading of בְּשָמִים (bÿshamim, “balsam, perfume”) which also appears in Song 8:14. This approach is taken in a Jewish-English translation: “hills of spice” (NJPS). The botanist Löw connects Hebrew בֶּתֶר to Greek μαλαβάθρον (malabaqron) which was an Indian spice plant imported to Judah. See I. Low, Die Flora der Juden, 2:117-118. The expression “cleft mountains” (הָרֵי בָתֶר) might refer simply to a rugged and jagged mountain-range (NLT “rugged mountains”; NIV “rugged hills”). However, this may be a figurative description of the woman’s cleavage because similar imagery is used in Song 4:6 to describe her breasts. The name “Tihamah” (literally “the Great Deep”) was applied to the low-lying coastland between the mountains of Yemen and the Red Sea as well as to the depression of Djauf (Dumah) because of fresh-water springs which oozed up from below (Hebrew “Tehom” and “Tehomot,” Ugaritic “Tihamaten” or “Tahamatum,” Akkadian “Tiamat”). And it appears that in an Ammonite inscription that an area near the mountainous region of Rabbath-Amman is referred to by the name “Tymtn” (literally “The Two Depressions”), rather than by its real name (W. F. Albright, “Some Comments on the Amman Citadel Inscription,” BASOR 198 [April 1978]: 38-39).

sn Scholars offer three interpretations of her figurative request: (1) The Beloved desires her Lover to embrace her breasts, like a gazelle romping over mountains (mountains are figurative); (2) The Beloved entreats her Lover to leave and go back over the hills from whence he had journeyed (mountains are literal); and (3) As her Lover prepares to leave her country village, the Beloved asks him to return to her again in the same way he arrived, like a gazelle bounding over the mountains in 2:8-10 (mountains are literal).

²² tn Alternately, “at night” or “night after night.” The noun בַּלֵּילוֹת (ballelot, plural of “night”) functions as an adverbial accusative of time. The plural form בַּלֵּילוֹת from לַיְלָה (laylah, “night”) can be classified in several ways: (1) plural of number: “night after night” (NASB, NEB); (2) plural of extension: “all night long” (NIV); (3) plural of composition: “by night” (KJV) and “at night” (NJPS); or (4) plural of intensity: “during the blackest night.” The plural of extension (“all night long”) is supported by (1) the four-fold repetition of the verb בָּקַשׁ (baqash, “to seek”) in 3:1-2 which emphasizes that the Beloved was continually looking for her lover all night long, (2) her decision to finally arise in the middle of the night to look for him in 3:2-4, and (3) her request in the immediately preceding verse (2:17) that he make love to her all night long: “until the day breathes and the shadows flee….” One should note, however, that the plural בַּלֵּילוֹת occurs in 3:8 where it is a plural of composition: “by night” (NJPS) or “of the night” (NASB, NIV) or “in the night” (KJV).

sn The use of the term בַּלֵּילוֹת (ballelot, “night”) in 3:1 stands in striking contrast to the use of the term הַיּוֹם (hayyom, “the day”) in 2:17 which is the preceding verse. In 2:17 the woman invited her beloved to make love to her all night long; however, in 3:1 she recounts a nightmarish experience in which she was unable to find her beloved next to her in bed. Scholars debate whether 3:1-4 recounts a nightmare-like dream sequence or a real-life experience. There are striking parallels between 3:1-4 and 5:2-8 which also raises the possibility of a nightmare-like dream sequence.

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

²⁴ tn Heb “I sought….” The verb בָּקַשׁ (baqash, “to seek”) denotes the attempt to physically find someone (e.g., 1 Sam 13:14; 16:16; 28:7; 1 Kgs 1:2-3; Isa 40:20; Ezek 22:30; Esth 2:2; Job 10:6; Prov 18:1) (HALOT 152 s.v. בקשׁ). However, it is clear in 3:1 that this “search” took place upon her bed. It does not make sense in the context that the Beloved was looking around in her bed to find her lover – how big could her bed be that she had lost him? Rather, בָּקַשׁ (“to seek”) is used metonymically to reference to her longing for her absent lover, that is, seeking in the sense of anticipation. The perfect tense should be classified as a past constantive action, describing a past action which covered an extended period of time, as indicated by the phrase בַּלֵּילוֹת (ballelot, plural of extension, “all night long”) in 3:1. This continual action is emphasized by the four-fold repetition of בָּקַשׁ (“seek”) in 3:1-2.

²⁵ tn Heb “the one whom my soul loves.” The expression נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole (= the woman). The expression נַפְשִׁי (“my soul”) is often used as independent personal pronoun. It often expresses personal preference, such as love or hatred (e.g., Gen 27:4, 25; Lev 26:11, 30; Judg 5:24; Isa 1:14) (HALOT 712 s.v. נֶפֶשׁ). The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times in OT to refer to the seat of a person’s emotions and passions (BDB 660 s.v. נֶפֶשׁ c.6.a) (e.g., Deut 12:15, 20, 21; 14:26; 18:6; 21:14; 24:15; 1 Sam 3:21; 23:30; 2 Sam 14:14; 1 Kgs 11:37; Isa 26:8; Jer 2:24; 22:27; 34:16; 44:14; Ezek 16:27; Hos 4:8; Mic 7:1; Pss 10:3; 24:4; 25:1; 35:25; 78:18; 86:4; 105:22; 143:8; Prov 13:4; 19:8; 21:10; Job 23:13; Song 5:6). It often refers to the seat of love (BDB 660 s.v. d.6.e) (e.g., Gen 34:3, 8; Jer 12:7; Ps 63:9; Song 1:7; 3:1-4). The expression אֵת־שֶׁאָהֲבָה נַפְשִׁי (’et-she’ahavah nafshi, “the one whom I love”; Heb “the one whom my soul loves”) is repeated four times in 3:1-4. The repetition emphasizes her intense love for her beloved. The noun אָהֲבָה (’ahavah, “love”) is often used in reference to the love between a man and woman, particularly in reference to emotional, romantic, or sexual love (2 Sam 1:26; 13:15; Prov 5:19; 7:18; Song 2:4-5, 7; 3:5; 5:8; 8:4, 6-7; Jer 2:2, 33). Likewise, the verb אָהֵב (’ahev, “to love”) often refers to emotional, romantic, or sexual love between a man and woman (e.g., Gen 24:67; 29:20, 30, 32; 34:3; Deut 21:15, 16; Judg 14:16; 16:4, 15; 1 Sam 1:5; 18:20; 2 Sam 13:1, 4, 15; 1 Kgs 11:1; 2 Chr 11:21; Neh 13:26; Esth 2:17; Eccl 9:9; Song 1:3, 4, 7; 3:1-4; Jer 22:20, 22; Ezek 16:33, 36-37; 23:5, 9, 22; Hos 2:7-15; 3:1; Lam 1:19).

²⁶ tn Heb “I searched for him” or “I sought him” (see study note above).

²⁷ tc The LXX adds “I called him but he did not answer me” (ἐκάλεσα αὐτόν καὶ οὐχ ὑπήκουσέν μου, ekalesa auton kai ouc Juphkousen) to 3:2d on the basis of its appearance in the parallel expressions in Song 5:6. There is no textual support for its inclusion here.

tn Heb “but I did not find him.” The verb מָצָא (matsa’, “to find”) normally describes discovering the whereabouts of something/someone who is lost or whose presence is not known. It is clear in 3:1 that the Beloved was not taking a physically active role in looking all around for him, because she stayed in her bed all night long during this time. Therefore, the verb מָצָא (“to find”) must be nuanced metonymically in terms of him appearing to her. It does not denote “finding” him physically, but visually; that is, if and when he would arrive at her bedside, she would “find” him. This might allude to her request in 2:17 for him to rendezvous with her to make love to her all night long (“until the day breathes and the shadows flee”). Despite the fact that she was waiting for him all night long, he never appeared (3:1). The verb מָצָא (“to find”) is repeated four times in 3:1-4, paralleling the four-fold repetition of בָּקַשׁ (baqash, “to seek”). This antithetical word-pair creates a strong and dramatic contrast.

²⁸ sn This is the second occurrence of the poetic refrain that occurs elsewhere in 2:16 and 7:11. The order of the first two cola are reversed from 2:16: “My beloved is mine and I am his” (2:16) but “I am my beloved’s and he is mine” (6:3). The significance of this shift depends on whether the parallelism is synonymous or climactic. This might merely be a literary variation with no rhetorical significance. On the other hand, it might signal a shift in her view of their relationship: Originally, she focused on her possession of him, now she focused on his possession of her.

²⁹ tn Or “I belong to my beloved, and my lover belongs to me.” Alternately, “I am devoted to my beloved, and my lover is devoted to me.”