¹ 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.

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

³ 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.

⁴ 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).

⁵ tn Heb “I searched for him” or “I sought him” (see study note above).

⁶ 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.

⁷ tn The term מִגְּדַל (miggÿdal, “tower”) refers to a military structure, such as a stronghold, arsenal, or defensive tower on the walls of a city (e.g., Judg 8:9, 17; 9:51; 2 Kgs 9:17; 17:9; 18:8; 2 Chr 14:6; 26:15; 27:4; 32:5).

⁸ tn The feminine noun לְתַלְפִּיּוֹת (lÿtalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis qalpiwq) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tal, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis {uyh), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian
labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banu lÿtalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lp’ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition לְ (lÿ) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpi’ot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.

⁹ tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.

¹⁰ tn Heb “rivers.”

¹¹ tn Heb “all the wealth of his house.”

¹² tn Heb “for love.” The preposition בְּ (bÿ) on בָּאַהֲבָה (ba’ahavah, “for love”) indicates the price or exchange in trading (HALOT 105 s.v. בְּ 17), e.g., “Give me your vineyard in exchange for silver [בְּכֶסֶף, bÿkhesef]” (1 Kgs 21:6).

¹³ tn Heb “he/it.” The referent (the offer of possessions) has been specified in the translation for clarity. Some English versions take the referent to be the man himself (ASV “He would utterly be condemned”; NAB “he would be roundly mocked”). Others take the offer as the referent (cf. KJV, NASB, NIV, NRSV “it”).

¹⁴ tn The root בּוּז (buz, “to despise”) is repeated for emphasis: בּוֹז יָבוּזּוּ (boz yavuzu). The infinitive absolute frequently is used with the imperfect of the same root for emphasis. The point is simply that love cannot be purchased; it is infinitely more valuable than any and all wealth. Love such as this is priceless; no price tag can be put on love.