³ tc Or “fat.” The MT of v. 4 reads as follows: “for there are no pains at their death, and fat [is] their body.” Since a reference to the death of the wicked seems incongruous in the immediate context (note v. 5) and premature in the argument of the psalm (see vv. 18-20, 27), some prefer to emend the text by redividing it. The term לְמוֹתָם (l^emotam, “at their death”) is changed to לָמוֹ תָּם (lamo tam, “[there are no pains] to them, strong [and fat are their bodies]”). The term תָּם (tam, “complete; sound”) is used of physical beauty in Song 5:2; 6:9. This emendation is the basis for the present translation. However, in defense of the MT (the traditional Hebrew text), one may point to an Aramaic inscription from Nerab which views a painful death as a curse and a nonpainful death in one’s old age as a sign of divine favor. See ANET 661.

¹ tn Heb “in God I praise a word.” The syntax of the Hebrew text is difficult. The statement is similar to that of v. 4, except that the third person pronominal suffix is omitted here, where the text has simply “a word” instead of “his word.” (1) One could translate, “in God I will boast [with] a word.” In this case, the “word” refers to a song of praise. (2) If one assumes that God’s word is in view, as in v. 4, then one option is to translate, “in God I boast, [in] his word.” In this case the prepositional phrase “in God” goes with the following verb “I boast” (see Ps 44:8) and “[his] word” is appositional to “in God” and more specifically identifies the basis for the psalmist’s confidence. God’s “word” is here understood as an assuring promise of protection. (3) The present translation reflects another option: In this case “I praise [his] word” is a parenthetical statement, with “[his] word” being the object of the verb. The sentence begun with the prepositional phrase “in God” is then completed in v. 11, with the prepositional phrase being repeated after the parenthesis.

¹ tn Heb “in God I boast, his word.” The syntax in the Hebrew text is difficult. (1) The line could be translated, “in God I boast, [in] his word.” Such a translation assumes that the prepositional phrase “in God” goes with the following verb “I boast” (see Ps 44:8) and that “his word” is appositional to “in God” and more specifically identifies the basis for the psalmist’s confidence. God’s “word” is here understood as an assuring promise of protection. Another option (2) is to translate, “in God I will boast [with] a word.” In this case, the “word” is a song of praise. (In this view the pronominal suffix “his” must be omitted as in v. 10.) The present translation reflects yet another option (3): In this case “I praise his word” is a parenthetical statement, with “his word” being the object of the verb. The sentence begun with the prepositional phrase “in God” is then completed in the next line, with the prepositional phrase being repeated after the parenthesis.

¹ sn The city of God is Jerusalem (see Pss 48:1-2; 87:2-3). The river’s “channels” are probably irrigation ditches vital to growing crops. Some relate the imagery to the “waters of Shiloah” (see Isa 8:6), which flowed from the Gihon spring to the pool of Siloam. In Isa 8:6-8 these waters are contrasted with the flood waters symbolizing Assyria. Even if this is the reality behind the imagery, the picture of a river flowing through Jerusalem is idealized and exaggerated. The river and irrigation ditches symbolize the peace and prosperity that the Lord provides for Jerusalem, in contrast to the havoc produced by the turbulent waters (symbolic of the nations) outside the city. Some see here an adaptation of Canaanite (or, more specifically, Jebusite) mythical traditions of rivers/springs flowing from the high god El’s dwelling place. The Songs of Zion do utilize such imagery at times (see Ps 48:2). The image of a river flowing through Zion may have inspired prophetic visions of an eschatological river flowing from the temple (see Ezek 47:1-12; Joel 3:18).

¹ tn Heb “the Lord, our God, the Lord, one.” (1) One option is to translate: “The Lord is our God, the Lord alone” (cf. NAB, NRSV, NLT). This would be an affirmation that the Lord was the sole object of their devotion. This interpretation finds support from the appeals to loyalty that follow (vv. 5, 14). (2) Another option is to translate: “The Lord is our God, the Lord is unique.” In this case the text would be affirming the people’s allegiance to the Lord, as well as the Lord’s superiority to all other gods. It would also imply that he is the only one worthy of their worship. Support for this view comes from parallel texts such as Deut 7:9 and 10:17, as well as the use of “one” in Song 6:8-9, where the starstruck lover declares that his beloved is unique (literally, “one,” that is, “one of a kind”) when compared to all other women.

³ tc While MT reads מַרְכְּבוֹת (mark^evot, “chariots”) some medieval Hebrew mss add the locative preposition ב (bet) or comparative particle כ (kaf) before מַרְכְּבוֹת to produce “in/on/among/like the chariots.” Most translations supply a preposition: “My soul made me [like] the chariots of Ammi-nadib” (KJV, AV); “My fancy set me [in] a chariot beside my prince” (AT); “My soul set me [over] the chariots of my noble people” (NASB); “My desire set me [among] the chariots of Amminadab” (JPS, NJPS, NIV margin); “My desire set me [among] the royal chariots of my people” (NIV); “My desire set me [among] the chariots of the people of the prince” (NIV margin); “My desire hurled me [on] the chariots of my people, [as their] prince” (JB). R. Gordis offers a creative solution to the enigma of שָׂמַתְנִי מַרְכְּבוֹת עַמִּי־נָדִיב (samatni mark^evot ʿammi nadiv) by redividing the text and revocalizing it as שָׁם תֵּנִי מֹרֶךְ בַּת עַמִּי־נָדִיב (sham teni morekh bat ʿammi nadiv) “There, give me your myrrh, O nobleman’s daughter!” This involves two steps: (1) He redivides the MT’s שָׂמַתְנִי (“it placed me”) into two words שָׁם תֵּנִי (“There, give me”); and (2) He redivides the MT’s מַרְכְּבוֹת (“chariots”) into מֹרךְ בַּת (“your myrrh, O daughter”). This approach is supported somewhat by the LXX, which had a difficult time with the line: “There I will give my breasts to you!” The approach of R. Gordis is explained and supported by several factors: (1) He take מֹרךְ (“your myrrh”) as a figure (hypocatastasis) for her love (e.g., 4:6, 14; 5:1, 5, 13). (2) The word-division of בַּת עַמִּי־נָדִיב (“O noble kinsman’s daughter”) is paralleled by the nearly identical descriptive בַּת־נָדִיב (“O nobleman’s daughter”) in 7:2. (3) Arabs referred to a girl as bint el akbar (“nobleman’s daughter”). (4) The referent of שָׁם (“there”) is the garden/valley mentioned in 6:11. (5) This fits into the other literary parallels between 6:11-12 and 7:12-14, listed as follows: (a) “I went down to the nut grove” (6:11a) and “Let us go to the vineyards” (7:12a). (b) “to look for new growth in the valley, to see if the vines had budded, or if the pomegranates were in bloom” (6:11b) and “Let us see if the vines have budded, if the blossoms have opened, if the pomegranates are in bloom” (7:13a). (c) “There…give me your myrrh = love” (6:12b) and “There I will give you my love” (7:13b). See R. Gordis, Song of Songs and Lamentations, 95.

² tn There is no verb in the Greek text; either the optative (“be”) or the indicative (“is”) can be supplied. The meaning of the term εὐλογητός (eulogētos), the author’s intention at this point in the epistle, and the literary genre of this material must all come into play to determine which is the preferred nuance. As an adjective εὐλογητός can mean either that one is praised or that one is blessed, that is, in a place of favor and benefit. The meaning “blessed” would be more naturally paired with an indicative verb here and would suggest that blessedness is an intrinsic part of God’s character. The meaning “praised” would be more naturally paired with an optative verb here and would suggest that God ought to be praised. Pauline style in the epistles generally moves from statements to obligations, expressing the reality first and then the believer’s necessary response, which would favor the indicative. However, many scholars regard Eph 1:3-14 as a berakah psalm (cf. A. T. Lincoln, Ephesians [WBC], 10-11). Rooted in the OT and Jewish worship, berakah psalms were songs of praise in which the worshiper gave praise to God; this would favor the optative (although not all scholars are agreed on this genre classification here; see H. W. Hoehner, Ephesians, 153-59, for discussion and an alternate conclusion). When considered as a whole, although a decision is difficult, the indicative seems to fit all the factors better. The author seems to be pointing to who God is and what he has done for believers in this section; the indicative more naturally fits that emphasis. Cf. also 2 Cor 1:3; 1 Pet 1:3.

¹ tn Alternately, “Why are you plotting?” or “What are you plotting?” The term מַה (mah) ordinarily functions as the interrogative pronoun “what?” (HALOT 550-51 s.v.; BDB 552-53 s.v.). It is often used in reproachful, ridiculing questions and in accusations with an insinuation of blame, reproach, or contempt; see Gen 4:10; 37:10; 44:15; Josh 22:16; Judg 8:1; 15:11; 20:12; 1 Sam 29:3; 2 Sam 9:8; 1 Kgs 9:13; 2 Kgs 9:22; 18:19). It is more disparaging than מִי (mi; HALOT 551 s.v. מַה). The LXX translates it with the interrogative pronoun τί (ti, “what?”). R. L. Smith (Micah-Malachi [WBC], 76) takes it as the indefinite pronoun “whatever” (see also BDB 553 s.v. מָה 3; GKC 443-44 §137.c; Num 23:3; 1 Sam 19:3; 20:10; 2 Sam 18:22-23, 29; Job 13:13; Prov 25:8). W. A. Maier (Nahum, 186) takes it as the interrogative adverb “why?” (see also BDB 553 s.v. מָה 2.b; Gen 3:13; 12:18; 26:10; Exod 14:15; 17:2; 2 Kgs 6:33; 7:3; Pss 42:6, 12 HT [42:5, 11 ET]; 43:5; 52:3 HT [52:1 ET]; Job 7:21; 15:12; Song 8:4). All three are represented in English versions: “What?” (KJV, NKJV), “Why?” (NRSV, NJPS), and “Whatever” (NASB, NIV).

² tn Or “ropes of love.” The noun אַהֲבָה (ʾahava) is traditionally related to I אַהֲבָה (“love”; BDB 13 s.v. אַהֲבָה 2). This approach is adopted by most English translations: “bands of love” (KJV, RSV), “bonds of love” (NASB), “ties of love” (NIV), and “cords of love” (NJPS). However, אַהֲבָה could derive from the homonymic root II אַהֲבָה (“leather”; HALOT 18 s.v. II אַהֲבָה). This root is attested in Arabic and Ugaritic. It might occur in the description of Solomon’s sedan chair: “upholstered with purple linen, and inlaid with leather” (Song 3:10). The context of 11:4 compares Israel to a young heifer: the Lord could lead him with leather ropes, lift the yoke from his neck, and bend down to feed him. Elsewhere, Hosea compares Israel to a stubborn cow (4:6) and a young heifer harnessed for plowing (10:11). This may be supported by the parallelism with II אָדָם (ʾadam, “leather”; HALOT 14 s.v. II אָדָם). In addition, this could be an example of a homonymic wordplay on both roots: “ropes of leather/love.” For discussions of II אַהֲבָה, see G. R. Driver, “Supposed Arabisms in the Old Testament,” JBL 55 (1936): 111; G. R. Driver, Canaanite Myths and Legends, 133; S. E. Loewenstamm, Thesaurus of the Language of the Bible, 1:39; and D. Grossberg, “Canticles 3:10 in the Light of a Homeric Analogue and Biblical Poetics,” BTB 11 (1981): 75-76. For homonymic wordplays, see W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 237-38, and J. Barr, Comparative Philology and the Text of the Old Testament, 151-55.

⁵ tn Alternately, “your waist.” The term בִּטְנֵךְ (bitnekh) probably refers to the woman’s “belly” rather than “waist.” It is associated with a woman’s abdominal/stomach region rather than her hips (Prov 13:25; 18:20; Ezek 3:3). The comparison of her belly to a heap of wheat is visually appropriate because of the similarity of their symmetrical shape and tannish color. The primary point of comparison, however, is based upon the commonplace association of wheat in Israel, namely, wheat was the main staple of the typical Israelite meal (Deut 32:14; 2 Sam 4:6; 17:28; 1 Kgs 5:11; Pss 81:14; 147:14). Just as wheat satisfied an Israelite’s physical hunger, she satisfied his sexual hunger. J. S. Deere makes this point in the following manner: “The most obvious commonplace of wheat was its function, that is, it served as one of the main food sources in ancient Palestine. The Beloved was both the ‘food’ (wheat) and ‘drink’ (wine) of the Lover. Her physical expression of love nourished and satisfied him. His satisfaction was great for the ‘mixed wine’ is intoxicating and the ‘heap of wheat’ was capable of feeding many. The ‘heap of wheat’ also suggests the harvest, an association which contributes to the emotional quality of the metaphor. The harvest was accompanied with a joyous celebration over the bounty yielded up by the land. So also, the Beloved is bountiful and submissive in giving of herself, and the source of great joy” (“Song of Solomon,” BKCOT, 203-204).

² sn The term עַלְמָה (ʿalmah, “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 root עלם denotes the basic idea of “youthful, strong, passionate” (HALOT 835 s.v. III). While the term עַלְמָה 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 (b^etulah) 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 (b^etulim) 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).

⁴ tn Alternately, “spoke.” Traditionally, the term בְדַבְּרוֹ (v^edabb^ero) has been related to the common root דָּבַר (davar, “to speak”) which occurs nearly 1150 times in verbal forms and nearly 1500 times as a noun. This approach is seen as early as the LXX (although the LXX treated דָּבָר as a noun rather than an infinitive construct because it was working with an unpointed text): ἐν λογῷ αὐτοῦ (en logō autou, “in his word”). Although they differ on whether the preposition ב (bet) is temporal (“when”) or respect (“at”), many translations adopt the same basic approach as the LXX: “when he spake” (KJV), “as he spoke” (NASB), “when he spoke” (NIV margin), “at what he said” (JPS, NJPS). However, many recent scholars relate בְדַבְּרוֹ to the homonymic root דָּבַר (“to turn away, depart”) which is related to Akkadian dabaru D “to go away,” Dt “to drive away, push back” (CAD 3:186ff), and Arabic dabara “to turn one’s back, be behind, depart, retreat” (HALOT 209 s.v. II דבר). Several examples of this root have been found (Pss 18:48; 47:4; 56:6; 75:6; 116:10; 127:5; 2 Chr 22:10; Job 19:18; Song 5:6; Isa 32:7) (HALOT 209-10 s.v. I). Several recent translations take this approach: “when he turned his back” (NEB), “at his flight” (JB), and “at his departure” (NIV). This makes better sense contextually (Solomon did not say anything after 5:2a), and it provides a tighter parallelism with the preceding line that also describes his departure: “My beloved had turned away (חָמַק, khamaq); he was gone (עָבַר, ʿavar)” (NIV).

² sn It is clear from Song 8:1 that the young man and his bride were not physical brother and sister, yet he addresses his bride as אֲחֹתִי (ʾakhoti, “my sister”) several times (4:9, 10, 12; 5:1). This probably reflects any one of several ancient Near Eastern customs: (1) The appellatives “my sister” and “my brother” were both commonly used in ancient Near Eastern love literature as figurative descriptions of two lovers. For instance, in a Ugaritic poem when Anat tried to seduce Aqhat, she says, “Hear, O hero Aqhat, you are my brother and I your sister” (Aqhat 18 i. 24). In the OT Apocrypha husband and wife are referred to several times as “brother” and “sister” (Add Esth 15:9; Tob 5:20; 7:16). This “sister-wife” motif might be behind Paul’s perplexing statement about a “sister-wife” (1 Cor 9:5). (2) In several Mesopotamian societies husbands actually could legally adopt their wives for a variety of reasons. For instance, in Hurrian society husbands in the upper classes sometimes adopted their wives as “sisters” in order to form the strongest of all possible marriage bonds; a man could divorce his wife but he could not divorce his “sister” because she was “family.” At Nuzi a husband could adopt his wife to give her a higher status in society. See M. Held, “A Faithful Lover in Old Babylonian Dialogue,” JCS 15 (1961): 1-26 and S. N. Kramer, The Sacred Marriage Rite, 103-5; T. Jacobsen, “The Sister’s Message,” JANESCU 5 (1973): 199-212; E. A. Speiser, “The Wife-Sister Motif in the Patriarchal Narratives,” Oriental and Biblical Studies, 15-28; G. R. Driver, Canaanite Myths and Legends, 111.

⁶ tn The accusative noun אַהֲבָה (ʾahavah, “love” or “leather”) functions either as an accusative of material out of which the interior was made (“inlaid with leather”) or an accusative of manner describing how the interior was made (“inlaid lovingly,” that is, “inlaid with love”). The term אַהֲבָה is a homonymic noun therefore, there is an interesting little debate whether אַהֲבָה in 3:10 is from the root אַהֲבָה “love” (BDB 13 s.v. אָהֵב; DCH 1:141 s.v. אַהֲבָה) or אהבה “leather” (HALOT 18 s.v. II אַהֲבָה). The homonymic root אַהֲבָה “leather” is related to Arabic ʾihab “leather” or “untanned skin.” It probably occurs in Hos 11:4 and may also appear in Song 3:10 (HALOT 18 s.v. II). Traditionally, scholars and translations have rendered this term as “love” or “lovingly.” The reference to the “daughters of Jerusalem” suggests “love” because they had “loved” Solomon (1:4). However, the context describes the materials out of which the palanquin was made (3:9-10) thus, an interior made out of leather would certainly make sense. Perhaps the best solution is to see this as an example of intentional ambiguity in a homonymic wordplay: “Its interior was inlaid with leather // love by the maidens of Jerusalem.” See G. R. Driver, “Supposed Arabisms in the Old Testament,” JBL 55 (1936): 111; S. E. Loewenstamm, Thesaurus of the Language of the Bible, 1:39; D. Grossberg, “Canticles 3:10 in the Light of a Homeric Analogue and Biblical Poetics,” BTB 11 (1981): 75-76.

³ tn The verb רָפָה (rafah, “to let go”) means to relax one’s grip on an object or a person (HALOT 1276-77 s.v. רפה; BDB 952 s.v. רָפָה 2). The Hiphil stem means “to let loose” (Job 7:19; 27:6; Song 3:4; Sir 6:27) or “to release from one’s hands” (Deut 9:14; Josh 10:6; Ps 37:8). The negative expression לֹא רָפָה (loʾ rafah, “to not let [someone or something] go”) denotes an intense desire or effort to not lose possession of someone or something (Job 27:6; Prov 4:13). Here the expression וְלֹא אַרְפֶּנּוּ (v^eloʾ ʾarpennu, “I would not let him go”) pictures her determination to hold on to him so she would not lose him again. The shift from a suffix-conjugation (perfect) אֲחַזְתִּיו (ʾakhaztiv, “I grasped him”) to a prefix-conjugation (imperfect) אַרְפֶּנּוּ (ʾarpennu, “I would [not] let him go”) depicts a shift from a completed/consummative action (perfect: she took hold of his hand) to an ongoing/progressive action (imperfect: she would not let go of it). A basic distinction between the perfect and imperfect tenses is that of consummative versus progressive action. The literary/syntactical structure of אֲחַזְתִּיו וְלֹא אַרְפֶּנּוּ (“I grasped him and I would not let him go”) in 3:4 mirrors that of בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv v^eloʾ m^etsaʾtiv, “I searched for him but I could not find him”) in 3:1-2. This parallelism in the literary and syntactical structure emphasizes the fortunate reversal of situation.

² 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 (ʾehyeh, Qal imperfect first person common singular from הָיָה, hayah, “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 (ʾasher lammah, “lest”; Dan 1:10) and דִּי לְמָה (di l^emah, “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 הַגִּידָה (haggidah li, “Tell me!”) which occurred earlier: “Tell me lest I…!” or “Tell me! For why should I…?”

³ tn Heb “and sensual delights of the sons of man.” The noun תַּעֲנוּג (taʿanug) has a three-fold range of meanings: (1) “luxury; comfort” (Mic 2:9; Prov 19:10; Sir 6:28; 11:27; 14:16; 37:29; 41:1); (2) “pleasure; delight” of sexual love (Song 7:7); and (3) “daintiness; feminine” (Mic 1:16); see HALOT 1769 s.v. תַּעֲנוּג; BDB 772 s.v. תַּעֲנוּג. The related adjective עָנֹג (ʿanog, “pampered; dainty”) is used to describe a pampered woman (Deut 28:56), to personify Babylon as a delicate woman (Isa 47:1), and to ridicule delicate men (Deut 28:54); see HALOT 851 s.v. עָֹנֹג; BDB 772 עָנֹג. It is related to the noun עֹנֶג (ʿoneg, “pleasure; exquisite delight; daintiness”; see HALOT 851 s.v. עֹנֶג; BDB 772 s.v. עֹנֶג) and the verb עָנֹג which means “to be soft; to be delicate” and “pleasurable” (Pual) and “to pamper oneself” and “to take delight or pleasure in” (HALOT 851 s.v. ענג; BDB 772 s.v. עָנֹג). The root ענג is paralleled with רֹךְ (rokh, Deut 28:56), רַךְ (rakh, Deut 28:54), and רַכָּה (rakkah, Deut 28:56) with the meanings “delicate; soft; tender; weak; coddled; pampered.” The context of Eccl 2:4-11 suggests that it denotes either “luxury” as in “the luxuries of commoners” (NJPS) or “pleasure; delight” as in “the delights of men” (KJV, NASB, NIV). Part of the difficulty in determining the meaning of this term is caused by the ambiguity in meaning of its referent, namely, the appositional phrase שִׁדָּה וְשִׁדּוֹת (shiddah v^eshiddot), the meaning of which is uncertain (see the note on the phrase “a harem of beautiful concubines” at the end of this verse).

⁴ tc The transition between the end of the song and the next portion of the narrative varies in the ancient witnesses. At Qumran, vs 11 is entirely omitted from 4QSam^a. The MT refers to Elkanah returning to Ramah, then Samuel serving the Lord “with the face” of Eli. The LXX focuses initially on Hannah. According to Graeme Auld (I & II Samuel [Louisville: Westminster John Knox Press, 2011] 40 and 43) the first scribe of Codex B wrote “And she left him there facing Yahweh. And she went to Ramathaim. And the lad was serving in face of Yahweh, facing Eli the priest.” The Lucianic Greek text differs as to the beginning, “And they left him before Yahweh there, and did homage to Yahweh, and departed for Ramah for their home.” Thus the MT and the early Greek text focus on the different spouses, while the Lucianic tradition blends them together with a plural verb. The omission from Qumran and variation among the other texts suggests that this verse was either damaged in a very early copy or added to smooth out the transition between topics. If the MT is accepted, the principal question remaining is where to divide the paragraphs. Does Samuel’s service to the Lord function primarily as contrast to his parent’s return trip or as contrast to Eli’s dishonorable sons? The syntactic structure for both options is the same, vav plus noun first, and therefore not decisive. That the next section starts at 2:18 with nearly identical phrasing argues to begin a paragraph here with the statement about Samuel.

¹ tn The term אַפִּרְיוֹן (ʾappiryon) is a hapax legomenon variously rendered “sedan-chair” (HALOT 80 s.v. אַפִּרְיוֹן) and “sedan, litter, palanquin” (BDB 68 s.v. אַפִּרְיוֹן). It occurs in Mishnaic Hebrew אַפִּרְיוֹן and Judean Aramaic אַפִּרְיוֹנָא (ʾappiryonaʾ, “bridal-litter”; Jastrow 108 s.v. אַפִּרְיוֹן) and Syriac pwrywn/purya (“litter”). The Mishnah used אַפִּרְיוֹן in reference to a bridal-litter: “In the last war it was decreed that a bride should not pass through the town in an אַפִּרְיוֹן but our Rabbis later sanctioned it” (Sotah 9:14). There are several views of the origin of the term: (1) LXX Greek φορεῖον (phoreion, “bridal-litter”) is a loanword from Hebrew; the term is not used in Greek until the Koine period (LSJ 1950-51); (2) Sanskrit paryanka and palki “palanquin, sedan-chair” (M. Monier-Williams, Sanskrit-English Dictionary, 554); (3) Old Persian upariyana “litter-bed” (R. Gordis, “A Wedding Song for Solomon,” JBL 63 [1944]: 263-70; G. Widengren, Sakrales Königtum im Alten Testament und im Judentum, 122); (4) less likely is Ugaritic apn “two-wheeled cart” (UT 305); and (5) Egyptian pr “house” with the prefix ua and suffix yn meaning “palace” (G. Gerleman, “Die Bildsprache des Hohenliedes und die altegyptische Kunst,” ASTI 1 [1962]: 24-30). A palanquin was a riding vehicle upon which a royal person sat and which was carried by servants who lifted it up by its staffs. Royalty and members of the aristocracy only rode in palanquins. The Illustrated Family Encyclopedia of the Living Bible, 10:55, describes what the typical royal palanquin was made of and looked like in the ancient world: “Only the aristocracy appear to have made use of litters in Israel. At a later period, in Greece, and even more so in Rome, distinguished citizens were carried through the city streets in splendid palanquins. In Egypt the litter was known as early as the third millennium b.c., as is testified by the one belonging to Queen Hetepheres, the mother of the Pharaoh Khufu (Cheops), which was found at Gaza. This litter is made of wood and inlaid in various places with gold decorations. Its total length is 6 ft. 10 in., and the length of the seat inside is 3 ft. 3 in. An inscription on the litter, of gold set in ebony, lists the queen’s titles.”

⁷ sn Normally in the Song, the person/gender of the pronouns and suffixes makes the identity of the speaker or addressee clear. However, in several places grammatical ambiguity makes it difficult to identify either the speaker or the addressee (e.g., 6:11-13; 7:9b). This is particularly true when first person common plural or third 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 on 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 subjects of the first person common plural cohortatives and the second singular suffixes have been taken as: (1) The maidens of Jerusalem, mentioned in 1:4 [5] and possibly referred to as the third person common plural subject of אֲהֵבוּךָ (ʾahevukha, “they love you”) in 1:3b[4b], using the first 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 first 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 first person common plural cohortatives in reference to herself—there are examples in ancient Near Eastern love literature of the bride using first 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 second person feminine singular but may be second person masculine singular in pause (see note below).