³ tn The verb נצץ (“to blossom”) is a geminate verb (II = III) that, in this case, is written with a matres lectionis (plene spelling) rather than the normal spelling of וינץ (GKC 204 §73.g). The Hiphil verb יָנֵאץ (yaneʾts) is from the root נצץ “to shine; to sparkle; to blossom” (HALOT 717 s.v. נצץ; BDB 665 s.v. נָצַץ). It is used in reference to almond blossoms whose color progresses from pink to white as they ripen (e.g., Song 6:11). This is an appropriate metaphor (comparison of sight) to describe white hair that often accompanies the onset of old age.

³ tn Heb “acts shamefully and disgracefully.” The verb בָּאַשׁ (baʾash) literally means “to cause a stink; to emit a stinking odor” (e.g., Exod 5:21; Eccl 10:1) and figuratively means “to act shamefully” (BDB 92 s.v.). The verb וְיַחְפִּיר (v^eyakhpir) means “to display shame.” Together, they can be treated as a verbal hendiadys: “to act in disgraceful shame,” or more colorfully “to make a shameful smell,” or as W. McKane has it, “spread the smell of scandal” (Proverbs [OTL], 460). W. G. Plaut says, “Unhappily, the bad odor adheres not only to the liar but also to the one about whom he lies—especially when the lie is a big one” (Proverbs, 152).

² tn The meaning of the word תְּחָשִׁים (t^ekhashim) is debated. The Arabic tuhas or duhas is a dolphin, and so some think a sea animal is meant—something like a dolphin or porpoise (cf. NASB; ASV “sealskins”; NIV84 “hides of sea cows”). Porpoises are common in the Red Sea; their skins are used for clothing by the bedouin. The word has also been connected to an Egyptian word for “leather” (ths); see S. R. Driver, Exodus, 265. Some variation of this is followed by NRSV (“fine leather”) and NLT (“fine goatskin leather”). Another suggestion connects this word to an Akkadian one that describes a precious stone that is yellow or orange and also leather dyed with the color of this stone (N. M. Sarna, Exodus [JPSTC], 157-58).

⁶ sn There have been various attempts to explain the details of this plague or blow. One possible suggestion is that the plague turned the Nile into “blood,” but that it gradually turned back to its normal color and substance. However, the effects of the “blood” polluted the water so that dead fish and other contamination left it undrinkable. This would explain how the magicians could also do it—they would not have tried if all water was already turned to blood. It also explains why Pharaoh did not ask for the water to be turned back. This view was put forward by B. Schor; it is summarized by B. Jacob (Exodus, 258), who prefers the view of Rashi that the blow affected only water in use.

² sn W. C. Kaiser summarizes a view that has been adopted by many scholars, including a good number of conservatives, that the plagues overlap with natural phenomena in Egypt. Accordingly, the “blood” would not be literal blood, but a reddish contamination in the water. If there was an unusually high inundation of the Nile, the water flowed sluggishly through swamps and was joined with the water from the mountains that washed out the reddish soil. If the flood were high, the water would have a deeper red color. In addition to this discoloration, there is said to be a type of algae which produce a stench and a deadly fluctuation of the oxygen level of the river that is fatal to fish (see W. C. Kaiser, Jr., “Exodus,” EBC 2:350; he cites Greta Hort, “The Plagues of Egypt,” ZAW 69 [1957]: 84-103; same title, ZAW 70 [1958]: 48-59). While most scholars would agree that the water did not actually become blood (any more than the moon will be turned to literal blood [Joel 2:31]), many are not satisfied with this kind of explanation. If the event was a fairly common feature of the Nile, it would not have been any kind of sign to Pharaoh—and it should still be observable. The features that would have to be safeguarded are that it was understood to be done by the staff of God, that it was unexpected and not a mere coincidence, and that the magnitude of the contamination, color, stench, and death, was unparalleled. God does use natural features in miracles, but to be miraculous signs they cannot simply coincide with natural phenomena.

⁴ tn The Hebrew term פָּארוּר (paʾrur) occurs only here and in Joel 2:6 where it also describes a fearful facial reaction. The meaning of פָּארוּר is debated and numerous etymologies have been suggested: (1) From פָּרוּר (parur, “cooking pot”; HALOT 964 s.v. פָּרוּר): LXX τὸ πρόσωπον πάντων ὡς πρόσκαυμα ξύτρας (to prosōpon pantōn hōs proskauma xutras, “all their faces are like a blackened/burned pot”); Vulgate et facies omnium sicut nigredo ollae (“all their faces are like a black pot”); Targum Jonathan (“covered with black like a pot”). This approach is adopted by the KJV “the faces of them all gather blackness.” (2) From פְּאֵר (p^eʾer, “beauty”). Taking קָבַץ (qavats) in a private sense (“gather in”), several scholars propose: “to draw in beauty, withdraw color,” hence: “their faces grow pale” (NASB, NIV); see K&D 26:192-93; A. Haldar, Studies in the Book of Nahum, 59. (3) From פָּרַר (parar, “break in pieces”). Due to fear, their faces have gathered wrinkles. (4) From IV פּרר (“to boil”), related to Arabic ʿpr and Syriac npr (“to boil”): “their faces glow red in excitement” (HALOT 860 s.v.). (5) From פּאר (“grey, ash grey”): “their faces turn grey” (J. J. Gluck, “parur—paʾrur: A Case of Biblical Paronomasia,” OTWSA 12 [1969]: 21-26). The NJPS translation appears to adopt this approach: “all faces turn ashen.”

¹ tn Alternately, “the ivory tower.” The noun הַשֵּׁן (hashen, “ivory”) is a genitive of composition, that is, a tower made out of ivory. Solomon had previously compared her neck to a tower (Song 4:4). In both cases the most obvious point of comparison has to do with size and shape, that is, her neck was long and symmetrical. Archaeology has never found a tower overlaid with ivory in the ancient Near East and it is doubtful that there ever was such a tower. The point of comparison might simply be that the shape of her neck looks like a tower, while the color and smoothness of her neck was like ivory. Solomon is mixing metaphors: her neck was long and symmetrical like a tower; but also elegant, smooth, and beautiful as ivory. The beauty, elegance, and smoothness of a woman’s neck is commonly compared to ivory in ancient love literature. For example, in a piece of Greek love literature, Anacron compared the beauty of the neck of his beloved Bathyllus to ivory (Ode xxxix 28-29).

⁴ tn The term לְבָנָה (l^evanah) literally means “the white one” (BDB 526 s.v. לְבָנָה) and is always used in reference to the moon. It is only used elsewhere in the OT in parallelism with the term used to designate the sun (Isa 24:23; 30:26), which likewise is not the ordinary term, but literally means “the hot one,” emphasizing the heat of the sun (Job 30:28; Ps 19:6). Both of these terms, “the white one” and “the hot one,” are metonymies of adjunct in which an attribute (i.e., color and heat) are substituted for the subject itself. The white moon in contrast to the dark night sky captures one’s attention, just as the red-hot sun in the afternoon sky is the center of attention during the day. The use of the figurative comparisons of her beauty to that of the dawn, sun, moon, and stars is strikingly similar to the Hebrews’ figurative comparison of Simon the high priest coming out of the sanctuary to the morning star, moon, sun, and rainbow: “How glorious he was when the people gathered round him as he came out of the inner sanctuary! Like the morning star among the clouds, like the moon when it is full; like the sun shining upon the temple of the Most High, and like the rainbow gleaming in glorious clouds” (See G. Gerleman, Ruth, Das Hohelied [BKAT], 171).

¹ tn Or “glisten from.” The adjective חַכְלִילִי (khakhlili) occurs only once in the Bible, it’s meaning uncertain. A possible Akkadian cognate suggests it means “dark”. The LXX interprets it as “glisten.” DCH also suggests “red” (DCH s.v. חַכְלִילִי) as a possibility. The preposition מִן (min) can indicate the source “from,” or comparison “more than.” So the possible meanings are “darker than” (NIV, ESV, NRSV), “redder than,” dark or “dull from” (NASB), “red from” (KJV) or “glisten from” (LXX). Since the context describes positive elements that Judah will enjoy as blessings, we don’t expect it to mean eyes glazed over from being drunk. Also the possible Akkadian cognate refers to darkness or gloom, not simply a dark color. Alcohol can cause capillaries to break, leading to red eyes. But whatever is going on with the eyes, the point is that Judah will have abundance to partake of. The LXX suggests a glint of happiness in the eyes spurred by drinking wine. While this may suit the context well, it is not clear that the translator wasn’t simply guessing to fit the context.

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).

⁴ sn The term שׁוֹשַׁנָּה (shoshannah, “lily”) or שׁוֹשַׁנִים (shoshanim, “lilies”) appears eight times in the Song (2:1, 2, 16; 4:5; 5:13; 6:2, 3; 7:2). Of these five are unequivocally used figuratively as descriptions of a woman or women (2:1, 2), the color and softness of her breasts (4:5), the attractiveness of his lips (5:13), and her waist (7:2). The closest parallel to 6:2 is the description “the one who grazes among the lilies” (2:16; 6:3) which is a figurative expression comparing his romancing of his Beloved with a sheep feeding on lilies. However, this still leaves a question as to what the lilies represent in 2:16; 6:2, 3. The phrase “to gather lilies” itself appears only here in the Song. However, the synonymous phrase “to gather myrrh and balsam spice” is used in 5:1 as a figure (euphemistic hypocatastasis) for sexual consummation by the man of the woman. There are three basic options as to how “lilies” may be taken: (1) The lilies are real flowers; he has gone to a real garden in which to repose and she is picking real lilies. (2) The term “lilies” is a figure for the young woman; he is romancing her just as he had in 2:16 and 5:1. He is kissing her mouth just as a sheep would graze among lilies. (3) The term “lilies” is a figure expression referring to other women, such as his harem (e.g., 6:8-9). Two factors support the “harem” interpretation: (1) Solomon had recently departed from her, and she was desperate to find him after she refused him. (2) His harem is mentioned explicitly in 6:8-9. However, several other factors support the Beloved interpretation: (1) She expresses her confidence in 6:3 that he is devoted to her. (2) The immediately following use of “lilies” in 6:3 appears to refer to her, as in 2:16 and 5:1. (3) He praises her in 6:4-7, suggesting that he was romancing her in 6:2-3. (4) Although his harem is mentioned in 6:8-10, all these women acknowledge that he is disinterested in them and only loves her. (5) Her exultation “I am my beloved’s and my beloved is mine; the one who grazes among the lilies” (6:3) is a statement of assurance in their relationship and this would seem quite strange if he was cavorting with his harem while she said this.

² tn The place name תַּרְשִׁישׁ (tarshish, “Tarshish”) refers to a distant port city or region (Isa 23:6; Jer 10:9; Ezek 27:12; 38:13; 2 Chr 9:21; 20:36, 37) located on the coastlands in the Mediterranean west of Palestine (Ps 72:10; Isa 23:6, 10; 66:19; Jonah 1:3; see BDB 1076 s.v. תַּרְשִׁישׁ; HALOT 1798 s.v. תַּרְשִׁישׁ E.a). Scholars have not established its actual location (HALOT 1797 s.v. B). It has been variously identified with Tartessos in southwest Spain (Herodotus, Histories 1.163; 4.152; cf. Gen 10:4), Carthage (LXX of Isa 23:1, 14 and Ezek 27:25), and Sardinia (F. M. Cross, “An Interpretation of the Nora Stone,” BASOR 208 [1972]: 13-19). The ancient versions handle it variously. The LXX identifies תַּרְשִׁישׁ with Carthage/Καρχηδών (karchēdōn; Isa 23:1, 6, 10, 14; Ezek 27:12; 38:13). The place name תַּרְשִׁישׁ is rendered “Africa” in the Targums in some passages (Tg. 1 Kgs 10:22; 22:49; Tg. Jer 10:9) and elsewhere as “sea” (Isa 2:16; 23:1, 14; 50:9; 66:19; Ezek 27:12, 25; 38:13; Jonah 4:2). The Jewish Midrash Canticles Rabbah 5:14.2 cites Jonah 1:3 as support for the view that Tarshish = “the Great Sea” (the Mediterranean). It is possible that תַּרְשִׁישׁ does not refer to one specific port but is a general term for the distant Mediterranean coastlands (Ps 72:10; Isa 23:6, 10; 66:19). In some cases it seems to mean simply “the open sea”: (1) the Tg. Jonah 1:3 translates תַּרְשִׁישׁ as “[he arose to flee] to the sea”; (2) Jerome’s commentary on Isa 2:16 states that Hebrew scholars in his age defined תַּרְשִׁישׁ as “sea”; and (3) the gem called II תַּרְשִׁישׁ, “topaz” (BDB 1076 s.v.; HALOT 1798 s.v.), in Exod 28:20 and 39:13 is rendered “the color of the sea” in Tg. Onq. (see D. Stuart, Hosea-Jonah [WBC], 451). The designation אֳנִיּוֹת תַּרְשִׁישׁ (ʾoniyyot tarshish, “Tarshish-ships”) referred to large oceangoing vessels equipped for the high seas (2 Chr 9:21; Ps 48:8; Isa 2:16; 23:1, 14; 60:9; Ezek 27:25) or large merchant ships designed for international trade (1 Kgs 10:22; 22:49; 2 Chr 9:21; 20:36; Isa 23:10; HALOT 1798 s.v. E.b). The term תַּרְשִׁישׁ is derived from the Iberian tart[uli] with the Anatolian suffix —issos/essos, resulting in Tartessos (BRL2 332a); however, the etymological meaning of תַּרְשִׁישׁ is uncertain (see W. F. Albright, “New Light on the Early History of Phoenician Colonization,” BASOR 83 [1941]: 21-22 and note 29; HALOT 1797 s.v. I תַּרְשִׁישׁ A). The name תַּרְשִׁישׁ appears in sources outside the Hebrew Bible in Neo-Assyrian ^kurTar-si-si (R. Borger, Die Inschriften Asarhaddons [AfO], 86, §57 line 10) and Greek Ταρτησσος (tartēssos; HALOT 1797 s.v. C). Most English versions render תַּרְשִׁישׁ as “Tarshish” (KJV, NKJV, ASV, NASB, RSV, NRSV, NIV, NEB, NJB, JPS, NJPS), but TEV and CEV render it more generally as “to Spain.” NLT emphasizes the rhetorical point: “in the opposite direction,” though “Tarshish” is mentioned later in the verse.