³ tn Heb “futility of futilities.” The phrase “absolutely futile” (הֲבֵל הֲבָלִים, havel havalim) is a superlative genitive construction (GKC 431 §133.i). When a plural genitive follows a singular construct noun of the same root, it indicates the most outstanding example of the person or thing described. Examples: קֹדֶשׁ הַקֳּדָשִׁים (qodesh haqqodashim, “holy of holies”), i.e., “the most holy place” (Exod 26:33); שִׁיר הַשִּׁירִים (shir hashirim, “song of songs”), i.e., “the most excellent song” (Song 1:1); אֱלֹהֵי הָאֱלֹהִים וַאֲדֹנֵי הַאֱדֹנִים (ʾelohe haʾelohim vaʾadone haʾedonim, “the God of gods and Lord of lords”), i.e., “the highest God and the supreme Lord” (Deut 10:17). See also R. J. Williams, Hebrew Syntax, 17-18, §80; IBHS 154 §9.5.3j.

² sn A new song is appropriate because the Lord is constantly intervening in the world as its just king. See also Pss 33:3; 40:3; 98:1.

¹ sn Psalm 48. This so-called “Song of Zion” celebrates the greatness and glory of the Lord’s dwelling place, Jerusalem. His presence in the city elevates it above all others and assures its security.

¹ sn Psalm 40. The psalmist combines a song of thanksgiving for a recent act of divine deliverance (vv. 1-11) with a confident petition for renewed divine intervention (vv. 12-17).

¹ tn In this song of thanksgiving, where the psalmist recalls how the Lord delivered him, the prefixed verbal form is best understood as a preterite indicating past tense, not an imperfect.

¹ tn Gordis notes that the word פֶּתַח (petakh, “door”) has sexual connotations in rabbinic literature, based on Prov 7:6ff. (see b. Ketubbot 9b). See also the use in Song 4:12 using a synonym.

¹ tn In this song of thanksgiving, where David recalls how the Lord delivered him, the prefixed verbal form is best understood as a preterite indicating past tense (cf. CEV “I prayed”), not an imperfect (as in many English versions).

⁵ sn Sleep here. Perhaps Boaz tells her to remain at the threshing floor because he is afraid she might be hurt wandering back home in the dark. See Song 5:7 and R. L. Hubbard, Jr., Ruth (NICOT), 218.

¹ sn The Scroll of the Upright One was apparently an ancient Israelite collection of songs and prayers (see also 2 Sam 1:18), but it has not been preserved.

¹ sn Proverbs of antiquity could include pithy sayings or longer songs, riddles, or poems composed to catch the significance or the irony of an event. This is a brief poem to remember the event, like an Egyptian victory song. It may have originated as an Amorite war taunt song; it was sung to commemorate this victory. It was cited later by Jeremiah (48:45-46). The composer invites his victorious people to rebuild the conquered city as a new capital for Sihon. He then turns to address the other cities which his God(s) has/have given to him. See P. D. Hanson, “The Song of Heshbon and David’s Nir,” HTR 61 (1968): 301.

² tn Heb “spices head.” This must mean the chief spices, or perhaps the top spice, meaning fine spices or choice spices. See Song 4:14; Ezek 27:22.

² sn This song of the sea is, then, a great song of praise for Yahweh’s deliverance of Israel at the Sea, and his preparation to lead them to the promised land, much to the (anticipated) dread of the nations. The principle here, and elsewhere in Scripture, is that the people of God naturally respond to God in praise for his great acts of deliverance. Few will match the powerful acts that were exhibited in Egypt, but these nonetheless set the tone. The song is certainly typological of the song of the saints in heaven who praise God for delivering them from the bondage of this world by judging the world. The focus of the praise, though, still is on the person (attributes) and works of God.

¹ tn This verb is a prophetic perfect, assuming that the text means what it said and this song was sung at the Sea. So all these countries were yet to hear of the victory.

² tn Here, and throughout the song, these verbs are the prefixed conjugation that may look like the imperfect but are actually historic preterites. This verb is to “overthrow” or “throw down”—like a wall, leaving it in shattered pieces.

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 (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 The meaning of this word is uncertain. This verb occurs only here. The lexicons generally relate it to the word translated “plate” in Song 5:14 and understand it to mean “smooth, shiny” (so BDB 799 s.v. I עֶשֶׁת) or “fat” (so HALOT 850 s.v. II עֶשֶׁת). The word in Song 5:14 more likely means “smooth” than “plate” (so TEV). So “sleek” is most likely here.

¹ tn It is uncertain who is speaking here. Possibly the prophet, taking the role of best man, composes a love song for his friend on the occasion of his wedding. If so, יָדִיד (yadid) should be translated “my friend.” The present translation assumes that Israel is singing to the Lord. The word דוֹד (dod, “lover”) used in the second line is frequently used by the woman in the Song of Solomon to describe her lover.

¹ tn Most scholars agree that the Hebrew text of 6:12 is the most elusive in the entire Song. The syntax is enigmatic and the textual reading is uncertain. The difficulty of this verse has generated a plethora of different translations: “Or ever I was aware, my soul made me [like] the chariots of Ammi-nadib” (KJV), “Before I knew it, my soul made me like the chariots of Ammi-nadib” (AV), “Before I knew it, my fancy set me in a chariot beside my prince” (AT), “Before I knew…my desire hurled me on the chariots of my people, as their prince” (JB), “Before I knew it, my desire set me mid the chariots of Ammi-nadib” (JPSV), “I did not know myself, she made me feel more than a prince reigning over the myriads of his people” (NEB), “Before I knew it, my heart had made me the blessed one of my kins-women” (NAB), “Before I was aware, my soul set me [over] the chariots of my noble people” (NASB), “Before I realized it, my desire set me among the royal chariots of my people” (NIV), “…among the chariots of Amminadab” (NIV margin), “…among the chariots of the people of the prince” (NIV margin), and “Before I realized it, I was stricken with a terrible homesickness and wanted to be back among my own people” (NLT). For discussion, see R. Gordis, Song of Songs and Lamentations, 95; R. Tournay, “Les Chariots d’Aminadab (Cant. VI 12): Israel, Peuple Theophore,” VT 9 (1959): 288-309; M. H. Pope, Song of Songs (AB), 584-92; R. E. Murphy, “Towards a Commentary on the Song of Songs,” CBQ 39 (1977): 491-92; S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6, 12 and Job 9, 21, ” Bib 59 (1978): 545-47; G. L. Carr, Song of Solomon [TOTC], 151-53.

¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot—comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.

⁶ sn The term פִּרְיוֹ (piryo, “his fruit”) is a figure for the young man himself or perhaps his kisses which the young woman delights to “taste” (e.g., Song 4:11; 5:13). It is possible to take the imagery of the young woman tasting his “fruit” as kissing. Likewise, the imagery of the gazelles grazing among the lilies is probably a picture of the young man caressing and kissing his beloved (Song 2:16; 6:3).