¹ tn The genitive construct חוֹלַת אַהֲבָה (kholat ʾahavah, “sick of love”) denotes “lovesick.” This is an example of a genitive of cause, that is, the Beloved was (physically/emotionally) sick because of her unrequited love for him. See study note on Song 2:5.

⁶ tc The LXX adds “I called him, but he did not answer me” 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.

⁵ tn Or “The lush foliage is our marriage couch.” The term עֶרֶשׂ (ʿeres, “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).

¹ sn The henna plant (כֹּפֶר, kofer, “henna”; HALOT 495 s.v. III כֹּפֶר) is an inflorescent shrub with upward pointing blossoms, that have sweet smelling whitish flowers that grow in thick clusters (Song 4:13; 7:12). Like myrrh, the henna plant was used to make sweet smelling perfume. Its flowers were used to dye hair, nails, fingers, and toes orange.

² tc Heb “sons.” The MT reads בַבָּנִים (vabbanim) “among the sons,” perhaps meaning “young men” (cf. Song 2:3; HALOT 138, s. v. I בֵּן). Based on the Syriac, Targum, and Vulgate, perhaps the text should read בַנְבָלִים (van^evalim, “among the fools”).

¹ sn “Lips” is a metonymy of cause, referring to her words. Dripping honey is compared by implication to her words, which are flattering and smooth (cf. Song 4:11). See M. Dahood, “Honey That Drips. Notes on Proverbs 5:2-3, ” Bib 54 (1973): 65-66.

³ tn Heb “pleasant.” The verb יִנְעָם (yinʿam, “to be pleasant”) describes what is attractive. It is used of being physically attracted to one’s lover (Song 7:7) or to a close friendship (2 Sam 1:26). Here wisdom becomes attractive to the righteous, that is, the righteous desires to acquire it.

¹ tn The prefixed verbal forms here and in the following verse are understood as jussives, for the psalmist appears to be calling upon the kings to praise God. Another option is to take them as imperfects and translate, “the kings of the earth will give thanks…and will sing.” In this case the psalmist anticipates a universal response to his thanksgiving song.

² tn Heb “I discerned their end.” At the temple the psalmist perhaps received an oracle of deliverance announcing his vindication and the demise of the wicked (see Ps 12) or heard songs of confidence (for example, Ps 11), wisdom psalms (for example, Pss 1, 37), and hymns (for example, Ps 112) that describe the eventual downfall of the proud and wealthy.

¹ tn Heb “I will turn my ear to a wise saying, I will open [i.e., “reveal; explain”] my insightful saying with a harp.” In the first line the psalmist speaks as a pupil who learns a song of wisdom from a sage. This suggests that the resulting insightful song derives from another source, perhaps God himself. Elsewhere the Hebrew word pair חִידָה/מָשָׁל (mashal/khidah) refers to a taunt song (Hab 2:6), a parable (Ezek 17:2), lessons from history (Ps 78:2), and proverbial sayings (Prov 1:6). Here it appears to refer to the insightful song that follows, which reflects on the mortality of humankind and the ultimate inability of riches to prevent the inevitable—death. Another option is that the word pair refers more specifically to the closely related proverbial sayings of vv. 12, 20 (note the use of the verb מָשָׁל, mashal, “to be like” in both verses). In this case the psalmist first hears the sayings and then explains (Heb “opens”) their significance (see vv. 5-11, 13-19).

¹ tn The words “when they prayed,” though not represented in the Hebrew text, are supplied in the translation for clarification. The petition in vv. 13-14 is best understood as the cry for help which the oppressed offered to God when the nations threatened. The Lord answered this request, prompting the present song of thanksgiving.

² tc Heb “were celebrating before the Lord with all woods of fir” (cf. KJV, ASV, NASB). If the text is retained, the last expression must be elliptical, referring to musical instruments made from fir wood. But it is preferable to emend the text in light of 1 Chr 13:8, which reads “were celebrating before the Lord with all strength and with songs.”

³ tn The translation assumes that the verb is an archaic second feminine singular form. Though Deborah is named as one of the composers of the song (v. 1), she is also addressed within it (v. 12). Many take the verb as first person singular, “I arose” (cf. NAB, NASB, NIV).

¹ tn The Hebrew verb used here (חָמַד, khamad) is different from the one translated “crave” (אָוַה, ʾavah) in the next line. The former has sexual overtones (“lust” or the like; cf. Song of Sol 2:3) whereas the latter has more the idea of a desire or craving for material things.

³ tn The color is designated as red, although the actual color would be a tanned red-brown color for the animal (see the usage in Isa 1:18 and Song 5:10). The reddish color suggested the blood of ritual purification; see J. Milgrom, “The Paradox of the Red Cow (Num 19),” VT 31 (1981): 62-72.

³ tn The verb may have the idea of sinking with a gurgling sound, like water going into a whirlpool (R. A. Cole, Exodus [TOTC], 124; S. R. Driver, Exodus, 136). See F. M. Cross and D. N. Freedman, “The Song of Miriam,” JNES 14 (1955): 243-47.

¹ tn The meaning of this line is uncertain. It reads literally, “if you/she makes, a reparation offering, his life.” The verb תָּשִׂים (tasim) could be second masculine singular, in which case it would have to be addressed to the servant or to God. However, the servant is only addressed once in this servant song (see 52:14a), and God either speaks or is spoken about in this servant song; he is never addressed. Furthermore, the idea of God himself making a reparation offering is odd. If the verb is taken as third feminine singular, then the feminine noun נֶפֶשׁ (nefesh) at the end of the line is the likely subject. In this case one can take the suffixed form of the noun as equivalent to a pronoun and translate, “if he [literally, “his life”] makes a reparation offering.”

¹ sn The term כֶּרֶם (kerem, “vineyard”) is used literally in 8:11 in reference to Solomon’s physical vineyard, but in 8:12 it is used figuratively (hypocatastasis) in reference to the Beloved: כַּרְמִי (karmi, “my vineyard”). Throughout the Song, the term כֶּרֶם (“vineyard”) is used figuratively (Song 1:6; 2:15; 8:12). In 8:12 it is used in reference to either (1) herself, (2) her choice of whom to give herself to in love, or (3) her physical body. In contrast to Solomon’s physical vineyard, whose fruit can be bought and sold (8:11), she is not for sale: She will only give herself freely to the one whom she chooses to love.

⁵ sn This statement is a euphemism: the Beloved wished to give her breasts to Solomon, like a mother would give her breast to her nursing baby. This is the climactic point of the “lover’s wish song” of Song 8:1-2. The Beloved wished that Solomon was her little brother still nursing on her mother’s breast. The Beloved, who had learned from her mother’s example, would bring him inside their home and she would give him her breast: “I would give you spiced wine to drink, the nectar of my pomegranates.” The phrase “my pomegranates” is a euphemism for her breasts. Rather than providing milk from her breasts for a nursing baby, the Beloved’s breasts would provide the sensual delight of “spiced wine” and “nectar” for her lover.

¹ tn The term חֵךְ (khek, “palate, mouth”) is often used as a metonymy for what the mouth produces, e.g., the mouth is the organ of taste (Ps 119:103; Job 12:11; 20:13; 34:3; Prov 24:13; Song 2:3), speech (Job 6:30; 31:30; 33:2; Prov 5:3; 8:7), sound (Hos 8:1), and kisses (Song 5:16; 7:10) (HALOT 313 s.v. חֵךְ; BDB 335 s.v. חֵךְ). The metonymical association of her palate/mouth and her kisses is made explicit by RSV which translated the term as “kisses.”