¹ sn Heb “until the day breathes,” which is figurative (personification) for the morning, that is, the time when the day begin its “life” (e.g., Song 4:6). Likewise, “the shadows flee” is figurative (personification) for the dawn, i.e., the time when the dark shadows of the night disappear, or the shadows of the evening which lengthen and are just as fleeting.

³ sn In ancient Near Eastern love literature it was common to use wild animals to symbolize potential problems which could separate lovers and destroy their love. For instance, in Egyptian love songs it is the crocodile, rather than the foxes, which were used as figures for obstacles which might threaten a couple’s love. Here the “foxes” are probably used figuratively to represent potentially destructive problems which could destroy their romantic relationship and which could hinder it from ripening into marriage.

⁴ sn The “fine linen” refers to expensive clothing (e.g., Gen 41:42), as does the “purple” (e.g., Exod 26:7; 27:9, 18). Garments dyed with purple indicated wealth and high rank (e.g., Song 3:5). The rich man in Luke 16:19 was clothed in fine linen and purple as well. The difference is that the wise woman is charitable, but he is not.

² tn The expression is difficult. The imagery has some similarity to Song 7:9, although the parallel is not exact. The verb is the Hitpael imperfect of הָלַךְ (halakh); and the prepositional phrase uses the word “upright; equity; pleasing,” from יָשָׁר (yashar). KJV has “when it moveth itself aright”; much more helpful is ASV “when it goeth down smoothly.” Most recent English versions are similar to ASV. The phrase obviously refers to the pleasing nature of wine.

¹ tn Heb “it is amazing in our eyes.” The use of the plural pronoun here and in vv. 24-27 suggests that the psalmist may be speaking for the entire nation. However, it is more likely that vv. 22-27 are the people’s response to the psalmist’s thanksgiving song (see especially v. 26). They rejoice with him because his deliverance on the battlefield (see vv. 10-12) had national repercussions.

¹ tn Heb “I will remember my song in the night, with my heart I will reflect. And my spirit searched.” As in v. 4, the words of v. 6a are understood as what the psalmist said earlier. Consequently the words “I said” are supplied in the translation for clarification (see v. 10). The prefixed verbal form with vav (ו) consecutive at the beginning of the final line is taken as sequential to the perfect “I thought” in v. 6.

² tn Heb “your ways.” The word “merciful” is added for clarification. God’s “ways” are sometimes his commands, but in this context, where the teaching of God’s ways motivates repentance (see the next line), it is more likely that God’s merciful and compassionate way of dealing with sinners is in view. Thanksgiving songs praising God for his deliverance typically focus on these divine attributes (see Pss 34, 41, 116, 138).

² tn Heb “gore” (like an ox). If this portion of the psalm contains the song of confidence/petition the Israelites recited prior to battle, then the imperfects here and in the next line may express their expectation of victory. Another option is that the imperfects function in an emphatic generalizing manner. In this case one might translate, “you [always] drive back…you [always] trample down.”

² tn Heb “a song of the dedication of the house.” The referent of “house” is unclear. It is possible that David wrote this psalm for the dedication ceremony of Solomon’s temple. Another possibility is that the psalm was used on the occasion of the dedication of the second temple following the return from exile, or on the occasion of the rededication of the temple in Maccabean times.

² tn The precise meaning of the Hebrew term שִׁגָּיוֹן (shiggayon; translated here “musical composition”) is uncertain. Some derive the noun from the verbal root שָׁגָה (shagah, “swerve, reel”) and understand it as referring to a “wild, passionate song, with rapid changes of rhythm” (see BDB 993 s.v. שִׁגָּיוֹן). But this proposal is purely speculative. The only other appearance of the noun is in Hab 3:1, where it occurs in the plural.

¹ tn Heb “went.” Samson apparently went home to his parents before going to Timnah for the marriage. Seeing and tasting the honey appears to encourage Manoah to go with his son to Timnah. Perhaps both Samson and his father viewed the honey as a good omen of future blessing. Possibly Samson considered it a symbol of sexual pleasure or an aphrodisiac. Note the use of honey imagery in Song 4:11 and 5:1.

⁴ tn Heb “like purple” or “like purple fabric.” The term אַרְגָּמָן (ʾargaman, “purple fabric”) refers to wool dyed with red purple (HALOT 84 s.v. אַרְגָּמָן). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). NASB translates it as “purple threads,” while NIV nuances this term as “royal tapestry.” M. H. Pope (The Song of Songs [AB], 629-30) adduces several ancient Near Eastern texts and suggests that it refers to purple hair-dye. The comparison is to hair which entangles Solomon like binding cords and therefore, it seems most likely that the idea here must be purple threads. The Hebrew noun is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” Aramaic argwn “purple” (HALOT 84). Purple cloth and threads were considered very valuable (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26).

¹ tn Heb “those who go around the city” or “those who go around in the city.” The expression הַסֹּבְבִים בָּעִיר (hassov^evim baʿir, “those who go around the city”) probably refers to the watchmen of the city walls rather than night city street patrol (e.g., Ps 127:1; Song 5:7; Isa 21:11; 62:6). The Israelite night watchmen of the walls is paralleled by the Akkadian sahir duri (“one who goes around the wall”) which appears in a lexical text as the equivalent of ma-sar musi (“night watchman”) (CAD 4:192). See M. H. Pope, Song of Songs (AB), 419. There is a wordplay in 3:2-3 between the verb וַאֲסוֹבְבָה (vaʾasov^evah, “I will go about”) and הַסֹּבְבִים (hassov^evim, “those who go around”). This wordplay draws attention to the ironic similarity between the woman’s action and the action of the city’s watchmen. Ironically, she failed to find her beloved as she went around in the city, but the city watchmen found her. Rather than finding the one she was looking for, she was found.

⁵ tn The syntactical function of the article on הָאַהֲבָה (haʾahavah, “love”) is debated. Most translations view this as an example of the article denoting an abstract concept. However, a few translations (KJV, AV, JB, NEB) view it as an abstract use of the article for the concrete (abstractum pro concreto), and render it as “my love” as referring either to the woman’s own feelings or the feelings of her lover. Throughout the Song, the term אַהֲבָה (ʾahavah, “love”) is not used as a term for endearment in reference to one of the lovers; it typically refers to sexual passion (Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7). When used of the man/woman relationship, the term אַהֲבָה (“love”) may refer to emotional love (Eccl 9:1, 6; Prov 15:17; Ps 109:4-5) or sexual love/desire (Gen 29:20; 2 Sam 1:26; 13:4, 15; Prov 5:19-20; 7:18; Jer 2:33; Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7) (DCH 1:141 s.v. I אַהֲבָה; HALOT 18 s.v. I אַהֲבָה). The reference to sexual desire in 2:4-5 and חוֹלַת אַהֲבָה (kholat ʾahavah, “love-sickness”) in 2:5 suggests that the use of אַהֲבָה (“love”) in 2:7 is sexual desire. Love is personified in this picture.

² tn Heb “May he kiss me….” The shift from third person masculine singular forms (“he” and “his”) in 1:2a to second person masculine singular forms (“your”) in 1:2b-4 has led some to suggest that the Beloved addresses the Friends in 1:2a and then her Lover in 1:2b-4. A better solution is that the shift from the third person masculine singular to second person masculine singular forms is an example of heterosis of person: a poetic device in which the grammatical person shifts from line to line (M. H. Pope, Song of Songs [AB], 297). The third person is put for the second person (e.g, Gen 49:4; Deut 32:15; Ps 23:2-5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Micah 7:19; Lam 3:1; Song 4:2; 6:6) (E. W. Bullinger, Figures of Speech, 524-25). Similar shifts occur in ancient Near Eastern love literature (cf. S. N. Kramer, The Sacred Marriage Rite, 92, 99). Most translations render 1:2 literally and preserve the shifts from third person masculine singular to second person masculine singular forms (KJV, AV, NASB, NIV); others render 1:2 with second person masculine singular forms throughout (RSV, NJPS).

³ tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear—“hole”—there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kappot hammanʿul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19.

⁵ tn Alternately, “captivated.” The verb אָסַר (ʾasar, “to bind, capture, hold captive, put in prison”) is commonly used of binding a prisoner with cords and fetters (Gen 42:34; Judg 15:10-13; 16:5-12; 2 Kgs 17:4; 23:33; 25:7; 2 Chr 33:11) (HALOT 75 s.v. אסר). It is frequently used as a figure to depict absolute authority over a person (Ps 105:22). The passive participle סוּר means “to be bound, held captive, imprisoned” (2 Sam 3:34; Jer 40:1; Job 36:8). Like a prisoner bound in cords and fetters and held under the complete control and authority of his captor, Solomon was captivated by the spellbinding power of her hair. In a word, he was the prisoner of love and she was his captor. Similar imagery appears in an ancient Egyptian love song: “With her hair she throws lassoes at me, with her eyes she catches me, with her necklace she entangles me, and with her seal ring she brands me” (Song 43 in the Chester Beatty Cycle, translated by W. K. Simpson, ed., The Literature of Ancient Egypt, 324). J. S. Deere suggests, “The concluding part of the metaphor, ‘The king is held captive by your tresses,’ is a beautiful expression of the powerful effect of love. A strong monarch was held prisoner by the beauty of his Beloved” (“Song of Solomon,” BKCOT, 206-207). This is a startling statement because Solomon emphasizes that the one who was being held captive like a prisoner in bonds was the “king”! At this point in world history, Solomon was the ruler of the most powerful and wealthy nation in the world (1 Kgs 3:13; 10:23-29). And yet he was held totally captive and subject to the beauty of this country maiden!

³ tn Alternately “clusters of figs.” The term אַשְׁכֹּלוֹת (ʾashkolot, “clusters”) usually refers to (1) clusters of grapes, that is, the stalk on which the bunch of grapes grow and the bunch of grapes themselves (Gen 40:10; Num 13:23-24; Deut 32:32; Isa 65:8; Mic 7:1) or (2) the berry on a cluster of henna bush (Song 1:14) (HALOT 95 s.v. I אַשְׁכּוֹל). It is possible that this is an anomalous usage in reference to a cluster of dates rather than to a cluster of grapes for three reasons: (1) the תָּמָר (tamar, “palm tree”) referred to in 7:7 is a date palm, (2) the term סַנְסִנִּים (sansinnim, “fruit stalks”) in 7:8a refers to the fruit stalk of dates (Rademus dactylorum), being related to Akkadian sissinnu (“part of the date palm”), and (3) the reference to climbing the palm tree in 7:8a is best understood if it is a date palm and its fruit are dates. The comparison between her breasts and clusters of dates probably has to do with shape and multiplicity, as well as taste, as the rest of this extended metaphor intimates. M. H. Pope (The Song of Songs [AB], 634) notes: “The comparison of the breasts to date clusters presumably intended a pair of clusters to match the dual form of the word for ‘breasts.’ A single cluster of dates may carry over a thousand single fruits and weigh twenty pounds or more. It may be noted that the multiple breasts of the representations of Artemis of Ephesus look very much like a cluster of large dates, and it might be that the date clusters here were intended to suggest a similar condition of polymasty.”

² tn Alternately, “Before I realized it, my soul placed me among the chariots of my princely people.” There is debate whether נַפְשִׁי (nafshi, “my soul” = “I”) belongs with the first or second colon. The MT accentuation connects it with the second colon; thus, the first colon introduces indirect discourse: לֹא יָדַעְתִּי (loʾ yadaʿti) “I did not know” or “Before I realized it….” According to MT accentuation, the feminine singular noun נַפְשִׁי (“my soul”) is the subject of שָׂמַתְנִי (samatni, Qal perfect third person feminine singular from שִׂים, sim, “to put,” plus first person common singular suffix): “my soul placed me….” This approach is followed by several translations (KJV, NASB, AV, AT, JB, JPSV, NAB, NIV). On the other hand, the LXX takes נַפְשִׁי (“my soul” = “I”) as the subject of לֹא יָדַעְתִּי and renders the line, “My soul [= I] did not know.” NEB follows suit, taking נַפְשִׁי as the subject of לֹא יָדַעְתִּי and renders the line: “I did not know myself.” R. Gordis and S. M. Paul posit that לֹא יָדַעְתִּי נַפְשִׁי (literally “I did not know myself”) is an idiom describing the emotional state of the speaker, either joy or anguish: “I was beside myself” (e.g., Job 9:21; Prov 19:2). S. Paul notes that the semantic equivalent of this Hebrew phrase is found in the Akkadian expression ramansu la ude (“he did not know himself”) which is a medical idiom describing the loss of composure, lucidity, or partial loss of consciousness. He suggests that the speaker in the Song is beside himself/herself with anguish or joy (S. M. Paul, “An Unrecognized Medical Idiom in Canticles 6, 12 and Job 9, 21, ” Bib 59 [1978]: 545-47; R. Gordis, Song of Songs and Lamentations, 95).

³ tn Heb “and toward your husband [will be] your desire.” The nominal sentence does not have a verb; a future verb must be supplied because the focus of the oracle is on the future struggle. The precise meaning of the noun תְּשׁוּקָה (t^eshuqah, “desire”) is debated. Many interpreters conclude that it refers to sexual desire here because the subject of the passage is the relationship between a wife and her husband, and because the word is used in a romantic sense in Song 7:11 HT (7:10 ET). However, this interpretation makes little sense in Gen 3:16. First, it does not fit well with the assertion “he will dominate you.” Second, it implies that sexual desire was not part of the original creation, even though the man and the woman were told to multiply. And third, it ignores the usage of the word in Gen 4:7 where it refers to sin’s desire to control and dominate Cain. (Even in Song of Songs it carries the basic idea of “control,” for it describes the young man’s desire to “have his way sexually” with the young woman.) In Gen 3:16 the Lord announces a struggle, a conflict between the man and the woman. She will desire to control him, but he will dominate her instead. This interpretation also fits the tone of the passage, which is a judgment oracle. See further Susan T. Foh, “What is the Woman’s Desire?” WTJ 37 (1975): 376-83.