¹ sn After singing a hymn. The Hallel Psalms (Pss 113-118) were sung during the meal. Psalms 113 and 114 were sung just before the second cup and 115-118 were sung at the end of the meal, after the fourth, or hallel cup.

² sn After singing a hymn. The Hallel Psalms (Pss 113-118) were sung during the meal. Psalms 113 and 114 were sung just before the second cup and 115-118 were sung at the end of the meal, after the fourth, or hallel cup.

⁵ tn Heb “the lamentation of Beth Ezel.” The following words could be the lamentation offered up by Beth Ezel (subjective genitive) or the mourning song sung over it (objective genitive).

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.

⁴ tn Heb “all the daughters of song.” The expression “the daughters of song” (בְּנוֹת הַשִּׁיר, b^enot hashir) is an idiom for “songs; musical sounds; melodious notes” (HALOT 166 s.v. I בַּת 2; BDB 123 s.v. בַּת 5; GKC 418 §128.v). The genitive הַשִּׁיר (“song”) represents the nature, quality, character or condition of the construct בְּנוֹת (“daughters”); see IBHS 149-51 §9.5.3b. The idiom refers to the musical songs sung during one’s youth or to the ability to hear songs that are sung. This line is lamenting the loss of hearing which occurs at the onset of old age.

¹ tn The Hebrew text adds עַל שִׁגְיֹנוֹת (ʿal shigyonot, “upon [or, “according to”] shigyonot”). The meaning of this word is uncertain. It may refer to the literary genre of the prayer or to the musical style to be employed when it is sung. The NEB leaves the term untranslated; several other modern English versions transliterate the term into English, sometimes with explanatory notes (NASB, NRSV “according to Shigionoth”; NIV “On shigyonoth”).

³ tn Heb “song.” The noun שִׁיר (shir) may refer to a musical song that was sung (Exod 15:1; Num 21:17; Ps 33:3; Isa 42:10) or a poetic composition that was simply read (Deut 31:19, 21, 22; 30; 32:44) (BDB 1010 s.v. שׁיר). Several factors suggest that the Song of Songs was poetry to be read and enjoyed rather than sung: (a) its sheer length, (b) absence of musical notations or instrumental instructions, (c) testimony of Jewish tradition and interpretation, (d) lack of evidence of its musical performance in the history of Israel, and (e) comparison with ancient Egyptian love poetry. The term שִׁיר here probably refers to love poetry (e.g., Isa 5:1) (BDB 1010 s.v. 1; W. L. Holladay, Concise Hebrew and Aramaic Lexicon, 368). The Song appears to be a collection of individual love songs rather than a single multistanza poem. For comparison of the Song of Songs with ancient Egyptian loves songs, see M. V. Fox, The Song of Songs and the Ancient Egyptian Love Songs, and J. B. White, Language of Love in the Song of Songs and Ancient Egyptian Poetry (SBLDS).

¹ sn The Beloved’s praise of his appearance follows the typical literary structure of the ancient Near Eastern love songs: (1) introductory summary praise (5:10), (2) detailed descriptive praise from head to foot (5:11-16a), and (3) concluding summary praise (5:16b). There are several striking features about this song that are unique from the typical love songs. (1) The ordinary setting of the ancient Near Eastern love songs was the wedding night. (2) They were ordinarily sung only by a man in praise of his bride. (3) Normally, the love song will conclude with the feet after the legs; however, the Beloved concludes by praising his mouth after his legs.

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.

¹ sn This chapter is a song of praise sung by Moses and the people right after the deliverance from the Sea. The song itself is vv. 1b-18; it falls into three sections—praise to God (1b-3), the cause for the praise (4-13), and the conclusion (14-18). The point of the first section is that God’s saving acts inspire praise from his people; the second is that God’s powerful acts deliver his people from the forces of evil; and the third section is that God’s demonstrations of his sovereignty inspire confidence in him by his people. So the Victory Song is very much like the other declarative praise psalms—the resolve to praise, the power of God, the victory over the enemies, the incomparability of God in his redemption, and the fear of the people. See also C. Cohen, “Studies in Early Israelite Poetry I: An Unrecognized Case of Three Line Staircase Parallelism in the Song of the Sea,” JANESCU 7 (1975): 13-17; D. N. Freedman, “Strophe and Meter in Exodus 15, ” A Light unto My Path, 163-203; E. Levine, “Neofiti I: A Study of Exodus 15, ” Bib 54 (1973): 301-30; T. C. Butler, “‘The Song of the Sea’: Exodus 15:1-18: A Study in the Exegesis of Hebrew Poetry,” DissAb 32 (1971): 2782-A.

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.