¹ tn The word in this context seems to mean “coming at the right or opportune time” (see BDAG 1103 s.v. ὡραῖος 1); it may also mean “beautiful, attractive, welcome.”

¹ sn To “turn the back” is universally recognized as a symbol of rejection. The turning of the face toward one is the subject of the beautiful Aaronic blessing in Num 6:24-26.

² tn Heb “They will thrust [= pitch] tents around it.” The shepherd imagery has a surprisingly ominous tone. The beautiful pasture filled with shepherds grazing their sheep is in reality a city under siege from an attacking enemy.

³ sn The repetition of יָפָה רַעְיָתִי (yafah raʿyati, “You are beautiful, my darling”) in 4:1 and 4:7 forms an inclusion, marking off the song of descriptive praise in 4:1-7.

¹ tn Heb “Behold, that which I have seen, I, good which is beautiful.” The phrase “for people” does not appear in the Hebrew text, but is supplied in the translation for clarity.

³ sn The analogy fits the second line very well. Glaze makes a vessel look beautiful and certainly different from the clay that it actually is. So is one who has evil intent (“heart”) but covers it with glowing speech.

¹ tn The Hebrew term תִּפְאֶרֶת (tifʾeret) means “beauty; glory”; in a context like this it means “honor” in the sense of glorying or boasting (BDB 802 s.v. 3.b).

³ sn “Glory” signifies the idea of beauty or adornment. D. Kidner explains that such patience “brings out here the glowing colours of a virtue which in practice may look drably unassertive” (Proverbs [TOTC], 133).

¹ sn The imagery for intimate love in marriage is now employed to stress the beauty of sexual fulfillment as it was intended. The doe and deer, both implied comparisons, exhibit the grace and love of the wife.

¹ sn Arrogance is their necklace. The metaphor suggests that their arrogance is something the wicked “wear” proudly. It draws attention to them, just as a beautiful necklace does to its owner.

² tc Heb “you cause to dissolve, like a moth, his desired [thing].” The translation assumes an emendation of חֲמוּדוֹ (khamudo, “his desirable [thing]”) to חֶמְדוֹ (khemdo, “his loveliness” [or “beauty”]), a reading that is supported by a few medieval Hebrew mss.

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.

¹ tn Heb “measuring lines have fallen for me in pleasant [places]; yes, property [or “an inheritance”] is beautiful for me.” On the dative use of עַל (ʿal), see BDB 758 s.v. II.8. Extending the metaphor used in v. 5, the psalmist compares the divine blessings he has received to a rich, beautiful tract of land that one might receive by allotment or inheritance.

² sn The term “dark” does not appear in the Hebrew in this line but is supplied in the translation from the preceding line for the sake of clarity. The poetic structure of this tricolon is an example of redistribution. The terms “black but beautiful” in the A-line are broken up—the B-line picks up on “black” and the C-line picks up on “beautiful.” The Beloved was “black” like the rugged tents of Qedar woven from the wool of black goats, but “beautiful” as the decorative inner tent-curtains of King Solomon (so J. L. Kugel, The Idea of Biblical Poetry, 40; W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 181).

² tn Heb “on its wheels.” This expression means “aptly, fittingly.” The point is obviously about the immense value and memorable beauty of words used skillfully (R. N. Whybray, Proverbs [CBC], 148). Noting the meaning of the term and the dual form of the word, W. McKane suggests that the expression is metaphorical for the balancing halves of a Hebrew parallel wisdom saying: “The stichos is a wheel, and the sentence consisting of two wheels is a ‘well-turned’ expression” (Proverbs [OTL], 584). The line then would be describing a balanced, well-turned saying, a proverb; it is skillfully constructed, beautifully written, and of lasting value.

¹ tn After the preceding imperatives, the jussive verbal form with vav (ו) conjunctive is best understood as introducing a purpose (“so that the king might desire your beauty”) or result clause (see the present translation and cf. also NASB). The point seems to be this: The bride might tend to be homesick, which in turn might cause her to mourn and diminish her attractiveness. She needs to overcome this temptation to unhappiness and enter into the marriage with joy. Then the king will be drawn to her natural beauty.

² tn Heb “the one who gives words of beauty.” The deer imagery probably does not continue into this line; Naphtali is the likely antecedent of the substantival participle, which is masculine, not feminine, in form. If the animal imagery is retained from the preceding line, the image of a talking deer is preposterous. For this reason some read the second line “the one who bears beautiful fawns,” interpreting אִמְרֵי (ʾimre) as a reference to young animals, not words (see HALOT 67 s.v. *אִמֵּר).

⁵ sn Into the temple courts. The exact location of this incident is debated. The ‘Beautiful Gate’ referred either to the Nicanor Gate (which led from the Court of the Gentiles into the Court of Women) or the Shushan Gate at the eastern wall.

² sn The Jerusalem temple was widely admired around the world. See Josephus, Ant. 15.11 (15.380-425); J. W. 5.5 (5.184-227) and Tacitus, History 5.8, who called it “immensely opulent.” Josephus compared it to a beautiful snowcapped mountain.

³ sn The Jerusalem temple was widely admired around the world. See Josephus, Ant. 15.11 [15.380-425]; J. W. 5.5 [5.184-227] and Tacitus, History 5.8, who called it “immensely opulent.” Josephus compared it to a beautiful snowcapped mountain.