² sn This is a parenthetical note by the author. It is a bit surprising that the author here identifies Mary as the one who anointed the Lord with perfumed oil and wiped his feet dry with her hair, since this event is not mentioned until later, in 12:3. Many see this “proleptic” reference as an indication that the author expected his readers to be familiar with the story already, and go on to assume that in general the author in writing the Fourth Gospel assumed his readers were familiar with the other three gospels. Whether the author assumed actual familiarity with the synoptic gospels or not, it is probable that he did assume some familiarity with Mary’s anointing activity.

¹ tn The precise meaning of the qualifying terms is uncertain. מְמֻשָּׁךְ (m^emushakh) appears to be a Pual participle from the verb מָשַׁךְ (mashakh, “to draw, extend”). Lexicographers theorize that it here refers to people who “stretch out,” as it were, or are tall. See BDB 604 s.v. מָשַׁךְ, and HALOT 645-46 s.v. משׁךְ. מוֹרָט (morat) is taken as a Pual participle from מָרַט (marat), which can mean “to pull out [hair],” in the Qal, “become bald” in the Niphal, and “be wiped clean” in the Pual. Lexicographers theorize that the word here refers to people with bare, or smooth, skin. See BDB 598-99 s.v. מָרַט, and HALOT 634-35 s.v. מרט. These proposed meanings, which are based on etymological speculation, must be regarded as tentative.

² tn The Hebrew word לִיקֲּהַת (liqqahat, “obeying”) occurs only here and in Gen 49:10; it seems to mean “to receive” in the sense of “receiving instruction” or “obeying.” C. H. Toy suggests emending to “to old age” (לְזִקְנַת, l^eziqnat) of the mother (Proverbs [ICC], 530). The LXX with γῆρας (gēras, “old age”) suggests that a root lhq had something to do with “white hair.” D. W. Thomas suggests emending from lhyqt to lyqht; it would have read, “The eye that mocks a father and despises an aged mother” (“A Note on לִיקֲּהַת in Proverbs 30:17, ” JTS 42 [1941]: 154-55); this is followed by NAB “or scorns an aged mother.”

¹ tn The verb III פָּרַע (paraʿ) means “to let go; to let alone” (BDB 828 s.v.). It can refer to unkempt hair of the head (Lev 10:6) or lack of moral restraint: “to let things run free” (Exod 32:25; Prov 28:19). Here it means “to avoid, neglect” the offer of wisdom (BDB 829 s.v. 2). As a preterite, or vayyiqtol, this verb continues the response of the naive and the fools from the previous verse. The structure of 1:24-25 is: “Because I did X, but you did Y, and [because] I did A, but you did B and C, and D.” Verse 25 has the “and C and D” portions.

¹ tn The word רוּחַ (ruakh) can be “spirit” or “breath.” The implication here is that it was something that Eliphaz felt—what he saw follows in v. 16. The commentators are divided on whether this is an apparition, a spirit, or a breath. The word can be used in either the masculine or the feminine, and so the gender of the verb does not favor the meaning “spirit.” In fact, in Isa 21:1 the same verb חָלַף (khalaf, “pass on, through”) is used with the subject being a strong wind or hurricane “blowing across.” It may be that such a wind has caused Eliphaz’s hair to stand on end here. D. J. A. Clines (Job [WBC], 111) also concludes it means “wind,” noting that in Job a spirit or spirits would be called רְפָאִים (r^efaʾim), אֶלֹהִים (ʾelohim) or אוֹב (ʾov).

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!

⁵ tn Heb “the steel.” The Hebrew term פְּלָדוֹת is a hapax legomenon. The corresponding noun פְּלָדָה (p^eladah) probably means “metal, steel” (BDB 811 s.v. פְּלָדָה; HALOT 761 s.v. פְּלָדָה), and it is probably related to Arabic puladu, Syriac pldʾ, and early Persian fulad (all of which mean “steel”). This rendering is followed by NASB, NIV, NRSV. The term פְּלָדוֹת (“steel”) probably refers to the metallic pole attachments for the chariot spears, the side armor of the chariots, or the steel scythes fastened to the axle of a chariot. Xenophon described the army of Cyrus in a similar manner; the side armor of the chariots and the breastplates and thigh-pieces of the chariot-horses were “flashing with bronze” (Xenophon, Cyropaedia 6.4.1). On the other hand, Cathcart connects Hebrew פְּלָדָה to Ugaritic paladu, which means “a garment made of linen hair,” and suggests that פְּלָדוֹת הָרֶכֶב (peladot harekhev) refers to the coverings, blankets, or caparisons of chariot horses (K. J. Cathcart, Nahum in the Light of Northwest Semitic [BibOr], 88). This demands that הָרֶכֶב be nuanced “chariot horses”—a problem when it means “chariots” in Nah 2:4; 3:2.

² tc The MT of vv. 13b-14a reads simply, “He said to her, ‘If you weave the seven braids of my head with the web.’ And she fastened with the pin and said to him.” The additional words in the translation, “and secure it with the pin, I will become weak and be like any other man.’ 16:14 So she made him go to sleep, wove the seven braids of his hair into the fabric on the loom,” which without doubt represent the original text, are supplied from the ancient Greek version. (In both vv. 13b and 14a the Greek version has “to the wall” after “with the pin,” but this is an interpretive addition that reflects a misunderstanding of ancient weaving equipment. See G. F. Moore, Judges [ICC], 353-54.) The Hebrew textual tradition was accidentally shortened during the copying process. A scribe’s eye jumped from the first instance of “with the web” to the second, causing him to leave out inadvertently the intervening words.

¹ tn The noun שֹׁרֶר (shorer) is a hapax legomenon, appearing in the OT only here. There is debate whether it means “navel” or “vulva”: (1) Lys and Pope suggest that שֹׁרֶר is related to Arabic srr (“secret place, pudenda, coition, fornication”). They suggest that this is contextually supported by three factors: (a) His descriptive praise of her is in ascending order, beginning with her feet and concluding with her hair. The movement from her thighs (7:1b), to her vulva (7:2a), and then to her waist (7:2b) would fit this. (b) The descriptive comparison to a glass of wine would be grotesque if her navel were in view—her navel was moist or filled with liquid?—but appropriate if her vulva were in view. (c) The navel would be a somewhat synonymous reference to the belly which is already denoted by בִּטְנֵךְ (bitnekh, “belly”) in the following line. Because 7:1-7 does not use synonymous parallelism, the term שֹׁרֶר would have to refer to something other than the belly. (2) The term שֹׁרֶר denotes “navel”: (a) It may be related to the bi-consonantal noun שֹׁר (shor, “navel, umbilical cord”) (Prov 3:8; Ezek 16:4). (b) Mishnaic Hebrew שָׁרָר (sharar) denotes “navel, umbilical cord” (Jastrow 1634 s.v. שָׁרָר). For example, in a midrash on the Book of Numbers, the noun שֹׁרֶר appears in an allusion to Song 7:3 to justify the seating of the Sanhedrin in the middle of the synagogue: “As the navel (שֹׁרֶר) is placed in the centre of the body, so are the Sanhedrin…” (Num. Rab. 1:4). On the other hand, the meaning “vulva” never appears in Mishnaic Hebrew. Therefore, apart from this disputed usage there is no evidence that this term was ever used in this manner in Hebrew. (c) Rather than שֹׁרֶר being related to Arabic sirr (“pudenda”), it could just as easily be related to the Arabic noun surr “navel.” It is methodologically more sound to define שֹׁרֶר as “navel” than as “vulva.” (d) The nuance “navel” is not as out of line contextually as Lys and Pope suggest. The navel would not be out of place in the ascending order of praise because the בִּטְנֵךְ (“abdomen”) which follows may be viewed as both above and below the navel. The figurative association of the שֹׁרֶר as a mixing bowl filled with wine does not imply that this bodily part must actually be moist or filled with liquid as Pope suggests. The point of comparison is not physical or visual but one of function, i.e., it is intoxicating. The comparison of the navel to a mixing bowl of wine is no more out of line than the comparison of the belly to a heap of wheat in the next line. In fact, the two go together—she is both the “drink” and “food” for Solomon. The shape of the navel is as congruent with the metaphor of the “round bowl” as the vulva; both are round and receding. (3) Since both terms are derived from the same geminate root—Hebrew שֹׁרֶר and Arabic srr—it is more prudent to take the term as a synecdoche of whole (lower region) for the parts (including navel and vulva). The attempt to decide between these two options may be illegitimately splitting hairs. See K&D 18:123; J. S. Deere, “Song of Solomon,” BKCOT, 199-200; D. Lys, “Notes sur de Cantique,” VTSup 17 (1969): 171-78; M. H. Pope, Song of Songs (AB), 617; G. L. Carr, Song of Solomon (TOTC), 157.

⁵ sn There is debate whether the terms “tents” אָהֳלֵי (ʾohole, “tents”) and יְרִיעוֹת (y^eriʿot, “tent-curtains”) used here as synonyms or antonyms. The term אֹהֶל (ʾohel, “tent”) is often used in reference to an overall tent assembly, with particular emphasis on the external structure (e.g., Gen 4:20; 18:1; 31:33; Exod 26:13; 40:19; Judg 4:17; Isa 54:2; Jer 37:10) (HALOT 19 s.v. I אֹהֶל). The term “tent-curtains” (יְרִיעוֹה) is used to refer to (1) inner hanging curtains, such as decorative hangings or tapestries inside a tent (e.g., Exod 26:1-2, 7; Num 4:25) and (2) a tent as a whole (e.g., 2 Sam 7:2; Jer 4:20; 10:20; Hab 3:7) (HALOT 439 s.v. יְרִיעוֹת). The two terms are often used in parallelism as an A-B word pair (Isa 54:2; Jer 4:20; 10:20; 49:29; Hab 3:7). Like the “tents” (אֹהָלִים) of Qedar which were made from the wool of black goats, “tent-curtains” (יְרִיעוֹה) also were sometimes made from goat hair (Exod 26:7). If the two are synonymous, the point is that the tents of Qedar and the tent-curtains of Salmah were both black but beautiful. If the two terms are antonyms, the point is that the tents of Qedar are black but the tent-curtains of Salmah are beautiful. In either case, her point is that she is black, but nonetheless beautiful. Rabbinic midrash misses the point; it views the metaphor as contrasting her swarthy outward appearance with her inner beauty: “Just as the tents of Kedar, although from outside they look ugly, black, and ragged, yet inside contain precious stones and pearls, so the disciples of the wise, although they look repulsive and swarthy in this world, yet have within them knowledge of the Torah, Scriptures, Mishnah, Midrash, Halachoth, Talmud, Toseftas and Haggadah” (Midrash Rabbah 4:54-55).