² sn The action seems to involve both a twisting action, breaking the neck of the bird and severing its vertebrae, as well as pinching or nipping the skin, but in this case not severing the head from the main body (note the rest of this verse).

¹ tn The action here seems to involve both a twisting action, breaking the neck of the bird and severing its vertebrae, as well as pinching or nipping the skin to sever the head from the main body. Cf. NASB, NRSV “wring off its head”; NAB “snap its head loose”; NLT “twist off its head.”

³ sn B. Jacob says the image is that of the people walking before God, and when he called to them the directions, they would not bend their neck to listen; they were resolute in doing what they intended to do (Exodus, 943). The figure describes them as refusing to submit, but resisting in pride.

⁵ sn That these festivals and consecrations were to be signs and memorials is akin to the expressions used in the book of Proverbs (Prov 3:3, “bind them around your neck…write them on your heart”). The people were to use the festivals as outward and visible tokens to remind them to obey what the Law required.

¹ sn You will tear off his yoke from your neck. It may be that this prophetic blessing found its fulfillment when Jerusalem fell and Edom got its revenge. The oracle makes Edom subservient to Israel and suggests the Edomites would live away from the best land and be forced to sustain themselves by violent measures.

¹ tn The term חֶסֶד (khesed) can mean “mercy, loyal love, covenant love.” The two words חֶסֶד וֶאֱמֶת (khesed veʾemet, “mercy and truth”) are used together over two dozen times. Sometimes they are treated in parallel clauses and sometimes they are paired in a hendiadys, to be understood as “faithful mercy.” Here they are pictured as concrete objects to tie around one’s neck, so at that level they are distinct even though they complement each other.

² sn The picture of tying mercy and truth on the neck (also at 6:21) is similar to tying God’s commands on the hand or letting them be frontlets for the eyes (Deut 6:8; 11:18). To live by these characteristics is compared to wearing them like clothes, to have these qualities adorn the “wearer.” The picture of writing them on the heart emphasizes the inward appropriation of the teachings as a complement to their outward manifestation.

¹ tn The Hebrew word עֵדוּת (ʿedut) normally means “witness” or “testimony.” Here it probably refers to some tangible symbol of kingship, perhaps a piece of jewelry such as an amulet or neck chain (see the discussion in M. Cogan and H. Tadmor, II Kings [AB], 128). Some suggest that a document is in view, perhaps a copy of the royal protocol or of the stipulations of the Davidic covenant (see HALOT 790-91 s.v.).

² tn The Hebrew term עֵדוּת (ʿedut) normally means “witness” or “testimony.” Here it probably refers to some tangible symbol of kingship, perhaps a piece of jewelry such as an amulet or neck chain. See the discussion in M. Cogan and H. Tadmor, II Kings (AB), 128. Some suggest that a document is in view, perhaps a copy of the royal protocol or of the stipulations of the Davidic covenant. See HALOT 790-91 s.v. עֵדוּת.

² tc The MT reads עָלוּ (ʿalu, “they went up”), Qal perfect third person common plural from עָלָה (ʿalah, “to go up”). However, several important recensions of the LXX reflect an alternate vocalization tradition: Lucian and Symmachus both reflect a Vorlage of עֻלּוֹ (ʿullo, “his yoke”), the noun עֹל (ʿol, “yoke”) + third person masculine singular suffix. The Lucianic recension was aimed at bringing the LXX into closer conformity to the Hebrew; therefore, this is an important textual witness. Internal evidence favors the readings of Lucian and Symmachus as well: the entire stanza focuses on the repeated theme of the “yoke” of the Lord. The MT reading is obscure in meaning, and the third person common plural form violates the syntactical flow: “[my sins] are lashed together by his hand; they have gone up upon my neck. He has weakened my strength; the Lord has handed me over….” On the other hand, the Lucian/Symmachus reading reflects contextual congruence: “My sins are bound around my neck like a yoke; they are lashed together by his hand. His yoke is upon my neck; he has weakened my strength. He has handed me over to those whom I am powerless to resist.”

¹ tn The second half of the verse contains this hapax legomenon, which is usually connected with the word רַעְמָה (raʿmah, “thunder”). A. B. Davidson thought it referred to the quivering of the neck rather than the mane. Gray thought the sound and not the movement was the point. But without better evidence, a reading that has “quivering mane” may not be far off the mark. But it may be simplest to translate it “mane” and assume that the idea of “quivering” is part of the meaning.

³ tn The conditional clause uses an imperfect tense; this is followed by a perfect tense with the vav consecutive providing the obligation or instruction. The owner might not redeem the donkey, but if he did not, he could not keep it, he had to kill it by breaking its neck (so either a lamb for it, or the donkey itself). The donkey could not be killed by shedding blood because that would make it a sacrifice, and that was not possible with this kind of animal. See G. Brin, “The Firstling of Unclean Animals,” JQR 68 (1977): 1-15.

³ tc The meaning of this line is uncertain. The Hebrew text reads literally, “and the yoke will be destroyed (or perhaps, “pulled down”) because of fatness.” Perhaps this is a bizarre picture of an ox growing so fat that it breaks the yoke around its neck or can no longer fit into its yoke. Fatness would symbolize the Lord’s restored blessings; the removal of the yoke would symbolize the cessation of Assyrian oppression. Because of the difficulty of the metaphor, many prefer to emend the text at this point. Some emend וְחֻבַּל (v^ekhubbal, “and it will be destroyed,” a perfect with prefixed vav), to יִחְבֹּל (yikhbol, “[it] will be destroyed,” an imperfect), and take the verb with what precedes, “and their yoke will be destroyed from your neck.” Proponents of this view (cf. NAB, NRSV) then emend עֹל (ʿol, “yoke”) to עָלָה (ʿalah, “he came up”) and understand this verb as introducing the following description of the Assyrian invasion (vv. 28-32). מִפְּנֵי שָׁמֶן (mipp^eney shamen, “because of fatness”) is then emended to read “from before Rimmon” (NAB, NRSV), “from before Samaria,” or “from before Jeshimon.” Although this line may present difficulties, it appears best to regard the line as a graphic depiction of God’s abundant blessings on his servant nation.

³ tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.

³ tn Heb “I will break his yoke from upon your neck.” For the explanation of the figure see the study note on 27:2. The shift from third person at the end of v. 7, to second person in v. 8c, d, and back to third person in v. 8e is typical of Hebrew poetry in the book of Psalms and in the prophetic books (cf., GKC 351 §114.p, and compare usage in Deut 32:15 and Isa 5:8, listed there). The present translation, like several other modern ones, has typically leveled them to the same person to avoid confusion for modern readers who are not accustomed to this poetic tradition.

³ tn Heb “The nation and/or the kingdom that will not serve him, Nebuchadnezzar the king of Babylon, and that will not put its neck in the yoke of the king of Babylon, by sword, starvation, and disease I will punish [or more literally, “visit upon”] that nation, oracle of the Lord.” The long, complex Hebrew sentence has been broken up in conformity with contemporary English style, with its figures interpreted for the sake of clarity. The particle אֵת (ʾet), the sign of the accusative, before “that will not put…” is a little unusual here. For its use to introduce a new topic (here a second relative clause), see BDB 85 s.v. אֵת 3.α.

³ tn Literally “cylinder-seal” or “seal.” The term חוֹתָם (khotam, “cylinder-seal”) is repeated in 8:6 for emphasis. The translation above uses the terms “cylinder seal” and “signet” simply for the sake of poetic variation. The Beloved wanted to be as safe and secure as a cylinder seal worn on the arm or around the neck, hanging down over the heart. She also wanted to be placed on his heart (emotions), like the impression of a cylinder seal is written on a document. She wanted to be “written” on his heart like the impression of a cylinder seal, and kept secure in his love as a signet ring is worn around his arm/hand to keep it safe.

¹ tn The idiom קְשַׁת רוּחַ (q^eshat ruakh) is unique to this passage. The adjective קְשַׁת (q^eshat) may mean “hard, difficult, or distressed” and the noun רוּחַ (ruakh) may mean “spirit, or breath.” It could possibly refer to a “distressed spirit” (NIV, ESV “troubled;” NASB “oppressed;” KJV “sorrowful”) or “difficult of breath.” An appeal to some sort of shortness of breath could fit the context. The LXX has “for whom the day is difficult,” either mistaking the Hebrew word “day” יוֹם (yom) for “spirit” or choosing a way to communicate stress. The phrase has also been compared to “hard of face,” “hard of heart,” and “hard of neck” and understood to mean “obstinate” (Graeme Auld, I & II Samuel [Louisville: Westminster John Knox Press, 2011] 31). Claiming to be obstinate seems an unlikely defense to present the high priest, but if this latter suggestion is on the right track, perhaps the idiom could be bland enough to mean “determined.”

³ sn The name Orpah (עָרְפָּה, ʿorpah) is from the noun עֹרֶף (ʿoref, “back of the neck”) and the related verb (“to turn one’s back”). The name Ruth (רוּת, rut) is from the noun רְעוּת (r^eʿut, “friendship”), derived from the root רֵעַ (reaʿ, “friend, companion”). Ironically, Orpah will eventually turn her back on Naomi, while Ruth will display extraordinary friendship as her life-long companion (see 1:14). Since they seem to mirror the most definitive action of these women, perhaps they designate character types (as is the case with the name Mara in 1:21 and Peloni Almoni in 4:1) rather than their original birth names.

² tn The feminine noun לְתַלְפִּיּוֹת (l^etalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis thalpiōth) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tel, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis hupsē), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banuy l^etalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lpʾ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition ל (lamed) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpiʾot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.