³ tn Heb “[it is] before me.” The particle לְפָנָי (l^efana) can denote “at the disposal of” (e.g., Gen 13:9; 20:15; 24:51; 34:10; 47:6; Jer 40:4; 2 Chr 14:6) (HALOT 9 s.v. פָּנֶה 4.f; BDB 817 s.v. פנה 4.a.f). Similar to Akkadian ana pan “at the disposal of” (AHw 2:821. a, paragraph 20), the term is used in reference to a sovereign (usually a land-owner or king) who has full power over his property to dispose of as he wishes, e.g., “The whole country is at your disposal [לְפָנֶיךָ, l^efaneka]” (Gen 13:9). In Song 8:12 the form לְפָנָי has the first person common singular suffix: “My vineyard, which belongs to me, is at my disposal.”

¹ tn The infinitive construct לִנְצֹר (lintsor, “to guard”) designates the purpose of the Lord giving “effective counsel” and being a “shield” to the upright. The verb נָצַר (natsar, “to guard”) has a broad range of meanings: (1) to watch over, guard or protect a vineyard from theft (Prov 27:18); (2) to guard one’s lips or heart from evil (Prov 4:23; 13:3); (3) to protect a person from moral or physical danger (Prov 2:8, 11; 4:6; 13:6; 20:28; 22:12; 24:12) and (4) to guard with fidelity = to observe commands, law or covenant (Prov 3:1, 21; 4:13; 5:2; 6:20; 28:7; see BDB 665-66 s.v.). Here God guards the way of the just, that is, the course and conduct of life from the influence of evil.

⁵ sn The poor among the returned exiles were being exploited by their rich countrymen. Moneylenders were loaning large amounts of money, and not only collecting interest on loans which was illegal (Lev 25:36-37; Deut 23:19-20), but also seizing pledges as collateral (Neh 5:3) which was allowed (Deut 24:10). When the debtors missed a payment, the moneylenders would seize their collateral: their fields, vineyards and homes. With no other means of income, the debtors were forced to sell their children into slavery, a common practice at this time (Neh 5:5). Nehemiah himself was one of the moneylenders (Neh 5:10), but he insisted that seizure of collateral from fellow Jewish countrymen was ethically wrong (Neh 5:9).

⁵ tn The verb נָטַר (natar) is a synonym of נָצַר (natsar) andשָׁמַר (shamar), each including a meaning “to keep, guard.” נָטַר (natar) is used elsewhere of keeping a vineyard (Song 1:6; 8:11-12) and guarding a secret (Dan 7:28). It describes a person bearing a grudge, seeking revenge, and refusing to forgive (Lev 19:18). It is also used in collocation with לְעוֹלָם (l^eʿolam, “forever, always”) and לָעַד (laʿad, “continually”) to picture God harboring rage against his enemies forever (Jer 3:5, 12; Amos 1:11; Ps 103:9). Contra HALOT (695 s.v.), it does not mean “to control anger” or “to be slow to anger” and is not collocated with אָף (ʾaf, “anger”) as the entry implies (see TWOT 2:576 and NIDOTTE 1581, s.v.). The long-term rage depicted by נָטַר (“maintain rage”) serves as an appropriate bridge to the following statement in Nahum that the Lord is slow to anger but furious in judgment. God seeks vengeance against his enemies; he continually rages and maintains his anger; he is slow to anger, but will eventually burst out with the full fury of his wrath.

² tc The MT reads “they approached,” while the LXX reads “he approached.” The previous sentence suggests that his parents were there, reading literally, “he went down, Samson and his father and his mother, to Timnah.” But the story line suggests that his parents were not there, as v. 6b reports that Samson did not tell them about the incident. The following sentence begins with וְהִנֵּה (v^ehinneh, “and behold”). This particle is used to focus or shift attention, typically pointing something out or introducing it into the scene (here the lion). But the scene that וְהִנֵּה comments on is set by the previous verb. If the verb “approached” were plural, then Samson’s parents should be with him when the lion attacks, something that contradicts the story as a whole. This indicates the verb should be singular. Since the previous verb, “went down,” is also singular (so also v. 7a), the phrase “and his father and his mother” may have been accidentally copied into the text under the influence of v. 4a. Later the verb was changed to “they approached” to account for the addition, but not until after the LXX was translated. Or one might suppose that his parents had gone on this trip down to Timnah (retaining “and his father and his mother”), but he had separated from them before approaching to the vineyards.

² tn Alternately, “towers of perfume.” The MT reads מִגְדְּלוֹת (migd^elot) which yields the awkward “towers of perfume.” The term מִגְדָּל (migdal, “tower”) is normally used in reference to (1) watch-towers, defended towers along the city wall, and individual towers in the countryside to protect the borders, (2) storehouses, and (3) a tower in a vineyard (HALOT 543-44 s.v. I מִגְדָּל). It is never used in OT in association with a flower garden. On the other hand, LXX reads φυουσαι (phuousai, “yielding”) which reflects an alternate vocalization tradition of מְגַדְּלוֹת (m^egadd^elot; Piel participle feminine plural from גָּדַל, gadal, “to increase, produce”). This makes good sense contextually because the Piel stem of גָּדַל means “to grow” plants and trees (Isa 44:14; Ezek 31:4; Jonah 4:10) (HALOT 179 s.v. I גדל 2). This revocalization is suggested by BHS editors, as well as the Hebrew lexicographers (HALOT 544 s.v. 2; 179 s.v. I 2; BDB 152 s.v. גָּדַל 1). Several translations follow LXX and revocalize the text (RSV, NIV, NJPS margin): “His cheeks are like beds of spice yielding perfume” (NIV) and “His cheeks are like beds of spice producing perfume” (NJPS margin). The other translations struggle to make sense of the MT, but are forced to abandon a literal rendering of מִגְדְּלוֹת (“towers”): “banks sweet herbs” (ASV), “banks sweetly scented” (JB), “treasure-chambers full of perfume” (NEB), “banks of sweet scented herbs” (NASB), and “banks of perfume” (JPS, NJPS).

² tn The function of the term נֶעֱבָד (neʿevar, Niphal participle ms from עָבַד, ʿavar, “to serve”) has been understood in four ways: (1) adjectival use of the participle, modifying the noun שָׂדֶה (sadeh, “field”): “cultivated field” (RSV, NRSV, NJPS, NAB); (2) adjectival use of the participle, modifying מֶלֶךְ (melekh, “king”): “the king who cultivates” (NASB); (3) verbal use of the participle, taking שָׂדֶה (“field”) as the subject: “field is cultivated” (NEB); and (4) verbal use of the participle, taking מֶלֶךְ (“king”) as the subject: “the king is served” (KJV, NASB); also “the king profits” (NIV). BDB 713 s.v. עָבַד 2 lists both the adjectival and verbal options: “a king for [i.e., devoted to] the cultivated field” and “a king that makes himself servant to the field [i.e., devoted to agriculture].” HALOT 774 s.v. עבד suggests the line be rendered as “a king who serves the land.” In the Qal stem the verb עָבַד (ʿavar) is sometimes used in reference to tribute imposed upon a king’s subjects (e.g., Jer 25:14; 27:7; 30:8; Ezek 34:27) and in reference to subjects serving a king (e.g., Judg 9:28, 38; 1 Sam 11:1; 1 Kgs 5:1; 2 Sam 22:44; Jer 27:7; 28:14; 2 Kgs 25:24); cf. BDB 713 s.v. עָבַד 3; HALOT 773 s.v. עבד 3. Likewise, it is also used in reference to tilling the ground (e.g., Gen 2:5; 4:2, 12; 2 Sam 9:10; Isa 30:24; Jer 27:11; Zech 13:5; Prov 12:11; 28:19) and a vineyard or garden (Gen 2:15; Deut 28:39); cf. HALOT 773 s.v. עבד 3; BDB 713 s.v. עָבַד 3.

⁵ sn The term צֵל (tsel, “shade”) is used figuratively to depict protection and relief. This term is used in OT literally (physical shade from the sun) and figuratively (protection from something) (HALOT 1024-25 s.v. צֵל): (1) Literal: The physical shade of a tree offers protection from the heat of the midday sun (Judg 9:15; Ezek 17:23; 31:6, 12, 17; Hos 4:13; Jonah 4:6; Job 7:2; 40:22). Similar protection from the sun is offered by the shade of a vine (Ps 80:11), root (Gen 19:8), mountain (Judg 9:36), rock (Isa 32:2), cloud (Isa 25:5), and hut (Jonah 4:5). (2) Figurative (hypocatastasis): Just as physical shade offers protection from the sun, the Israelite could find “shade” (protection) from God or the king (e.g., Num 14:9; Isa 30:2; 49:2; 51:16; Hos 14:8; Pss 17:8; 36:8; 57:2; 63:8; 91:1; 121:5; Lam 4:20; Eccl 7:12). The association between “shade” and “protection” is seen in the related Akkadian sillu “shade, covering, protection” (AHw 3:1101; CAD S:189). The epithets of several Akkadian deities are sillu and sululu (“Shade, Protector”). The motif of protection, rest, and relief from the sun seems to be implied by the expression וְיָשַׁבְתִּי (v^eyashavti, “I sat down”) in 2:3b. During the summer months, the temperature often reaches 110-130 ºF in the Negev. Those who have never personally experienced the heat of the summer sun in the Negev as they performed strenuous physical labor cannot fully appreciate the relief offered by any kind of shade! Previously, the young woman had complained that she had been burned by the sun because she had been forced to labor in the vineyards with no shade to protect her (Song 1:5-6). She had urged him to tell her where she could find relief from the sun during the hot midday hours (Song 1:7). Now she exults that she finally had found relief from the scorching sun under the “shade” which he offered to her (Song 2:3). S. C. Glickman writes: “Whereas before she came to him she worked long hours on the sun (1:6), now she rests under the protective shade he brings. And although formerly she was so exhausted by her work she could not properly care for herself, now she finds time for refreshment with him” (A Song for Lovers, 40).

¹ tn The introductory headings that identify the speakers of the poems throughout the Song do not appear in the Hebrew text. They are supplied in the translation for the sake of clarity. These notations should not be misinterpreted as suggesting that the Song be interpreted as a drama. Throughout the Song, the notation “The Lover” refers to the young man, while “the Beloved” refers to the young woman. Since the Song of Songs appears to be a collection of individual love songs, the individual love poems within the collection might not have originally referred to the same young man and young woman in each case. Just as the Book of Proverbs contains proverbs composed by Solomon (10:1-22:16; 25:1-29:27) as well as proverbs composed by other wise men (22:17-24:34; 30:1-31:9), so the Song of Songs may contain love poems composed by Solomon or written about Solomon as well as love poems composed by or written about other young couples in love. Nevertheless, the final canonical form of this collection presents a unified picture of idyllic love between one man and one woman in each case. The young man in several of the individual love poems is explicitly identified as Solomon (3:7; 8:11-12), King Solomon (3:9, 11) or the king (1:4; 7:6). Some statements in the Song are consistent with a royal figure such as Solomon: references to Tirzah and Jerusalem (6:4) and to multiple queens and concubines (6:8). It is not so clear, however, whether Solomon is the young man in every individual poem. Nor is it clear that the same young woman is in view in each love poem. In several poems the young woman is a country maiden working in a vineyard (1:5-6; 8:11-12); however, the young woman in another poem is addressed as “O prince’s daughter” (7:2). The historian notes, “Solomon loved many women, especially the daughter of Pharaoh” (1 Kgs 11:1). So it would be surprising if the Song devoted itself to only one of Solomon’s many liaisons. The Song may simply be a collection of love poems written at various moments in Solomon’s illustrious career as a lover of many women. It may also include love poems written about other young lovers that were collected into the final form of the book that presents a portrait of idyllic love of young lovers.

³ tc While MT reads מַרְכְּבוֹת (mark^evot, “chariots”) some medieval Hebrew mss add the locative preposition ב (bet) or comparative particle כ (kaf) before מַרְכְּבוֹת to produce “in/on/among/like the chariots.” Most translations supply a preposition: “My soul made me [like] the chariots of Ammi-nadib” (KJV, AV); “My fancy set me [in] a chariot beside my prince” (AT); “My soul set me [over] the chariots of my noble people” (NASB); “My desire set me [among] the chariots of Amminadab” (JPS, NJPS, NIV margin); “My desire set me [among] the royal chariots of my people” (NIV); “My desire set me [among] the chariots of the people of the prince” (NIV margin); “My desire hurled me [on] the chariots of my people, [as their] prince” (JB). R. Gordis offers a creative solution to the enigma of שָׂמַתְנִי מַרְכְּבוֹת עַמִּי־נָדִיב (samatni mark^evot ʿammi nadiv) by redividing the text and revocalizing it as שָׁם תֵּנִי מֹרֶךְ בַּת עַמִּי־נָדִיב (sham teni morekh bat ʿammi nadiv) “There, give me your myrrh, O nobleman’s daughter!” This involves two steps: (1) He redivides the MT’s שָׂמַתְנִי (“it placed me”) into two words שָׁם תֵּנִי (“There, give me”); and (2) He redivides the MT’s מַרְכְּבוֹת (“chariots”) into מֹרךְ בַּת (“your myrrh, O daughter”). This approach is supported somewhat by the LXX, which had a difficult time with the line: “There I will give my breasts to you!” The approach of R. Gordis is explained and supported by several factors: (1) He take מֹרךְ (“your myrrh”) as a figure (hypocatastasis) for her love (e.g., 4:6, 14; 5:1, 5, 13). (2) The word-division of בַּת עַמִּי־נָדִיב (“O noble kinsman’s daughter”) is paralleled by the nearly identical descriptive בַּת־נָדִיב (“O nobleman’s daughter”) in 7:2. (3) Arabs referred to a girl as bint el akbar (“nobleman’s daughter”). (4) The referent of שָׁם (“there”) is the garden/valley mentioned in 6:11. (5) This fits into the other literary parallels between 6:11-12 and 7:12-14, listed as follows: (a) “I went down to the nut grove” (6:11a) and “Let us go to the vineyards” (7:12a). (b) “to look for new growth in the valley, to see if the vines had budded, or if the pomegranates were in bloom” (6:11b) and “Let us see if the vines have budded, if the blossoms have opened, if the pomegranates are in bloom” (7:13a). (c) “There…give me your myrrh = love” (6:12b) and “There I will give you my love” (7:13b). See R. Gordis, Song of Songs and Lamentations, 95.

¹ sn The book of Proverbs comes to a close with this poem about the noble wife. A careful reading of the poem will show that it is extolling godly wisdom that is beneficial to the family and the society. Traditionally it has been interpreted as a paradigm for godly women. And while that is valid in part, there is much more here. The poem captures all the themes of wisdom that have been presented in the book and arranges them in this portrait of the ideal woman (Claudia V. Camp, Wisdom and the Feminine in the Book of Proverbs, 92-93). Any careful reading of the passage would have to conclude that if it were merely a paradigm for women what it portrays may well be out of reach—she is a wealthy aristocrat who runs an estate with servants and conducts business affairs of real estate, vineyards, and merchandising, and also takes care of domestic matters and is involved with charity. Moreover, it says nothing about the woman’s personal relationship with her husband, her intellectual and emotional strengths, or her religious activities (E. Jacob, “Sagesse et Alphabet: Pr. 31:10-31,” Hommages à A. Dont-Sommer, 287-95). In general, it appears that the “woman” of Proverbs 31 is a symbol of all that wisdom represents. The poem, then, plays an important part in the personification of wisdom so common in the ancient Near East. But rather than deify Wisdom as the other ANE cultures did, Proverbs simply describes wisdom as a woman. Several features will stand out in the study of this passage. First, it is an alphabetic arrangement of the virtues of wisdom (an acrostic poem). Such an acrostic was a way of organizing the thoughts and making them more memorable (M. H. Lichtenstein, “Chiasm and Symmetry in Proverbs 31,” CBQ 44 [1982]: 202-11). Second, the passage is similar to hymns, but this one extols wisdom. A comparison with Psalm 111 will illustrate the similarities. Third, the passage has similarities with heroic literature. The vocabulary and the expressions often sound more like an ode to a champion than to a domestic scene. Putting these features together, one would conclude that Proverbs 31:10-31 is a hymn to Lady Wisdom, written in the heroic mode. Using this arrangement allows the sage to make all the lessons of wisdom in the book concrete and practical, it provides a polemic against the culture that saw women as merely decorative, and it depicts the greater heroism as moral and domestic rather than only exploits on the battlefield. The poem certainly presents a pattern for women to follow. But it also presents a pattern for men to follow as well, for this is the message of the book of Proverbs in summary.