⁵ tn Heb “better than.” With the comparison of lovemaking to wine, the idea is probably “more intoxicating than wine” or “more delightful than wine.”

² tn Heb “loves.” The word דּוֹד (dod) means physical love or lovemaking. It is found frequently in the Song of Solomon for the loved one, the beloved.

⁴ tn Although it may be understood in the general sense meaning “love” (Song 1:4), the term דּוֹד (dod) normally means “lovemaking” (Prov 7:18; Song 4:10; 7:12 [13]; Ezek 16:8; 23:17). The plural form דֹּדֶיךָ (dodekha, lit. “your lovemakings”) is probably not a plural of number but an abstract plural (so BDB 187 s.v. דּוֹד 3).

² sn Continuing the little brother/older sister imagery of 8:1, the Beloved suggests that if she had been an older sister and he had been her little brother, she would have been able to nurse Solomon. This is a euphemism for her sensual desire to offer her breasts to Solomon in marital lovemaking.

¹ sn Frequently, when oaths were taken in the ancient world, witnesses were invoked in order to solemnize the vow and to act as jurists should the oath someday be broken. Cosmic forces such as the “heavens and earth” were often personified to act as witnesses to an oath (e.g., Deut 32:1; Isa 1:2; Mic 1:2; 6:1-2; Ps 50:2). In this case, the “witnesses” are the “gazelles and stags of the field” (2:7; 3:5). These animals were frequently used as symbols of romantic love in the OT (Prov 5:19). And in Egyptian and Mesopotamian love literature and Ugaritic poetry the gazelle was often associated with sexual fertility. For instance, in the following excerpt from a Mesopotamian incantation text the stag is referred to in the context of sexual potency in which a woman urges an ailing male: “With the love-[making of the mountain goat] six times, with the lovemaking of a stag seven times, with the lovemaking of a partridge twelve times, make love to me! Make love to me because I am young! And the lovemaking of a stag…Make love to me!” (R. D. Biggs, Ancient Mesopotamian Potency Incantations [TCS], 26, lines 4-8).

² sn The term אֲשִׁישׁוֹת (ʾashishot, “raisin cakes,” from אֲשִׁישָׁה, ʾashishah) refers to an expensive delicacy made of dried compressed grapes (HALOT 95 s.v. אֲשִׁישָׁה; BDB 84 s.v. אֲשִׁישָׁה; Jastrow 128 s.v. אֲשִׁישָׁה). Raisin cakes were used as cultic offerings by many ancient Near Easterners, and were especially prominent in ancient Near Eastern fertility rites (e.g., Isa 16:7; Hos 3:1). In ancient Israel they were eaten during festive celebrations, being viewed as enhancing sexual fertility (2 Sam 6:19; 1 Chr 16:3). Scholars regard the “raisin cakes” as (1) literal food viewed as an aphrodisiac to “cure” her love-sickness; (2) a figurative expression (hypocatastasis) for sexual passion or lovemaking; or (3) double entendre referring to the literal food as an aphrodisiac and her desire for lovemaking.

¹ tn The preposition ל (lamed) of לְרֵיחַ (l^erekha) has been understood in three ways: (a) dative of reference: “with respect to fragrance [your perfumes are pleasing]” (see GKC 430 §133.d); (b) asseverative or emphatic: “indeed the fragrance [of your perfumes is pleasing]” (see R. J. Williams, Hebrew Syntax, 50-51, §283); or (c) comparative: “[your lovemaking is better than wine], indeed better the scent [of precious ointments]” (W. F. Albright, “Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 2, n. 4).

⁴ tn The syntax of the noun אַהֲבָה (ʾahavah, “love”) has been taken as: (1) predicate nominative: “His banner over me [was] love” or “His intention toward me [was] lovemaking” (M. H. Pope, Song of Songs [AB], 376-77; G. L. Carr, Song of Solomon [TOTC], 91); (2) genitive of attribute/content: “His banner of love [was] over me,” and (3) adverbial or adjectival accusative: “His look upon me was loving” or “He looked upon me lovingly” (R. Gordis, Song of Songs and Lamentations, 81-82). Examples of adverbial or adjectival accusatives, e.g., “I am peace” = “I am peaceful” (Ps 120:7); “I will love them as a free gift” = “I will love them freely” (Hos 14:5).

⁶ tn The term חֶדֶר (kheder, “chamber”) is used frequently in reference to a bedroom (Gen 43:30; Judg 15:1; 16:9; 2 Sam 13:10; 1 Kgs 1:15; Ps 105:30; Isa 26:20). It refers explicitly to a bedroom when used with the noun מִשְׁכָּב (mishkav, “bed”) in the expression חֶדֶר מִשְׁכָּב “bedroom chamber” Exod 7:28 HT [8:3 ET]; 2 Sam 4:7; 2 Kgs 6:12; Eccl 10:20). The plural form חֲדָרָיו (khadarayv, “his chambers”) functions as a plural of extension rather than a plural or number; it refers to one bedroom composed of several parts rather than referring to several different bedrooms. The expression “Bring me into your chambers” is a metonymy of cause for effect, that is, her desire for lovemaking in his bedroom chambers.

⁶ tn The young woman compares his lovemaking to the intoxicating effects of wine. A man is to be “intoxicated” with the love of his wife (Prov 5:20). Wine makes the heart glad (Deut 14:26; Judg 9:13; Ps 104:15) and revives the spirit (2 Sam 16:1-2; Prov 31:4-7). It is viewed as a gift from God, given to enable man to enjoy life (Eccl 2:24-25; 5:18). The ancient Egyptian love poems use the imagery of wine and intoxication to describe the overwhelming effects of sexual love. For example, an ancient Egyptian love song reads: “I embrace her and her arms open wide; I am like a man in Punt, like someone overwhelmed with drugs. I kiss her and her lips open; and I am drunk without beer” (ANET 467-69).

⁴ tc The MT vocalizes consonantal דדיך as דֹּדֶיךָ (dodekha, “your loves”; masculine plural noun from דּוֹד, dod, “love” plus second person masculine singular suffix). The LXX and Vulgate reflect the vocalization דַּדֶּיךָ (daddekha, “your breasts”; masculine plural noun from דַּד, dad, “breast” plus second person masculine singular suffix). This alternate tradition was well known; it was followed by Hippolytus of Rome (d. 235) in his exposition of Canticles 1:2 and by Rabbi Yohanan of Tiberias (3rd century a.d.) as recorded in the Jewish midrash on Canticles Rabbah 1:2.2. However, the MT vocalization is preferred. In terms of external evidence, the MT vocalization tradition is generally more reliable. In terms of internal evidence, the LXX form דַּדֶּיךָ (daddekha, “your [male!] breasts”) is a bit shocking, to say the least. On the other, the plural form דּוֹדִים (dodim, “loves”) is used in the Song to refer to multiple expressions of love or multiple acts of lovemaking (e.g., 1:4; 4:10; 5:1; 7:13 [ET 12]).

³ tn The meaning of the term דִּגְלוֹ (diglo) is debated. Five basic views have emerged: (1) “his banner over me was love.” BDB relates דִּגְלוֹ to the noun דֶּגֶל (degel, “standard, banner”; BDB 186 s.v. דֶּגֶל) which refers to (a) banners, standards (Num 1:52; 2:2) and (b) battalion, company of troops, or division of a tribe signaled by a banner or standard (Num 2:3, 10, 17-18, 25, 31, 34; 10:14, 18, 22, 25). Thus, most translations render דִּגְלוֹ as “his banner” (KJV, NASB, NIV, NJPS). However, the expression “His banner over me was love” is enigmatic. (2) “serve love to me!” Delitzsch revocalized the noun וְדִגְלוֹ (“his banner”) as an imperative וְדִגְלוּ (v^ediglu, “serve [me]”) from the root דָּגַל (dagal, “to serve food”) which is related to Akkadian dagalu II (“to serve food”). Delitzsch renders the passage: “Bring me into the banquet hall and serve me love…for I am faint with love.” This is supported by LXX which reads: “Bring me into the wine house, and set love before me.” However, R. Gordis points out the difficulties with Delitzsch’s proposal: (a) The meaning “serve” for דָּגַל is unparalleled in Hebrew thus, it would create a homonymic hapax legomenon; (b) We would expect the preposition לִי (li, “to me”) rather than עָלַי (ʿala, “over me”) after the imperative; and (c) The Akkadian parallel is uncertain. (3) “its banner above me is love.” HALOT relates דִּגְלוֹ to the Akkadian noun diglu (“eyesight, view, look, gaze”) and proposes the nuance “sign of an inn,” such as a flag placed over taverns (HALOT 213 s.v. דֶּגֶל). This approach renders the line: “He has brought me to the banquet hall, and its banner above me is love.” (4) “his look toward me was loving” = “he looked at me lovingly.” Several lexicons relate דִּגְלוֹ to the homonymic root דָּגַל, “look, glance” (e.g., DCH 2:415 s.v. II דָּגַל). The Hebrew noun degel II is related to the Akkadian noun diglu “eyesight, view, look, gaze” (CAD 3:21; AHw 1:14). Likewise, the Hebrew verb II דָּגַל (“to look, behold”; Song 5:10; 6:4, 10; Eccl 9:13; Ps 20:6) (BDB 186 s.v. דָּגַל; HALOT 213 s.v. I דגל; DCH 2:414 s.v. I) is related to the Akkadian verb dagalu I “to look upon, to gaze, to look with astonishment, to look at with admiration” (CAD 3:21; AHw 1:14). Those who adopt this approach render the line: “His glance upon me is love” (DCH 2:414) or “His look upon me was loving” (R. Gordis, “The Root dgl in the Song of Songs,” JBL 88 [1969]: 203-204; idem, Song of Songs and Lamentations, 81-82); or “He looked upon me with love.” (5) “his wish regarding me was lovemaking.” M. H. Pope (Song of Songs [AB], 376-77) notes that the Assyrian noun diglu may denote “wish,” i.e., desire or intent (CAD 3:136). He renders the line: “His wish regarding me was lovemaking” or “His intentions were to make love.” Pope’s suggestion has been adopted by several recent commentators (e.g., G. L. Carr, Song of Solomon [TOTC], 91).

⁷ sn Normally in the Song, the person/gender of the pronouns and suffixes makes the identity of the speaker or addressee clear. However, in several places grammatical ambiguity makes it difficult to identify either the speaker or the addressee (e.g., 6:11-13; 7:9b). This is particularly true when first person common plural or third person common plural verbs or suffixes are present (1:3 [4]; 2:15; 5:1b; 8:8-9), as is the case in the three lines of 1:3b[4b]. There are four views on the identity of the speaker(s): (1) NASB attributes all three lines to the maidens, (2) NIV attributes the first two lines to the friends and the third line to the Beloved (= woman), (3) NJPS attributes all three lines to the Beloved, speaking throughout 1:2-4, and (4) the first line could be attributed to the young man speaking to his beloved, and the last two lines attributed to the Beloved who returns praise to him. The subjects of the first person common plural cohortatives and the second singular suffixes have been taken as: (1) The maidens of Jerusalem, mentioned in 1:4 [5] and possibly referred to as the third person common plural subject of אֲהֵבוּךָ (ʾahevukha, “they love you”) in 1:3b[4b], using the first person common plural cohortatives in reference to themselves as they address her lover: “We (= maidens) will rejoice in you (= the young man).” (2) The Beloved using first person common plural cohortatives in a hortatory sense as she addresses her lover: “Let us (= the couple) rejoice in you (= the young man), let us praise your lovemaking…” (3) The Beloved using the first person common plural cohortatives in reference to herself—there are examples in ancient Near Eastern love literature of the bride using first person common plural forms in reference to herself (S. N. Kramer, The Sacred Marriage Rite, 92, 99)—as she addresses the young man: “We (= I) will rejoice in you (= the young man).” Note: This problem is compounded by the ambiguity of the gender on בָּךְ (bakh, “in you”) which appears to be second person feminine singular but may be second person masculine singular in pause (see note below).