⁴ sn The term “vineyard” is also a figure. In 1:6 she used the vineyard motif as a metaphor for her physical appearance, but here it is “our vineyards” which is probably a figure for their romantic relationship. The phrase “in bloom” makes the metaphor more specific, so that the phrase “our vineyards are in bloom” means that their romantic love relationship was in its initial stages, that is, before it had ripened into marriage.

¹ sn Psalm 45. This is a romantic poem celebrating the Davidic king’s marriage to a lovely princess. The psalmist praises the king for his military prowess and commitment to justice, urges the bride to be loyal to the king, and anticipates that the marriage will be blessed with royal offspring.

² tn Heb “according to lilies.” “Lilies” may be a tune title or musical style, suggestive of romantic love. The imagery of a “lily” appears frequently in the Song of Songs in a variety of contexts (see 2:1-2, 16; 4:5; 5:13; 6:2-3; 7:2).

² tn Heb “and he spoke to the heart of the young woman,” which apparently refers in this context to tender, romantic speech (Hos 2:14). Another option is to translate the expression “he reassured the young woman” (see Judg 19:3, 2 Sam 19:7; cf. NEB “comforted her”).

³ sn In ancient Near Eastern love literature it was common to use wild animals to symbolize potential problems which could separate lovers and destroy their love. For instance, in Egyptian love songs it is the crocodile, rather than the foxes, which were used as figures for obstacles which might threaten a couple’s love. Here the “foxes” are probably used figuratively to represent potentially destructive problems which could destroy their romantic relationship and which could hinder it from ripening into marriage.

¹ sn The imagery of v. 6 is romantic: (1) His mother originally conceived him with his father under the apple tree, (2) his mother gave birth to him under the apple tree, and (3) the Beloved had now awakened him to love under the same apple tree. The cycle of life and love had come around full circle under the apple tree. While his mother had awakened his eyes to life, the Beloved had awakened him to love. His parents had made love under the apple tree to conceive him in love, and now Solomon and his Beloved were making love under the same apple tree of love.

¹ sn The verb מָשַׁךְ (mashakh, “draw”) is a figurative expression (hypocatastasis) which draws an implied comparison between the physical acting of leading a person with the romantic action of leading a person in love. Elsewhere it is used figuratively of a master gently leading an animal with leather cords (Hos 11:4) and of a military victor leading his captives (Jer 31:3). The point of comparison might be that the woman wants to be the willing captive of the love of her beloved, that is, a willing prisoner of his love.

² sn This verse uses wedding imagery: The wife (wisdom) who is embraced by her husband (the disciple) will place the wedding crown on the head of her new bridegroom. Wisdom, like a virtuous wife, will crown the individual with honor and grace. In vv. 4-9 Murphy points out the four fold repetition of “acquire” (קָנָה, qanah), the same term used of Boaz taking Ruth as a wife (Ruth 4:8, 10), and the calls to love her (Prov 4:6) and embrace her (4:8) (R. Murphy, Proverbs [WBC], 27). This section personifies wisdom and portrays the pursuit of wisdom as a paramount romantic pursuit.

² sn Apple trees were not native to Palestine and had to be imported and cultivated. To find a cultivated apple tree growing in the forest among other wild trees would be quite unusual; the apple tree would stand out and be a delightful surprise. Like a cultivated apple tree, the Lover was unique and stood out among all other men. In ancient Near Eastern love literature, the apple tree was a common symbol for romantic love and sexual fertility (S. N. Kramer, The Sacred Marriage Rite, 100-101). The “apple tree” motif is used in the Song in a similar manner (e.g., Song 2:3; 8:5). Likewise, the motif of “apples” is used as a symbol of fertility (Joel 1:12) and sexual desire (Song 2:5, 7, 9).

² sn The term רַעְיָתִי (raʿyati, “my darling”) is from רֵעַ (reʿa) “companion, friend” in general (e.g., Job 2:11; 6:27; 12:4; Pss 35:14; 122:8; Prov 14:20; 17:17; 19:6; 27:10) and “darling, beloved” in romantic relationships (e.g., Job 30:29; Jer 3:1, 20; Hos 3:1; Song 5:1, 16) (HALOT 1253-54 s.v. II רֵעַ; BDB 945 s.v. II רָעָה II.1). This is the most common term of affection to address the Beloved (Song 1:9, 15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4).

¹ sn The dove was a common figure for romantic love in ancient Near Eastern love literature. This emphasis seems to be suggested by his use of the term “my dove.” Just as the young man heard the voice of the turtledove in 2:12, so now he wants to hear her voice. Doves were often associated with timidity in the ancient world. Being virtually defenseless, they would often take refuge in crevices and cliffs for safety (Jer 48:28). The emphasis on timidity and the need for security is undoubtedly the emphasis here because of the explicit description of this “dove” hiding in the “clefts of the rock” and in “the hiding places of the mountain crevice.” Fortresses were sometimes built in the clefts of the rocks on mountainsides because they were inaccessible and therefore, in a secure place of safety (Jer 49:16; Obad 3). Perhaps he realized it might be intimidating for her to join him and communicate with him freely. She would need to feel secure in his love to do this. It would be easy for her to hide from such emotionally exposing experiences.

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).

⁴ tn Heb “the one whom my soul loves.” The expression נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole (= the woman). The expression נַפְשִׁי (“my soul”) is often used as independent personal pronoun. It often expresses personal preference, such as love or hatred (e.g., Gen 27:4, 25; Lev 26:11, 30; Judg 5:24; Isa 1:14) (HALOT 712 s.v. נֶפֶשׁ). The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times in OT to refer to the seat of a person’s emotions and passions (BDB 660 s.v. נֶפֶשׁ c.6.a) (e.g., Deut 12:15, 20, 21; 14:26; 18:6; 21:14; 24:15; 2 Sam 14:14; 1 Kgs 11:37; Isa 26:8; Jer 2:24; 22:27; 34:16; 44:14; Ezek 16:27; Hos 4:8; Mic 7:1; Pss 10:3; 24:4; 25:1; 35:25; 78:18; 86:4; 105:22; 143:8; Prov 13:4; 19:8; 21:10; Job 23:13; Song 5:6). It often refers to the seat of love (BDB 660 s.v. d.6.e) (e.g., Gen 34:3, 8; Jer 12:7; Ps 63:9; Song 1:7; 3:1-4). The expression אֵת־שֶׁאָהֲבָה נַפְשִׁי (ʾet sheʾahavah nafshi, “the one whom I love”; Heb “the one whom my soul loves”) is repeated four times in 3:1-4. The repetition emphasizes her intense love for her beloved. The noun אָהֲבָה (ʾahavah, “love”) is often used in reference to the love between a man and woman, particularly in reference to emotional, romantic, or sexual love (2 Sam 1:26; 13:15; Prov 5:19; 7:18; Song 2:4-5, 7; 3:5; 5:8; 8:4, 6-7; Jer 2:2, 33). Likewise, the verb אָהֵב (ʾahev, “to love”) often refers to emotional, romantic, or sexual love between a man and woman (e.g., Gen 24:67; 29:20, 30, 32; 34:3; Deut 21:15, 16; Judg 14:16; 16:4, 15; 1 Sam 1:5; 18:20; 2 Sam 13:1, 4, 15; 1 Kgs 11:1; 2 Chr 11:21; Neh 13:26; Esth 2:17; Eccl 9:9; Song 1:3, 4, 7; 3:1-4; Jer 22:20, 22; Ezek 16:33, 36-37; 23:5, 9, 22; Hos 2:7-15; 3:1; Lam 1:19).

⁵ sn Song 8:1-2 may be classified as a “a lover’s wish song” that is similar in content and structure to an ancient Egyptian love song in which the lover longs for greater intimacy with his beloved: “I wish I were her Negro maid who follows at her feet; then the skin of all her limbs would be revealed to me. I wish I were her washerman, if only for a month; then I would be [entranced], washing out the Moringa oils in her diaphanous garments. I wish I were the seal ring, the guardian of her [fingers]; then […]” (The Cairo Love Songs, 25-27, in W. K. Simpson, ed., The Literature of Ancient Egypt, 311). The Egyptian and Hebrew parallels display a similar structure: (1) introductory expression of the lover’s wish to be something/someone in a position of physical closeness with the Beloved; (2) description of the person/thing that is physically close to the Beloved; and (3) concluding description of the resultant greater degree of intimacy with the Beloved. In the Egyptian parallel it is the man who longs for greater closeness; in the Hebrew song it is the woman. The Egyptian love song borders on the sensual; the Hebrew love song is simply romantic. The Beloved expresses her desire for greater freedom to display her affection for Solomon. In ancient Near Eastern cultures the public display of affection between a man and woman was frowned upon—sometimes even punished. For example, in Assyrian laws the punishment for a man kissing a woman in public was to cut off his upper lip. On the other hand, public displays of affection between children and between family members were allowed. Accordingly, the Beloved hyperbolically wished that she and Solomon were children from the same family so she could kiss him anytime she wished without fear of punishment or censure.

³ tn Heb “and toward your husband [will be] your desire.” The nominal sentence does not have a verb; a future verb must be supplied because the focus of the oracle is on the future struggle. The precise meaning of the noun תְּשׁוּקָה (t^eshuqah, “desire”) is debated. Many interpreters conclude that it refers to sexual desire here because the subject of the passage is the relationship between a wife and her husband, and because the word is used in a romantic sense in Song 7:11 HT (7:10 ET). However, this interpretation makes little sense in Gen 3:16. First, it does not fit well with the assertion “he will dominate you.” Second, it implies that sexual desire was not part of the original creation, even though the man and the woman were told to multiply. And third, it ignores the usage of the word in Gen 4:7 where it refers to sin’s desire to control and dominate Cain. (Even in Song of Songs it carries the basic idea of “control,” for it describes the young man’s desire to “have his way sexually” with the young woman.) In Gen 3:16 the Lord announces a struggle, a conflict between the man and the woman. She will desire to control him, but he will dominate her instead. This interpretation also fits the tone of the passage, which is a judgment oracle. See further Susan T. Foh, “What is the Woman’s Desire?” WTJ 37 (1975): 376-83.

¹ tn The verb תָּפַשׂ (taphas) means “to sieze, grab.” In all other examples this action is done against another person’s will, as in being captured, arrested, attacked, or grabbed with insistence (e.g. 1 Sam 23:26; 1 Kgs 13:4; 18:40; 2 Kgs 14:13; 25:6; Isa 3:6; Jer 26:8; 34:3; 37:13; 52:9; Ps 71:11; 2 Chr 25:23.) So it may be that the man is forcing himself on her, which is what leads the NIV to translate the next verb as “rape,” although it is a neutral euphemism for sexual relations. However, this is the only case where the object of תָּפַשׂ is a woman and the verb also also refers to holding or handling objects such as musical instruments, weapons, or scrolls. So it possible that it has a specialized, but otherwise unattested nuance regarding sexual or romantic relations, as is true of other expressions. Several contextual clues point away from rape and toward a consensual relationship. (1) The verb which seems to express force is different from the verb of force in the rape case in v. 25. (2) The context distinguishes consequences based on whether the girl cried out, an expression of protest and a basis for distinguishing consent or force. But this case law does not mention her outcry which would have clarified a forcible act. While part of what is unique in this case is that the girl is not engaged, it is reasonable to expect the issue of consent to continue to apply. (3) The penalty is less than that of a man who slanders his new wife and certainly less than the sentence for rape. (4) The expression “and they are discovered” at the end of v. 28 uses the same wording as the expression in v. 22 which involves a consensual act. (5) Although from a separate context, the account of the rape of Dinah seems to express the Pentateuch’s negative attitude toward forcible rape, not in advocating for Simeon and Levi’s actions, but in the condemnation included in the line Gen 34:7 “because he has done a disgraceful thing in Israel.” This is very like the indictment in v. 21 against the consenting woman, “because she has done a disgraceful thing in Israel.” (6) The penalty of not being allowed to divorce her sounds like v. 19, where the man is punished for disgracing his wife unfairly. His attempted divorce fails and he must provide for her thereafter (the probable point of not being allowed to divorce her.) Here too, if his holding her is not forced, but instead he has seduced her, he is not allowed to claim that his new wife is not pure (since he is the culprit) and so he must take responsibility for her, cannot divorce her, and must provide for her as a husband thereafter.