¹ tn Heb “in dances.”

³ tn Heb “in the dances.”

² tn Heb “with tambourines and dancing.”

² tn Heb “And they took wives according to their number from the dancing girls whom they abducted.”

² tn This term could refer to rehearsing a speech or a dance. On its syntax, see BDF §392.2.

¹ tn Heb “and David was dancing with all his strength before the Lord, and David was girded with a linen ephod.”

¹ sn See J. N. Eaton, “Dancing in the Old Testament,” ExpTim 86 (1975): 136-40.

⁷ tc The MT reads כִּמְחֹלַת (kimkholat, “like the dance”), while other Hebrew mss read בִּמְחֹלוֹת (bimkholot, “in the dances”). The LXX’s ὠ χοροὶ (ō choroi, “like the dances”) reflects כִּמְחֹלוֹת and Symmachus’ ἐν τρώσεσιν (en trōsesin, “in the injury”) reflects the locative preposition but a confusion of the noun.

⁶ tn The Piel participle מְרַקֵּדָה (m^eraqqedah, “jolting”) is from רַקַד (raqad); this verb means “to dance, to leap” (of children, Job 21:11), “to skip about, to dance” (Eccl 3:4), and “to leap” (of chariots, Joel 2:5). In related Semitic languages (Akkadian, Ugaritic, and Arabic) the root raqad means “to dance, to skip about.” Here, the verb is used as a figurative expression (hypocatastasis) to describe the jostling of the madly rushing war-chariots.

⁷ tn Alternately, “like a dance of two camps” or “like a dance in two lines.” The phrase כִּמְחֹלַת הַמַּחֲנָיִם (kimkholat hammakhanayim) is difficult to translate: “as it were the company of two armies” (KJV), “as at the dance of the two companies” (NASB), “as at the dance of Mahanaim” (NIV), “in the Mahanaim dance” (NJPS). The meaning of the individual terms is clear: The noun מְחֹלָה (m^ekholah) denotes “dance in a ring” (Exod 15:20; 32:19; Judg 11:34; 21:21; 1 Sam 21:12; 29:5) (HALOT 569 s.v. מְחֹלָה). The noun מַחֲנֶה (makhneh) denotes “encampment, camp, army” and the dual form probably means “two armies” (HALOT 570 s.v. מַחֲנֶה). However, the meaning of the genitive-construct מְחֹלַת הַמַּחֲנָיִם (m^ekholat hammakhanayim) is unclear: “dance of the two camps/armies”[?]. W. F. Albright proposed “the dance of the Mahanaim” (“Archaic Survivals in the Text of Canticles,” Hebrew and Semitic Studies, 5). LXX translates ὠ χοροὶ τῶν παρεμβολῶν (ō choroi tōn parembolōn, “like the dances before the camps”).

¹ tn The verb שָׁלַח (shalakh) means “to send forth,” but in the Piel “to release; to allow to run free.” The picture of children frolicking in the fields and singing and dancing is symbolic of peaceful, prosperous times.

³ tn The term חַמּוּק (khammuq, “curve”) describes the shapely curvature of her legs (HALOT 327; BDB 330 s.v. 2) rather than a curving, dancing motion (Arabic bridal dance view). Although the verb חָמַק (khamaq, “turn”) appears twice (Song 5:6; Jer 31:22), the noun חַמּוּק is a hapax legomenon. In postbiblical Hebrew it refers to “rundles” (Jastrow 476 s.v. חַמּוּק). The term here has been translated in various ways: “[thigh] joints” (KJV), “rounded [thighs]” (RSV), “curves [of thighs]” (NASB), “graceful [thighs]” (NIV).

³ sn ‘We played the flute for you, yet you did not dance…’ The children of this generation were making the complaint (see vv. 33-34) that others were not playing the game according to the way they played the music. John and Jesus did not follow “their tune.” Jesus’ complaint was that this generation wanted things their way, not God’s.

¹ sn ‘We played the flute for you, yet you did not dance…’ The children of this generation were making the complaint (see vv. 18-19) that others were not playing the game according to the way they played the music. John and Jesus did not follow “their tune.” Jesus’ complaint was that this generation wanted things their way, not God’s.

⁴ tn The Hebrew text reads literally, “and with battles of brandishing [weapons?] he will fight against him.” Some prefer to emend וּבְמִלְחֲמוֹת (uv^emilkhamot, “and with battles of”) to וּבִמְחֹלוֹת (uvimkholot, “and with dancing”). Note the immediately preceding references to musical instruments.

¹ tn The meaning of Aramaic דַּחֲוָה (dakhavah) is a crux interpretum. Suggestions include “music,” “dancing girls,” “concubines,” “table,” “food”—all of which are uncertain. The translation employed here, suggested by earlier scholars, is deliberately vague. A number of recent English versions follow a similar approach with “entertainment” (e.g., NASB, NIV, NCV, TEV, CEV, NLT). On this word see further, HALOT 1849-50 s.v.; E. Vogt, Lexicon linguae aramaicae, 37.

² tn Alternately, “Return…Return…!” The imperative שׁוּבִי (shuvi, “Turn!”) is used four times for emphasis. There are two basic interpretations to the meaning/referent of the imperative שׁוּבִי (“Turn!”): (1) The villagers of Shunem are beckoning her to return to the garden mentioned in 6:11-12: “Come back! Return!” R. Gordis nuances these uses of שׁוּבִי as “halt” or “stay” (“Some Hitherto Unrecognized Meanings of the Verb SHUB,” JBL 52 [1933]: 153-62); (2) In the light of the allusion to her dancing in 7:1 (Heb 7:2), several scholars see a reference to an Arabic bridal dance. Budde emends the MT’s שׁוּבִי to סוֹבִי (sovi, “revolve, spin”) from סָבַב (savav, “to turn around”). M. H. Pope (Song of Songs [AB], 595-96) also emends the MT to the Hebrew verbal root יָסַב (yasav, “to leap, spin around”) which he connects to Arabic yasaba (“to leap”). These emendations are unnecessary to make the connection with some kind of dance because שׁוּבִי has a wide range of meanings from “turn” to “return.”

² tc The MT reads the Qal imperfect third person masculine singular יִזְכֹּר (yizkor) from זָכַר (zakar); see above note on its meaning. The rarity of this meaning for זָכַר in Hebrew has led to textual variants and several proposed emendations. The LXX reflects the Niphal imperfect third person masculine plural יִזָּכְרוּ (yizzakh^eru): καὶ μνησθνήσονται οἱ μεγιστᾶντες (kai mnēsthnēsontai hoi megistantes, “And their mighty men will be remembered”; or “will remember themselves”). The BHS editors suggest emending to יִזָּכְרוּ on the basis of the LXX. The BHK editors proposed emending to Pilpel imperfect third person common plural יְכַרְכְרוּ (y^ekharkh^eru, “they prance, they whirl”) from II כָּרַר (karar, “to dance”). None of the emendations are necessary once the existence of the homonym (or additional meaning) for זָכַר (“to order”) is recognized.

² tc The translation follows the reading of the LXX (Greek version). The Hebrew reads, “will dance and be glad, young men and old men together.” The Greek version presupposes a Qal imperfect of a rare verb (יַחְדּוּ [yakhdu] from the verb חָדָה [khadah]; see BDB 292 s.v. II חָדָה Qal), as opposed to the Hebrew text, which reads a common adverb יַחְדָּו (yakhdav). The consonantal text is the same, but the vocalization is different. There are no other examples of the syntax of the adverb used this way (i.e., of a compound subject added to a third subject), and the vocalization of the Hebrew text can be explained on the basis of a scribe misvocalizing the text based on his greater familiarity with the adverb.

² tn Heb “thighs dangle from the lame.” The verb is דַּלְיוּ (dalyu), from דָּלָה (dalah) or דָּלַל (dalal) biforms which mean “to hang down” and possibly by extension “to let down/lower/be low” and “to draw [water]” i.e., lowering a bucket into a well and drawing it up. We might imagine paralyzed legs either as “dangling” or “pulled up” to a stable position where a person sits, both indicating the uselessness of the legs—they are there but cannot be used. Since the verb must function in both halves of the verse, “dangling” is the most likely picture. Luther gave the verse a fanciful but memorable rendering: “Like dancing to a cripple, so is a proverb in the mouth of the fool.”