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Discovery Box| (0.18) | (Isa 1:9) | 1 tn Traditionally, “the Lord of hosts.” The title pictures God as the sovereign king who has at his disposal a multitude of attendants, messengers, and warriors to do his bidding. In some contexts, like this one, the military dimension of his rulership is highlighted. In this case, the title pictures him as one who leads armies into battle against his enemies. |
| (0.18) | (Isa 1:2) | 1 sn The personified heavens and earth are summoned to God’s courtroom as witnesses against God’s covenant people. Long before this Moses warned the people that the heavens and earth would be watching their actions (see Deut 4:26; 30:19; 31:28; 32:1). |
| (0.18) | (Sos 8:7) | 4 tn Heb “he/it.” The referent (the offer of possessions) has been specified in the translation for clarity. Some English versions take the referent to be the man himself (ASV “He would utterly be condemned”; NAB “he would be roundly mocked”). Others take the offer as the referent (cf. KJV, NASB, NIV, NRSV “it”). |
| (0.18) | (Sos 8:7) | 5 tn The root בּוּז (buz, “to despise”) is repeated for emphasis: בּוֹז יָבוּזּוּ (boz yavuzu). The infinitive absolute frequently is used with the imperfect of the same root for emphasis. The point is simply that love cannot be purchased; it is infinitely more valuable than any and all wealth. Love such as this is priceless; no price tag can be put on love. |
| (0.18) | (Sos 8:9) | 2 sn The term טִירָה (tirah, “battlement, turret”) refers to the row of stones along the top of a fortress wall, set for the defense and stability of the wall (Ezek 46:23; cf. HALOT 374 s.v. טִירָה). This structure is connected with military operations set in defense of a siege. |
| (0.18) | (Sos 7:5) | 4 tn Heb “like purple” or “like purple fabric.” The term אַרְגָּמָן (ʾargaman, “purple fabric”) refers to wool dyed with red purple (HALOT 84 s.v. אַרְגָּמָן). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). NASB translates it as “purple threads,” while NIV nuances this term as “royal tapestry.” M. H. Pope (The Song of Songs [AB], 629-30) adduces several ancient Near Eastern texts and suggests that it refers to purple hair-dye. The comparison is to hair which entangles Solomon like binding cords and therefore, it seems most likely that the idea here must be purple threads. The Hebrew noun is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” Aramaic argwn “purple” (HALOT 84). Purple cloth and threads were considered very valuable (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26). |
| (0.18) | (Sos 7:4) | 1 tn Alternately, “the ivory tower.” The noun הַשֵּׁן (hashen, “ivory”) is a genitive of composition, that is, a tower made out of ivory. Solomon had previously compared her neck to a tower (Song 4:4). In both cases the most obvious point of comparison has to do with size and shape, that is, her neck was long and symmetrical. Archaeology has never found a tower overlaid with ivory in the ancient Near East and it is doubtful that there ever was such a tower. The point of comparison might simply be that the shape of her neck looks like a tower, while the color and smoothness of her neck was like ivory. Solomon is mixing metaphors: her neck was long and symmetrical like a tower; but also elegant, smooth, and beautiful as ivory. The beauty, elegance, and smoothness of a woman’s neck is commonly compared to ivory in ancient love literature. For example, in a piece of Greek love literature, Anacron compared the beauty of the neck of his beloved Bathyllus to ivory (Ode xxxix 28-29). |
| (0.18) | (Sos 4:4) | 1 tn The term מִגְּדַל (miggedal, “tower”) refers to a military structure, such as a stronghold, arsenal, or defensive tower on the walls of a city (e.g., Judg 8:9, 17; 9:51; 2 Kgs 9:17; 17:9; 18:8; 2 Chr 14:6; 26:15; 27:4; 32:5). |
| (0.18) | (Sos 4:1) | 2 sn The introductory demonstrative particle הִנֵּךְ (hinneh, “Behold!”) is repeated for rhetorical effect. This particle is often used with verbs of seeing or discovering, making the narrative graphic and vivid. It enables the reader to enter into the surprise, wonder, and delight of the speaker (BDB 243 s.v. הִנֵּךְ c). |
| (0.18) | (Sos 3:2) | 4 sn The statement בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv veloʾ metsaʾtiv, “I sought him but I did not find him”) appears twice in 3:1-2. In both cases it concludes a set of cola. The repetition depicts her mounting disappointment in her failure to locate her beloved. It stands in strong contrast with 3:4. |
| (0.18) | (Sos 3:3) | 2 tn Heb “the one whom my soul loves—have you seen [him]?” The normal Hebrew word-order (verb-subject-direct object) is reversed in 3:3 (direct object-verb-subject) to emphasize the object of her search: אֵת שֶׁאָהֲבָה נַפְשִׁי רְאִיתֶם (’et she’ahavah nafshi re’item, “The one whom my soul loves—have you seen [him]?”). |
| (0.18) | (Sos 3:4) | 1 tn Heb “like a little.” The term כִּמְעַט (kimʿat), which is composed of the comparative preposition כ (kaf, “like”) prefixed to the noun מְעַט (meʿat, “the small, the little, the few”), is an idiom that means “within a little” or “scarcely” (BDB 590 s.v. מְעַט b.2.a). |
| (0.18) | (Sos 3:1) | 1 tn Alternately, “at night” or “night after night.” The noun בַּלֵּילוֹת (ballelot, plural of “night”) functions as an adverbial accusative of time. The plural form בַּלֵּילוֹת from לַיְלָה (laylah, “night”) can be classified in several ways: (1) plural of number: “night after night” (NASB, NEB); (2) plural of extension: “all night long” (NIV); (3) plural of composition: “by night” (KJV) and “at night” (NJPS); or (4) plural of intensity: “during the blackest night.” The plural of extension (“all night long”) is supported by (1) the four-fold repetition of the verb בָּקַשׁ (baqash, “to seek”) in 3:1-2 which emphasizes that the Beloved was continually looking for her lover all night long, (2) her decision to finally arise in the middle of the night to look for him in 3:2-4, and (3) her request in the immediately preceding verse (2:17) that he make love to her all night long: “until the day breathes and the shadows flee….” One should note, however, that the plural בַּלֵּילוֹת occurs in 3:8 where it is a plural of composition: “by night” (NJPS) or “of the night” (NASB, NIV) or “in the night” (KJV). |
| (0.18) | (Sos 3:1) | 6 tc The LXX adds “I called him, but he did not answer me” to 3:2d on the basis of its appearance in the parallel expressions in Song 5:6. There is no textual support for its inclusion here. |
| (0.18) | (Sos 1:12) | 1 tc The MT בִּמְסִבּוֹ (bimsibbo, “his banquet table”) is enigmatic: “While the king was at his banquet table, my nard gave forth its fragrance.” W. Rudolph suggests emending to מְסִבִּי (mesibbi, “around me”): “While the king surrounded me, my nard gave forth its fragrance” (Des Buch Ruth, das Hohe Lied, die Klagelieder [KAT], 27). |
| (0.18) | (Sos 1:6) | 3 tn Heb “the sun has stared at me.” The verb שָׁזַף (shazaf) means “to look at, catch sight of, glance at” (e.g., Job 20:9; 28:7) (HALOT 1456 s.v. שׁזף; BDB 1004 s.v. שָׁזַף). The Beloved personifies the sun (הַשָּׁמֶשׁ, hashshamesh) as having looked at her too long, that is, it burned her skin. |
| (0.18) | (Sos 1:1) | 3 tn Heb “song.” The noun שִׁיר (shir) may refer to a musical song that was sung (Exod 15:1; Num 21:17; Ps 33:3; Isa 42:10) or a poetic composition that was simply read (Deut 31:19, 21, 22; 30; 32:44) (BDB 1010 s.v. שׁיר). Several factors suggest that the Song of Songs was poetry to be read and enjoyed rather than sung: (a) its sheer length, (b) absence of musical notations or instrumental instructions, (c) testimony of Jewish tradition and interpretation, (d) lack of evidence of its musical performance in the history of Israel, and (e) comparison with ancient Egyptian love poetry. The term שִׁיר here probably refers to love poetry (e.g., Isa 5:1) (BDB 1010 s.v. 1; W. L. Holladay, Concise Hebrew and Aramaic Lexicon, 368). The Song appears to be a collection of individual love songs rather than a single multistanza poem. For comparison of the Song of Songs with ancient Egyptian loves songs, see M. V. Fox, The Song of Songs and the Ancient Egyptian Love Songs, and J. B. White, Language of Love in the Song of Songs and Ancient Egyptian Poetry (SBLDS). |
| (0.18) | (Ecc 12:12) | 3 tn Heb “the flesh.” The term בָּשָׂר (basar, “flesh”) refers to the body, functioning as a synecdoche or part (i.e., flesh, skin) for the whole (i.e., body), e.g., Gen 17:13; Ps 16:9; Prov 14:30 (see E. W. Bullinger, Figures of Speech, 642). |
| (0.18) | (Ecc 12:5) | 2 tn The noun שָׁקֵד (shaqed) is used in the OT in reference to the “almond nut” (e.g., Gen 43:11; Num 17:23 HT [17:8 ET]) and metonymically (product for thing producing it) for the “almond tree” (e.g., Jer 1:11); cf. HALOT 1638 s.v. שָׁקֵד; BDB 1052 s.v. שָׁקֵד 2. |
| (0.18) | (Ecc 11:7) | 1 tn The term “light” (אוֹר, ʾor) is used figuratively (metonymy of association) in reference to “life” (e.g., Job 3:20; 33:30; Ps 56:14 HT [56:13 ET]). By contrast, death is described as “darkness” (e.g., Eccl 11:8; 12:6-7). |
