² sn Israel, viewing herself as the Lord’s lover, refers to herself as his vineyard. The metaphor has sexual connotations, for it pictures her capacity to satisfy his appetite and to produce children. See Song 8:12.

⁴ sn The term שְׁמֶךָ (sh^emekha, “your name”) may be a metonymy of association for her lover. In Hebrew idiom, the name often represents the person (e.g., 1 Sam 25:25).

² sn The verb שָׁגָה (shagah) means “to swerve; to meander; to reel” as in drunkenness; it signifies a staggering gait expressing the ecstatic joy of a captivated lover. It may also mean “to be always intoxicated with her love” (cf. NRSV).

¹ tn Heb “the lovers of his name.” The phrase refers to those who are loyal to God (cf. v. 35). See Pss 5:11; 119:132; Isa 56:6.

⁵ tn Heb “the wicked [one] and the lover of violence.” The singular form is used here in a collective or representative sense. Note the plural form רְשָׁעִים (r^eshaʿim, “wicked [ones]”) in vv. 2 and 6.

⁶ tn Heb “the lovers of your name.” The phrase refers to those who are loyal to the Lord. See Pss 69:36; 119:132; Isa 56:6.

¹ tn It is uncertain who is speaking here. Possibly the prophet, taking the role of best man, composes a love song for his friend on the occasion of his wedding. If so, יָדִיד (yadid) should be translated “my friend.” The present translation assumes that Israel is singing to the Lord. The word דוֹד (dod, “lover”) used in the second line is frequently used by the woman in the Song of Solomon to describe her lover.

⁵ sn This statement is a euphemism: the Beloved wished to give her breasts to Solomon, like a mother would give her breast to her nursing baby. This is the climactic point of the “lover’s wish song” of Song 8:1-2. The Beloved wished that Solomon was her little brother still nursing on her mother’s breast. The Beloved, who had learned from her mother’s example, would bring him inside their home and she would give him her breast: “I would give you spiced wine to drink, the nectar of my pomegranates.” The phrase “my pomegranates” is a euphemism for her breasts. Rather than providing milk from her breasts for a nursing baby, the Beloved’s breasts would provide the sensual delight of “spiced wine” and “nectar” for her lover.

⁴ sn The phrase קוֹל דּוֹדִי (qol dodi, “Listen! My lover…!”) that introduces this scene in 5:2-8 is the exact same phrase used in 2:8 to introduce the courtship section 2:8-11. In 2:8-11, the Beloved was excited about his unexpected arrival; however, in 5:2-8 she is apathetic about his unexpected approach. One should not miss the dramatic contrast between the Beloved’s eagerness to see her lover in 2:8-11 and her apathy about his approach on this evening in 5:2-8. The repetition of קוֹל דּוֹדִי (“Listen! My lover…!”) in 2:8 and 5:2 is designed to draw out the parallels and contrasts between 2:8-11 and 5:2-8.

⁴ tn Heb “to my man, the first.” Many English translations (e.g., KJV, NAB, NRSV, TEV) take this as “my first husband,” although this implies that there was more than one husband involved. The text refers to multiple lovers, but these were not necessarily husbands.

³ tn Heb “she played the prostitute there.” This is a metaphor for Israel’s worship; she gave herself to the worship of other gods like a prostitute gives herself to her lovers. There seems no clear way to completely spell out the metaphor in the translation.

¹ sn There is a wordplay between the term “true master” and the name of the pagan god Baal. The pronoun “I” is emphatic, creating a contrast between the Lord as Israel’s true master/husband versus Baal as Israel’s illegitimate lover/master. See 2:23-25.

² tn Heb “she played the prostitute there.” This is a metaphor for Israel’s worship; she gave herself to the worship of other gods like a prostitute gives herself to her lovers. There seems no clear way to completely spell out the metaphor in the translation.

¹ sn The statement הִנָּךְ יָפָה רַעְיָתִי (hinnakh yafah raʿyati, “How beautiful you are, my darling”) in 1:15 is virtually mirrored by the Beloved’s statement in 1:16, הִנְּךְ יָפֶה דוֹדִי (hinn^ekh yafeh dodi, “How handsome you are, my lover”).

³ tn Heb “pleasant.” The verb יִנְעָם (yinʿam, “to be pleasant”) describes what is attractive. It is used of being physically attracted to one’s lover (Song 7:7) or to a close friendship (2 Sam 1:26). Here wisdom becomes attractive to the righteous, that is, the righteous desires to acquire it.

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 “a woman who is loved by a companion” (אִשָּׁה אֲהֻבַת רֵעַ, ʾishah ʾahuvat reaʿ). The substantival participle אֲהֻבַת (“one who is loved”) is in apposition to אִשָּׁה (“a woman”). The genitive noun רֵעַ (“companion”) functions as the agent of the preceding construct noun: “who is loved by a companion” (אֲהֻבַת רֵעַ). Cf. NAB “a woman beloved of a paramour,” and NRSV “a woman who has a lover.”

³ sn The reason that Hosea (representing the Lord) calls upon his children (representing the children of Israel) to plead with Gomer (representing the nation as a whole), rather than pleading directly with her himself, is because Hosea (the Lord) has turned his back on his unfaithful wife (Israel). He no longer has a relationship with her (“for she is not my wife, and I am not her husband”) because she abandoned him for her lovers.

² tn The verbs עָבָר חָמַק (khamaq ʿavar, “he turned away, he went away”) may form a verbal hendiadys. Normally, the first verb will function as an adverb modifying the second which functions in its full verbal sense. Each functions as a perfect of recent past perfect action, describing a past event that took place shortly before another past event: “I opened [past action] for my beloved, but my lover had already turned and gone away [past perfect action].”

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.