¹ tn Heb “And it was when he saw the nose ring and the bracelets on the arms of his sister.” The word order is altered in the translation for the sake of clarity.

³ sn The noun signet ring, used also to describe Jehoiachin (Jer 22:24-30), refers to a ring seal worn by a king or other important person and used as his signature. Zerubbabel was a grandson of King Jehoiachin (1 Chr 3:17-19; Matt 1:12); God once pronounced that none of Jehoiachin’s immediate descendants would rule (Jer 22:24-30), but here he reverses that judgment. Zerubbabel never ascended to such a lofty position of rulership; he is rather a prototype of the Messiah who would sit on David’s throne.

³ tn The Hebrew term translated “wormwood” refers to the aromatic plant that contrasts with the sweetness of honey. Some follow the LXX and translate it as “gall” (cf. NIV). The point is that there was sweetness when the tryst had alluring glamour, but afterward it had an ugly ring (W. G. Plaut, Proverbs, 74).

² tn The construction, an adverbial clause of time, uses רָנָן (ranan), which is often a ringing cry, an exultation. The parallelism with “shout for joy” shows this to be enthusiastic acclamation. The infinitive is then continued in the next colon with the vav (ו) consecutive preterite.

² sn Since it was a small altar, it needed only two rings, one on either side, in order to be carried. The second mention of their location clarifies that they should be on the sides, the right and the left, as one approached the altar.

³ sn These bands have been thought by some to refer to connecting rods joining the tops of the posts. But it is more likely that they are bands or bind rings surrounding the posts at the base of the capitals (see 38:17).

³ tn Heb “As surely as I live, Jeconiah, King of Judah, son of Jehoiakim will not be a signet ring on my right hand. Indeed I will tear you off from it [i.e., pull you off of my finger as a signet ring].” The signet ring was the king’s seal by which he verified all his legal and political transactions. To have the signet ring was to exercise authority in the king’s name. For examples of this see Gen 41:42-43; 1 Kgs 21:8; Esth 3:10; 8:2. The figure has been interpreted in the translation for the sake of clarity. The particles כִּי אִם (ki ʾim) that stand after the oath formula “As I live” introduce a negative statement according to Hebrew grammar (cf. BDB 474 s.v. כִּי אִם 1.a and BDB 50 s.v. אִם 1.b[2] and compare 2 Sam 3:35). The particle כִּי that stands in front of “I will tear you off” contrariwise introduces a positive affirmation (cf. BDB 472 s.v. כִּי 1.c and compare 1 Sam 14:39, 44). The Lord is swearing emphatically that Jeconiah will not be the earthly representative of his rule, i.e., not carry the authority of the signet-ring bearer. As in several other places in Jeremiah, there is a sudden shift from the third person to the second person, which runs throughout vv. 24-27. The pronouns are leveled in the translation to the second person to avoid confusion. The figures are interpreted in the translation to convey the proper significance. See the study note for explanation.

² sn The verb תַּעֲלֹץ (taʿalots, “to rejoice; to exult”) is paralleled with the noun רִנָּה (rinnah, “ringing cry”). The descriptions are hyperbolic, except when the person who dies is one who afflicted society (e.g., 2 Kgs 11:20; Esth 8:15). D. Kidner says, “However drab the world makes out virtue to be, it appreciates the boon of it in public life” (Proverbs [TOTC], 91).

¹ sn The breastpiece was made of the same material as the ephod and was attached to it by means of gold rings and chains on its four corners (Exod 28:15-30; 29:5; 39:8-21). It had twelve stones attached to it (representing the twelve tribes of Israel), and a pocket in which the Urim and Thummim were kept (see following).

² tn Or “the rings that were in the ears of the idols.” The third person plural suffix on the word בְּאָזְנֵיהֶם (b^eʾoznehem, “in their ears”) could refer to the members of Jacob’s household or the “gods” which they possessed. Most exegetes understand it to refer to the people, but Victor Hurowitz, “Who Lost an Earring? Genesis 35:4 Reconsidered,” CBQ 62 (2000): 28-32, argues that the earrings were in the ears of the idols.

³ tn Literally “cylinder-seal” or “seal.” The term חוֹתָם (khotam, “cylinder-seal”) is repeated in 8:6 for emphasis. The translation above uses the terms “cylinder seal” and “signet” simply for the sake of poetic variation. The Beloved wanted to be as safe and secure as a cylinder seal worn on the arm or around the neck, hanging down over the heart. She also wanted to be placed on his heart (emotions), like the impression of a cylinder seal is written on a document. She wanted to be “written” on his heart like the impression of a cylinder seal, and kept secure in his love as a signet ring is worn around his arm/hand to keep it safe.

² sn Initially the prophecy appears to be a message of salvation. Immanuel seems to have a positive ring to it, sour milk and honey elsewhere symbolize prosperity and blessing (see Deut 32:13-14; Job 20:17), verse 16 announces the defeat of Judah’s enemies, and verse 17a could be taken as predicting a return to the glorious days of David and Solomon. However, the message turns sour in verses 17b-25. God will be with his people in judgment, as well as salvation. The curds and honey will be signs of deprivation, not prosperity, the relief announced in verse 16 will be short-lived, and the new era will be characterized by unprecedented humiliation, not a return to glory. Because of Ahaz’s refusal to trust the Lord, potential blessing would be transformed into a curse, just as Isaiah turns an apparent prophecy of salvation into a message of judgment. Because the words “the king of Assyria” are rather awkwardly tacked on to the end of the sentence, some regard them as a later addition. However, the very awkwardness facilitates the prophet’s rhetorical strategy here, as he suddenly turns what sounds like a positive message into a judgment speech. Actually, “the king of Assyria,” stands in apposition to the earlier object “days,” and specifies who the main character of these coming “days” will be.

² sn The expression אַגַּן הַסַּהַר (ʾaggan hassahar, “round mixing bowl”) refers to a vessel used for mixing wine. Archaeologists have recovered examples of such large, deep, two handled, ring-based round bowls. The Hebrew term אַגַּן (“mixing bowl”) came into Greek usage as ἂγγος (angos) which designates vessels used for mixing wine (e.g., Homer, Odyssey xvi 16) (LSJ 7). This is consistent with the figurative references to wine which follows: “may it never lack mixed wine.” Selected Bibliography: J. P. Brown, “The Mediterranean Vocabulary for Wine,” VT 19 (1969): 158; A. M. Honeyman, “The Pottery Vessels of the Old Testament,” PEQ 80 (1939): 79. The comparison of her navel to a “round mixing bowl” is visually appropriate in that both are round and receding. The primary point of comparison to the round bowl is one of sense, as the following clause makes clear: “may it never lack mixed wine.” J. S. Deere suggests that the point of comparison is that of taste, desirability, and function (“Song of Solomon,” BKCOT, 202). More specifically, it probably refers to the source of intoxication, that is, just as a bowl used to mix wine was the source of physical intoxication, so she was the source of his sexual intoxication. She intoxicated Solomon with her love in the same way that wine intoxicates a person.

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”).

² tc Heb “for I was passing by with the throng [?], I was walking with [?] them to the house of God; with a voice of a ringing shout and thanksgiving a multitude was observing a festival.” The Hebrew phrase בַּסָּךְ אֶדַּדֵּם (bassakh ʾeddaddem, “with the throng [?] I was walking with [?]”) is particularly problematic. The noun סָךְ (sakh) occurs only here. If it corresponds to הָמוֹן (hamon, “multitude”) then one can propose a meaning “throng.” The present translation assumes this reading (cf. NIV, NRSV). The form אֶדַּדֵּם (“I will walk with [?]”) is also very problematic. The form can be taken as a Hitpael from דָּדָה (dadah; this verb possibly appears in Isa 38:15), but the pronominal suffix is problematic. For this reason many emend the form to ם[י]אַדִּרִ (ʾaddirim, “nobles”) or ר[י]אַדִּ (ʾaddir, “great,”) plus enclitic ם (mem). The present translation understands the latter and takes the adjective “great” as modifying “throng.” If one emends סָךְ (sakh, “throng [?]”) to סֹךְ (sokh, “shelter”; see the Qere of Ps 27:5), then ר[י]אַדִּ (ʾaddir) could be taken as a divine epithet, “[in the shelter of] the majestic one,” a reading which may find support in the LXX and Syriac Peshitta.

² sn Much dispute and difficulty surrounds the translation of the words not lying with the strips of linen cloth but rolled up in a place by itself. Basically the issue concerns the positioning of the graveclothes as seen by Peter and the other disciple when they entered the tomb. Some have sought to prove that when the disciples saw the graveclothes they were arranged just as they were when around the body, so that when the resurrection took place the resurrected body of Jesus passed through them without rearranging or disturbing them. In this case the reference to the face cloth being rolled up does not refer to its being folded, but collapsed in the shape it had when wrapped around the head. Sometimes in defense of this view the Greek preposition μετά (meta, which normally means “with”) is said to mean “like” so that the comparison with the other graveclothes does not involve the location of the face cloth but rather its condition (rolled up rather than flattened). In spite of the intriguing nature of such speculations, it seems more probable that the phrase describing the face cloth should be understood to mean it was separated from the other graveclothes in a different place inside the tomb. This seems consistent with the different conclusions reached by Peter and the beloved disciple (vv. 8-10). All that the condition of the graveclothes indicated was that the body of Jesus had not been stolen by thieves. Anyone who had come to remove the body (whether the authorities or anyone else) would not have bothered to unwrap it before carrying it off. And even if one could imagine that they had (perhaps in search of valuables such as rings or jewelry still worn by the corpse) they would certainly not have bothered to take time to roll up the face cloth and leave the other wrappings in an orderly fashion.

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.

⁵ tn Alternately, “captivated.” The verb אָסַר (ʾasar, “to bind, capture, hold captive, put in prison”) is commonly used of binding a prisoner with cords and fetters (Gen 42:34; Judg 15:10-13; 16:5-12; 2 Kgs 17:4; 23:33; 25:7; 2 Chr 33:11) (HALOT 75 s.v. אסר). It is frequently used as a figure to depict absolute authority over a person (Ps 105:22). The passive participle סוּר means “to be bound, held captive, imprisoned” (2 Sam 3:34; Jer 40:1; Job 36:8). Like a prisoner bound in cords and fetters and held under the complete control and authority of his captor, Solomon was captivated by the spellbinding power of her hair. In a word, he was the prisoner of love and she was his captor. Similar imagery appears in an ancient Egyptian love song: “With her hair she throws lassoes at me, with her eyes she catches me, with her necklace she entangles me, and with her seal ring she brands me” (Song 43 in the Chester Beatty Cycle, translated by W. K. Simpson, ed., The Literature of Ancient Egypt, 324). J. S. Deere suggests, “The concluding part of the metaphor, ‘The king is held captive by your tresses,’ is a beautiful expression of the powerful effect of love. A strong monarch was held prisoner by the beauty of his Beloved” (“Song of Solomon,” BKCOT, 206-207). This is a startling statement because Solomon emphasizes that the one who was being held captive like a prisoner in bonds was the “king”! At this point in world history, Solomon was the ruler of the most powerful and wealthy nation in the world (1 Kgs 3:13; 10:23-29). And yet he was held totally captive and subject to the beauty of this country maiden!