¹ sn In the ancient Near East the mandrake was a widely used symbol of erotic love because it was thought to be an aphrodisiac and therefore was used as a fertility drug. The unusual shape of the large forked roots of the mandrake resembles the human body with extended arms and legs. This similarity gave rise to the popular superstition that the mandrake could induce conception and it was therefore used as a fertility drug. It was so thoroughly associated with erotic love that its name is derived from the Hebrew root דּוֹד (dod, “love”), that is, דּוּדָאִים (dudaʾim) denotes “love-apples.” Arabs used its fruit and roots as an aphrodisiac and referred to it as abd al sal’m (“servant of love”) (R. K. Harrison, “The Mandrake and the Ancient World,” EQ 28 [1956]: 188-89; Fauna and Flora of the Bible, 138-39).

¹ tn The noun שֹׁרֶר (shorer) is a hapax legomenon, appearing in the OT only here. There is debate whether it means “navel” or “vulva”: (1) Lys and Pope suggest that שֹׁרֶר is related to Arabic srr (“secret place, pudenda, coition, fornication”). They suggest that this is contextually supported by three factors: (a) His descriptive praise of her is in ascending order, beginning with her feet and concluding with her hair. The movement from her thighs (7:1b), to her vulva (7:2a), and then to her waist (7:2b) would fit this. (b) The descriptive comparison to a glass of wine would be grotesque if her navel were in view—her navel was moist or filled with liquid?—but appropriate if her vulva were in view. (c) The navel would be a somewhat synonymous reference to the belly which is already denoted by בִּטְנֵךְ (bitnekh, “belly”) in the following line. Because 7:1-7 does not use synonymous parallelism, the term שֹׁרֶר would have to refer to something other than the belly. (2) The term שֹׁרֶר denotes “navel”: (a) It may be related to the bi-consonantal noun שֹׁר (shor, “navel, umbilical cord”) (Prov 3:8; Ezek 16:4). (b) Mishnaic Hebrew שָׁרָר (sharar) denotes “navel, umbilical cord” (Jastrow 1634 s.v. שָׁרָר). For example, in a midrash on the Book of Numbers, the noun שֹׁרֶר appears in an allusion to Song 7:3 to justify the seating of the Sanhedrin in the middle of the synagogue: “As the navel (שֹׁרֶר) is placed in the centre of the body, so are the Sanhedrin…” (Num. Rab. 1:4). On the other hand, the meaning “vulva” never appears in Mishnaic Hebrew. Therefore, apart from this disputed usage there is no evidence that this term was ever used in this manner in Hebrew. (c) Rather than שֹׁרֶר being related to Arabic sirr (“pudenda”), it could just as easily be related to the Arabic noun surr “navel.” It is methodologically more sound to define שֹׁרֶר as “navel” than as “vulva.” (d) The nuance “navel” is not as out of line contextually as Lys and Pope suggest. The navel would not be out of place in the ascending order of praise because the בִּטְנֵךְ (“abdomen”) which follows may be viewed as both above and below the navel. The figurative association of the שֹׁרֶר as a mixing bowl filled with wine does not imply that this bodily part must actually be moist or filled with liquid as Pope suggests. The point of comparison is not physical or visual but one of function, i.e., it is intoxicating. The comparison of the navel to a mixing bowl of wine is no more out of line than the comparison of the belly to a heap of wheat in the next line. In fact, the two go together—she is both the “drink” and “food” for Solomon. The shape of the navel is as congruent with the metaphor of the “round bowl” as the vulva; both are round and receding. (3) Since both terms are derived from the same geminate root—Hebrew שֹׁרֶר and Arabic srr—it is more prudent to take the term as a synecdoche of whole (lower region) for the parts (including navel and vulva). The attempt to decide between these two options may be illegitimately splitting hairs. See K&D 18:123; J. S. Deere, “Song of Solomon,” BKCOT, 199-200; D. Lys, “Notes sur de Cantique,” VTSup 17 (1969): 171-78; M. H. Pope, Song of Songs (AB), 617; G. L. Carr, Song of Solomon (TOTC), 157.

³ tn Heb “my soul went out.” The term נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole person. The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times as a metonymy of association with feelings: sorrow and distress, joy, love, desire, passion, hatred, loathing, avarice (HALOT 713 s.v. נֶפֶשׁ 8; BDB 660 s.v. נֶפֶשׁ 6). The phrase נַפְשִׁי יָצְאָה (nafshi yats^eʾah, literally, “my soul went out”) is a Hebrew idiom connoting great despair (e.g., Gen 35:18; Jer 15:9). The phrase is well rendered by NIV “my heart sank at his departure.” Verses 6-7 clearly indicate that the Beloved fell into despair when he had departed: She searched desperately for him, but could not find him; she called for him, but he did not answer.

¹ sn The noun פַּרְדֵּס (pardes, “garden, parkland, forest”) is a foreign loanword that occurs only 3 times in the Hebrew Bible (Song 4:13; Eccl 2:5; Neh 2:8). The original Old Persian (Avestan) term pairidaeza designated the enclosed parks and pleasure-grounds which were the exclusive domain of the Persian kings and nobility in the Achaemenid period (HALOT 963 s.v. פַּרְדֵּס; LSJ
1308). The Babylonian term pardesu means “marvelous garden,” in reference to the enclosed parks of the kings (AHw 2:833. a and 3:1582. a). The term passed into Greek as παραδείσος (paradeisos, “enclosed park, pleasure-ground”), referring to the enclosed parks and gardens of the Persian kings (LSJ 1308). The Greek term was transliterated into English as “paradise.”

² tn Heb “with trees of Lebanon.” In the genitive construct phrase מֵעֲצֵי הַלְּבָנוֹן (meʿatse hall^evanon, “the wood of Lebanon”) the genitive functions as a genitive of place of origin: “wood from Lebanon.” The plural construct noun עֲצֵי (ʿatse, literally, “trees, woods” from עֵץ, ʿets, “tree, wood”) is a plural of composition: the plural is used to indicate composition, that is, what the sedan-chair was made out of. The plural is used because the sedan-chair was constructed from the wood from several trees or it was constructed from several pieces of wood (see IBHS 119-20 §7.4.1b; R. J. Williams, Hebrew Syntax, 7, §9; Joüon 2:500 §136.b).

¹ tn The imperatives סַמְּכוּנִי (samm^ekhuni, “sustain me”) and רַפְּדוּנִי (rapp^eduni, “revive me”) are both plural in address (Piel second person masculine plural imperatives with first person common singular suffixes). Thus, some commentators suggest that the woman is speaking to a large audience, perhaps the banquet guests implied in 2:4 or the maidens mentioned in 2:7 (R. Gordis, Song of Songs and Lamentations, 82). However, the Hebrew plural can be used in reference to a single individual when functioning in an intensive sense (IBHS 122 §7.4.3a). Thus, the woman may be speaking to her beloved, as in the rest of 2:3-6, but with intense passion. Similarly, in Sumerian love literature the bride sometimes uses plural verbs in reference to herself or her bridegroom (S. N. Kramer, The Sacred Marriage Rite, 92, 99).

³ tn The term נָעִים (naʿim, “pleasant, delightful”) can refer to physical attractiveness or to personal character (BDB 653 I נָעֵם; HALOT 705 s.v. I נעם). Some suggest that it refers to the pleasantness of his character and personality; however, it is better to take this as a reference to his handsome physical appearance for several reasons: (1) The terms יָפֶה (yafeh, “handsome”) and נָעִים (“delightful”) are probably used in synonymous rather than synthetic parallelism. (2) The emphasis in 1:15-16 is on physical beauty as the repetition of the term “beautiful, handsome” (יָפֶה) suggests. (3) The related verb נָעַם (naʿam, “to be delightful”) is used in Song 7:7 in synonymous parallelism with יָפָת (yafat, “to be beautiful”) in the description of the Beloved’s physical beauty. (4) Hebrew lexicographers classify this usage of נָעִים in Song 1:16 in terms of physical beauty rather than personal character (BDB 653 s.v. 2).

¹ tn The lexicons suggest that מֵסַב (mesav) refers to a round banquet table (HALOT 604 s.v. מֵסַב) or divan with cushions (BDB 687 s.v. מֵסַב 2). In Mishnaic Hebrew the noun מֵסַב refers to a dining couch, banquet table, as well as cushions or pillows (HALOT 604). The related noun מְסִבָּה (m^esibbah) refers to a banqueting party (HALOT 604 s.v. מְסִבָּה; Jastrow 803 s.v. מְסִבָּה). The versions took it as a reference to a resting place (see LXX, Vulgate, Syriac Peshitta). R. E. Murphy (Song of Songs [Hermeneia], 131) suggests that it refers to (1) a couch or divan on which a person declined while eating, (2) a group of people gathered in a circle, that is, an entourage, or (3) a private place such as an enclosure.

⁶ tn The noun אֲבִיּוֹנָה (ʾaviyyonah, “caper berry, caper fruit”) is a hapax legomenon, occurring only here in the Hebrew Bible. It refers to the Capparis spinosa fruit which was eaten as an aphrodisiac in the ancient Near East (HALOT 5 s.v. אֲבִיּוֹנָה; BDB 2-3 s.v. אֲבִיּוֹנָה). There are two options for the interpretation of this figure: (1) At the onset of old age, the sexual virility that marked one’s youth is nothing more than a distant memory, and even aphrodisiacs fail to stimulate sexual desire to allow for sexual intercourse. (2) The onset of old age is like the shriveling up of the caper berry fruit; the once virile youth has passed his prime just like a shriveled caper berry can no longer provide a sexual stimulant.

¹ tn The Hebrew noun חַתְחַתִּים (khatkhattim) literally means “terrors” (HALOT 363 s.v. חַתְחַת; BDB 369 s.v. חַתְחַת). Here it is used as a metonymy (cause for effect) to refer to dangers that cause the elderly to be fearful of going outside or walking along the streets. The form חַתְחַתִּים is a reduplicated noun stem from the root חתת (“terror”); HALOT 363 s.v. חַתְחַת; BDB 369 s.v. חַתְחַת. The reduplication of the noun stem intensifies its meaning: the noun חִתַּת (khittat) means “terror,” so the intensified reduplicated form חַתְחַת (khatkhat) connotes something like “great terror” (see S. Moscati, Comparative Grammar, 78-79, §12.9-13). The plural form חַתְחַתִּים (“great terrors”) denotes plural of number (more than one) or plural of intensity (which would further intensify the experience of fear); see IBHS 122 §7.4.3a.

¹ tn Heb “do not let your hand rest.” The Hebrew phrase “do not let your hand rest” is an idiom that means “do not stop working” or “do not be idle” (e.g., Eccl 7:18); cf. BDB 628 s.v. נוּחַ B.1. Several English versions capture the sense of the idiom well: “do not stop working” (NEB); “do not be idle” (MLB); “let not your hand be idle” (NAB); “let not your hands be idle” (NIV); “stay not your hand” (Moffatt). The term “hand” is a synecdoche of part (i.e., do not let your hand rest) for the whole person (i.e., do not allow yourself to stop working).

³ tn The word “investments” is not in the Hebrew text; it is added here for clarity. This line is traditionally understood as an exhortation to be generous to a multitude of people (KJV, NAB, ASV, NASB, RSV, NRSV, NIV, NJPS); however, it is better taken as shrewd advice to not commit all one’s possessions to a single venture (A. Cohen, The Five Megilloth [SoBB], 181). D. R. Glenn (“Ecclesiastes,” BKCOT, 1003) writes: “In view of the possibility of disaster, a person should make prudent investments in numerous ventures rather than put all his ‘eggs in one basket’ (e.g., Gen 32:7-8 for a practical example of this advice).” Several translations reflect this: “Divide your merchandise among seven ventures, eight maybe” (NEB); “Take shares in several ventures” (Moffatt).

² tn This line may be interpreted in one of three ways: (1) “the labor of fools wearies him because he did not know enough to go to a town,” referring to the labor of the peasants who had not been able to find a place in town where life was easier; (2) “the labor of the fools so wearies everyone of them (singular pronoun taken in a distributive sense) so much that he even does not know how to go to town,” that is, he does not even know how to do the easiest thing in the world; (3) “let the labor of fools so weary him that he may not even know how to go to town,” taking the verb as a jussive, describing the foolish man described in 10:12-14. See D. Barthélemy, ed., Preliminary and Interim Report on the Hebrew Old Testament Text Project, 3:592-93.

² tn The term וְלָבוּר (v^elavur, conjunction plus Qal infinitive construct from בּוּר, bur, “to make clear”) denotes “to examine; to make clear; to clear up; to explain” (HALOT 116 s.v. בור; BDB 101 s.v. בּוּר). The term is related to Arabic baraw “to examine” (G. R. Driver, “Supposed Arabisms in the Old Testament,” JBL 55 [1936]: 108). This verb is related to the Hebrew noun בֹּר (bor, “cleanness”) and adjective בַּר (bar, “clean”). The term is used in the OT only in Ecclesiastes (1:13; 2:3; 7:25; 9:1). This use of the infinitive has a connotative sense (“attempting to”), and functions in a complementary sense, relative to the main verb.

² tn The noun פִתְגָם (fitgam, “decision; announcement; edict; decree”) is a loanword from Persian patigama (HALOT 984 s.v. פִּתְגָם; BDB 834 s.v. פִּתְגָם). The Hebrew noun occurs twice in the OT (Eccl 8:11; Esth 1:20), twice in the Apocrypha (Sir 5:11; 8:9), and five times in Qumran (11QtgJob 9:2; 29:4; 30:1; 34:3; 1QapGen 22:27). The English versions consistently nuance this as a judicial sentence against a crime: “sentence” (KJV, NEB, NAB, ASV, NASB, RSV, NRSV, MLB, YLT), “sentence for a crime” (NIV), “sentence imposed” (NJPS), “sentence on a crime” (Moffatt).

³ tn It is difficult to determine whether the Hebrew term הֶבֶל (hevel) means “fleeting” or “useless” in this context. The imagery of quick-burning thorns under a cooking pot is ambiguous and can be understood in more than one way: (1) It is useless to try to heat a cooking pot by burning thorns because they burn out before the pot can be properly heated; (2) the heat produced by quick-burning thorns is fleeting—it produces quick heat, but lasts only for a moment. Likewise, the “laughter of a fool” can be taken in both ways: (1) In comparison to the sober reflection of the wise, the laughter of fools is morally useless: the burning of thorns, like the laughter of fools, makes a lot of noise but accomplishes nothing; (2) the laughter of fools is fleeting due to the brevity of life and certainty of death. Perhaps this is an example of intentional ambiguity.

³ tn Heb “voice.” The Hebrew term קוֹל (qol, “voice”) is used as a metonymy of cause (i.e., voice) for the contents (i.e., the thing said), e.g., Gen 3:17; 4:23; Exod 3:18; 4:1, 9; Deut 1:45; 21:18, 20; 1 Sam 2:25; 8:7, 9; 2 Sam 12:18); see HALOT 1084 s.v. קוֹל 4.b; BDB 877 s.v. קוֹל 3.a; also E. W. Bullinger, Figures of Speech, 545-46. Contextually, this refers to a rash vow made by a fool who made a mistake in making it because he is unable to fulfill it.

³ tn The noun פַּרְדֵּס (pardes, “garden, parkland, forest”) is a foreign loanword that occurs only 3 times in biblical Hebrew (Song 4:13; Eccl 2:5; Neh 2:8). The original Old Persian term pairidaeza designated the enclosed parks and pleasure-grounds that were the exclusive domain of the Persian kings and nobility (HALOT 963 s.v. פַּרְדֵּס; LSJ 1308 s.v παράδεισος). The related Babylonian term pardesu “marvelous garden” referred to the enclosed parks of the kings (AHw 2:833 and 3:1582). The term passed into Greek as παράδεισος (paradeisos, “enclosed park, pleasure-ground”), referring to the enclosed parks and gardens of the Persian kings (LSJ 1308). The Greek term has been transliterated into English as “paradise.”

² tn The Hebrew verb לְכָה (l^ekhah, “Come!”) is a weakened imperative, used merely as an introductory word, e.g., Gen 19:32; 31:44; Judg 19:11; 1 Sam 9:9-10; 11:14; 2 Kgs 3:7; Ps 66:5; Song 7:12; Isa 1:18; 2:3; Mic 4:2 (HALOT 246 s.v. הָלַךְ 2; BDB 234 s.v. הָלַךְ I.5.f.2). Whenever לְכָה introduces an exhortation, it functions as an invitation to the audience to adopt a course of action that will be beneficial to the addressee or mutually beneficial to both the speaker and the addressee. Here, Qoheleth personifies his “heart” (לִבִּי, libbi) and addresses himself. The examination of self-indulgent pleasure is designed to be beneficial to Qoheleth.

¹ tn The Hebrew root סָבַב (savav, “to circle around”) is repeated four times in this verse to depict the wind’s continual motion: “The wind circles around (סוֹבֵב, sovev)…round and round (סוֹבֵב סֹבֵב)…its circuits (סְבִיבֹתָיו, s^evivotayv).” This repetition is designed for a rhetorical purpose—to emphasize that the wind is locked into a never ending cycle. This vicious circle of monotonous action does not change anything. The participle form is used three times to emphasize continual, uninterrupted action (present universal use of participle). Despite the fact that the wind is always changing direction, nothing really new ever happens. The constant shifting of the wind cannot hide the fact that this is nothing but a repeated cycle; nothing new happens here (e.g., 1:9-10).