⁴ tn The form is the singular cohortative, expressing the resolution of Moses to sing the song of praise (“I will” being stronger than “I shall”).

³ tn Heb “And [why did] you not tell me so I could send you off with joy and with songs, with a tambourine and with a harp?”

³ sn This is a common hymnic introduction to both individual songs of thanksgiving (e.g., Ps 118:1) and communal songs of thanksgiving (e.g., Ps 136, where it is a liturgical refrain accompanying a recital of Israel’s early history and the Lord’s continuing providence).

² sn At this point the love song turns sour as the Lord himself breaks in and completes the story (see vv. 3-6). In the final line of v. 2 the love song presented to the Lord becomes a judgment speech by the Lord.

² tn Heb “according to lilies.” “Lilies” may be a tune title or musical style, suggestive of romantic love. The imagery of a “lily” appears frequently in the Song of Songs in a variety of contexts (see 2:1-2, 16; 4:5; 5:13; 6:2-3; 7:2).

² sn The words אַמִּיץ (ʾammits) and כֹּחַ (koakh) are synonyms, the first meaning “sturdy; mighty; robust,” and the second “strength.” It too can be interpreted as a genitive of specification—God is mighty with respect to his power. But that comes close to expressing a superlative idea (like “song of songs” or “anger of his wrath”).

³ sn Senir. Probably this was actually one of the peaks of Hermon and not the main mountain (Song of Songs 4:8; 1 Chr 5:23). It is mentioned in a royal inscription of Shalmaneser III of Assyria (saniru; see ANET 280).

¹ sn The brief song is supposed to be an old workers’ song, and so the mention of leaders and princes is unusual. Some think they are given credit because they directed where the workers were to dig. The scepter and staff might have served some symbolic or divining custom.

¹ sn The Beloved’s praise of his appearance follows the typical literary structure of the ancient Near Eastern love songs: (1) introductory summary praise (5:10), (2) detailed descriptive praise from head to foot (5:11-16a), and (3) concluding summary praise (5:16b). There are several striking features about this song that are unique from the typical love songs. (1) The ordinary setting of the ancient Near Eastern love songs was the wedding night. (2) They were ordinarily sung only by a man in praise of his bride. (3) Normally, the love song will conclude with the feet after the legs; however, the Beloved concludes by praising his mouth after his legs.

⁴ tn The syntax of the noun אַהֲבָה (ʾahavah, “love”) has been taken as: (1) predicate nominative: “His banner over me [was] love” or “His intention toward me [was] lovemaking” (M. H. Pope, Song of Songs [AB], 376-77; G. L. Carr, Song of Solomon [TOTC], 91); (2) genitive of attribute/content: “His banner of love [was] over me,” and (3) adverbial or adjectival accusative: “His look upon me was loving” or “He looked upon me lovingly” (R. Gordis, Song of Songs and Lamentations, 81-82). Examples of adverbial or adjectival accusatives, e.g., “I am peace” = “I am peaceful” (Ps 120:7); “I will love them as a free gift” = “I will love them freely” (Hos 14:5).

⁴ tn Heb “Your eyes are doves.” This metaphor compares her eyes to doves. There is no lack of suggestions as to the point of the comparison: (1) Arabic love literature describes doves having sentimental eyes, the point here (Marcia Falk, Love Lyrics from the Bible, 113). (2) The comparison has to do with the color of her eyes (G. L. Carr, Song of Solomon [TOTC], 86). (3) The comparison has to do with the glistening color of the dove and its quick movements, that is, her eyes had a beautiful color and had lively motion (M. H. Pope, Song of Songs [AB], 356). (4) The comparison has to do with the fluttering of her eyes which reminded him of the fluttering of a dove’s wings (M. D. Goulder, The Song of Fourteen Songs [JSOTSup], 5). (5) The comparison has to do with gentleness and purity, as well as longing and simplicity (K&D 18:38).

⁴ tn The translation assumes that the verb יַעֲנֶה (yaʿaneh) is a Hiphil imperfect from עָנָה (ʿanah, “be afflicted, humiliated”). In this context with “song” as object it means to “quiet” (see HALOT 853-54 s.v. II ענה). Some prefer to emend the form to the second person singular, so that it will agree with the second person verb earlier in the verse. BDB 776 s.v. III עָנָה Qal.1 understands the form as Qal, with “song” as subject, in which case one might translate “the song of tyrants will be silent.” An emendation of the form to a Niphal (יֵעָנֶה, yeʿaneh) would yield the same translation.

¹ tc The MT reads בְּמַשָּׂא יָסֹר בַּמַּשָּׂא (b^emassa’ yasor bammassa’), leader of the Levites “in [the] lifting up, an instructor in lifting up.” The LXX reads ἄρχων τῶν ᾠδῶν (archōn tōn ōdōn) “ruler/leader of the songs,” apparently omitting the first Hebrew בְּמַשָּׂא (b^emassa’) and then reading the similar sounding יָשֹׂר (yasor) “one who rules” for יָסֹר (yasor) “instructor.” The Vulgate associates the first Hebrew בְּמַשָּׂא (b^emassa’) with prophesy (see note below) and the second with song. Luther renders “the master in song to teach them to sing” (see Keil and Delitzsch, The First Book of Chronicles, 204).

² sn My servant. The collocation of “servant” and “chosen” bears strong messianic overtones. See the so-called “Servant Songs” and other messianic texts in Isaiah (Isa 41:8; 42:1; 44:4; 49:7).

⁵ tn Heb “the lamentation of Beth Ezel.” The following words could be the lamentation offered up by Beth Ezel (subjective genitive) or the mourning song sung over it (objective genitive).

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.

² sn The term תָּמָר (tamar, “palm tree”) refers to the date palm tree (Phoenix dactyliferia) that can reach a height of 80 feet (24 m). It flourished in warm moist areas and oases from Egypt to India. Ancient Iraq was the leading grower of date palms and dates in the ancient world, as today (M. H. Pope, The Song of Songs [AB], 633). There is also a hint of eroticism in this palm tree metaphor because the palm tree was often associated with fertility in the ancient world. The point of comparison is that she is a tall, slender, fertile young woman. The comparison of a tall and slender lady to a palm tree is not uncommon in love literature: “O you, whose height is that of a palm tree in a serail” (Homer, Odyssey vi 162-63) (S. H. Stephan, “Modern Palestinian Parallels to the Song of Songs,” JPOS 2 [1922]: 76).

³ sn The repetition of יָפָה רַעְיָתִי (yafah raʿyati, “You are beautiful, my darling”) in 4:1 and 4:7 forms an inclusion, marking off the song of descriptive praise in 4:1-7.

¹ tn The relative pronoun שֶׁ (she) on שֶׁאֲנִי (sheʾani, “because I”) functions in a causal sense, as in the following colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).

² tn The relative pronoun שֶׁ (she) on שֶׁשֱּׁזָפַתְנִי (sheshezafatni) functions in a causal sense, as in the preceding colon (BDB 980 s.v. שֶׁ 3.b) (e.g., Song 5:2; Eccl 2:18).