¹ tn This is again an attempt to render the Hebrew particle כִּי (ki) contextually. The nuance is a little hard to establish due to the nature of the rhetoric of the passage, which utilizes the figure of apostrophe, where the Lord turns from talking about Judah to addressing her directly, probably in condemnatory tones. Something like “the very idea that you should…” might best represent the mood. The כִּי is probably asseverative or intensive (cf. BDB 472 s.v. כִּי 1.e).

³ tn Heb “Your burnt offerings are not acceptable, and your sacrifices are not pleasing to me.” The shift from “their” to “your” is an example of the figure of speech (apostrophe) where the speaker turns from talking about someone to addressing him/her directly. Though common in Hebrew style, it is not common in English. The shift to the third person in the translation is an accommodation to English style.

¹ tn Or “I said to her, ‘Come back to me!’” The verb אָמַר (ʾamar) usually means “to say,” but here it means “to think,” of an assumption that turns out to be wrong (so HALOT 66 s.v. אמר 4) (cf. Gen 44:28; Jer 3:19; Pss 82:6; 139:11; Job 29:18; Ruth 4:4; Lam 3:18).

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.

¹ sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot—comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.

¹ tn The phrase חוּט הַשָּׁנִי (khut hashani, “thread of scarlet”) is a genitive construct with the genitive functioning adjectivally. This phrase is used three times in classical Hebrew to denote a scarlet colored “thread” or “cord” (Josh 2:18; Song 4:3; 11 QT 49:3) (HALOT 296-97 s.v. חוּט; DCH 3:170-71 s.v. חוּט). This is a comparison of sight, describing the color and shape of her lips.

⁴ sn The term “vineyard” is also a figure. In 1:6 she used the vineyard motif as a metaphor for her physical appearance, but here it is “our vineyards” which is probably a figure for their romantic relationship. The phrase “in bloom” makes the metaphor more specific, so that the phrase “our vineyards are in bloom” means that their romantic love relationship was in its initial stages, that is, before it had ripened into marriage.

³ tn Heb “the one who is full.” The feminine adjective מְלֵאָה (m^eleʾah, from מָלֵא, maleʾ, “full”) is used as a substantive referring to a pregnant woman whose womb is filled with her infant (HALOT 584 s.v. מָלֵא 2; BDB 571 s.v. מָלֵא). This term is used in reference to a pregnant woman in later Hebrew (HALOT 584 s.v. מָלֵא). The LXX understood the term in this sense: κυοφορούσης (kuophorousēs, “pregnant woman”).

¹ tn As the perfect form of a dynamic verb, טָעֲמָה (taʿamah) should be understood as past tense or perfective. The basic meaning of the word is to “taste.” By extension it means to “perceive; discern; evaluate” (cf. Job 12:11; 34:3). It either refers to evaluating the quality of her merchandise (that she sells) or to being sure that she is making a good and profitable trade.

¹ sn Her house is the way to the grave. The young man’s life is not destroyed in one instant; it is taken from him gradually as he enters into a course of life that will leave him as another victim of the wages of sin. The point of the warning is to prevent such a course from starting. Sin can certainly be forgiven, but the more involvement in this matter the greater the alienation from the healthy community.

² tn Heb “her eyelids” (so KJV, NASB); NRSV “eyelashes”; TEV “flirting eyes”). This term is a synecdoche of part (eyelids) for the whole (eyes) or a metonymy of association for painted eyes and the luring glances that are the symptoms of seduction (e.g., 2 Kgs 9:30). The term “alluring” is not in the Hebrew text, but is supplied in the translation for the sake of clarification.

⁴ sn The Hebrew has “like a sword of [two] mouths,” meaning a double-edged sword that devours/cuts either way. There is no movement without damage. There may be a wordplay here with this description of the “sword with two mouths,” and the subject of the passage being the words of her mouth which also have two sides to them. The irony is cut by the idiom.

¹ tn Heb “glorious things are spoken about you.” The translation assumes this is a general reference to compliments paid to Zion by those who live within her walls and by those who live in the surrounding areas and lands. Another option is that this refers to a prophetic oracle about the city’s glorious future. In this case one could translate, “wonderful things are announced concerning you.”

¹ sn Tell her such and such. Certainly the Lord gave Ahijah a specific message to give to Jeroboam’s wife (see vv. 6-16), but the author of Kings here condenses the Lord’s message with the words “so-and-so.” For dramatic effect he prefers to have us hear the message from Ahijah’s lips as he speaks to the king’s wife.

¹ tc Heb “like the returning of all, the man whom you are seeking.” The LXX reads differently: “And I will return all the people to you the way a bride returns to her husband, except for the life of the one man whom you are seeking.” The other early versions also struggled with this verse. Modern translations are divided as well: the NAB, NRSV, REB, and NLT follow the LXX, while the NASB and NIV follow the Hebrew text.

⁴ tn The verbs זָכַר (zakar) is often translated “remember.” It does not simply mean the ability to recall (as “forgetting” does not simply mean the inability to recall). It means the decision to recall or to bear in mind, here with regard to her previous request. The Hebrew verb is often used in the OT for considering the needs or desires of people with favor and kindness.

¹ tn Heb “she was bitter [in] soul.” Here “soul” (נֶפֶשׁ; nefesh) represents “the center and transmitter of feelings and perceptions” (HALOT, s.v. נֶפֶשׁ). Elsewhere (Isa 38:15; Ezek 27:31) the phrase refers to heartache. The noun first clause is making a contrast between her and Eli as part of the new setting before starting the main line of action in the following preterite verbs.

² tn Heb “certainly death will separate me and you.” Ruth’s vow has been interpreted two ways: (1) Not even death will separate her from Naomi—because they will be buried next to one another (e.g., NRSV, NCV; see E. F. Campbell, Ruth [AB], 74-75). However, for the statement to mean, “Not even death will separate me and you,” it would probably need to be introduced by אִם (ʾim, “if”) or negated by לֹא (loʾ, “not”; see F. W. Bush, Ruth, Esther [WBC], 83). (2) Nothing except death will separate her from Naomi (e.g., KJV, ASV, RSV, NASB, NIV, TEV, NJPS, REB, NLT, GW; see Bush, 83). The particle כִּי introduces the content of the vow, which—if violated—would bring about the curse uttered in the preceding oath (BDB 472 s.v. כִּי 1.c; e.g., Gen 42:16; Num 14:22; 1 Sam 20:3; 26:16; 29:6; 2 Sam 3:35; 1 Kgs 2:23; Isa 49:18). Some suggest that כּי is functioning as an asseverative (“indeed, certainly”) to express what the speaker is determined will happen (Bush, 83; see 1 Sam 14:44; 2 Sam 3:9; 1 Kgs 2:23; 19:2). Here כִּי probably functions in a conditional sense: “if” or “if…except, unless” (BDB 473 s.v. כִּי 2.b). So her vow may essentially mean “if anything except death should separate me from you!” The most likely view is (2): Ruth is swearing that death alone will separate her from Naomi.

³ sn Orpah is a literary foil for Ruth. Orpah is a commendable and devoted person (see v. 8); after all she is willing to follow Naomi back to Judah. However, when Naomi bombards her with good reasons why she should return, she relents. But Ruth is special. Despite Naomi’s bitter tirade, she insists on staying. Orpah is a good person, but Ruth is beyond good—she possesses an extra measure of devotion and sacrificial love that is uncommon.

⁴ tn Heb “No, my daughters.” Naomi is not answering the rhetorical questions she has just asked. In light of the explanatory clause that follows, it seems more likely that she is urging them to give up the idea of returning with her. In other words, the words “no, my daughters” complement the earlier exhortation to “go back.” To clarify this, the words “you must not return with me” are added in the translation.