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Discovery Box| (0.13) | (Sos 7:5) | 2 sn The Carmel mountain range is a majestic sight. The mountain range borders the southern edge of the plain of Esdraelon, dividing the Palestinian coastal plain into the Plain of Acco to the north and the Plains of Sharon and Philistia to the south. Its luxuriant foliage was legendary (Isa 33:9; Amos 1:2; Nah 1:4). Rising to a height of approximately 1750 feet (525 m), it extends southeast from the Mediterranean for 13 miles (21 km). Due to its greatness and fertility, it was often associated with majesty and power (Isa 35:2; Jer 46:18). The point of the comparison is that her head crowns her body just as the majestic Mount Carmel rested over the landscape, rising above it in majestic and fertile beauty. See ZPEB 1:755; C. F. Pfeiffer and H. F. Vos, Wycliffe Historical Geography of Bible Lands, 100. |
| (0.13) | (Sos 6:2) | 1 sn The term גַּן (gan, “garden”) is used six other times in the Song. In five cases, it is used figuratively (hypocatastasis) to describe her body or the sexual love of the couple (4:12, 15, 16a, 16b; 5:1). There is only one usage in which it might refer to a real garden (8:13). Thus, this usage of “garden” might be figurative or literal: (1) He went to a real garden for repose. Solomon did, in fact, own a great many gardens (Eccl 2:4-7; 1 Chr 27:27). (2) The “garden” is a figurative description referring either to: (a) the young woman, (b) their sexual love, or (c) Solomon’s harem. |
| (0.13) | (Sos 5:11) | 1 tn Heb “his head is gold of pure gold.” In the genitive construct phrase כֶּתֶם פָּז (ketem paz, literally, “gold of pure gold”) the genitive noun פָּז (paz, “pure gold”) functions as an adjectival genitive modifying כֶּתֶם (“gold”), that is, “pure gold.” The repetition of two different words for “gold” suggests that the phrase should be nuanced “the purest gold.” This phrase is a predicate nominate in a metaphorical statement: “his head is (like) the purest gold.” In the OT gold is frequently used in comparisons to emphasize the idea of beauty, value, or rarity (Job 28:12-19; Pss 19:11; 119:127; Prov 8:19; Isa 13:12; Lam 4:2). Palestine had no known sources of gold, but had to import it, making it a rare and precious commodity (Ruth V. Wright and R. L. Chadbourne, The Gems and Minerals of the Bible, 65). |
| (0.13) | (Sos 5:4) | 3 tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear—“hole”—there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kappot hammanʿul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19. |
| (0.13) | (Sos 4:4) | 2 tn The feminine noun לְתַלְפִּיּוֹת (letalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis thalpiōth) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tel, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis hupsē), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banuy letalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lpʾ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition ל (lamed) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpiʾot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704. |
| (0.13) | (Sos 3:11) | 1 tn Heb “the day of the joy of his heart.” In the genitive construct phrase וּבְיוֹם שִׂמְחַת (uveyom simkhat, “the day of joy”) the noun שִׂמְחָה (simkhah, “joy”) functions as a descriptive genitive of attribute (attributive genitive), that is, the genitive identifies the outstanding quality of the construct noun: “the joyous day” or “the day characterized by joy.” In the second genitive construct phrase שִׂמְחַת לִבּוֹ (simkhat libbo, “joy of his heart”) the noun לִבּוֹ (“his heart”) is a subjective genitive: “his heart rejoices.” The term לֵב (lev, “heart”) is a synecdoche of part for the whole (= Solomon himself), that is, “the day Solomon greatly rejoiced” or “the day of Solomon’s great joy.” |
| (0.13) | (Sos 4:1) | 4 sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes. |
| (0.13) | (Sos 3:10) | 4 tn The Hebrew noun אַרְגָּמָן (ʾargaman, “purple fabric”) is a loanword from Hittite argaman “tribute,” which is reflected in Akkadian argamannu “purple” (also “tribute” under Hittite influence), Ugaritic argmn “tax, purple,” and Aramaic argwn “purple” (HALOT 84 s.v. אַרְגָּמָן). The Hebrew term refers to wool dyed with red purple (BRL2 153; HALOT 84). It is used in reference to purple threads (Exod 35:25; 39:3; Esth 1:9) or purple cloth (Num 4:13; Judg 8:26; Esth 8:15; Prov 31:22; Jer 10:9; Song 3:10). Purple cloth and fabrics were costly (Ezek 27:7, 16) and were commonly worn by kings as a mark of their royal position (Judg 8:26). Thus, this was a sedan-chair fit for a king. KJV and NIV render it simply as “purple,” NASB as “purple fabric,” and NJPS “purple wool.” |
| (0.13) | (Sos 2:3) | 2 sn Apple trees were not native to Palestine and had to be imported and cultivated. To find a cultivated apple tree growing in the forest among other wild trees would be quite unusual; the apple tree would stand out and be a delightful surprise. Like a cultivated apple tree, the Lover was unique and stood out among all other men. In ancient Near Eastern love literature, the apple tree was a common symbol for romantic love and sexual fertility (S. N. Kramer, The Sacred Marriage Rite, 100-101). The “apple tree” motif is used in the Song in a similar manner (e.g., Song 2:3; 8:5). Likewise, the motif of “apples” is used as a symbol of fertility (Joel 1:12) and sexual desire (Song 2:5, 7, 9). |
| (0.13) | (Sos 1:16) | 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). |
| (0.13) | (Sos 1:5) | 2 sn The term “dark” does not appear in the Hebrew in this line but is supplied in the translation from the preceding line for the sake of clarity. The poetic structure of this tricolon is an example of redistribution. The terms “black but beautiful” in the A-line are broken up—the B-line picks up on “black” and the C-line picks up on “beautiful.” The Beloved was “black” like the rugged tents of Qedar woven from the wool of black goats, but “beautiful” as the decorative inner tent-curtains of King Solomon (so J. L. Kugel, The Idea of Biblical Poetry, 40; W. G. E. Watson, Classical Hebrew Poetry [JSOTSup], 181). |
| (0.13) | (Sos 1:5) | 3 sn The comparison of her dark, outdoors appearance to the “tents of Qedar” is quite fitting for two reasons. First, the name “Qedar” refers to an ancient Arabian tribe of bedouin who lived in tents and inhabited a region in northern Arabia. Their tents were traditionally woven from the wool of black goats. They were not beautiful to look at; they were rough, rustic, rugged, and weather-beaten. Second, the terms שְׁחוֹרָה (shekhorah, “black”) and קֵדָר (qedar, “Qedar”) create a wordplay because the root קָדַר (qadar) means “dark, dirty” (HALOT 1072 s.v. קדר). The point of the comparison is that the Beloved had dark skin and a rugged outdoors appearance because she had been forced to work outdoors, and so her skin had become dark as 1:6 states. |
| (0.13) | (Sos 1:2) | 6 tn The young woman compares his lovemaking to the intoxicating effects of wine. A man is to be “intoxicated” with the love of his wife (Prov 5:20). Wine makes the heart glad (Deut 14:26; Judg 9:13; Ps 104:15) and revives the spirit (2 Sam 16:1-2; Prov 31:4-7). It is viewed as a gift from God, given to enable man to enjoy life (Eccl 2:24-25; 5:18). The ancient Egyptian love poems use the imagery of wine and intoxication to describe the overwhelming effects of sexual love. For example, an ancient Egyptian love song reads: “I embrace her and her arms open wide; I am like a man in Punt, like someone overwhelmed with drugs. I kiss her and her lips open; and I am drunk without beer” (ANET 467-69). |
| (0.13) | (Ecc 12:9) | 2 tn Heb “he weighed and studied.” The verbs וְאִזֵּן וְחִקֵּר (veʾizzen vekhiqqer, “he weighed and he explored”) form a hendiadys (a figurative expression in which two separate terms used in combination to convey a single idea): “he studiously weighed” or “carefully evaluated.” The verb וְאִזֵּן (conjunction + Piel perfect third person masculine singular from II אָזַן (ʾazan) “to weigh; to balance”) is related to the noun מֹאזֵן (moʾzen) “balances; scales” used for weighing money or commercial items (e.g., Jer 32:10; Ezek 5:1). This is the only use of the verb in the OT. In this context, it means “to weigh” = “to test; to prove” (BDB 24 s.v. מאזן) or “to balance” (HALOT 27 II אָזַן). Cohen suggests, “He made an examination of the large number of proverbial sayings which had been composed, testing their truth and worth, to select those which he considered deserving of circulation” (A. Cohen, The Five Megilloth [SoBB], 189). |
| (0.13) | (Ecc 12:5) | 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. |
| (0.13) | (Ecc 11:6) | 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). |
| (0.13) | (Ecc 11:1) | 2 tn Heb “your bread.” The term לֶחֶם (lekhem) is traditionally rendered “bread” (KJV, NAB, RSV, NRSV, ASV, NASB, NIV, NJPS). However, 11:1-2 seems to deal with exporting goods overseas (D. R. Glenn, “Ecclesiastes,” BKCOT, 1002-3). It is better to take לֶחֶם (“bread”) as a metonymy of product, standing for the grain and wheat from which bread is produced (e.g., Gen 41:54-55; 47:13, 15, 17, 19; 49:20; Num 15:19; 2 Kgs 18:32; Isa 28:28; 30:23; 36:17; 55:10; Jer 5:17; Ezek 48:18; Job 28:5; Ps 104:14; Prov 28:3); see HALOT 526 s.v. 1; BDB 537 s.v. 1.b. It is taken this way by several translations: “grain” (NEB) and “goods” (Moffatt). Qoheleth encouraged the export of grain products overseas in international trade. |
| (0.13) | (Ecc 8:11) | 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). |
| (0.13) | (Ecc 7:18) | 2 sn The other warning. Qoheleth is referring to the two words of advice in 7:16-17. He is not, as some suggest, urging his readers to grasp righteousness without letting go of wickedness. His point is not that people should live their lives with a balance of modest righteousness and modest wickedness. Because he urges the fear of God in 7:18b, he cannot be inconsistent in suggesting that his readers offend the fear of God by indulging in some degree of sin in order to counterbalance an overly righteous life. Rather, the proper fear of God will prevent a person from trusting in righteousness and wisdom alone for his security, and it will also prevent indulgence in wickedness and folly. |
| (0.13) | (Ecc 7:6) | 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. |
