STANZA DIVISIONS OF MODERN TRANSLATIONS*

* Although they are not inspired, paragraph divisions are the key to understanding and following the original author's intent. Each modern translation has divided and summarized the paragraphs. Every paragraph has one central topic, truth, or thought. Each version encapsulates that topic in its own distinct way. As you read the text, ask yourself which translation fits your understanding of the subject and verse divisions.
 In every chapter we must read the Bible first and try to identify its subjects (paragraphs), then compare our understanding with the modern versions. Only when we understand the original author's intent by following his logic and presentation can we truly understand the Bible. Only the original author is inspired—readers have no right to change or modify the message. Bible readers do have the responsibility of applying the inspired truth to their day and their lives.
 Note that all technical terms and abbreviations are explained fully in the following documents: Brief Definitions of Greek Grammatical Structure, Textual Criticism, and Glossary.

READING CYCLE THREE (see "Guide to Good Bible Reading")

FOLLOWING THE ORIGINAL AUTHOR'S INTENT AT PARAGRAPH LEVEL

This is a study guide commentarywhich means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.

Read the chapter in one sitting. Identify the subjects (reading cycle #3). Compare your subject divisions with the four translations above. Paragraphing is not inspired, but it is the key to following the original author's intent, which is the heart of interpretation. Every paragraph has one and only one subject.

1. First paragraph

2. Second paragraph

3. Third paragraph

4. Etc.

CONTEXTUAL INSIGHTS

A. This chapter has several commands and exhortations:

1. "Kiss me," Sol 1:1, BDB 676, KB 730, Qal imperfect, used in a jussive sense

2. "Draw me after you," Sol 1:4, BDB 604, KB 645, Qal imperative

3. "Let us run together," Sol 1:4, BDB 930, KB 1207, Qal cohortative

4. "We will rejoice," Sol 1:4, BDB 162, KB 189, Qal cohortative

5. "Be glad," Sol 1:4, BDB 970, KB 1333, Qal cohortative

6. "We will extol your love," Sol 1:4, BDB 269, KB 269, Hiphil cohortative

7. "Do not stare at me," Sol 1:6, BDB 906, KB 1157, Qal imperfect used in a jussive sense

8. "Tell me," Sol 1:7, BDB 616, KB 665, Hiphil imperative

9. "Go forth," Sol 1:8, BDB 422, KB 425, Qal imperative

10. "pasture" (i.e. feed), Sol 1:8, BDB 944, KB 1258, Qal imperative

There are several more, particularly in chapters 2, 4, and 7.

B. Many of the words in this poem carry extended connotations (double entendre) of love-making:

1. oils, Sol 1:3

2. his chambers, Sol 1:4

3. my own vineyard, Sol 1:6

4. lie down at noon, Sol 1:7

5. veil, Sol 1:7

6. table, couch, Sol 1:12

7. nard, Sol 1:12

8. myrrh, Sol 1:13

9. "lies all night between my breasts," Sol 1:13

10. "henna blossoms in the vineyards of Engedi," Sol 1:14

11. "couch is luxuriant," Sol 1:16

Physical love is a gift from God (cf. Gen. 1:27-28). Families and children are His idea (cf. Gen. 1:28). Sexual love is the gift of God to be cherished and honored (one man, one woman for life). Rejoice in the wife of your youth (cf. Eccl. 9:7-9). Love is powerful and valuable (cf. Sol 8:6-7)!

WORD AND PHRASE STUDY

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:1
 ¹The Song of Songs, which is Solomon's.

1:1 "Song of Songs" This is a superlative form in Hebrew (BDB 1010). It could be translated "the best of the Songs" (cf. Exod. 29:37; Deut. 10:17; and Dan. 2:37 for other examples). It often referred to love songs (cf. Isa. 5:1; Ezek. 33:32).

▣ "which is" This Hebrew form (BDB 81) can mean "to," "for," or "concerning." Hebrew linguists note that the form of Sol 1:1 is different from this same Hebrew particle in the rest of the book. This has led many to believe that Sol 1:1 is a later addition by a general editor.

▣ "Solomon's" The inclusion of the name of Solomon several times in the text (i.e., 1:1,5; 3:7,9,11; 8:11,12) leads to the conclusion that this song is written about Solomon, to Solomon, or by Solomon. It is uncertain exactly which is the case. See Introduction, Authorship.

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:2-4 
 ²"May he kiss me with the kisses of his mouth!
 For your love is better than wine.
 ^3"Your oils have a pleasing fragrance,
 Your name is like purified oil;
 Therefore the maidens love you.
 ^4a"Draw me after you and let us run together!
 The king has brought me into his chambers."

1:2 A common feature of the Hebrew language which surprises and confuses modern readers is the constant switch between SECOND PERSON and THIRD PERSON. This verse illustrates this common feature well:

1. line 1 is THIRD PERSON (may he kiss me)

2. line 2 is SECOND PERSON (your love is better than wine)

As moderns we (even Jewish scholars) do not know the inferences and common textual features (sometimes unconsciously learned) of ancient Hebrew (i.e., before vowels, before Aramaic).

▣ "kiss" In ancient Near Eastern cultures kissing was done in private (cf. Sol 1:4). See Contextual Insights, A. Notice the term's repetition for emphasis.

▣ "love" There are several different words for "love" in Hebrew. They are all used in this book. This particular word (BDB 187) comes from the same root as the proper name "David" (BDB 187). This term alludes positively to a human lover and love making. It is recurrent in the book (cf. Sol 1:2,4; 4:10; 5:1; 7:13).

▣ "better than wine" This could refer to (1) daily use of wine or (2) festival use of wine. The same phrase is repeated in Sol 1:4 and 10. For the concept of social consumption of alcoholic beverages see Special Topic at Eccl. 2:3.

1:3 "oils" The basic meaning of this term (BDB 1032) is "fat" or "rich" (i.e., land, e.g., 5:1). It refers to olive oil, which was a daily food item and when put on the face, a sign of prosperity and festival (e.g., Isa. 25:6). Here it is used of perfumed oil (cf. Sol 4:10; Ps. 27:9; Eccl. 7:1; 10:1; Amos 6:6).

▣ "your name" This (BDB 1027) refers to the person. Just the thought of this person brought the scent of perfume. A name used as sweet scent is also found in Eccl. 7:1.

There is an obvious word play between "oils" (BDB 1032) and "name" (BDB 1027). This is common in Hebrew prose and especially in Hebrew poetry.

NASB"purified oil"
NKJV"ointment poured forth"
NRSV"perfume poured out"
NJB"oil poured out"

This verb's (BDB 937, KB 1227, Hophal imperfect) basic meaning is to empty something. The NASB, in the margin, defines it as "which is emptied (from one vessel to another)." The question remains, what does this verb imply:

1. a purifying procedure

2. a wide-spread reputation (i.e., among the harem)

In context #2 fits best.

▣ "maidens" This is the Hebrew word almah (BDB 761, cf. Isa. 7:14). This Hebrew word refers to a young woman of reproductive years, married or unmarried. The exact identity of these young women is uncertain (see note at Sol 1:5). There seem to be two major possibilities: (1) Solomon's harem or (2) the ladies of Jerusalem or Solomon's court (cf. Sol 1:5; 2:7; 3:5,10; 5:8,16; 8:4).

▣ "love" This is the general term for love (BDB 12) in the Hebrew language. The uniqueness of this word usage in Song of Songs is that it is predominately used for the maiden's affection for her lover. The OT was written in a male-centered society. A woman's feelings or concerns are usually not recorded. This book is not only an affirmation of the beauty and wholesomeness of physical love, but of reciprocal love!

1:4 This verse has several commands. See Contextual Insights, A.

▣ "the king has brought me into his chambers" This is literally "bed chamber" (BDB 293, cf. Sol 3:4; Eccl. 10:20; Joel 2:16). This refers to Solomon's harem (cf. Sol 6:9). Some commentators (and I am one of them) who see Song of Songs related to the Syrian love songs (i.e., wasfs), note that in these love poems the bride and groom are called "king" and "queen."

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:4b
 ^4b"We will rejoice in you and be glad;
 We will extol your love more than wine.
 Rightly do they love you."

▣ "we. . .they" It is very difficult to identify this group(s). It may be a chorus (NJB) or possibly the maidens of Sol 1:3, who might be identified with the daughters of Jerusalem (NKJV).

▣ "rejoice" This term (BDB 162, KB 189, Qal cohortative) is very common in Psalms, but used only here in Song of Songs. It often denotes Israel's rejoicing over God and His covenant faithfulness. So it is a powerful affirmation! Here it refers to sexual love (cf. Ps. 45:13-15). Robert Gordis, The Song of Songs and Lamentations, thinks 3:6-11 is a wedding song similar to Psalm 45.

▣ "extol" This term (BDB 269, KB 269, Hiphil cohortative) basically denotes "remembering," but in certain texts it takes on the concept of "mentioning a word of praise." Here it takes on the connotation of praise (cf. Ps. 45:17). It almost seems as if the author of Song of Songs knew Psalm 45, which refers to the king of Israel's marriage.

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:5-7
  ⁵"I am black but lovely,
 O daughters of Jerusalem,
 Like the tents of Kedar,
 Like the curtains of Solomon.
  ⁶Do not stare at me because I am swarthy,
 For the sun has burned me.
 My mother's sons were angry with me;
 They made me caretaker of the vineyards,
 But I have not taken care of my own vineyard.
 ⁷Tell me, O you whom my soul loves,
 Where do you pasture your flock,
 Where do you make it lie down at noon?
 For why should I be like one who veils herself
 Beside the flocks of your companions?"

1:5-6 It is difficult to follow who is speaking and to whom they are speaking. The transitions are not clearly (textually) marked. In Sol 1:5-6 the northern woman is addressing apparent concerns of the Jerusalem harem or the women of the court.

▣ "I am black" Verse 6 describes this as a deep tan ("blackish," BDB 1007), which she received from the sun while tending the family vineyards and flocks. Usually harem women strived to be as white as possible.

▣ "daughters of Jerusalem" The identity of this group is crucial, but difficult. Here are some of the interpretive theories:

1. Solomon's harem

2. city girls (versus country girls)

3. the woman's friends

4. a mental image

5. a literary way of moving the scene along

6. a type of narrator (chorus)

7. women of the royal court (i.e. wives of leaders or royal servants)

They are a literary foil to help the maiden examine and express her thoughts and feelings.

▣ "Kedar" The Kedarites (BDB 871, literally "swarthy" or "black-tinted") are related to the Ishmaelites, which means they were Arabs (cf. Gen. 25:12-18; 1 Chr. 1:29; Isa. 42:1, 60:7; Jer. 49:29-32). These desert nomads are known for their black tents which were woven from goat's hair. The "tents" (BDB 13) were made from goat skin, while the "curtains" (BDB 438) were woven from goat hair.

▣ "Like the curtains of Solomon" This is obviously parallel to "tents of Kedar." The question is, what curtain does it refer to:

1. Solomon's palace (TEV)

2. Solomon's travelling tent (NJB)

3. the temple in Jerusalem

There is just not enough information in the text to make a determination.

Also, it is possible that the color is not the parallel, but "dark. . .beautiful," whereby the "curtains of Solomon" are not dark, but beautiful (cf. TEV).

Notice that the NJB has "Salmah," NAB has "Salma," and REB has "Shalmah." This comes from a supposed tribe in the area of Edom, possibly close to Kedar. However, there is no textual support or ancient version support for this textual change.

1:6

NASB, NAB
JPSOA, NIV"do not stare at me"
NKJV"do not look upon me"
NRSV"do not gaze at me"
TEV, REB"do not look down on me"
NJB"take no notice"

This can be understood in one of two ways:

1. Her dark tan was seen by the daughters of Jerusalem as reflecting her poor, rural background, and lack of light skin (TEV, NIDOTTE, vol. 3, p. 1009).

2. Her dark tan and beauty caused them to stare at her in awe and envy.

▣ "My mother's sons were angry with me" The verb can be from one of two roots that mean "to burn" ("with anger"):

1.  חרר, BDB 354, Niphal perfect, cf. Isa. 41:11; 45:24

2. חרה, BDB 359, Niphal perfect, cf. Ps. 69:4; Ezek. 15:4,5

Number 1 is more probably the correct root. It is interesting that the root נחר (BDB 637) literally means "to snort" and developed metaphorically to denote anger.

The interpretation of this verse is crucial to the understanding of the book (cf. Sol 6:9). As in all other passages there are several theories:

1. the brothers are jealous of the king's favour

2.  this reflects a family feud over the young girl's chastity (line 5)

3.  the young girl did not take enough time for herself (TEV)

4.  she has given her heart to another (i.e., a northern local lover)

1:7 "you who my soul loves" To whom does this refer? It depends on one's understanding of how many characters are involved in this poetic/musical drama. The two theories are: (1) the girl's hometown shepherd boyfriend from the North or (2) Solomon himself from Jerusalem (i.e., shepherd of Israel).

▣ "Where do you make it lie down at noon" This may refer to:

1. Solomon's travelling pavilion, thereby:

a. "tents" of Sol 1:6

b. "companions" of Sol 1:7, line 5 and 8:13

2. to a local shepherd whom she loves

There is the added sexual imagery of "lying down," implying, "I want to come lie down with you." Poetry carries connotations and implications with its choice of words and their various connotations.

▣ "veils" "Veils" (BDB 741, "wrap oneself") is found in the MT, Septuagint, and NRSV. Other ancient versions read "wanders" (BDB 380 or 1073, cf. the Peshitta, Vulgate, and RSV). This refers to either (1) her modesty (i.e., veil); (2) her premarital desires; or (3) her asking her lover not to associate with travelling prostitutes (cf. Gen. 38:14-19).

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:8
 ⁸"If you yourself do not know,
 Most beautiful among women,
 Go forth on the trail of the flock
 And pasture your young goats
 By the tents of the shepherds."

1:8 "If you yourself do not know" This seems to be playful sarcasm. It refers to the chorus (NJB) or the bridegroom (NKJV) addressing the bride. This passage is one of many where the shepherd motif is used. This either refers to this Northern hometown boyfriend or it is a reference to King Solomon. This response answers her question of Sol 1:7.

This verse has three imperatives. See Contextual Insights, A.

▣ "Most beautiful among women" This affirmation of love is repeated in Sol 5:9; 6:1. Beauty is in the eye of the beholder. She calls him "O you whom my soul loves" in Sol 1:7 and he responds!

▣ "Go forth on the trail of the flock" This is interpreted in radically different ways depending on who is referred to in Sol 1:8.

▣ "tents" This (BDB 1015) is a different Hebrew word than the "tents" (BDB 438), which could denote "curtains" or "tapestries" in Sol 1:5. This one denotes a temporary dwelling place (i.e., the tabernacle in the wilderness, i.e., Exod. 25:9).

Verse 5 could refer to Solomon's travelling tents (large and elaborate) and this to a local shepherd's tent. It all depends on how many lovers are depicted in the book (one, the king, or two, the king and a local shepherd boyfriend).

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:9-10
  ⁹"To me, my darling, you are like
 My mare among the chariots of Pharaoh.
 ¹⁰Your cheeks are lovely with ornaments,
 Your neck with strings of beads."

1:9 "darling" This comes from the Hebrew phrase "to pasture" (BDB 944, cf. Sol 1:15) and means friend or companion (BDB 946).

▣ "like" This Aramaic verb (BDB 197, KB 225), in the Piel stem, denotes a comparison. It is used several times in this sense in Song of Songs (cf. Sol 1:9; 2:9,17; 7:7; 8:14).

▣ "My mare among the chariots of Pharaoh" Solomon was the first to import Arabian horses from Egypt (cf. 1 Kgs. 10:28; 2 Chr. 1:16,17; 9:28) for military purposes. This metaphor refers either to the ornamental beauty of the royal horses (possibly embroidered on the royal tent) or to the graceful movement and beauty of the animals themselves. These horses were prized animals!

▣ "with ornaments" This term (BDB 1064) can refer to:

1. a type of hairdo or braid (TEV)

2. a necklace of precious metal (cf. Sol 1:11)

The basic Akkadian root seems to mean "to encircle" or "go around again" (KB 1708). The reference could be to the horses' ornaments of Sol 1:9 or the woman's necklace of Sol 1:10, line 2. If the second line of Sol 1:10 is synonymous parallelism, "ornaments" refers to a "string of beads" (BDB 354, this term appears only here in the OT and a similar root means "string of beads" or "string of shells," or "string of pearls") or NKJV, "chains of gold" (to parallel Sol 1:11, line 1).

Both of these words are rare and disputed. This ambiguity is characteristic of poetry!

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:11
 ¹¹"We will make for you ornaments of gold
 With beads of silver."

1:11 Again the problem is the identity of the speaker. Note the use of the plural "we." The NKJV identifies the speaker as "the Daughters of Jerusalem. The NASB makes Sol 1:11 a separate paragraph, denoting a possible change of speaker. However, its outline makes Sol 1:8-17 come from Solomon. TEV and NJB see it as a continuation of the male speaker.

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:12-14
 ¹²"While the king was at his table,
 My perfume gave forth its fragrance.
 ¹³My beloved is to me a pouch of myrrh
 Which lies all night between my breasts.
 ¹⁴My beloved is to me a cluster of henna blossoms
 In the vineyards of Engedi."

1: 12 "While the king was at his table" Again, the interpretation depends on, "who is the king?"

The term (BDB 687) translated by NASB and NKJV as "table," can also mean "couch" (cf. NRSV, JPSOA, TEV, REB) or "room" (NJB). Its basic meaning is "that which surrounds."

It could surely be the elaborate sleeping tent and couch of Solomon or a simple bed mat of a shepherd expressed in hyperbole.

NASB, TEV"perfume"
NKJV"spikenard"
NRSV, NJB"nard"

This (BDB 669) was an oily extract from a sweet smelling plant from the Himalayas region of India (Sanskrit root). It was used as an aromatic aphrodisiac in the ancient Near East.

1:13 This refers to the ancient method of perfuming. In symbolism it refers to one of the lovers dreaming/thinking of the other all night!

▣ "myrrh" This (BDB 600) was a plant resin from Arabia and the northeast coast of Africa. It was bitter to the taste, but sweet smelling and long lasting. In Ps. 45:8 it is also connected to a wedding (i.e., physical love). It has connotations of erotic love (cf. Sol 1:13; 3:6; 4:6,14; 5:5,13; Pro. 7:17).

▣ "breast" This term (BDB 994) is used several times in the book (1:13; 4:5; 7:3,7-8; 8:8,10). This same phrase, "between breasts," is used by Hosea to denote pagan fertility worship (cf. Hosea 2:2).

1:14 "a cluster of henna blossoms" These are small fragrant white flowers (BDB 499) that comes from a bush that grow abundantly in the Middle East. They are still used by Arab women today who use these flowers to dye parts of their bodies either orange or yellow.

▣ "Engedi" This (BDB 745) is a famous oasis midway down the western shore of the Dead Sea known for its beauty and fertility. It is mentioned several times in the OT.

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:15
 ¹⁵"How beautiful you are, my darling,
 How beautiful you are!
 Your eyes are like doves."

1:15 "How beautiful you are" This phrase is repeated for emphasis. This term (BDB 421) is used often:

1. in the phrase, "most beautiful of women," 1:8; 5:9; 6:1

2. in the phrase, "How beautiful you are," 1:15(twice); 4:1(twice),7; 6:4

3. in the phrase, "beautiful one," 2:10,13

4. in the term, "handsome," 1:16 (used only here in the OT to describe the man)

5. in Sol 6:10 it describes the moon

▣ "Your eyes are like doves" The allusion here is possibly to (1) mate loyalty; (2) gentleness; (3) a sweet melodious song; (4) a symbol of peace, love or innocence; or (5) color. This phrase is used again in Sol 4:1 and 5:12. It is repeated by the woman in Sol 1:16. "Dove" (BDB 401 I) is used several times in comparisons (cf. Sol 1:15; 2:14; 4:1; 5:2,12; 6:9).

NASB (UPDATED) TEXT: SONG OF SOLOMON 1:16-17
 ¹⁶"How handsome you are, my beloved,
 And so pleasant!
 Indeed, our couch is luxuriant!
 ¹⁷The beams of our houses are cedars,
 Our rafters, cypresses.

1:16-17 This refers to either (1) the grandeur of the royal travelling pavilion or (2) the secret meeting place in the woods of the two hometown lovers.

▣ "couch" This is a different term (BDB 793) from "table" or "couch" in Sol 1:12 (BDB 687).

1:17 The UBS' Helps for Translators, Fauna and Flora of the Bible, says, "there is great confusion in all versions, ancient and modern, over the identity of evergreens in the Bible" (p. 116).

DISCUSSION QUESTIONS

This is a study guide commentary which means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.

These discussion questions are provided to help you think through the major issues of this section of the book. They are meant to be thought provoking, not definitive.

1. Why are there so many interpretations of this book of the Bible?

2. How many persons or groups are referred to in these music/poetic passages?

3. Give possible theories of verse 6 and why this verse is so important.

Copyright © 2012 Bible Lessons International

STANZA DIVISIONS OF MODERN TRANSLATIONS

READING CYCLE THREE (see "Guide to Good Bible Reading")

FOLLOWING THE ORIGINAL AUTHOR'S INTENT AT PARAGRAPH LEVEL

This is a study guide commentarywhich means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.

Read the chapter in one sitting. Identify the subjects (reading cycle #3). Compare your subject divisions with the four translations above. Paragraphing is not inspired, but it is the key to following the original author's intent, which is the heart of interpretation. Every paragraph has one and only one subject.

1. First paragraph

2. Second paragraph

3. Third paragraph

4. Etc.

OUTLINE BY POSSIBLE SPEAKERS (notice the lack of agreement)

WORD AND PHRASE STUDY

NASB (UPDATED) TEXT: SONG OF SOLOMON 3:1-4
 ¹"On my bed night after night I sought him
 Whom my soul loves;
 I sought him but did not find him.
 ²'I must arise now and go about the city;
 In the streets and in the squares
 I must seek him whom my soul loves.'
 I sought him but did not find him.
 ³The watchmen who make the rounds in the city found me,
 And I said, 'Have you seen him whom my soul loves?'
 ⁴Scarcely had I left them
 When I found him whom my soul loves;
 I held on to him and would not let him go
 Until I had brought him to my mother's house,
 And into the room of her who conceived me."

3:1 "night after night" This is plural in the Hebrew, which refers to recurrent dreams. One theory is that 3:1-4 and 5:2-8 are dreams which the Shulammite had. It is quite normal to have fearful dreams the night before an important event. The other theory is that she is dreaming of a local lover back home in the north of Israel. I personally like the second option.

3:2 There are three cohortative verbs:

1. "arise" - BDB 877, KB 1086, Qal cohortative

2. "go about" - BDB 685, KB 738, Poel cohortative

3. "seek" - BDB 134, KB 152, Piel cohortative

Whoever it was she was looking for ("whom my soul loves," Sol 3:1,2,3,4), she finds him in Sol 3:4. These three verbs speak of:

1. potential action (i.e., dream)

2. actual action (she actually went into the streets looking)

Since I think that there is a northern, local lover involved in the "story line," this could refer to her actually searching in her northern village for her lover. It is not until Sol 3:6 (i.e., the third poem, a totally separate unit) that Solomon's entourage approaches.

▣ "the city" This can refer either to Jerusalem (i.e., the harem) or to the girl's hometown in northern Israel (cf. Sol 3:4).

3:3 "the watchman" Watchmen (BDB 1036, KB 1581, Qal participle) were placed as sentinels on the walls of ancient cities as well as keepers of the gate.

3:4 This verse describes her joy (i.e., "I held on to him," BDB 28, KB 31, Qal perfect) in finding her lover! The problem comes in the last two lines. Are they synonymous parallelism or step parallelism? Also, how do we explain a secret, local lover being brought publically to the maiden's home?

If there is a plot line (and I am not convinced there is), then the words must be reinterpreted:

1. as a future longing

2. as a euphemism of intimacy

NASB (UPDATED) TEXT: SONG OF SOLOMON 3:5
 ⁵"I adjure you, O daughters of Jerusalem,
 By the gazelles or by the hinds of the field,
 That you will not arouse or awaken my love
 Until she pleases."

3:5 Notice that this same refrain is repeated over and over throughout the book. However, in Sol 2:7 it is possible that the bridegroom is speaking but more probable that the bride is speaking. In Sol 3:5 it is the bridegroom.

▣ "Until she pleases" The Masoretic Text has "it" and, therefore, it speaks of his passion.

NASB (UPDATED) TEXT: SONG OF SOLOMON 3:6-11
 ⁶"What is this coming up from the wilderness
 Like columns of smoke,
 Perfumed with myrrh and frankincense,
 With all scented powders of the merchant?
 ⁷Behold, it is the traveling couch of Solomon;
 Sixty mighty men around it,
 Of the mighty men of Israel.
  ⁸All of them are wielders of the sword,
 Expert in war;
 Each man has his sword at his side,
 Guarding against the terrors of the night.
 ⁹King Solomon has made for himself a sedan chair
 From the timber of Lebanon.
 ¹⁰He made its posts of silver,
 Its back of gold
 And its seat of purple fabric,
  With its interior lovingly fitted out
 By the daughters of Jerusalem.
 ¹¹Go forth, O daughters of Zion,
 And gaze on King Solomon with the crown
 With which his mother has crowned him
 On the day of his wedding,
 And on the day of his gladness of heart."

3:6-11 Who is the speaker?

1. NASB - the chorus

2. NKJV, TEV, NJB - the maiden

3. REB - companions (NIV Study Bible footnote)

It is obvious that the poetic form of Song of Songs has various speakers. The problem is that there are no obvious textual markers to

1. tell us who is speaking

2. tell us the limits of their speaking

3. tell us the relationship between the different sections

The best option is to compare them to Egyptian and Syrian (i.e. Arabs living in Syria) wedding songs (wasfs).

3:6

NASB, NRSV,
TEV, NJB"What"
NKJV, REB,
LXX, JPSOA,
NIV"Who"

In Hebrew this is an interrogative (BDB 566) followed by a demonstrative adjective (feminine singular). It refers to a royal caravan of Solomon.

Now the question is:

1. is this a reference to Solomon (cf. Sol 3:7)

2. is this an allusion to his fame and wealth

3. is this historical or literary

4. is this a bride being brought to Jerusalem, as some see because it is feminine

5. does the feminine form refer to the royal aspect (BDB 641, cf. Sol 3:7).

I wish I knew! Many commentators assume this is an account of King Solomon's love affair with an Egyptian princess early in his reign. This interpretation must remain a valid option, but not the only option. When one compares the wedding songs of Egypt and Syria there are striking similarities in words and phrases. Solomon is a poor example of a mutual, monogamous (assumed, never stated) marriage (forecast, but not recorded until later in the book). The literary setting of Song of Songs may parallel Ecclesiastes (i.e. chapters 1-2), where Solomon is a literary foil. However, in Ecclesiastes he is never specifically named (though strongly alluded to). These are interpretive questions, not meant to deny the Bible's

1. inspiration

2. historicity

but to recognize its full range of literary genres and techniques.

▣ "the wilderness" This refers to the uninhabited pastureland, not the desert. However, the question is, where is it referring to? Usually the wilderness is south of Jerusalem, but if so, why is the caravan coming to the city of the king?

▣ "Like columns of smoke" This refers to a large royal caravan stirring up dust as it passes through dry terrain. This is either a reference to Solomon's coming to get his bride in the North or the bride entering Jerusalem for the wedding feast. It was the custom of the day for a large festival procession to bring the bride to the groom's home.

▣ "Perfumed with myrrh and frankincense" Solomon really smelled good! Myrrh (BDB 600) is the excretion from certain plants in the desert and was used for numerous activities:

1. holy anointing oil, Exod. 30:23

2. perfume for people and clothes (cf. Sol 1:13; 4:6,14)

3. one of the gifts for the Christ child, Matt. 2:11

4. mixed with wine for a drink during crucifixion, Mark 15:23

5. spice for burial, John 19:39

▣ "frankincense" Like myrrh, this was made from sweet-smelling tree sap from Arabia (cf. Jer. 6:20). It was used for several purposes:

1. cereal sacrifice, Lev. 2:1; 6:14-18

2. sin sacrifice, Lev. 5:11

3. holy incense, Exod. 30:34-38; 1 Chr. 9:29

4. put on the table of Showbread along with the twelve loaves, Lev. 24:7

5. personal perfume, Song of Songs 3:6; 4:6,14

3:7 "Sixty" This number does not usually carry a symbolic significance in the OT. Therefore, it probably relates here to an elite royal guard.

3:8

NASB"All of them are wielders of the sword"
NKJV"they all hold swords"
NRSV"all equipped with swords"
TEV"all of them skilful with the sword"
NJB"All of them skilled swordsmen"

Just a note to show how the verb of Sol 3:4 ("held on," BDB 28, KB 31, Qal perfect) is now used of the swords of the elite guards (Qal passive participle). She held on to her lover, they held on to their weapons! Human vocabulary must be flexible and figurative. This is the beauty and power of poetry and imagery!

▣ "the terrors of the night" This ambiguous phrase (BDB 808 and 538) has several connotations, here are two: (1) bandits or (2) evil spirits (Ps. 91:5).

3:9

NASB"sedan chair"
NKJV, NRSV,
NJB"palanquin"
TEV"throne"

This (BDB 68, KB 80) term is difficult to define because there is no Semitic root to link it to. In later Aramaic (Targums) it refers to a litter for the bride at the wedding service (KB). Here it refers to some type of enclosed, wooden ride (cf. Sol 3:9-10) for a royal person (or a bride-to-be)!

3:10 "And its seat of purple fabric" Royalty is often associated with the color purple. It is made from the dye of crushed sea shells found off the coast of Phoenicia.

NASB"lovingly fitted out"
NKJV"paved with love"
NRSV"inlaid with love"
TEV"lovingly woven"
NJB"inlaid with ebony"
JPSOA"decked with love"

The feminine noun (BDB 13) is used several times in Song of Songs:

1. love between a man and a woman, 2:4,5; 5:8; 8:6,7(twice)

2. personified, 2:7; 3:5; 7:7; 8:4

3. figuratively, 3:10

The NEB and REB follow S. R. Driver and translate the term as being from an Arabic root meaning "leather" (cf. Hosea 11:4a). The Jerusalem Bible and the New Jerusalem Bible change the word to "ebony," while the New American Bible (both of these translations are from Catholic scholars) change it to "ivory." There has been one other suggestion based on Egyptian wall art (Othmar Keel), that it refers to love-making scenes painted or carved on the inner walls.

▣ "the daughters of Jerusalem" See note at Sol 1:5.

3:11 "daughters of Zion" This phrase is parallel to "daughters of Jerusalem" (cf. Sol 3:10). Jerusalem was built on seven hills (like Rome). Mt. Zion was where the old Canaanite city (i.e. Jebus) which David conquered was located (cf. 1 Kgs. 8:1-2; 2 Chr. 5:2) and became a way of referring to the whole city (e.g., Isa. 40:9; Micah 3:12).

It seems that the geographical setting would be Jerusalem if these women (whoever they were) are called on to come and watch. If so this may be the northern maiden being brought to Jerusalem in Solomon's royal litter.

These women are implored (commanded) to:

1. "go forth," BDB 422, KB 425, Qal imperative

2. "gaze," BDB 906, KB 1157, Qal imperative

▣ "the crown" This is the word "wreath" (BDB 742 I). It was the custom in ancient Near Eastern weddings for the bride and groom to wear wreaths and for the bride to be veiled (cf. Sol 4:1, 3).

▣ "his mother crowned him" If this is literally Solomon getting married, then this refers to Bathsheba, although this incident is not specifically recorded in Scripture.

▣ "on the day of his wedding" This specifically denotes the occasion for the processional, the wealth and the veil (cf. Sol 4:1,3). The poetry and imagery is of a wedding. This is the only place in this book where a wedding feast is specifically mentioned.

Copyright © 2012 Bible Lessons International

STANZA DIVISIONS OF MODERN TRANSLATIONS

READING CYCLE THREE (see "Guide to Good Bible Reading")

FOLLOWING THE ORIGINAL AUTHOR'S INTENT AT PARAGRAPH LEVEL

This is a study guide commentarywhich means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.

Read the chapter in one sitting. Identify the subjects (reading cycle #3). Compare your subject divisions with the four translations above. Paragraphing is not inspired, but it is the key to following the original author's intent, which is the heart of interpretation. Every paragraph has one and only one subject.

1. First paragraph

2. Second paragraph

3. Third paragraph

4. Etc.

WORD AND PHRASE STUDY

NASB (UPDATED) TEXT: SONG OF SOLOMON 5:1
 ¹"I have come into my garden, my sister, my bride;
 I have gathered my myrrh along with my balsam.
 I have eaten my honeycomb and my honey;
 I have drunk my wine and my milk.
 Eat, friends;
 Drink and imbibe deeply, O lovers."

5:1 "I have come into my garden" The verb (BDB 97, KB 112, Qal perfect) is used to denote that the man has come to and remained with his lover. "Garden" is often used in this book as a reference to a sexual encounter with the maiden (cf. Sol 4:12,15,16[twice]; 5:1; 6:2; 8:13). It is a euphemism for her sexual delights.

It should be noted that the garden metaphor is begun in Sol 4:12-15. The man is bidden to come into the garden (this act also has sexual connotations, cf. Gen. 6:4; Deut. 22:13; Ezek. 23:44). In Sol 4:16 and 5:1 is his arrival and enjoyment of the garden (i.e., the maiden)

1. I have come, BDB 97, KB 112, Qal perfect

2. I have gathered, BDB 71, KB 85, Qal perfect

3. I have eaten, BDB 37, KB 46, Qal perfect

4. I have drunk, BDB 1059, KB 1667, Qal perfect

 There is a surprising repetition of the personal pronoun, "my" (eight times).

▣ "my sister" This is an idiom used in Egyptian love songs to refer to one's lover and new family member. It is parallel to "bride" (cf. Sol 4:9).

▣ "balsam" This (BDB 141) is a fragrant resin taken from the roots of certain plants. It is also translated "spice" and was an ingredient of the holy anointing oil (cf. Exod. 25:4; 35:8). It is used several times in Song of Songs (cf. Sol 4:10,14; 5:1,13; 6:2; 8:14).

▣ "Eat, friends;

 Drink and imbibe deeply, O lovers" This is a series of three Qal imperatives:

1. "eat," BDB 37, KB 46

2. "drink," BDB 1059, KB 1667

3. "imbibe deeply" (lit. "be drunk") BDB 1016, KB 1500

Both "eat" and "drink" can be literal (i.e., wedding feast) or euphemistic of physical love (i.e., Pro. 7:18). Many of the words used in this context have double meanings related to physical intimacy.

The first relates to the wedding guests and the second and third to their response to the newly married. Weddings were long-lasting community events.

▣ "friends" This (BDB 945) refers to special wedding guests (cf. Jdgs. 14:11,20), neighbors, or other family members.

NASB (UPDATED) TEXT: SONG OF SOLOMON 5:2-8
 ²"I was asleep but my heart was awake.
 A voice! My beloved was knocking:
 'Open to me, my sister, my darling,
 My dove, my perfect one!
 For my head is drenched with dew,
 My locks with the damp of the night.'
 ³I have taken off my dress,
 How can I put it on again?
 I have washed my feet,
 How can I dirty them again?
 ⁴My beloved extended his hand through the opening,
 And my feelings were aroused for him.
 ⁵I arose to open to my beloved;
 And my hands dripped with myrrh,
 And my fingers with liquid myrrh,
 On the handles of the bolt.
 ⁶I opened to my beloved,
 But my beloved had turned away and had gone!
 My heart went out to him as he spoke.
 I searched for him but I did not find him;
 I called him but he did not answer me.
 ⁷The watchmen who make the rounds in the city found me,
 They struck me and wounded me;
 The guardsmen of the walls took away my shawl from me.
 ⁸I adjure you, O daughters of Jerusalem,
 If you find my beloved,
 As to what you will tell him:
 For I am lovesick."

5:2 "I was asleep, but my heart was awake" This starts a new poem (5:2-6:3). This seems to be another dream like chapter 3:1-4.

▣ "Open to me, my sister, my darling,

 My dove, my perfect one" This is a memory of the voice of bridegroom from the dream of the bride, Sol 5:2-7. The verb "open" (BDB 834, KB 986, Qal imperative), like so many terms in this context has sexual connotations and may be a euphemism for sexual intimacy (cf. Sol 7:13). Notice it is repeated in Sol 5:5 and 6.

As one reads this ambiguous passage, one wonders if this is reality or dream imagination. Is this one of many attempts of the man to make love to the maiden at night in secret? Is it an event during the week-long wedding in a city? Is it a dream of rejection and immediate grief over that rejection?

Again, could this be an approach of Solomon to a new member of his harem? It seems strange to me:

1. that Solomon would leave and accept a sexual rejection from a new member of his harem (the verb "open" [BDB 834, KB 986] is a Qal imperative)

2. that a new member of the royal harem could escape into the city

3. that night watchmen would not recognize or ask who the woman was before they beat her (and why)

Could this rejection be because the maiden truly loved a northern shepherd and not Solomon?

▣ "For my head is drenched with dew,

 My locks with the damp of the night" The second line has one rare word (i.e., locks, BDB 881) and a rare phrase, "the damp of the night" (BDB 944 construct BDB 538). Heavy dew often falls in Palestine in the early morning hours. Obviously this is a reference to a late visit from her newly married lover or a night visit before they were married.

5:3 These are the two excuses the maiden uses for not opening the door to her lover:

1. she is undressed

2. she has washed her feet before getting into bed

These seem trivial if this referred to a newlywed or to her true lover (unless it was a nightmare).

As with several of the words in this literary unit, "feet" is a euphemism for genitalia (e.g., Jdgs. 3:24; Ruth 3:4; 1 Sam. 24:3; 2 Sam. 11:8,11).

5:4 "My beloved extended his hand through the opening" Literally this would refer to the small hole above the latch in ancient doors. It is possible to latch them in such a way that no one from the outside could open it and that is apparently what happened here. Because of the use of the term "hand" (BDB 388), in Isa. 57:8 and as the term describing a raised pillar or monument, which may have originally referred to the phallic symbol of Canaanite shrines (cf. 1 Sam. 15:12; 2 Sam. 18:18; 1 Chr. 18:3; Isa. 56:5, BDB 390, #4,a), some see this as a reference to male genitalia (BDB 390, #4,g and KB 387, #1, "penis").

Even the term "opening" may refer to the maiden's vagina (cf. NIDOTTE, vol. 2, p. 1032).

▣ "my feelings" This is the word for "bowels" (BDB 588). The ancients believed that the lower viscera (liver, kidneys, bowels) was the seat of the emotions:

1. negative, Isa. 16:11 (used of God); Jer. 4:19 (used of Jeremiah)

2. positive, Isa. 63:15; Jer. 31:20 (used of God); also Ps. 40:8 (used of David)

However, in this context it might refer to a sexual intensity (cf. Ps. 71:6; Isa. 49:1, "womb").

5:5 "I arose to open the door to my beloved" Obviously he had already left because she had taken too much time (1) to decide to open the door or (2) in preparing herself to receive him.

5:7 "They struck me and wounded me" This is a very strange verse. Two theories have been postulated: (1) they struck (BDB 645, KB 697, Hiphil perfect and BDB 822, KB 954, Qal perfect, "bruise" [these are strong, violent terms, e.g., Ps. 38:5; Isa. 1:6]) her for disturbing the peace (i.e., Sol 5:6 line 5) or (2) she was trying to invade Solomon's private quarters (the king's sleeping room was separate from the harem).

▣ "The guardsmen of the walls took away my shawl from me" They either (1) tried to stop her and she fled, leaving her shawl (BDB 921 or "veil") in their grasp or (2) after they had wounded her and removed her shawl they recognized her as a new member of the king's harem.

5:8 "I adjure you, O daughter of Jerusalem" This group responds in Sol 5:9 and in Sol 6:1. There are several possibilities for these "daughters of Jerusalem": (1) virgins of Jerusalem; (2) members of the harem; (3) married women of the royal court; or (4) narrators (chorus as in dramas).

NASB (UPDATED) TEXT: SONG OF SOLOMON 5:9
 ⁹"What kind of beloved is your beloved,
 O most beautiful among women?
 What kind of beloved is your beloved,
 That thus you adjure us?"

5:9 "most beautiful among women" This phrase occurs in Sol 1:8; 6:1; and here. It appears to be a compliment. However, if the "daughters of Jerusalem" are the other members of the neglected harem, one could see how it could be sarcastic.

NASB (UPDATED) TEXT: SONG OF SOLOMON 5:10-16
 ¹⁰"My beloved is dazzling and ruddy,
 Outstanding among ten thousand.
 ¹¹His head is like gold, pure gold;
 His locks are like clusters of dates
  And black as a raven.
 ¹²His eyes are like doves
 Beside streams of water,
 Bathed in milk,
  And reposed in their setting.
 ¹³His cheeks are like a bed of balsam,
 Banks of sweet-scented herbs;
 His lips are lilies
 Dripping with liquid myrrh.
 ¹⁴His hands are rods of gold
 Set with beryl;
 His abdomen is carved ivory
 Inlaid with sapphires.
 ¹⁵His legs are pillars of alabaster
 Set on pedestals of pure gold;
 His appearance is like Lebanon
 Choice as the cedars.
 ¹⁶His mouth is full of sweetness.
 And he is wholly desirable.
 This is my beloved and this is my friend,
 O daughters of Jerusalem."

5:10-16 This is a prolonged poetic description of the man, apparently directed at "the daughters of Jerusalem" (cf. Sol 1:5; 2:7; 3:5,10; 5:8,16; 8:4). In Sol 5:9 and 6:1 they ask the maiden questions.

This love song of physical comparisons is parallel to the man's description of the maiden in Sol 4:1-7. These love poems use all physical senses (touch, taste, smell, sight, and hearing) to heighten the desire, anticipation, and fulfilment of physical love. Human sexuality is a God-given desire for the expansion and preservation of humankind. It is a beautiful and godly experience until it is damaged by the self-seeking, me-first consequences of Genesis 3. See Special Topic at Sol 2:13.

5:10 "dazzling" This (BDB 850, KB 1018) refers either to physical health ("shining," "glowing," or "white" [cf. Lam. 4:7]) or character.

▣ "ruddy" This comes from the same root as "Adam" (BDB 9). It meant a reddish tint to the skin (BDB 10) and can be used for horses (cf. Zech. 1:8), cattle (cf. Num. 19:2), or humans (i.e., David, 1 Sam. 16:12).

▣ "Outstanding among ten thousand" He stood out in a crowd, at least for her. For Special Topic: Thousand (Eleph) see 4:4.

5:11 "His head is like gold" This could refer to:

1. a tan (cf. Sol 5:14)

2. his golden crown or other ornaments

▣ "His locks" His hair is describes in parallels:

1. cluster of dates (a lot of wavy hair)

2. black as a raven (very dark)

This would characterize a young man of the Near East.

5:12 "His eyes" His eyes are described in parallels:

1. like doves (see note at Sol 1:15)

2. beside streams of water

3. bathed in milk (i.e., white eyes)

4. in their proper place (cf. BDB 443, #4) or "perching" (KB 444, Qal #2)

As the UBS, Handbook for Translators points out (pp. 160-161), it is uncertain which of these items listed above refer to the man's eyes or to the pair of doves. Poetry is powerful, but slippery!

It is interesting that in two of the descriptions of King David (cf. 1 Sam. 16:12) his "ruddiness" and "beautiful eyes" are used in this love poem about the man's handsomeness. Many scholars think that the imagery used in Song of Songs is royal imagery (i.e., David, Solomon) used as a literary foil for local weddings and they are characteristic love poems written and read during the wedding period. Even the titles "King" and "Queen" are found in Arabic love poems from Syria (cf. Dictionary of Biblical Imagery, p. 807).

5:13 "His cheeks" These two lines of poetry refer to his fragrance.

▣ "His lips" His lips are described as

1. lilies, which refers to their beautiful shape or color (reddish)

2. dripping with liquid myrrh, which refers to his sweet tasting kisses (cf. Sol 5:16)

5:14 This may refer to:

1. jewelry worn on the arm or hand

2. tanned skin (cf. Sol 5:11,15)

3. as so often in this passage, these words have a euphemistic sense ("hands" can refer to penis, see note at Sol 5:4 and "abdomen" can also depict male arousal, cf. Dictionary of Biblical Imagery, p. 778).

5:15 "alabaster" This is a soft white stone which was imported from Egypt. It was usually used in the making of perfume containers.

Copyright © 2012 Bible Lessons International

STANZA DIVISIONS OF MODERN TRANSLATIONS

READING CYCLE THREE (see "Guide to Good Bible Reading")

FOLLOWING THE ORIGINAL AUTHOR'S INTENT AT PARAGRAPH LEVEL

This is a study guide commentarywhich means that you are responsible for your own interpretation of the Bible. Each of us must walk in the light we have. You, the Bible, and the Holy Spirit are priority in interpretation. You must not relinquish this to a commentator.

Read the chapter in one sitting. Identify the subjects (reading cycle #3). Compare your subject divisions with the four translations above. Paragraphing is not inspired, but it is the key to following the original author's intent, which is the heart of interpretation. Every paragraph has one and only one subject.

1. First paragraph

2. Second paragraph

3. Third paragraph

4. Etc.

WORD AND PHRASE STUDY

NASB (UPDATED) TEXT: SONG OF SOLOMON 7:1-9a
 ¹"How beautiful are your feet in sandals,
 O prince's daughter!
 The curves of your hips are like jewels,
 The work of the hands of an artist.
 ²Your navel is like a round goblet
 Which never lacks mixed wine;
 Your belly is like a heap of wheat
 Fenced about with lilies.
 ³Your two breasts are like two fawns,
 Twins of a gazelle.
 ⁴Your neck is like a tower of ivory,
 Your eyes like the pools in Heshbon
 By the gate of Bath-rabbim;
 Your nose is like the tower of Lebanon,
 Which faces toward Damascus.
 ⁵Your head crowns you like Carmel,
 And the flowing locks of your head are like purple threads;
 The king is captivated by your tresses.
 ⁶How beautiful and how delightful you are,
 My love, with all your charms!
  ⁷Your stature is like a palm tree,
 And your breasts are like its clusters.
 ⁸I said, 'I will climb the palm tree,
 I will take hold of its fruit stalks.'
 Oh, may your breasts be like clusters of the vine,
 And the fragrance of your breath like apples,
 ⁹And your mouth like the best wine!"

7:1 Remember that the NJB follows the MT and begins chapter 7 at NASB's 6:13.

As usual the speaker is uncertain:

1. the man

2. the daughters of Jerusalem

There are many geographical references in the love poem:

1. Heshbon, Sol 7:4

2. Bath-rabbim, Sol 7:4

3. Lebanon, Sol 7:4

4. Damascus, Sol 7:4

5. Carmel, Sol 7:5

6. the villages, Sol 7:11

7. the Jezreel valley not specifically mentioned here (i.e., 7:11-12), but alluded to in Sol 6:11.

Interestingly this love poem starts at her feet, not her head, as the other love poems.

▣ "How beautiful" This and Sol 7:7 are the same verb as 4:10 (BDB 421, KB 421, Qal perfect). This is now the third description (wasf, love poems) of the beauty of the Shulammite maiden (cf. Sol 4:10).

This same root, used as an adjective, is found many times in Song of Songs (cf. Sol 1:8,15 [twice]; 2:10,13; 4:1 [twice],7; 5:9; 6:1,4).

▣ "your feet in sandals" In this verse, her "beauty" is the way she walks. Her walk displays her feet and accentuates her hips.

NASB, NKJV,
NJB"O prince's daughter"
NRSV"O queenly maiden"
JPSOA"O daughter of nobles"

The phrase is a construct of "daughter" (BDB 123 I) and "noble" or "prince" (BDB 622). The same term (BDB 622) is found in Sol 6:12 and often in Wisdom Literature (17 times) and three times in Isaiah.

The question is, "What does it imply?"

1. She is from a noble or wealthy family.

2. This is typical language of love poetry of the ancient Near East (i.e., standard hyperbole).

3. It is a metaphor of her beauty and the grace with which she carries herself.

▣ "curves" This term is found only here (BDB 330, KB 327), but it is related to the root, "turn away" (BDB 330, KB 330) used in Sol 5:6, implying "a turn," or "a curve" in motion. She had shapely hips or thighs!

▣ "like jewels" This term is found only here. A related form is in Prov. 25:12, where it is parallel to a gold nose or earring. Here it refers to some kind of ornament, possibly a necklace (as a necklace is rounded, so too, are the maiden's thighs).

7:2 "navel" This term (BDB 1057) appears only here in the OT and seems to refer to the scar left by the umbilical cord. The navel (related root, cf. Ezek. 16:4) is exposed in all Egyptian art, which shows it was seen as beautiful.

▣ "Which never lacks mixed wine" This seems to refer to the wide variety of potential lovemaking practices. Song of Songs uses all the senses to describe lovemaking—sight, taste, smell, and touch. Westerners easily blush at this genre of poetry!

▣ "wine" Literally this is the word for "mixture" (BDB 561), found only here in the OT, which was used to denote wine mixed with

1. water

2. spices

3. other fermented juices

4. older strong wine with new wine

See Special Topic about fermented drink in the ancient Near East at Eccl. 2:3. Here the term is used metaphorically for the intoxication of love (cf. Pro. 5:18-19).

▣ "belly" This (BDB 105 #6) is probably in reference to the womb (i.e., Job 31:15; Ps. 139:13; Eccl. 11:5).

▣ "Fenced about with lilies" This is metaphorical language about the shape and smell of the woman's womb. Lilies are a recurrent theme (cf. Sol 2:2; 4:5; 5:13; 6:2,3; 7:2,12). This is love poetry! It is affirming the goodness and God-givenness of human sexuality. Procreation by sexual intercourse is God's will and command (cf. Gen. 1:28)! I am so surprised that western culture, with its graphic movies, is shocked by ancient Semitic love poetry! Get over it! Physical creation is as beautiful and part of God's plan as is spirituality. We must embrace our sexuality, but realize for our own good in a fallen, me-first world, God has placed guidelines (sex within marriage). Song of Songs is a joyful fulfilment of a God-given desire. Love and sex can be, should be, fully affirmed and enjoyed within Scriptural guidelines! Remember, drinking wine from your wife's navel is a Scriptural admonition!

7:3 This is a repeat of Sol 4:5, but Sol 7:7 is a new item!

▣ "breasts" This aspect of the maiden's developing womanhood is mentioned several times (4:5; 7:3; 8:10). Breasts function as a metaphor for sexual attraction and fulfilment (cf. Pro. 5:19).

7:4 These descriptions seem so strange to us. Remember, beauty is a cultural thing. What is attractive to one culture is shocking to another. Cities were often seen as feminine. Prominent physical features (i.e., long neck, large nose, etc.) were positives!

The beauty of the eyes (the only part of the face clearly seen from behind the veil) is a recurrent theme (cf. Sol 1:15; 4:1,9; 5:12; 7:4). However, sometimes the eyes can be dangerous (cf. Sol 6:5) as can a necklace (cf. Sol 4:9) and the hair (cf. Sol 7:5). Weak eyes would denote a less attractive woman (i.e., Leah, Gen. 29:17).

▣ "Heshbon" This is a city in the transJordan area (i.e., Moab, cf. Num. 21:26).

▣ "Bath-rabbin" Literally this is "daughter of multitudes." It was possibly the name of an actual gate in Heshbon.

▣ "Your nose is like the tower of Lebanon" Large noses were considered attractive by the ancient Shemites.

7:5 "Carmel" This ridge in northern Israel was known for its beautiful forest. So because of this parallelism this refers to her hair.

Some commentators think it is an allusion to the majesty of the mountain ridge and, therefore, refers to her posture. She walks well (Sol 7:1) and she stands well (Sol 7:5).

▣ "like purple threads" This may refer to the color (shining dark hair), but probably to the beauty and rarity of this lady's hair. This same color was used to describe Solomon's palanquin in Sol 3:10.

▣ "The king is captured by your tresses" There is no definite article with "king." This terminology (i.e., "king" and "queen") is common in ancient Near Eastern love poetry.

Notice the man is said to be captivated by the maiden several times:

1. 4:9

2. 6:5

3. 7:5

▣ "tresses" This is the word "locks" (BDB 923), found only here in the OT. Apparently it is used in the sense of long flowing curls.

7:6 He has just listed for the fourth time the physical and sexual attributes (i.e., "charms," BDB 772) of the maiden. Verses 6-9 are a distinct poetic unity (which NKJV, NRSV, TEV, and NJB recognize, but not NASB, NIV, nor JPSOA).

7:7-9 He describes her as a tall, thin, and fruitful date palm, which he is about to climb and enjoy her abundant fruit! Erotic love—smell, touch, taste, sight, and sound!

Notice the verbs of Sol 7:8:

1. "I will climb" - BDB 748, KB 828, Qal imperfect used in a cohortative sense

2. "I will take hold of - BDB 28, KB 31, Qal cohortative

3. "Oh, may your breasts be like" - BDB 224, KB 243, Qal imperfect used in a jussive sense

7:8 "apples" This probably refers to apricots (BDB 656 I) since no native apples grew in this part of the world.

NASB (UPDATED) TEXT: SONG OF SOLOMON 7:9b
 ^9b"It goes down smoothly for my beloved,
 Flowing gently through the lips of those who fall asleep."

7:9 They make love until they fall asleep! It is uncertain who speaks this thought (i.e., the man from 6:13 or the woman who starts in Sol 7:10-8:3).

There is a variant in the ancient versions (LXX, Aquila, Symmachus, Vulgate, and Syriac) which changes Sol 7:9 line 3 from "the lips of those who fall asleep" (MT) to "flowing gently over the lips and teeth" (RSV, TEV).

NASB (UPDATED) TEXT: SONG OF SOLOMON 7:10-13
 ¹⁰"I am my beloved's,
 And his desire is for me.
 ¹¹Come, my beloved, let us go out into the country,
 Let us spend the night in the villages.
 ¹²Let us rise early and go to the vineyards;
 Let us see whether the vine has budded
 And its blossoms have opened,
 And whether the pomegranates have bloomed.
 There I will give you my love.
 ¹³The mandrakes have given forth fragrance;
 And over our doors are all choice fruits,
 Both new and old,
 Which I have saved up for you, my beloved."

7:10 See note at Sol 8:10-14.

▣ "desire" This term (BDB 1003) is positive here. Sexual fulfilment is a godly desire (in the proper context, with the proper person), but the same strong human emotion can be negative (cf. Gen. 4:7) when it desires that which is not the will of God.

7:11-12 Notice the calls to action. It is spring. It is time to make love (I am assuming that these are wedding poems and that this couple is married, but the only specific allusion to this is 4:6-11, esp. Sol 7:11, line 4). Also note the rural setting (cf. Sol 2:10-15) and quest for privacy: 

1. "Come" - BDB 229, KB 246, Qal imperative, lit. "walk" or "go"

2. "Let me go out" -  BDB 422, KB 425, Qal imperfect used in a cohortative sense

3. "Let us spend the night" -  BDB 533, KB 529, Qal cohortative

4. "Let us rise early" - BDB 1014, KB 1492, Hiphil cohortative

5. "Let us see" - BDB 906, KB 1157, Qal imperfect used in a cohortative

This is obviously a rural setting, not Jerusalem. This fits the northern first love theory. Chapter 8 is also the same rural, northern, hometown setting! Would Solomon sneak off and spend the night in a village inn or guest room?

7:12 In the garden setting (cf. Sol 4:16-5:1; 6:2) of blossoming spring the couple make love ("there I will give you my love," Sol 7:12, line 5). This shows these poems are not in chronological order!

7:13 The first line fits well with what goes before in Sol 7:12, but the second through fourth lines are hard to interpret. Obviously the woman is asserting that she has saved herself for this lover (contrast 1:6, which may refer to her skin and not her virginity which was so important in ancient Israel). The verb is "I have saved up" ( BDB 860, KB 1049, Qal perfect, "hide," or "treasure up").

▣ "mandrakes" This was considered a very strong aphrodisiac (cf. Gen. 30:14-15). It was often called "the love apple" (cf. UBS Helps for Translators, "Fauna and Flora of the Bible," pp. 138-139).

▣ "And over our doors are all choice fruits,

 Both new and old" The NET Bible (p. 1177) asserts that the storing of fruit on a shelf over the door to ripen and mature was a common practice in the ancient Near East. The phrase would have denoted:

1. the fruit was ready to be eaten

2. she had saved it just for him

3. the time is now (Sol 7:12, line 5)

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