Song of Songs 1-2

New American Bible (Revised Edition)

Footnotes

1. 1:1 Song of Songs: in Hebrew and Aramaic the idiom “the X of Xs” denotes the superlative (e.g., “king of kings” = “the highest king”; cf. Dt 10:17; Eccl 1:2; 12:8; Ezr 7:12; Dn 2:37). The ascription of authorship to Solomon is traditional. The heading may also mean “for Solomon” or “about Solomon.”
2. 1:2–8:14 This translation augments the canonical text of the Song with the letters W, M, and D, placed in the margin, to indicate which of the characters in the Song is speaking: the woman, the man, or the “Daughters of Jerusalem.” This interpretive gloss follows an early Christian scribal practice, attested in some Septuagint manuscripts from the first half of the first millennium A.D.
3. 1:2–7 The woman and her female chorus address the man, here viewed as king and shepherd (both are familiar metaphors for God; cf. Ps 23:1; Is 40:11; Jn 10:1–16). There is a wordplay between “kiss” (Hebrew nashaq) and “drink” (shaqah), anticipating 8:1–2. The change from third person (“let him kiss…”) to second person (“…for your love…”) is not uncommon in the Song and elsewhere (1:4; 2:4; etc.; Ps 23:1–3, 4–5, 6; etc.) and reflects the woman’s move from interior monologue to direct address to her partner.
4. 1:3 Your perfumes: shemen (perfume) is a play on shem (name).
5. 1:4 Another change, but from second to third person (cf. 1:2). The “king” metaphor recurs in 1:12; 3:5–11; 7:6. Let us exult: perhaps she is addressing young women, calling on them to join in the praise of her lover.
6. 1:5 Daughters of Jerusalem: the woman contrasts herself with the elite city women, who act as her female “chorus” (5:9; 6:1). Qedar: a Syrian desert region whose name suggests darkness; tents were often made of black goat hair. Curtains: tent coverings, or tapestries. Solomon: it could also be read Salma, a region close to Qedar.
7. 1:6 So black: tanned from working outdoors in her brothers’ vineyards, unlike the city women she addresses. My own vineyard: perhaps the woman herself; see 8:8–10 for her relationship to her brothers.
8. 1:7 Shepherd: a common metaphor for kings. Here and elsewhere in the Song (3:1; 5:8; 6:1), the woman expresses her desire to be in the company of her lover. The search for the lover and her failure to find him create a degree of tension. Only at the end (8:5–14) do the lovers finally possess each other.
9. 1:8 Pasture your lambs: both the woman and the man act as shepherds in the Song.
10. 1:9–11 The man compares the woman’s beauty to the rich adornment of the royal chariot of Pharaoh. My friend: a special feminine form of the word “friend,” appearing only in the Song (1:15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4) and used to express endearment and equality in love. Cf. Hos 3:1 for the use of the masculine form of the term in a context with sexual overtones.
11. 1:12 Spikenard: a precious perfumed ointment from India; in 4:13–14, a metaphor for the woman herself.
12. 1:13 My lover: the woman’s favorite term for her partner (used twenty-seven times). Myrrh: an aromatic resin of balsam or roses used in cosmetics, incense, and medicines.
13. 1:14 Henna: a plant which bears white scented flowers, used in cosmetics and medicines. En-gedi: a Judean desert oasis overlooking the Dead Sea.
14. 1:15 Doves: doves are pictured in the ancient world as messengers of love.
15. 1:16–17 Continuing the royal metaphor, the meeting place of the lovers, a shepherd’s hut of green branches, becomes a palace with beams of cedar and rafters of cypress when adorned with their love.
16. 2:1 Flower of Sharon: probably the narcissus, which grows in the fertile Plain of Sharon lying between Mount Carmel and Jaffa on the Mediterranean coast. Lily: the lotus plant.
17. 2:3 Shadow: suggestive of protection (cf. Jgs 9:15; Ez 17:23; Ps 17:8; 121:5) and, here, of the woman’s joy in the presence of her lover.
18. 2:4–6 The banquet hall: the sweet things of the table, the embrace of the woman and man, express the richness of their affection and the intimacy of their love.
19. 2:5 Raisin cakes: perhaps pastries used in the worship of the fertility goddess (cf. Hos 3:1; Jer 7:18; 44:19). Apples: this is the common translation of a fruit that cannot be identified (cf. 2:3; 8:5); it appears frequently in Sumerian love poetry associated with the worship of the goddess Inanna. Sick: love-sickness is a popular motif in ancient love poetry.
20. 2:7 Cf. 3:5; 5:8; 8:4. By the gazelles and the does: perhaps a mitigated invocation of the divinity based on the assonance in Hebrew of the names of these animals with terms for God.
21. 2:8–13 In this sudden change of scene, the woman describes a rendezvous and pictures her lover hastening toward her dwelling until his voice is heard calling her to him.
22. 2:9 Gazelle: a frequent motif in ancient poems from Mesopotamia.
23. 2:14 The woman is addressed as though she were a dove in a mountain cleft out of sight and reach.
24. 2:15 A snatch of song in answer to the request of 2:14; cf. 8:13–14. Foxes: they threaten to disturb the security of vineyards. The vineyards are women sought after by young lovers, i.e., foxes.
25. 2:17 Grows cool: in the evening when the sun is going down. Cf. Gn 3:8. Rugged: Hebrew obscure; some interpret it as a geographical name; others, in the sense of spices (cf. 8:14); still others, of sacrifice (Gn 15:10); the image probably refers here to the woman herself.