translation_id: net-engnet

book_id: SNG

label: NET translator note

text: Or “the rose of Sharon…the lily of the valleys.” There is debate whether the expressions חֲבַצֶּלֶת הַשָּׁרוֹן ( khavatselet hashsharon ) and שׁוֹשַׁנַּת הָעֲמָקִים ( shoshannat ha ’ amaqim ) are definite (“the rose of Sharon…the lily of the valleys”) or indefinite (“a rose of Sharon…a lily”). Some translations adopt the definite sense (KJV, NKJV, NASB, NAU, NJB, NLT); others the indefinite sense (ASV, RSV, NRSV, NIV, NIB, NAB, NJPS, CEV).


text: Heb “meadow-saffron” or “crocus.” The noun חֲבַצֶּלֶת ( khavatselet ) traditionally has been translated “rose” (KJV, NKJV, ASV, NASB, RSV, NRSV, NIV, NJPS, NLT, CEV); however, recent translations suggest “crocus” (NIV margin, NJPS margin), “narcissus” (DBY) or simply “flower” (DRA, NAB). The LXX translated it with the generic term ἀνθος ( anqos, “flower, blossom”). Early English translators knew that it referred to some kind of flower but were unsure exactly which type, so they arbitrarily chose “rose” because it was a well-known and beautiful flower. In the light of comparative Semitics, modern Hebrew lexicographers have settled on “asphodel,” “meadow-saffron,” “narcissus,” or “crocus” (BDB 287 s.v. חֲבַצֶּלֶת ; HALOT 287 s.v. חֲבַצֶּלֶת ; DCH 3:153 s.v. חֲבַצֶּלֶת ). The Hebrew term is related to Syriac hamsalaita (“meadow saffron”) and Akkadian habasillatu (“flower-stalk, marsh plant, reed”). Lexicographers and botanists suggest that the Hebrew term refers to Ashodelos (lily family), Narcissus tazetta (narcissus or daffodil), or Colchicum autumnale (meadow-saffron or crocus). The location of this flower in Sharon suggests that a common wild flower would be more consonant than a rose. The term appears elsewhere only in Isa 35:1 where it refers to some kind of desert flower – erroneously translated “rose” (KJV, NJPS) but probably “crocus” (NASB, NIV, NJPS margin). Appropriately, the rustic maiden who grew up in the simplicity of rural life compares herself to a simple, common flower of the field (M. H. Pope, Song of Songs [AB], 367).


text: There is debate about the referent of שׁוֹשַׁנָּת ( shoshannat , “lily”) because there are many different species of the lily family. Botanists note that among the many different species of the lily family only one grows in Palestine. This species may be identified as the Anthemis palaestina , the chamomile, a white-daisy-like plant, which was indigenous to Palestine ( Fauna and Flora of the Bible , 134-36).


text: Alternately, “thorn bushes.” The term הַחוֹחִים ( hahokhim ) is probably derived from חוֹח ( khokh ,“thorn-bush, briars, thistles, thorns”; HALOT 296 s.v. I חוֹחַ ; BDB 296 s.v. חוֹחַ ) rather than חוֹח ( khokh , “crevice”; HALOT 296 s.v. II חוֹחַ ): “Like a lily among the thorns” rather than “Like a lily among the rock crevices.” The picture is of a beautiful flower growing in the midst of thorn bushes ( 1 Sam 14:11 ; 2 Kgs 14:9 ; 2 Chr 25:18 ; Job 31:40 ; Prov 26:9 ; Isa 34:13 ; Hos 9:6 ) rather than a beautiful flower growing in the midst of rocky outcroppings ( 1 Sam 13:6 ; 2 Chr 33:11 ). The Hebrew term is related to Akkadian hahu and haiahu “thorn” and hahinnu “thorny plants” ( AHw 1:308) and Aramaic hahhu ( HALOT 296). The “thorn bush” is a thistle plant ( Poterium spinosum ) which has prickly spines covered with thistles, but also sprouts beautiful small red flowers ( Fauna and Flora of the Bible , 184-85). sn The Lover accommodates her self-denigrating comparison, but heightens it to praise her: If she insisted that she was nothing more than a common flower of the field, then he insisted that all other women were like thorns by comparison. The term חוֹח ( khokh , “thorn”) is often used as a figure for utter desolation and the cause of pain; it is the antithesis of fertility and beautiful luxuriant growth ( Job 31:40 ; Isa 34:13 ; Hos 9:6 ).


text: Like the preceding line, this is a case of emblematic parallelism. An illustrative simile appears in the A-line (object of the comparison) and the subject of comparison appears in the B-line. The particles כֵּן … כְּ ( kÿ … ken , “like…so”) form an emphatic comparative construction (e.g., Ps 123:2 ); cf. IBHS 641-42 §38.5a.


text: Alternately, “I desired” or “I took delight in.” The meaning of this use of the verb חָמַד ( khamad , “delight, desire”) is debated. The root has a basic two-fold range of meanings: (1) “to take pleasure in, delight in” ( Job 20:20 ; Pss 39:12; 68:17 ; Prov 1:22 ; Isa 1:29; 44:9; 53:2 ) and (2) “to desire passionately, to desire illicitly” ( Exod 20:17; 34:24 ; Deut 5:21; 7:25 ; Josh 7:21 ; Prov 1:22; 6:25; 12:12 ; Mic 2:2 ) ( HALOT 325 s.v. חמד ; BDB 326 s.v. חָמַד ). The related noun חֶמְדָּה ( khemÿkhah ) describes objects which are “delightful, precious, desirable” ( HALOT 325 s.v. חֶמְדָּה ). Commentators who adopt an erotic view of the extended metaphor in 2:3 opt for the sexual desire nuance: “I desired (sexually).” Those who adopt the less erotic approach favor the more general connotation: “I took delight in” or “I delight in.”


text: Heb “I delighted and I sat down.” Alternately, “I sat down with delight….” The verbs חִמַּדְתִּי וְיָשַׁבְתִּי ( khimmadti vÿyashavti , “I delighted and I sat down”) form a verbal hendiadys (GKC 386 §120. d ): “I sat down with delight…” or “I delight to sit….” The sequence of a perfect followed by another perfect with vav conjunctive creates the coordination of the complementary verbal idea (first verb) with the idea of the main (second) verb. The main idea is indicated by the second verb; the first verb indicates the manner of action. The first verb functions adverbially while the second verb carries its full verbal sense (see IBHS 653-54 §39.2.5).


text: Heb “my palate.” The term חִכִּי ( khikki , “my palate”) is used metonymically in reference to the sensation of taste which is associated with a person’s palate. The idea of “tasting” is used as a metaphor in the OT for the experiential knowledge which is acquired through a person’s relationship with someone (e.g., Ps 34:9 ). Just as a person would learn whether a fruit was ripe and delicious by tasting it, so a person could learn of the quality of a person’s character by experiencing it through personal interaction. This extended metaphor compares the delights of his love to (1) the refreshment of sitting in the shade of a tree for refuge from the desert sun, and (2) the delight of tasting a sweet apple – a fruit that was not indigenous to Palestine.


label: NET textual note

text: The MT vocalizes consonantal הביאני as הֱבִיאַנִי ( hevi ’ ani , Hiphil perfect 3rd person masculine singular with 1st person common singular suffix, “He has brought me”). However, several medieval Hebrew mss vocalize the form as הֲבִיאֻנִי ( havi ’ uni , Hiphil imperative 2nd person masculine singular with 1st person common singular suffix, “Bring me!”). This is also reflected in LXX ( εἰσαγαγετε με , eisagagete me, “Bring me!”) and Syriac. This alternate vocalization tradition has several factors that make it a viable option: (1) It respects the consonantal text; (2) It is supported by the LXX and Syriac; (3) It provides a tighter parallelism with the two identical imperatival forms in 2:5 a (both 2nd person masculine plural imperatives with 1st person common singular suffixes); (4) It provides thematic unity to the entire poetic unit of 2:4-5 ; and (5) It helps make better sense of an enigmatic unit. This approach is strengthened if the MT reading וְדִגְלוֹ ( vÿdiglo , “and his banner”) is revocalized to the imperative וְדִגְלוּ ( vÿdiglu , “and feed [me]”) (see translator’s note below). In this case, the parallelism throughout 2:4-5 would be very tight. It would feature four parallel imperatives of request, all revolving around the theme of love-sickness: “Bring me into the banquet hall, feed me with love; sustain me with raisin cakes, refresh me with apples, because I am faint with love.” The weakness with the revocalization to הֲבִיאֻנִי (“Bring me!”) is that it demands, due to the dictates of synonymous parallelism, the questionable revocalization of the MT’s וְדִגְלוֹ (“and his banner”) to the imperative וְדִגְלוּ (“and feed [me]”). tn Alternately, “Bring me!”


text: Heb “house of wine.” The expression בֵּית הַיָּיִן ( bet hayyayin , lit. “house of wine” or “place of wine”) refers to a banquet house where wine is drunk or a vineyard where grapes to produce wine are grown ( HALOT 409 s.v. יַיִן ). G. L. Carr favors the vineyard view due to the agricultural metaphors in 2:1-5 . However, most commentators favor the banquet house view because of the reference to “raisin-cakes” and “apples” ( 2:4 ) which were served at banquets in the ancient Near East. Moreover, the expression בֵּית הַיָּיִן in in Song 2:4 may be equivalent to בֵּית מִשְׁתֵּה הַיַּיִן ( bet mishte hayyayin , “house of the drinking of wine”) in Esther 7:8 ( HALOT 409 s.v. יַיִן ). Second, raisin cakes are mentioned in this context in 2:5 , and they were often eaten to celebrate festive occasions ( 2 Sam 6:19 ; Isa 16:7 ; Hos 3:1 ); therefore, the banquet motif finds support. Selected Bibliography: E. Würthwein, “Zum Verständnis des Hohenliedes,” TRu 32 (1967): 205; G. L. Carr, Song of Solomon [TOTC], 90-91.


text: The MT vocalizes דגלו as the noun דְּגֶל ( dÿgel ) with 3rd person masculine singular suffix דִּגְלוֹ ( diglo , “his banner [over me is love]”). However, several medieval Hebrew mss vocalize דגלו as Qal mp imperative וְדִגְלוּ ( vÿdihlu , “Set [love before me].”) This is also reflected in LXX τάξατε ἐπ ’ ἐμὲ ἀγάπην ( taxate ep eme agaphn , “Set love before me!”). tn The meaning of the term דִּגְלוֹ ( diglo ) is debated. Five basic views have emerged: (1) “his banner over me was love.” BDB relates דִּגְלוֹ to the noun דְּגֶל ( dÿgel , “standard, banner”; BDB 186 s.v. דֶּגֶל ) which refers to (a) banners, standards ( Num 1:52; 2:2 ) and (b) battalion, company of troops, or division of a tribe signaled by a banner or standard ( Num 2:3, 10, 17-18, 25, 31, 34; 10:14, 18, 22, 25 ). Thus, most translations render דִּגְלוֹ as “his banner” (KJV, NASB, NIV, NJPS). However, the expression “His banner over me was love” is enigmatic. (2) “serve love to me!” Delitzsch revocalized the noun וְדִגְלוֹ (“his banner”) as an imperative וְדִגְלוּ ( vÿdiglu , “serve [me]”) from the root דָּגַל ( dagal , “to serve food”) which is related to Akkadian dagalu II (“to serve food”). Delitzsch renders the passage: “Bring me into the banquet hall and serve me love…for I am faint with love.” This is supported by LXX which reads: εἰσαγάγετέ με εἰς οἶκον τοῦ οἲνου , τάξατε ἐπ ’ ἐμὲ ἀγάπην ( eisagagete me eis oikon tou oinou, taxate ep ’ eme agaphn, “Bring me into the wine house, and set love before me”). However, R. Gordis points out the difficulties with Delitzsch’s proposal: (a) The meaning “serve” for דָּגַל is unparalleled in Hebrew thus, it would create a homonymic hapax legomenon ; (b) We would expect the preposition לִי ( li , “to me”) rather than עָלַי (’ ala , “over me”) after the imperative; and (c) The Akkadian parallel is uncertain. (3) “its banner above me is love.” HALOT relates דִּגְלוֹ to the Akkadian noun diglu (“eyesight, view, look, gaze”) and proposes the nuance “sign of an inn,” such as a flag placed over taverns ( HALOT 213 s.v. דֶּגֶל ). This approach renders the line: “He has brought me to the banquet hall, and its banner above me is love.” (4) “his look toward me was loving” = “he looked at me lovingly.” Several lexicons relate דִּגְלוֹ to the homonymic root דָּגַל , “look, glance” (e.g., DCH 2:415 s.v. II דָּגַל ). The Hebrew noun degel II is related to the Akkadian noun diglu “eyesight, view, look, gaze” ( CAD 3:21; AHw 1:14). Likewise, the Hebrew verb II דָּגַל (“to look, behold”; Song 5:10; 6:4, 10 ; Eccl 9:13 ; Ps 20:6 ) (BDB 186 s.v. דָּגַל ; HALOT 213 s.v. I דגל ; DCH 2:414 s.v. I) is related to the Akkadian verb dagalu I “to look upon, to gaze, to look with astonishment, to look at with admiration” ( CAD 3:21; AHw 1:14). Those who adopt this approach render the line: “His glance upon me is love” ( DCH 2:414) or “His look upon me was loving” (R. Gordis, “The Root dgl in the Song of Songs,” JBL 88 [1969]: 203-204; idem, Song of Songs and Lamentations , 81-82); or “He looked upon me with love.” (5) “his wish regarding me was lovemaking.” M. H. Pope ( Song of Songs [AB], 376-77) notes that the Assyrian noun diglu may denote “wish,” i.e., desire or intent ( CAD 3:136). He renders the line: “His wish regarding me was lovemaking” or “His intentions were to make love.” Pope’s suggestion has been adopted by several recent commentators (e.g., G. L. Carr, Song of Solomon [TOTC], 91).


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


text: The imperatives סַמְּכוּנִי ( sammÿkhuni , “sustain me”) and רַפְּדוּנִי ( rappÿduni , “revive me”) are both plural in address (Piel 2nd person masculine plural imperatives with 1st person common singular suffixes). Thus, some commentators suggest that the woman is speaking to a large audience, perhaps the banquet guests implied in 2:4 or the maidens mentioned in 2:7 (R. Gordis, Song of Songs and Lamentations , 82). However, the Hebrew plural can be used in reference to a single individual when functioning in an intensive sense ( IBHS 122 §7.4.3a). Thus, the woman may be speaking to her beloved, as in the rest of 2:3-6 , but with intense passion. Similarly, in Sumerian love literature the bride sometimes uses plural verbs in reference to herself or her bridegroom (S. N. Kramer, The Sacred Marriage Rite , 92, 99).


text: Or “apricots.” The term תַּפּוּחִים ( tappukhim , “apples,” from תַּפּוּחַ , tappukha ) occurs four times in the book ( Song 2:3, 5; 7:9; 8:5 ) and twice outside ( Prov 25:4 ; Joel 1:12 ). It is usually defined as “apples” (BDB 656 s.v. תַּפּוּחַ ); however, some argue for “apricots” (FFB 92-93). The Hebrew noun תַּפּוּחַ (“apple”) is derived from the Hebrew root נָפַח ( nafakh , “scent, breath”) which is related to the Arabic root nafahu “fragrant scent” ( HALOT 708 s.v. נפח ). Hence, the term refers to a fruit with a fragrant scent. This may explain why the mere scent of this fruit was thought to have medicinal powers in the ancient Near East (G. E. Post, Flora of Syria, Palestine and Sinai , 128). This imagery draws upon two motifs associated with apples. First, apples were viewed as medicinal in ancient Syro-Palestinian customs; the sick were given apples to eat or smell in order to revive them. Similarly, the Mishnah and Talmud refer to apples as a medication like wine and grapes. Second, apples were considered an aphrodisiac in the ancient Near East. Both motifs are combined here because the Beloved is “love-sick” and only the embrace of her beloved can cure her, as 2:6 indicates (T. H. Ratzaby, “A Motif in Hebrew Love Poetry: In Praise of the Apple,” Ariel 40 [1976]: 14).


text: Heb “sick of love.” The expression חוֹלַת אַהֲבָה ( kholat ’ ahavah , “sick of love”) is an example of the causative use of the genitive construct: “I am sick because of love,” that is, “I am love-sick.” The expression חוֹלַת אַהֲבָה ( kholat ’ ahavah , “faint with love”) is a figure which compares physical or medical illness caused by a physically draining disease to sexual desire which is so intense that a person is so physically drained that they feel as if they could faint. The term חוֹל ( khol , “sick”) refers to the physical weakness which consumes a person who is suffering from a medical illness ( Gen 48:1 ; 1 Sam 19:14 ). It is used figuratively as a hyperbolic hypocatastasis for being so consumed with sexual desire that it saps one of his/her physical and emotional strength (BDB 317 s.v. 2 ). This is commonly referred to as “love-sickness.” It was associated with such deep longing for physical and sexual fulfillment that it weighed so heavily upon a person that he/she was physically and emotionally drained ( 2 Sam 13:2 ).


text: Heb “His left hand is under my head.” Ultimately, the only cure for her love-sickness is the caress of her beloved. The ancient Near Eastern love songs frequently portray the embrace of the lover as the only cure for the speaker’s love-sickness. For example, one Egyptian love song reads: “She will make the doctors unnecessary, because she knows my sickness” (Papyrus Harris 4:11 ). Similarly, “My salvation is her coming in from outside; when I see her, I will be healthy. When she opens her eye, my body is young; when she speaks, I will be strong. When I embrace her, she exorcises evil from me” (Papyrus Chester Beatty, C 5:1-2 ).


text: Heb “embraces.” Alternately, “May his left hand be under my head, and [may] his right hand embrace me.” The verb חָבַק ( khavaq ) has a two-fold range of meanings in the Piel stem: (1) to embrace or hug someone ( Gen 29:13; 33:4; 48:10 ; Job 24:8 ; Prov 4:8 ; Eccl 3:5 ; Lam 4:5 ) and (2) to fondle or sexually stimulate a lover ( Prov 5:20 ; Song 2:6; 8:3 ) ( HALOT 287 s.v. חבק ; BDB 287 s.v. חָבַק ). The verb designates an expression of love by the position or action of one’s hands ( TWOT 1:259). The term is probably used here as a euphemism. The function of the prefixed verbal form of תְּחַבְּקֵנִי ( tÿkhabbÿqeni , “embrace me”) may be classified several ways: (1) ingressive: “His right hand is beginning to stimulate me,” (2) instantaneous: “His right hand is stimulating me [right now],” (3) progressive: “His right hand stimulates me,” (4) jussive of desire: “May his right hand stimulate me!” (5) injunction: “Let his right hand stimulate me!” or (6) permission: “His right hand may stimulate me.” Based upon their view that the couple is not yet married, some scholars argue for an imperfect of desire (“May his right hand stimulate/embrace me!”). Other scholars suggest that the progressive imperfect is used (“His right hand stimulates me”). For a striking parallel, see S. N. Kramer, The Sacred Marriage Rite , 105.


text: Traditionally, “hinds.” A hind is a female deer, generally less than three years old.


text: Heb “of the field.” The Hebrew term refers to open fields or open country as the home of wild animals; if taken adjectivally this could modify the previous term: “wild young does” (cf. NRSV). sn The “gazelles” and “does of the fields” are probably zoomorphisms for love personified. In other words, the witness of this oath is “love” itself. Should the daughters violate this vow which they are asked to make, “love” itself would hold them accountable. Gazelles were often figures in Hebrew, Akkadian, and Ugaritic literature for mighty warriors or virile young men (e.g., 2 Sam 1:19; 2:18 ; Isa 14:9 ; Zech 10:3 ).


text: The syntactical function of the article on הָאַהֲבָה ( ha ’ ahavah , “love”) is debated. Most translations view this as an example of the article denoting an abstract concept. However, a few translations (KJV, AV, JB, NEB) view it as an abstract use of the article for the concrete ( abstractum pro concreto ), and render it as “my love” as referring either to the woman’s own feelings or the feelings of her lover. Throughout the Song, the term אַהֲבָה (’ ahavah , “love”) is not used as a term for endearment in reference to one of the lovers; it typically refers to sexual passion ( Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7 ). When used of the man/woman relationship, the term אַהֲבָה (“love”) may refer to emotional love ( Eccl 9:1, 6 ; Prov 15:17 ; Ps 109:4-5 ) or sexual love/desire ( Gen 29:20 ; 2 Sam 1:26; 13:4, 15 ; Prov 5:19-20; 7:18 ; Jer 2:33 ; Song 2:4, 5, 7; 3:5; 5:4; 8:4, 6, 7 ) ( DCH 1:141 s.v. I אַהֲבָה ; HALOT 18 s.v. I אַהֲבָה ). The reference to sexual desire in 2:4-5 and חוֹלַת אַהֲבָה ( kholat ’ ahavah , “love-sickness”) in 2:5 suggests that the use of אַהֲבָה (“love”) in 2:7 is sexual desire. Love is personified in this picture.


text: Heb “If you arouse or if you awaken love before it pleases….” Paraphrase: “Promise that you will not arouse or awaken love until it pleases!” This line is a typical Hebrew negative oath formula in which the speaker urges his/her audience to take a vow to not do something that would have destructive consequences: (1) The expression הִשְׁבַּעְתִּי ( hishba ’ ti , “I adjure you”) is used when a speaker urges his audience to take an oath. (2) The conditional clause אִם־תָּעִירוּ וְאִם־תְּעוֹרְרוּ אֶת־הָאַהֲבָה (’ im-ta ’ iru vÿim-te ’ orÿru ’ et-ha ’ ehavah , “If you arouse or awaken love…”) reflects the typical construction of a negative oath formula which consists of two parts: (1) protasis: the warning introduced by the conditional particle אִם (“if”) and (2) apodosis: the description of the disaster or penalty which would befall the person who broke the vow and violated the condition of the oath. (3) If the consequences of violating the oath were extremely severe, they would not even be spoken; the statement of the consequences would be omitted for emphasis – as is the case here, that is, the apodosis is omitted for rhetorical emphasis. As is typical in negative oath formulas, the sanction or curse on the violation of the condition is suppressed for rhetorical emphasis. The curse was so awful that one could not or dare not speak of them (M. H. Pope, IDB 3:575-77).


text: Heb “The voice of my beloved!” The exclamation קוֹל ( qol , “Listen!”) is an introductory exclamatory particle used to emphasize excitement and the element of surprise.


text: The phrase “is approaching” does not appear in Hebrew but is supplied in the translation for the sake of clarity.


text: The exclamation הִנֵּה־זֶה ( hinneh-zeh , “Look!”) is used of excited speech when someone is seen approaching ( Isa 21:9 ).


text: Heb “are seen.”


text: Alternately, “the time of singing” or “the time of pruning.” The homonymic root זָמִיר ( zamir ) means “song, singing” ( HALOT 273 s.v. I זָמִיר ; DCH 3:117 s.v. זָמִיר a), while זָמִיר II means “pruning, trimming” ( HALOT 273 s.v. II; DCH 3:117 s.v. II). The intended root is debated among the ancient versions (LXX, Aquila, Symmachus, Vulgate, Targum), Hebrew lexicographers ( HALOT 273; DCH 3:117), and translations: “singing” (KJV, NIV, NASB margin, NJPS margin), “pruning” (NASB, NJPS). However, rather than choosing between these two roots, it is likely that this is an example of intentional ambiguity. The preceding line draws out the meaning of זָמִיר (“trimming, pruning”): “The pomegranates are seen in the land, the time of pruning has come.” The following line draws out the meaning of זָמִיר (“singing”): “The time of singing has come, the voice of the turtledove is heard in the land.” This homonymic wordplay creates an example of “janus parallelism” between the three poetic lines which play off both root meanings of the intentionally ambiguous homonym. This elegant wordplay and the AB:BA “janus parallelism” may be represented thus: “The pomegranates are seen in the land, the time has come for pruning // singing , the voice of the turtledove is heard in the land.”


text: The imperative אֶחֱזוּ (’ ekhezu , “catch”) is plural in form (Qal imperative 2nd person masculine plural from אָחַז , ’ akhaz ). Some commentators suggest that the woman is speaking to a large audience, perhaps the maidens of Jerusalem mentioned in 2:7 . However, the Hebrew plural can function in an intensive sense when used in reference to a single individual ( IBHS 122 §7.4.3a). As noted previously, the bride often uses the plural in reference to herself or to her bridegroom in Sumerian love literature. Thus, the woman simply may be speaking to her beloved, as in 2:16-17 , but with particularly intense passion.


text: The exact meaning of סֹב ( sov , Qal imperative 2nd person masculine singular from סָבַב , savav , “to turn”) in this context is uncertain. The imperatival form may be classified as an invitation. HALOT notes that סָבַב (“to turn”) occasionally denotes “to sit [lie] at a table” ( 1 Sam 16:11 ; Sir 9:9) and suggests that this is a figurative use of this nuance ( HALOT 739 s.v. סבב 2c). The Beloved would be issuing an invitation to him to “turn aside to sit” at her table, that is, to enjoy the delights of her love. On the other hand, סֹב (“Turn!”) may simply be a synonym for the following parallel imperative דְּמֵה ( dÿmeh , “Be like!”), that is, “turn, change” ( HALOT 224 s.v. דָּם ). In keeping with the extended simile in which the Beloved compares him to a gazelle or stag leaping upon the mountains, the term סֹב may simply denote “turn oneself around, change direction” ( HALOT 739 s.v. 1 ). Rather than leaping somewhere else, so to speak, she invites him to leap upon the “mountain gorges.”