Song of Solomon 3:2-4

New English Translation

Footnotes

1. Song of Solomon 3:2 sn Three first person common singular cohortatives appear in verse 2: אָקוּמָה (ʾaqumah, “I will arise”), אֲסוֹבְבָה (ʾasov^evah, “I will go about”), and אֲבַקְשָׁה (ʾavaq^eshah, “I will seek”). These cohortatives have been taken in two basic senses: (1) resolve: “I will arise…I will go about…I will seek” (KJV, NIV) or (2) necessity: “I must arise…I must go about…I must seek” (NASB, NJPS). There is no ethical or moral obligation/necessity, but the context emphasizes her intense determination (e.g., 3:4b). Therefore, they should be classified as cohortatives of resolve, expressing the speaker’s determination to pursue a course of action. The three-fold repetition of the cohortative form emphasizes the intensity of her determination.tn The emphatic particle of exhortation נא appears in the expression אָקוּמָה נָּא (ʾaqumah nah, “I will arise…”). This particle is used with first person common singular cohortatives to emphasize self-deliberation and a determined resolve to act (BDB 609 s.v. נָא b.3.a) (e.g., Gen 18:21; Exod 3:3; 2 Sam 14:15; Isa 5:1; Job 32:21).
2. Song of Solomon 3:2 tn The root סָבַב (savav) in the Qal stem means “to go around, to do a circuit” (1 Sam 7:16; 2 Chr 17:9; 23:2; Eccl 12:5; Song 3:3; Isa 23:16; Hab 2:16), while the Polel stem means “to prowl around” (Ps 59:7, 15; Song 3:2) (HALOT 739-740 s.v. סבב). The idea here is that the Beloved is determined to “look all around” until she finds her beloved.
3. Song of Solomon 3:2 sn There is a consonantal wordplay in 3:2 between the roots בקשׁ and בשׁק, that is, between אֲבַקְשָׁה (ʾavaq^eshah, “I will seek [him]”) and בַּשְּׁוָקִים (bash^evaqim, “streets”). The wordplay emphasizes that she searched in every nook and cranny.
4. Song of Solomon 3:2 sn The statement בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv v^eloʾ m^etsaʾtiv, “I sought him but I did not find him”) appears twice in 3:1-2. In both cases it concludes a set of cola. The repetition depicts her mounting disappointment in her failure to locate her beloved. It stands in strong contrast with 3:4.
5. Song of Solomon 3:3 tn Heb “those who go around the city” or “those who go around in the city.” The expression הַסֹּבְבִים בָּעִיר (hassov^evim baʿir, “those who go around the city”) probably refers to the watchmen of the city walls rather than night city street patrol (e.g., Ps 127:1; Song 5:7; Isa 21:11; 62:6). The Israelite night watchmen of the walls is paralleled by the Akkadian sahir duri (“one who goes around the wall”) which appears in a lexical text as the equivalent of ma-sar musi (“night watchman”) (CAD 4:192). See M. H. Pope, Song of Songs (AB), 419. There is a wordplay in 3:2-3 between the verb וַאֲסוֹבְבָה (vaʾasov^evah, “I will go about”) and הַסֹּבְבִים (hassov^evim, “those who go around”). This wordplay draws attention to the ironic similarity between the woman’s action and the action of the city’s watchmen. Ironically, she failed to find her beloved as she went around in the city, but the city watchmen found her. Rather than finding the one she was looking for, she was found.
6. Song of Solomon 3:3 tn Heb “the one whom my soul loves—have you seen [him]?” The normal Hebrew word-order (verb-subject-direct object) is reversed in 3:3 (direct object-verb-subject) to emphasize the object of her search: אֵת שֶׁאָהֲבָה נַפְשִׁי רְאִיתֶם (’et she’ahavah nafshi r^e’item, “The one whom my soul loves—have you seen [him]?”).
7. Song of Solomon 3:4 tn Heb “like a little.” The term כִּמְעַט (kimʿat), which is composed of the comparative preposition כ (kaf, “like”) prefixed to the noun מְעַט (m^eʿat, “the small, the little, the few”), is an idiom that means “within a little” or “scarcely” (BDB 590 s.v. מְעַט b.2.a).
8. Song of Solomon 3:4 tn Heb “I held him” (אֲחַזְתִּיו, ʾakhaztiv). The term אָחַז (ʾakhaz, “grasp”) denotes to forcefully seize someone to avoid losing hold of him (BDB 28 s.v. אָחַז b).
9. Song of Solomon 3:4 tn The verb רָפָה (rafah, “to let go”) means to relax one’s grip on an object or a person (HALOT 1276-77 s.v. רפה; BDB 952 s.v. רָפָה 2). The Hiphil stem means “to let loose” (Job 7:19; 27:6; Song 3:4; Sir 6:27) or “to release from one’s hands” (Deut 9:14; Josh 10:6; Ps 37:8). The negative expression לֹא רָפָה (loʾ rafah, “to not let [someone or something] go”) denotes an intense desire or effort to not lose possession of someone or something (Job 27:6; Prov 4:13). Here the expression וְלֹא אַרְפֶּנּוּ (v^eloʾ ʾarpennu, “I would not let him go”) pictures her determination to hold on to him so she would not lose him again. The shift from a suffix-conjugation (perfect) אֲחַזְתִּיו (ʾakhaztiv, “I grasped him”) to a prefix-conjugation (imperfect) אַרְפֶּנּוּ (ʾarpennu, “I would [not] let him go”) depicts a shift from a completed/consummative action (perfect: she took hold of his hand) to an ongoing/progressive action (imperfect: she would not let go of it). A basic distinction between the perfect and imperfect tenses is that of consummative versus progressive action. The literary/syntactical structure of אֲחַזְתִּיו וְלֹא אַרְפֶּנּוּ (“I grasped him and I would not let him go”) in 3:4 mirrors that of בִּקַּשְׁתִּיו וְלֹא מְצָאתִיו (biqqashtiv v^eloʾ m^etsaʾtiv, “I searched for him but I could not find him”) in 3:1-2. This parallelism in the literary and syntactical structure emphasizes the fortunate reversal of situation.
10. Song of Solomon 3:4 sn There is debate about the reason why the woman brought her beloved to her mother’s house. Campbell notes that the mother’s house is sometimes referred to as the place where marital plans were made (Gen 24:28; Ruth 1:8). Some suggest, then, that the woman here was unusually bold and took the lead in proposing marriage plans with her beloved. This approach emphasizes that the marriage plans in 3:4 are followed by the royal wedding procession (3:6-11) and the wedding night (4:1-5:1). On the other hand, others suggest that the parallelism of “house of my mother” and “chamber of she who conceived me” focuses on the bedroom of her mother’s house. Fields suggests that her desire was to make love to her beloved in the very bedroom chambers where she herself was conceived, to complete the cycle of life/love. If this is the idea, it would provide a striking parallel to a similar picture in 8:5 in which the woman exults that they had made love in the very location where her beloved had been conceived: “Under the apple tree I aroused you; it was there your mother conceived you, there she who bore you conceived you.”
11. Song of Solomon 3:4 tn The term חֶדֶר (kheder, “chamber”) literally means “dark room” (HALOT s.v. חֶדֶר 293) and often refers to a bedroom (Gen 43:30; Exod 7:28 HT [8:3 ET]; Judg 3:24; 15:1; 16:9, 12; 2 Sam 4:7; 13:10; 1 Kgs 1:15; 2 Kgs 6:12; 9:2; Eccl 10:20; Isa 26:20; Joel 2:16; Prov 24:4; Song 1:4; 3:4).