Annotations for Song of Songs

1:1 Title. The title connects the Song with Solomon, the leading purveyor of Israelite wisdom (1 Kgs 4:32).

1:1 Solomon’s. Solomon could be the author or the one to whom the Song is dedicated (see Introduction: Author and Date). Song of Songs. Most likely a superlative (see Introduction: Title).

1:2—2:7 The First Meeting. The female speaks first and apart from the male (1:2). The two interact (1:3—2:2) with the friends speaking (1:4b, 8), and then the couple comes together in an embrace (2:3–7). In the midst of this, they encourage one another in love. For the caption “She” in 1:2, as well as the other captions in the book, see NIV text note.

1:2–3 The senses are inundated: touch (“kiss”), taste (“wine”), smell (“perfumes”), and hearing (the “name” of her lover). The poem begins with multiple images of intense delight and intoxication to emphasize the joy of love.

1:2 kiss. In the OT, friends and family exchanged kisses (Gen 27:26–27; 1 Sam 10:1; 20:41), but only 8:1 and Prov 7:13 suggest romantic kissing a private, rather than public, act. For kissing as false worship, see 1 Kgs 19:18. love. Hebrew dōdîm; emphasizes passion and desire in lovemaking (4:10; Prov 7:18; cf. Ezek 16:8; 23:17). wine. An image of the joys of love; it refers to the sense of taste, further heightening the powerful images of the beloved.

1:3 perfumes. Aromatics infused in olive oil; worn at parties and festivals. love. Hebrew ʾ āhab; translated in the Septuagint (the pre-Christian Greek translation of the OT) as agapaō wherever it occurs in the Song (1:4, 7; 3:1, 2, 3, 4, 5, 10; 5:8; 7:6; 8:4, 6, 7). Here it is used in the sense of the love of which God approves. The romantic love of the Song points to the greater love that God has for his people and that God’s people should have for God and each other (see Introduction: Purpose and Theology).

1:4a king. The woman sees her lover as a king, like Solomon (3:9, 11; 8:12).

1:4b We rejoice and delight. Cf. Isa 25:9 for the same Hebrew phrase characterizing the people’s response to God’s salvation. wine. See note on v. 2.

1:5 Dark. Or “black” (5:11; Lev 13:31, 37; Job 30:30; Zech 6:2, 6); deeply tanned by the sun (v. 6). It introduces the fifth sense, sight (see note on vv. 2–3). yet lovely. Among the fair women of Jerusalem the speaker fears she will appear less beautiful because of her deeply tanned skin. daughters of Jerusalem. A group addressed seven times (vv. 5–6; 2:7; 3:5, 10; 5:8, 16; 8:4). Kedar. Ishmael’s son; lived to the east in the Arabian deserts on the edge of the civilized world (Gen 25:13; Jer 2:10; 49:28). His tents were made from the hides of black-haired goats. The woman’s darkness suggests an exotic beauty and wildness about her. tent curtains of Solomon. As King Solomon would have the best, so the woman claims that her “tent” (appearance) is most beautiful compared to others.

1:6 Do not stare at me. She doesn’t want the women of Jerusalem or anyone else to gaze at her deeply tanned skin. dark. An intensive form of the Hebrew word in v. 5, implying that she self-consciously feels that she is too dark. mother’s sons. This designation instead of “brothers” may suggest a close bond among the females of the woman’s family while it separates her from her brothers. Like Ruth, this woman may have no close male relative to protect her (see Ruth 1–2). The woman knows only her mother (3:4; 6:9; 8:1–2); the Song does not mention her father. were angry. The anger of her brothers sent her into the vineyards to work. my own vineyard. A metaphor for the female’s physical appearance. Darkness indicates her insecurity, her fear that she is not beautiful enough, but it is also a badge of devotion to her family.

1:7 love. See v. 3 and note. veiled woman. Or “cloaked” (used of a man in 1 Sam 28:14). As seen in reliefs of the siege of Lachish (701 BC), a Judahite woman wore an outer garment as a cloak with a mantle that could cover her head. See photo. This was the customary dress of a shepherdess.

1:8 These words follow v. 7a in answering each of the woman’s questions. most beautiful of women. Emphasizing the woman’s beauty begins a paean of praise (vv. 8–10) that serves to reassure any insecurity.

1:9 my darling. Used nine times in the Song (here; v. 15; 2:2, 10, 13; 4:1, 7; 5:2; 6:4) and only by the man for the woman; this favorite expression of endearment sounds like the word for “graze” (v. 7). a mare among Pharaoh’s chariot horses. Reflects a known Egyptian military strategy in which a mare placed before stallions pulling the chariots caused chaos in the battle formation.

1:10 cheeks . . . neck. The man’s praise modestly focuses on the woman’s face and neck. earrings . . . jewels. Enhance the beauty; appropriate for one so lovely.

1:11 We. Could be a plural indicating the man is carried away by his love. It could also indicate the daughters of Jerusalem are agreeing with the man’s words. The emphasis, however, is on the woman’s beauty, not on the speaker(s).

1:12 king. See v. 4a and note. perfume. The Hebrew word refers to nard. Native to the Himalayas, this is the most exotic fragrance in the Song. It identifies an exclusive and special love.

1:13 My beloved. Hebrew dôdî; used 27 times in the Song (here; vv. 14, 16; 2:3, 8, 9, 10, 16, 17; 4:16; 5:2, 4, 5, 6, 8, 9, 10, 16; 6:1, 2, 3; 7:9, 10, 11, 13; 8:5, 14), it is the woman’s favorite expression of love for the man. sachet of myrrh. An exotic spice from southern Arabia and the horn of Africa; used in the temple incense (Exod 30:23). One could wear a sachet “between [the] breasts” for its perfume. Here it describes the depth of intimacy experienced.

1:14 henna blossoms. A yellow-flowered plant native to Israel producing a reddish dye that is applied directly to the body as perfume or deodorant. vineyards of En Gedi. An isolated site on the west shore of the Dead Sea that evokes (1) the place David hid from Saul (1 Sam 23:29; 24:1)—the Hebrew consonants of “David” match those of “beloved” (v. 13); (2) a romantic retreat; and (3) the location of a center for producing perfume from the time of the monarchy. vineyards. The vineyard is a metaphor for the body (see v. 6 and note). The plural suggests intimacy between the two lovers.

1:15 How beautiful you are, my darling! Cf. vv. 8, 9 and notes. eyes are doves. Doves represent love (Matt 3:16–17; Mark 1:10–11; Luke 3:22), and eyes can determine one’s plainness (Gen 29:17) or beauty (1 Sam 16:12 in the Hebrew text). The lovers gaze into one another’s eyes, admiring each other’s beauty.

1:16 handsome. The same Hebrew word translated “beautiful” in v. 15. bed is verdant. Pictures the spreading foliage of a tree (v. 17) and anticipates the natural outdoor setting (ch. 2) and fruitfulness and life. For the lovers, the fruitfulness of their love gives their lives joy, meaning, and purpose.

1:17 beams of our house are cedars. The tall trees provided planks that could roof over large areas.

2:1 rose of Sharon. Likely a hyacinth, crocus, or asphodel. The fertile Sharon plain lay near the Mediterranean. Cf. Isa 35:1, where the flower blooms and brings beauty and life to the desert. lily. The lotus, or water lily, appearing on Egyptian and Israelite art (1 Kgs 7:26). Both the rose and the lily here symbolize the beauty and life with which the woman is identified.

2:2 thorns. Not only unattractive but also insignificant (2 Kgs 14:9). The man has eyes only for his lover. His commitment is exclusive. my darling. See note on 1:9.

2:3 apple tree. The apple was a refreshment (rather than a nutritional source) that stimulated the sense of taste. Some suggest that the Hebrew term refers to an apricot instead of an apple (see NIV text note), but the apple was known in the world of early Israel. among the trees of the forest. The woman has eyes only for her lover. Her commitment is exclusive (cf. v. 2).

2:4 banquet hall. Or “house of wine”; symbolizes a place of sensual pleasure. his banner. The military context of a banner (Num 2; Ps 20:5) may identify the king’s dignity. But some suggest that the possible meaning “his intent (for me)” is more appropriate to vv. 4–6.

2:5 raisins. A delicacy tasted at celebrations (2 Sam 6:19; Hos 3:1). apples. See note on v. 3. Both raisins and apples refresh and revive.

2:6 embraces me. The climax of “The First Meeting” (see note on 1:2—2:7): the lovers come together and melt into one another’s arms.

2:7 Daughters of Jerusalem. See note on 1:5. gazelles . . . does. Rather than using God’s name in an oath, the woman uses these pictures of nature that symbolize her physical attributes (4:5; 7:3; see Prov 5:19). Do not arouse or awaken love until it so desires. Cf. 3:5; 8:4. Though there are many proposed interpretations, most likely this either warns others not to disturb the lovers or encourages lovers to wait for love until the proper context of marriage.

2:8—3:5 The Second Meeting. This section depicts love as an invitation (2:8–14), as joy (2:15–17), and as a longing search (3:1–5).

2:8 leaping. The woman finds skill and beauty in her lover’s movements.

2:9 gazelle . . . young stag. Male counterparts to the animals of v. 7.

2:10–13 This invitation begins and ends the finest picture of springtime (the transition from the rainy season to the dry season) in the Bible.

2:12-13 Flowers . . . singing . . . doves . . . fig tree . . . vines. The spring arouses the senses of smell, hearing, sight, and taste.

2:14 clefts of the rock. Two groups of clefts northwest of the Dead Sea and the Sea of Galilee are homes for thousands of doves. Here the man longs to see and hear the woman, but she remains hidden like a dove.

2:15 foxes. Represent those who threaten the couple’s loving union (“vineyards”). With an appetite for grapes, foxes climb over walls (Neh 4:3) and dig out vines.

2:16 browses among the lilies. A gazelle or young stag (v. 9) eating lotuses (see “lily” in vv. 1–2 and note on v. 1) represents the man’s physical union with the woman. Perhaps this is a dream not yet realized (cf. v. 17).

2:17 turn. The woman releases the man (see note on v. 9) to his world.

3:1 All night long. The woman’s desire is not abated. She goes out to find her lover but without success. The night is a time for dreaming. This, like other parts of the Song (5:2–8), may be a dream (see note on 2:16).

3:2 heart. The source of life’s vitality (cf. Prov 16:26, where the word is translated “appetite”). The woman’s love is equal in intensity to her desire to live.

3:4 mother’s house. The most personal part of her home; a refuge where only family would come (Gen 24:28, 67; Ruth 1:8). See note on 1:6.

3:5 Do not arouse . . . desires. See note on 2:7. The woman interrupts the romantic picture with a note of caution.

3:6—5:1 The Third Meeting. If the woman’s dream (3:1–5) was searching for, finding, and bringing her lover to her home, the man’s love fantasy is protecting his lover and consummating that security in marriage (3:6–11). The man’s praise of the woman’s body (4:1–7) recovers the value of the essential physical nature of being human. This leads to the permanent and exclusive commitment of marriage (4:8–15), just as God calls us to an exclusive commitment in discipleship (Rom 12:1–2; 2 Cor 6:15–18). Although there is the call to relieve suffering in the world, there is also the need to recognize the good world as created by God, to rejoice when the Bridegroom is present (Matt 9:15), and to look forward to the great wedding banquet to come (Matt 8:11; Rev 19:7, 9; 22:17). See note on 2:8—3:5.

3:6 Who is this . . . ? “This” is feminine. myrrh. See 1:13 and note. incense. Frankincense, like myrrh, is imported from Arabia (hence “the merchant”). The value of these spices signals a wealthy and powerful person.

3:7 Solomon’s carriage. A sedan-chair of Solomon-like opulence. The object of the speaker’s affection lies upon the bed. sixty warriors. Emphasizes security for the traveler. The number is associated with Solomonic activities (1 Kgs 4:13, 22; 6:2).

3:9-10 wood from Lebanon . . . silver . . . gold . . . purple. The finest materials; appropriate to the occupant riding in the carriage to his wedding.

3:10 Daughters of Jerusalem. See note on 1:5. They are invited to participate for the first time in the Song.

3:11 wearing a crown. As in Jewish weddings, where the bride and groom wear crowns, the groom here becomes the bride’s King Solomon. Her eyes are only for him, unsurpassed in glory and beauty.

4:1–7 This is the first of three songs praising the female’s physical attributes (6:4–9; 7:1–9a).

4:1 Your eyes. The man begins by describing his lover’s eyes as he gazes at her. veil. A symbol of modesty (Isa 47:2); did not conceal the eyes or cheeks. doves. See note on 1:15. goats. See note on 1:5 (“Kedar”). hills of Gilead. Whether west (Judg 7:3) or east (Josh 20:8; 21:38) of the Jordan River, a steep descent evokes a picture of a dark, shimmering waterfall.

4:2 teeth . . . sheep . . . washing . . . twin. Portrays teeth that are white (reflecting youthfulness), clean, whole, and straight; a beautiful smile.

4:3 scarlet ribbon. Red, full lips are desirable. halves of a pomegranate. The translucent veil reveals the ripe, reddish hues of the fruit that suggest fertility, life, and beauty.

4:4 neck . . . a thousand shields. The small, round shields that could be represented in the stone of a tower symbolized strength and security. This may picture layers of jewelry that adorn the woman’s neck and describe her personal security. Love, not neediness, draws the lovers together.

4:5 Cf. 2:16; 7:3. breasts. Represent beauty (“lilies”; see note on 2:1), youth (“fawns”), and grace (“gazelle”).

4:6 mountain of myrrh . . . hill of incense. For the connection with the woman’s breasts, see 1:13; 3:6 and notes. The aromatics symbolize the intoxication of love that the man experiences.

4:8 my bride. The woman is or soon will be married to the man. Occurring only in the center of the Song (vv. 9, 10, 11, 12; 5:1), “bride” describes a legal relationship of marriage that is otherwise not mentioned in the Song. The Song assumes legal matters, but its poetry soars beyond them. Lebanon . . . Amana . . . Senir . . . Hermon. The highest mountains in Israel, comprising the south end of the Lebanon and anti-Lebanon ranges. The Hebrew name of Lebanon resembles the Hebrew word for frankincense (lĕbônâ; see 3:6 and note; 4:6, 14) and contributes to the pictures of the woman’s inaccessibility (cf. “lions’ dens” and “mountain haunts of leopards”) and the man’s desire for her.

4:9 heart. See note on 3:2. my sister. For a man to address his love as “sister” (vv. 10, 12; 5:1, 2) is known in Egyptian love poetry. one glance of your eyes. Although “glance” is not in the original text, its intended meaning is likely. As in v. 1, her eyes captivate the man. one jewel of your necklace. Perhaps the bottom strand because it was the most beautiful and radiant, enhancing the woman’s beauty (see note on v. 4).

4:10 wine . . . spice. See notes on 1:2–3.

4:11 lips drop sweetness. Indicates honey from bees and honey from dates; it provided the sweetest taste known in ancient Israel. milk and honey . . . tongue. Describes the woman’s romantic delights (5:1) and pictures fruitfulness in the promised land (see Josh 5:6 and note). Here these words describe kissing. More generally, they portray longing, energy, and fruitfulness. fragrance of your garments. Cf. Ps 45:8. Lebanon. For the wordplay with frankincense, see note on v. 8. Touch and taste combine to stimulate desire.

4:12 garden locked up . . . spring enclosed . . . sealed fountain. Pictures the woman’s body and her sexuality (vv. 15–16; 5:1; 6:2; 8:13). Inaccessible except to her lover, the woman provides him with refreshment (Prov 5:15–19).

4:13 pomegranates. See note on v. 3. henna. See note on 1:14. nard. See note on 1:12.

4:14 saffron. Or turmeric; a yellow spice from exotic lands. calamus. See Jer 6:20 and note; used with cinnamon in the anointing oil (Exod 30:23, 25). myrrh and aloes. For associations with sexual desire, see Ps 45:8 (a wedding song); Prov 7:17. myrrh. See note on 1:13.

4:15 flowing water . . . from Lebanon. The freshest, most invigorating of waters are available to the man; pictures sexual delight and refreshment.

4:16 Each line contains a verb: “Awake . . . come . . . Blow . . . spread . . . come . . . taste.” The woman seeks to arouse the man (“awake”; see note on 2:7) with cold (“north”) and warm (“south”) winds and invites him to her love.

5:1a honeycomb . . . honey. Describes either sweetness from the same source (see note on 4:11) or, in light of the following comparison of wine and milk, perhaps honey from bees (honeycomb) and from dates (honey). wine . . . milk. These conclude the sensual images begun in 4:10.

5:1b Eat . . . drink; drink your fill. The group encourages the couple in lovemaking. The first two verbs here repeat the verbs in v. 1a; the last command often refers to intoxication (Gen 9:21; 1 Sam 1:14; 2 Sam 11:13; Isa 29:9).

5:2—6:3 The Fourth Meeting. A frustrated meeting (contrast 3:1–5) leads to the woman’s search for her lover. Here it ends in suffering (5:2–8). While love is freely given, the cost can be everything one has. The woman’s loving description of the man emphasizes protection and security (5:10–16), and it concludes with union (6:2–3). The elements of risk, suffering, and protection characterize love here. The security of both lovers anticipates a family in which children feel secure. The love of the man and woman creates a commitment and unity that describes an eternal love.

5:2 I slept but my heart was awake. Cf. 3:1 and note. Open. Pictures physical intimacy as the woman opens herself to the one she loves (also in vv. 5, 6). drenched with dew. Cf. Judg 6:38.

5:3 taken off. Some see the woman’s response as still half asleep. Perhaps this is a coy response intended to elicit further interest.

5:4 latch-opening. However, he is unable to open the door.

5:5 flowing myrrh. Sought in 4:14; represents desire—all the delights of the woman’s body as it flows toward the man (see note on 1:13).

5:6 I opened. After 40 Hebrew words, this answers the command in v. 2. he was gone. This single Hebrew word ( ʿ ābar) is the turning point in the story of vv. 2–7. My heart sank. The woman is devastated.

5:7 The first two lines parallel 3:3. They beat me. Rough treatment at this second encounter with the watchmen. cloak. Not the robe of v. 3 (that she was wearing) but a shawl or veil, perhaps to aid in her identification.

5:9 The group invites the woman to describe the man and thus introduces the one song praising his physical attributes (vv. 10–16; for the woman, see 4:1–7; 6:4–9; 7:1–9a).

5:10 radiant and ruddy. Connotes health and well-being.

5:11 head . . . purest gold . . . hair . . . black as a raven. The head marks one’s identity (Ezek 9:4–6). Its brightness contrasts with the sensual hair, black like a raven against the sky.

5:12 eyes . . . doves. Like the man (4:1), the woman focuses on the eyes of her lover more than on any other part of him.

5:13 beds of spice. The woman’s place of jewelry (1:10) becomes the man’s source of fragrance.

5:14-15 gold . . . topaz . . . ivory . . . lapis lazuli . . . marble . . . pure gold . . . cedars. The woman finds great value, beauty, and strength in her lover.

5:16 sweetness. See 4:11 and note. my beloved . . . my friend. Terms of endearment that also tell the other women of the couple’s exclusive relationship.

6:1 Where has your beloved gone . . . ? Recalling the woman’s search (5:6) and anticipates the woman’s answer (v. 2).

6:2 gone down . . . browse . . . gather. Depicts the man’s exclusive interest in the woman. garden . . . beds of spices . . . lilies. Alludes to the romantic joys that the woman shares with her lover (see 1:13; 2:1; 4:11 and notes).

6:3 I am my beloved’s and my beloved is mine. The lovers are in complete unity.

6:4—8:4 The Fifth Meeting. Following the woman’s loving description of the man (5:10–16), he reciprocates with two descriptive songs about her (6:4–9; 7:1–9a). The first focuses on the power of her beauty and its effects. The second provides the strongest of romantic images. The couple journey to the countryside; the woman longs for her lover’s kiss, and this leads to an embrace. Beauty, desire, and love all find their origin in the work of a divine Artist at the center of this section (7:1; cf. Ps 19:1).

6:4 Tirzah. Both a stronghold and beautiful with wildflowers, it was the capital of the northern kingdom of Israel before Samaria became the capital; it corresponds to Jerusalem, capital of the southern kingdom of Judah. majestic as troops. With the sense “fearful, terrible,” it describes the woman as beautiful and a force in her own right.

6:5 eyes. Cf. 4:1; 5:12; focus on eyes introduces songs of praise. Gilead. Cf. 4:1.

6:8 Sixty. This may be a number associated with royalty (see 3:7 and note). queens . . . concubines . . . virgins. The social rank descends as the number increases. Their reappearance in v. 9 positions the woman in their center and above them all.

6:9 one . . . unique. Contrast v. 8, which includes large numbers. praised her. Cf. 5:9; 6:1; Prov 31:28.

6:10 dawn . . . moon . . . sun . . . stars. The woman (clearly mortal, v. 9) is like the sky in awesome beauty.

6:11 nut trees. Perhaps this is the Kidron Valley northeast of Jerusalem, referred to in Arabic as “walnut tree valley.” new growth . . . budded . . . in bloom. The fruitful springtime. vines. See 1:14 and note; 2:13; 7:8, 12. pomegranates. See 4:3 and note; 4:13; 6:7; 7:12; 8:2. Vines and pomegranates depict the woman’s physical attributes, which the man explores.

6:12 This obscure verse has several possible translations (see NIV text note). Perhaps the woman speaks, imagining love as the excitement and danger of war with the elite chariotry.

6:13a Shulammite. A feminine form of “Solomon” (see Introduction: Purpose and Theology); it less likely indicates that her hometown is Shulem/Shunem (in ancient Semitic languages the letters l and n were sometimes interchanged; see Josh 19:18; 1 Kgs 1:3).

6:13b dance of Mahanaim. Matches a dance performed by women at victories (Exod 15:20; Judg 11:34; 1 Sam 18:6; 21:11; 29:5). Mahanaim is a war camp east of the Jordan River (Gen 32:2; 2 Sam 2:8; 17:24).

7:1 beautiful. For this word at the beginning of such songs, cf. 4:1; 6:4. feet. Unlike the other songs, this one begins with the feet and progresses to the head (cf. 4:1–17; 6:4–9). artist’s. Cf. 6:4—8:4 and note.

7:2 navel . . . wine . . . wheat. The navel represents beauty; the wine and wheat provide a feast for the woman’s lover. lilies. See note on 2:16.

7:3 breasts. See note on 4:5.

7:4 neck . . . ivory tower. Cf. 1:10; 4:4. Ivory adorns a strong fortress, representing beauty and strength. pools of Heshbon. Archaeologists have discovered cisterns at Tell Hesban, east of the Dead Sea. Bath Rabbim. The name means “daughter of many”; identifies how popular the pools are that represent the woman’s eyes. nose . . . tower of Lebanon. May be an Israelite lookout on Mount Hermon for watching for threats from Damascus. It represents the woman’s personal security.

7:5 head . . . Mount Carmel. This promontory faces the Mediterranean and provides a commanding view of the Sharon, Akko, and Jezreel plains. hair. See 5:11 and note. king. King Solomon; for this “Solomon,” see Introduction: Purpose and Theology.

7:7–8 The man indulges four senses (see 1:2–3; 2:12–13 and notes): sight (“palm”), touch (“take hold”), taste (“grapes”; cf. 1:2), and smell (“breath like apples”).

7:8 palm tree. The stately date palm with its sweet fruit (see 4:11 and note).

7:9a your mouth. The palate, the sensuous inner mouth. best wine. Of many references to wine (see note on 1:2), only this connection with the palate makes a special appeal to the sense of taste.

7:9b May the wine. The woman echoes the man’s desire for this kissing, represented as wine (see 1:2 and note).

7:10 I belong. Cf. 2:16; 6:3. desire. Elsewhere this Hebrew word occurs only in Gen 3:16; 4:7. This reverses the picture of Gen 3:16, where the prepositions are different and where perhaps there is something improper about the desire. Here the man desires the woman, the woman equally desires the man, and the lovers are united.

7:11 Come. Cf. 2:10, 13.

7:13 mandrakes. The same Hebrew root as “beloved” (dwd); they exude an intoxicating aroma. new and old. Like new and aged wine, the woman promises many delights of love.

8:1 I would kiss you. While kissing between family members in public was acceptable in ancient Israel, romantic kissing was not.

8:2 wine . . . pomegranates. See notes on 1:2; 4:3.

8:4 Do not arouse or awaken love . . . desires. Cf. 2:7; 3:5.

8:5–7 The Literary Climax. If v. 5b connects sexuality with procreation, vv. 6–7 produce a love whose unity is stronger than anything in this world.

8:5 roused. Possibly “awoke” but probably “aroused in desire.” conceived . . . was in labor. The same verb’s repetition (meaning “be/become pregnant”; Gen 4:1) moves the sexuality beyond personal pleasure to the realm of family and procreation. The Song does not envision any sexuality outside of marriage.

8:6 seal over your heart. A seal contained the name of the bearer. Thus the woman shares her identity with the man. The heart was the source of love (Deut 6:5) as well as a picture of the seal hung around the neck (Gen 38:18, 25). seal on your arm. The arm could include the fingers, where one wore a seal as a ring (Jer 22:24). love is as strong as death. Nothing on earth is stronger (1 Cor 13). fire. Love can be destructive but can also inflame passions (see note on 8:7). mighty flame. See second NIV text note. The alternative reading is possible: the final syllable, yāh, is a shortened form of “LORD” (Yahweh) and the only occurrence of God’s name in the Song. This signals its key message: romantic love is a powerful gift from God.

8:7 Many waters cannot quench love. Waters follow fire as one of the most powerful natural forces. The two forces of nature appear in Isa 43:2, where God guards Israel just as here love guards the lovers.

8:8–14 The Conclusion. The friends are brothers who care for their sister’s purity (8:8–9), but the sister now assumes responsibility for her life and love (vv. 10, 12). The book concludes with an open-ended view of the lovers as they continue to grow in intimacy.

8:9 In many cultures such as Israel the brothers protected their sisters’ virginity (Gen 34; 2 Sam 13:22–33). we will build towers. The woman’s brothers promise to preserve her purity (4:4; 7:4; and notes). cedar. See notes on 1:17; 5:15.

8:10 I am a wall. The woman claims a mature independence.

8:11–12 vineyard . . . vineyard . . . vineyard. See notes on 1:6, 14; 2:15.

8:11 Baal Hamon. Place name meaning “lord/owner of multitudes”; connotes wealth and power.

8:12 my own vineyard is mine. Contrasting 1:6, the woman now maintains independence from her brothers and others, however influential. two hundred . . . tend. The profits of Solomon’s vineyard must be shared with others, whereas the woman shares her vineyard with no one except her beloved.

8:13 dwell in the gardens. The couple permanently share love. friends. The same word refers to the shepherds in 1:7. voice. Cf. 2:14.

8:14 Come away. The woman wants her lover to leave his friends (v. 13) and be with her. gazelle . . . young stag. Cf. 2:9, 17. spice-laden mountains. Spice occurs in the woman’s fragrance (4:10) and in her garden, or physical attributes (4:12–16; 5:1; 6:2). The man’s cheeks are spice-laden (5:13). The couple comes away from their companions to enjoy each other’s romantic love.