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12 Blossoms have appeared[a] in the land,
the time for pruning and singing[b] has come;
the voice of the turtledove is heard in our land.
13 The fig tree has ripened its figs,
the vines have blossomed and give off their fragrance.
Arise, come away my darling;
my beautiful one, come away with me!”

The Dove in the Clefts of En Gedi

The Lover to His Beloved:

14 O my dove,[c] in the clefts of the rock,
in the hiding places of the mountain crags,
let me see your face,
let me hear your voice;
for your voice is sweet,
and your face is lovely.

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Footnotes

  1. Song of Solomon 2:12 tn Heb “are seen.”
  2. Song of Solomon 2:12 tn 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 II זָמִיר 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.”
  3. Song of Solomon 2:14 sn The dove was a common figure for romantic love in ancient Near Eastern love literature. This emphasis seems to be suggested by his use of the term “my dove.” Just as the young man heard the voice of the turtledove in 2:12, so now he wants to hear her voice. Doves were often associated with timidity in the ancient world. Being virtually defenseless, they would often take refuge in crevices and cliffs for safety (Jer 48:28). The emphasis on timidity and the need for security is undoubtedly the emphasis here because of the explicit description of this “dove” hiding in the “clefts of the rock” and in “the hiding places of the mountain crevice.” Fortresses were sometimes built in the clefts of the rocks on mountainsides because they were inaccessible and therefore, in a secure place of safety (Jer 49:16; Obad 3). Perhaps he realized it might be intimidating for her to join him and communicate with him freely. She would need to feel secure in his love to do this. It would be easy for her to hide from such emotionally exposing experiences.

12 the flowers appear on the earth;
the time of the singing of birds is come,
and the voice of the turtle is heard in our land;
13 the fig tree putteth forth her green figs,
and the vines with the tender grape give a good smell.
Arise, my love, my fair one, and come away.

14 O my dove, that art in the clefts of the rock,
in the secret places of the stairs,
let me see thy countenance, let me hear thy voice;
for sweet is thy voice, and thy countenance is comely.

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