Footnotes

1. Song of Solomon 1:1 This construction conveys a superlative connotation, e.g., “The most exquisite song”
2. Song of Solomon 1:1 Or “by Solomon” or “about/concerning Solomon”
3. Song of Solomon 1:2 In the maiden’s soliloquy, she thinks about her beloved in her thoughts (“May he kiss me!”), then poetically speaks to him as if he were in her presence (“for your love is better than wine”). To avoid confusion, the translation uses the second-person form throughout vv. 2–4
4. Song of Solomon 1:2 Literally “May he kiss me”
5. Song of Solomon 1:2 Literally “with the kisses of his mouth”
6. Song of Solomon 1:2 The shift from the third person “he … his” to the second person “you … your” in vv. 2–4 should not be interpreted as suggesting two different referents, that is, one male whom the maiden is addressing as “you,” and another to whom she refers as “he.” Rather, this shift is a poetic device (called “grammatical differentiation”) that is not uncommon in Hebrew poetry (e.g., Gen 49:4; Deut 32:15; Psa 23:2–5; Isa 1:29; 42:20; 54:1; Jer 22:24; Amos 4:1; Mic 7:19; Lam 3:1; Song 4:2; 6:6). This shift is characteristic of a soliloquy, a dramatic or literary form in which a character reveals her thoughts without addressing a listener who is actually present (e.g., 2 Sam 19:4). In this case, the maiden’s private thoughts about her beloved (v. 2a) shift to an imaginary address to her beloved (vv. 2b–4a)
7. Song of Solomon 1:3 Literally “your oil lotions”
8. Song of Solomon 1:3 Literally “good”
9. Song of Solomon 1:3 Literally “oil lotion”
10. Song of Solomon 1:4 Or “The king has brought me into his chambers”