◀ All Reading Plans / Revised Common Lectionary (Semicontinuous) / Psalm 144:9-15 (The blessing of sons and daughters); Song of Solomon 5:2—6:3 (A dream of love); 1 Peter 2:19-25 (Christ leaves an example) (New English Translation)

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Revised Common Lectionary (Semicontinuous)

Daily Bible readings that follow the church liturgical year, with sequential stories told across multiple weeks.

Duration: 1245 days

Psalm 144:9-15

⁹O God, I will sing a new song to you.
Accompanied by a ten-stringed instrument, I will sing praises to you,
¹⁰the one who delivers^[a] kings,
and rescued David his servant from a deadly^[b] sword.
¹¹Grab me and rescue me from the power of foreigners,^[c]
who speak lies,
and make false promises.^[d]
¹²Then^[e] our sons will be like plants,
that quickly grow to full size.^[f]
Our daughters will be like corner pillars,^[g]
carved like those in a palace.^[h]
¹³Our storehouses^[i] will be full,
providing all kinds of food.^[j]
Our sheep will multiply by the thousands
and fill^[k] our pastures.^[l]
¹⁴Our cattle will be weighted down with produce.^[m]
No one will break through our walls,
no one will be taken captive,
and there will be no terrified cries in our city squares.^[n]
¹⁵How blessed are the people who experience these things.^[o]
How blessed are the people whose God is the Lord.

Footnotes

Psalm 144:10 tn Heb “grants deliverance to.”
Psalm 144:10 tn Heb “harmful.”
Psalm 144:11 tn Heb “from the hand of the sons of foreignness.”
Psalm 144:11 tn Heb “who [with] their mouth speak falsehood, and their right hand is a right hand of falsehood.” See v. 8 where the same expression occurs.
Psalm 144:12 tn Some consider אֲשֶׁר (ʾasher) problematic, but here it probably indicates the anticipated consequence of the preceding request. (For other examples of אֲשֶׁר indicating purpose/result, see BDB 83 s.v. and HALOT 99 s.v.) If the psalmist—who appears to be a Davidic king preparing to fight a battle (see vv. 10-11)—is victorious, the whole nation will be spared invasion and defeat (see v. 14) and can flourish. Some prefer to emend the form to אַשְׁרֵי (“how blessed [are our sons]”). A suffixed noun sometimes follows אַשְׁרֵי (ʾashre; see 1 Kgs 10:8; Prov 20:7), but the presence of a comparative element (see “like plants”) after the suffixed noun makes the proposed reading too awkward syntactically.
Psalm 144:12 tn Heb “grown up in their youth.” The translation assumes that “grown up” modifies “plants” (just as “carved” modifies “corner pillars” in the second half of the verse). Another option is to take “grown up” as a predicate in relation to “our sons,” in which case one might translate, “they will be strapping youths.”
Psalm 144:12 tn The Hebrew noun occurs only here and in Zech 9:15, where it refers to the corners of an altar.
Psalm 144:12 tn Heb “carved [in] the pattern of a palace.”
Psalm 144:13 tn The Hebrew noun occurs only here.
Psalm 144:13 tn Heb “from kind to kind.” Some prefer to emend the text to מָזוֹן עַל מָזוֹן (mazon ʿal mazon, “food upon food”).
Psalm 144:13 tn Heb “they are innumerable.”
Psalm 144:13 tn Heb “in outside places.” Here the term refers to pastures and fields (see Job 5:10; Prov 8:26).
Psalm 144:14 tn Heb “weighted down.” This probably refers (1) to the cattle having the produce from the harvest placed on their backs to be transported to the storehouses (see BDB 687 s.v. סָבַל). Other options are (2) to take this as reference to the cattle being pregnant (see HALOT 741 s.v. סבל pu) or (3) to their being well-fed or fattened (see L. C. Allen, Psalms 101-150 [WBC], 288).
Psalm 144:14 tn Heb “there [will be] no breach, and there [will be] no going out, and there [will be] no crying out in our broad places.”
Psalm 144:15 tn Heb “[O] the happiness of the people who [it is] such to them.”

Song of Solomon 5:2-6:3

The Trials of Love: The Beloved’s Dream of Losing Her Lover

The Beloved about Her Lover:

²I was asleep, but my mind^[a] was dreaming.^[b]
Listen!^[c] My lover^[d] is knocking^[e] at the door!^[f]

The Lover to His Beloved:

“Open^[g] for me, my sister, my darling,
my dove, my flawless one!
My head is drenched with dew,
my hair with the dampness of the night.”

The Beloved to Her Lover:

³“I have already taken off my robe—must I put it on again?
I have already washed my feet—must I soil them again?”
⁴My lover thrust his hand^[h] through^[i] the hole,^[j]
and my feelings^[k] were stirred^[l] for him.
⁵I arose to open for my beloved;
my hands dripped with myrrh—
my fingers flowed with myrrh
on the handles of the lock.
⁶I opened for my beloved,
but my lover had already turned^[m] and gone away.^[n]
I fell into despair^[o] when he departed.^[p]
I looked for him but did not find him;
I called him but he did not answer me.
⁷The watchmen found me as they made their rounds in the city.
They beat me, they bruised me;
they took away my cloak, those watchmen on the walls!

The Triumph of Love: The Beloved Praises Her Lover

The Beloved to the Maidens:

⁸I admonish you, O maidens of Jerusalem—
If you find my beloved, what will you tell him?
Tell him that I am lovesick!^[q]

The Maidens to The Beloved:

⁹Why is your beloved better than others,^[r]
O most beautiful of women?
Why is your beloved better than others,
that you would admonish us in this manner?

The Beloved to the Maidens:

¹⁰My beloved^[s] is dazzling^[t] and ruddy;^[u]
he stands out^[v] in comparison to^[w] all other men.^[x]
¹¹His head is like the purest gold.^[y]
His hair is curly^[z]—black like a raven.
¹²His eyes are like doves by streams of water,
washed in milk, mounted like jewels.
¹³His cheeks are like garden beds full of balsam trees^[aa] yielding^[ab] perfume.
His lips are like lilies dripping with drops of myrrh.
¹⁴His arms are like rods of gold set with chrysolite.
His abdomen^[ac] is like polished ivory inlaid with sapphires.
¹⁵His legs are like pillars of marble set on bases of pure gold.
His appearance is like Lebanon, choice as its cedars.
¹⁶His mouth is very sweet;^[ad]
he is totally desirable.^[ae]
This is my beloved!
This is my companion, O maidens of Jerusalem!

The Lost Lover Found

The Maidens to the Beloved:

6 Where has your beloved gone,
O most beautiful among women?
Where has your beloved turned?
Tell us,^[af] that we may seek him with you.^[ag]

The Beloved to the Maidens:

²My beloved has gone down to his garden,^[ah]
to the flowerbeds of balsam spices,^[ai]
to graze^[aj] in the gardens,
and to gather lilies.^[ak]

Poetic Refrain: Mutual Possession

The Beloved about Her Lover:

³I am my lover’s^[al] and my lover is mine;^[am]
he grazes among the lilies.

Footnotes

Song of Solomon 5:2 tn Heb “my heart.” The term לִבִּי (libbi, “my heart”) is a metonymy of association for emotions (e.g., Prov 15:13; Song 3:11) or thoughts (e.g., Ps 90:12; Prov 18:15) or a synecdoche of part for the whole. If this verse is introducing a dream sequence in 5:2-8, this is a metonymy for the Beloved’s thoughts in her dream: “I was sleeping but my mind was dreaming.” If this verse depicts the Beloved beginning to doze off to sleep—only to be awakened by his knocking at her door—then it is a synecdoche of part for the whole: “I was about to fall asleep when I was suddenly awakened.”
Song of Solomon 5:2 tn Heb “but my heart was awake.” Scholars have interpreted 5:2a in two basic ways: (1) The Beloved had been asleep or was just about to fall asleep when she was awakened by the sound of him knocking on the door of her bedroom chambers. The term לִבִּי (libbi, “my heart”) is a synecdoche of part for the whole: “my heart” = “I.” The participle עֵר (ʿer) functions verbally, describing a past ingressive state: “was awakened.” The line would be rendered: “I was sleeping when I (= my heart) was awakened.” (2) The Beloved was sleeping, but her mind was dreaming (in her dream she heard him knocking on her door). In this case, לִבִּי (“my heart”) is a metonymy of association for the thoughts (e.g., Ps 90:12; Prov 18:15) and emotions (e.g., Prov 15:13; Song 3:11) she experienced during her dream: “my heart” = “my mind.” The participle עֵר functions verbally, describing a past progressive state: “was awake.” The line could be nuanced, “I was asleep, but my mind was dreaming.” Many translations adopt this approach: “I was asleep but my heart waketh” (KJV), “I was asleep but my heart was awake” (NASB, NIV), and “I was asleep, but my heart was wakeful” (NJPS).
Song of Solomon 5:2 sn The noun קוֹל (qol, literally, “sound, noise, voice”) is used as an exclamation: “Listen!” or “Hark!” (e.g., Gen 4:10; Isa 13:4; 40:3; 52:8; Jer 3:21; 4:15; 10:22; 31:15; 50:28; 51:54; Mic 6:9; Zeph 1:14; 2:14; Song 2:8; 5:2) (HALOT 1085 s.v. קוֹל 8b; BDB 877 s.v. קוֹל 1.f; Joüon 2:614 §162.e; GKC 467 §146.b). The term often refers to a loud or unexpected sound that arrests the attention of a character in a narrative. The speaker/writer uses it as a rhetorical device to dramatically portray his/her own startled reaction to an unexpected sound that called his/her attention. The Beloved is startled from her sleep by the unexpected sound of him loudly knocking at her bedroom door late at night.
Song of Solomon 5:2 sn The phrase קוֹל דּוֹדִי (qol dodi, “Listen! My lover…!”) that introduces this scene in 5:2-8 is the exact same phrase used in 2:8 to introduce the courtship section 2:8-11. In 2:8-11, the Beloved was excited about his unexpected arrival; however, in 5:2-8 she is apathetic about his unexpected approach. One should not miss the dramatic contrast between the Beloved’s eagerness to see her lover in 2:8-11 and her apathy about his approach on this evening in 5:2-8. The repetition of קוֹל דּוֹדִי (“Listen! My lover…!”) in 2:8 and 5:2 is designed to draw out the parallels and contrasts between 2:8-11 and 5:2-8.
Song of Solomon 5:2 sn The participle דוֹפֵק (dofeq) connotes present progressive or iterative action. The verb דָּפַק (dafaq, “to knock, pound, beat”) occurs only three times in biblical Hebrew, twice in reference to knocking at a door (Judg 19:22; Song 5:2) and once of beating cattle in order to drive them along (Gen 33:13). The Qal stem depicts the normal action of knocking at a door, while the Hitpael denotes a more intensive pounding, e.g., Qal: “to knock at the door” (Song 5:2) and Hitpael: “to beat violently against the door” (Judg 19:22) (HALOT 229 s.v. דפק; BDB 200 s.v. דָּפַק). The same connotations are seen in Mishnaic Hebrew, e.g., the verbs דָּפַק and דְּפַק (d^efaq), “to knock at the door” (Jastrow 317 s.v. דָּפַק), and the nouns דּוֹפֵק “door frame (= what someone knocks on), movable tomb stone,” and דּוֹפְקָנִין (dof^eqanin, “knockers”; Jastrow 287 s.v. דּוֹפְקָנִין). The collocation of the verb פתח “to open” a door (HALOT 986-87 s.v. פתח; BDB 835 s.v. פָּתַח) clearly suggests that he is at the Beloved’s bedroom door.
Song of Solomon 5:2 tn The phrase “at the door” does not appear in the Hebrew but is supplied in the translation for clarity.
Song of Solomon 5:2 tn Heb “Open to me!” Alternately, “Let me in!” The imperatival form of פִּתְחִי (pitkhi, “to open”) connotes a polite, but earnest request. The verb פָּתַח (patakh) refers to the action of opening various objects, e.g., sack (Gen 42:27), skin bottle (Judg 4:19), hamper (Exod 2:6), pit (Exod 21:33), mouth of a cave (Josh 10:22), grave (Ezek 37:12, 13), city gates (Neh 13:19; Isa 45:1), gate of a land (Nah 3:13), window (2 Kgs 13:17). When used with the accusative דֶּלֶת (delet, “door”), it refers to opening a door (e.g., Judg 3:25; 19:27; 1 Sam 3:15; 2 Kgs 9:3, 10; 2 Chr 29:3; Job 31:32) (HALOT 986-87 s.v. פתח; BDB 835 s.v. פָּתַח). Although the object דֶּלֶת (“door”) is here omitted, a bedroom door is clearly in mind in 5:2, as indicated by the collocated verb דָּפַק (dafaq, “to knock on a door”) in the preceding line. Translators have often rendered this line woodenly: “Open to me!” (KJV, NASB, NIV); however, NJPS nuances it well: “Let me in!”sn The three-fold repetition of the verb פָּתַח (patakh, “to open”) (Song 5:2, 5, 6) indicates that it is a key word in this section. While it is clear that the verb describes her action of opening the door of her bedroom chamber in 5:2, some suggest that in 5:5-6 it is used figuratively (hypocatastasis: implied comparison) of the Beloved “opening” her female genitalia for sexual intercourse (but see study notes below).
Song of Solomon 5:4 tn Possibly a euphemism (double entendre). The term יָד (yad, “hand”) normally refers simply to the physical hand (HALOT 386 s.v. I יָד 1; BDB 388 s.v. יָד 1). There are, however, at least three occasions when יָד refers to tall stone pillars (translated “monument” or “pillar”), such as those used in Canaanite fertility-cults in the form of phallic representations (1 Sam 15:12; 2 Sam 18:18; Isa 56:5). It is clearly used as a euphemism for the male copulative organ in Isa 57:8, 10. It is now an established fact that yad is sometimes used as a euphemism for the male sexual organ in Ugaritic literature (e.g., text no. 52:33-35) (UT 1072). The noun יָד is also used in the Qumran literature in this sense in a list of penalties for indecent exposure (Manual of Discipline 7:12-15). Thus, several scholars suggest that a subtle double entendre in 5:4-6. The imagery of the man thrusting his “hand” through the “hole” in the door, and the Beloved “opening” to her lover, with her fingers dripped with “myrrh” on the “handles of the lock,” might have a double reference to the literal attempt to gain entry to her bedroom and his desire to make love to her. See M. Delcour, “Two Special Meanings of the Word yd in Biblical Hebrew,” JSS 12 (1967): 230-40.
Song of Solomon 5:4 tn Heb “sent his hand through.” Most scholars suggest that it denotes “to send through,” that is, “to thrust through” or “to extend through.” For example, BDB 1018 s.v. שָׁלַח 3.a proposes that מִן plus שָׁלַח (shalakh plus min) means “to stretch out (his hand) from the outside, inward.” He was attempting to open the door from the outside by extending his hand inside the door through some kind of latch-opening: “he put in his hand by the opening of the door” (KJV), “he extended his hand through the opening” (NASB), “he thrust his hand through the latch-opening” (NIV). Others, however, suggest that the construction מִן plus שָׁלַח denotes “to withdraw from” (e.g., 1 Kgs 13:4). The preposition מִן is taken to mean, not “through,” but “away from.” Thus, he was withdrawing his hand from the latch-opening, that is, he had given up and was leaving. This approach is adopted by NJPS: “My beloved took his hand off the latch.” His departure is clearly stated in 5:6, “I opened [the door] for my beloved, but my beloved had already turned and gone away; my heart sank at his departure!” (see study notes below on 5:6).
Song of Solomon 5:4 tn Heb “hole.” Probably “latch-hole” or “key-hole,” but possibly a euphemism (double entendre). The noun חֹר (khor, “hole”) is used in OT in a literal and metaphorical sense: (1) literal sense: hole bored in the lid of a chest (2 Kgs 12:10); hole in a wall (Ezek 8:7); hole in the ground or cave used as hiding places for men (1 Sam 13:6; 14:11; Isa 42:23); hole in the ground, as the dwelling place of an asp (Isa 11:8); and a hole in a mountain, as the den of lions (Nah 2:13); and (2) figurative sense: hole of an eye (metonymy of association), that is, eye-socket (Zech 14:12) (HALOT 348 s.v. II חֹר; BDB 359 s.v. III חֹר). While the meaning of חֹר in Song 5:4 is clear—“hole”—there is a debate whether it is used in a literal or figurative sense. (1) Literal sense: The lexicons suggest that it denotes “hole of a door, that is, key-hole or latch-opening” (HALOT 348; BDB 359). Most commentators suggest that it refers to a hole bored through the bedroom door to provide access to the latch or lock. The mention in 5:5 of כַּפּוֹת הַמַּנְעוּל (kappot hammanʿul, “latches of the door-bolt”) suggests that the term refers to some kind of opening associated with the latch of the bedroom door. This approach is followed by most translations: “the hole in the door” (JB), “the latch-hole” (NEB), “the latch-opening” (NIV), “the latch-hole” (NEB), “the latch” (RSV, NJPS), and “the opening of the door” (KJV). The assumption that the hole in question was a latch-hole in the door is reflected in Midrash Rabbah: Rabbi Abba ben Kahana said, “Why is the hole of the door mentioned here, seeing that it is a place where vermin swarm?” The situation envisaged by his actions are often depicted thus: In ancient Near Eastern villages, the bolting systems of doors utilized door-bolts and keys made of wood. The keys were often stored either on the outside (!) or inside of the door. If the key was placed on the inside of the door, a small hole was bored through the door so that a person could reach through the hole with the key to unlock the door. The key was often over a foot in length, and the keyhole large enough for a man’s hand. Apparently, he extended his hand through the hole from the outside to try to unbolt the door latch on the inside. He could put his hand through the hole, but could not open the door without the key. (2) Figurative sense: Because of the presence of several erotic motifs in 5:2-8 and the possibility that a double entendre is present (see notes below), several scholars suggest that the term is a euphemism for the female vagina (HALOT 348). They suggest that חֹר (“hole”) is the female counterpart for the euphemistic usage of יָד (“hand”) in 5:4. See A. S. Cook, The Root of the Thing: A Study of Job and the Song of Songs, 110, 123; Cheryl Exum, “A Literary and Structural Analysis of the Song of Songs,” ZAW 85 (1973): 50-51; M. H. Pope, Song of Songs (AB), 518-19.
Song of Solomon 5:4 tn Heb “my inward parts,” “my intestines,” or “my bowels.” Alternately, “my feelings” or “my emotions.” The term מֵעֶה (meʿeh) is used of the internal organs in general (“inward parts”) (e.g., 2 Sam 20:10; 2 Chr 21:15, 18; Pss 22:14; 40:9) or the digestive organs in particular (“intestines, bowels, stomach”) (e.g., Num 5:22; Job 20:14; Ezek 3:3; 7:19; Jonah 2:1-2). It is frequently used as a metonymy of adjunct for the emotions which Hebrew psychology associated with these internal organs (see H. W. Wolff, Anthropology of the Old Testament, 63-66). These include pity (Isa 16:11), lamentation (Jer 48:36), distress (Jer 4:19; Lam 1:20; 2:11), and compassion (Isa 63:15; Jer 31:20) (HALOT 610-11 s.v. מֵעֶה 3; BDB 589 s.v. מֵעֶה 5). Most scholars suggest that the Beloved’s feelings of love were revived—a reversal of her feelings of indifference and apathy in 5:3. This is reflected in many translations which use equivalent English idioms: “the core of my being” (JB) and “my heart” (NIV, NJPS) over the woodenly literal “my bowels” (KJV, NEB, AV). On the other hand, the term is also used to refer to the procreative organs, both male (e.g., Gen 15:4; 2 Sam 7:12; 16:11; Isa 48:19; 2 Chr 32:21) and female (e.g., Gen 25:23; Ruth 1:11; Ps 71:6; Isa 49:1). NASB well renders the line, “my feelings were aroused for him” (NASB).
Song of Solomon 5:4 tn The exact meaning of this Hebrew verb is uncertain. The exact connotation of the verb הָמוּ (hamu) in 5:4 is debated. The verb הָמָה (hamah, “to murmur, growl, roar, be boisterous”) is related to the noun הָמוֹן (hamon, “sound, murmur, roar, noisy crowd”), הֶמְיָה (hemyah, “sound, music”), and perhaps even הָמֻלָה (hamulah, “noise, noisy crowd, crowd”). The Hebrew root המה is related to Aramaic המא (“to roar; to be agitated”). The Hebrew verb הָמָה has a basic two-fold range of meanings: (1) literal: “to make a noise” of some kind and (2) figurative: “to be in commotion, uproar” (e.g., often associated with noise or a noisy crowd). The lexicons suggest six distinct categories: (1) “to make a noise” or “to be in commotion,” particularly by a tumultuous crowd (1 Kgs 1:41; Pss 39:7; 46:7; Prov 1:21; Is 22:2; Mic 2:12); (2) “to roar,” of the sea and sea-waves (Isa 17:12; 51:15; Jer 5:22; 6:23; 31:35; 50:42; 51:55; Ps 46:4); (3) “to make a sound,” e.g., bear growling (Isa 59:11), dog barking (Ps 59:7, 15), bird chirping (Ps 102:8), dove cooing (Ezek 7:16); (4) “to moan,” (Pss 39:7; 55:18; Prov 1:21; Lam 2:18; Ezek 7:16; Zech 9:15); (5) “to be turbulent, boisterous” (Prov 7:11; 9:13; 20:1; Zech 9:5); and (6) figuratively of the internal organs: “to murmur, be restless, be turbulent,” used in reference to pity (Isa 16:11; Jer 4:19; 31:20; 48:36), discouragement (Pss 42:6, 12 HT [42:5, 11 ET]; 43:5), and murmuring in prayer (Pss 55:18; 77:4) (HALOT 250 s.v. המה; BDB 242 s.v. הָמָה). HALOT suggests “to be turbulent” for Song 5:4 (HALOT 250 s.v. 4), while BDB suggests “the thrill of deep-felt compassion or sympathy” (BDB 242 s.v. 2). Commentators offer a spectrum of opinions from the Beloved feeling agitation, pity, compassion, sexual arousal, or a revival of her love for him. A survey of the translations reveals the same lack of consensus: “my bowels were moved for him” (KJV), “my bowels stirred within me” (NEB), “my heart was thrilled within me” (RSV), “I trembled to the core of my being” (JB), “my heart trembled within me” (NAB), “my heart was stirred for him” (JPS, NJPS), “my feelings were aroused for him” (NASB), and “my heart began to pound for him” (NIV). While the precise meaning may never be agreed upon, whatever she was feeling she roused herself from her indifferent apathetic inactivity to arise and open for her beloved in 5:5. The phrase is used similarly elsewhere in OT, rousing the subject to irresistible action (Jer 4:19). The simplest course of action is to nuance this term metonymically (cause for effect), e.g., “my feelings were stirred up for him.”
Song of Solomon 5:6 tn The verb חָמַק (khamaq) occurs only in Song 5:6 (Qal: “to turn away, go leave”) and in Jer 31:22 (Hitpael: “to turn hither and thither”) (HALOT 330 s.v. חמק; BDB 330 s.v. חָמַק). It is related to the noun חָמוּק (“curve, curved lines” of a woman’s hips) which appears only in Song 7:2. This root does not appear in Mishnaic Hebrew nor has it yet been attested in any cognate language. However, it was understood in this sense by LXX παρῆλθεν (parēlthen, “he turned aside”), and also handled in a similar manner in Aquila, Symmachus, Peshitta, and Vulgate.
Song of Solomon 5:6 tn The verbs עָבָר חָמַק (khamaq ʿavar, “he turned away, he went away”) may form a verbal hendiadys. Normally, the first verb will function as an adverb modifying the second which functions in its full verbal sense. Each functions as a perfect of recent past perfect action, describing a past event that took place shortly before another past event: “I opened [past action] for my beloved, but my lover had already turned and gone away [past perfect action].”
Song of Solomon 5:6 tn Heb “my soul went out.” The term נַפְשִׁי (nafshi, “my soul”) is a synecdoche of part for the whole person. The term נֶפֶשׁ (nefesh, “soul”) is used over 150 times as a metonymy of association with feelings: sorrow and distress, joy, love, desire, passion, hatred, loathing, avarice (HALOT 713 s.v. נֶפֶשׁ 8; BDB 660 s.v. נֶפֶשׁ 6). The phrase נַפְשִׁי יָצְאָה (nafshi yats^eʾah, literally, “my soul went out”) is a Hebrew idiom connoting great despair (e.g., Gen 35:18; Jer 15:9). The phrase is well rendered by NIV “my heart sank at his departure.” Verses 6-7 clearly indicate that the Beloved fell into despair when he had departed: She searched desperately for him, but could not find him; she called for him, but he did not answer.
Song of Solomon 5:6 tn Alternately, “spoke.” Traditionally, the term בְדַבְּרוֹ (v^edabb^ero) has been related to the common root דָּבַר (davar, “to speak”) which occurs nearly 1150 times in verbal forms and nearly 1500 times as a noun. This approach is seen as early as the LXX (although the LXX treated דָּבָר as a noun rather than an infinitive construct because it was working with an unpointed text): ἐν λογῷ αὐτοῦ (en logō autou, “in his word”). Although they differ on whether the preposition ב (bet) is temporal (“when”) or respect (“at”), many translations adopt the same basic approach as the LXX: “when he spake” (KJV), “as he spoke” (NASB), “when he spoke” (NIV margin), “at what he said” (JPS, NJPS). However, many recent scholars relate בְדַבְּרוֹ to the homonymic root דָּבַר (“to turn away, depart”) which is related to Akkadian dabaru D “to go away,” Dt “to drive away, push back” (CAD 3:186ff), and Arabic dabara “to turn one’s back, be behind, depart, retreat” (HALOT 209 s.v. II דבר). Several examples of this root have been found (Pss 18:48; 47:4; 56:6; 75:6; 116:10; 127:5; 2 Chr 22:10; Job 19:18; Song 5:6; Isa 32:7) (HALOT 209-10 s.v. I). Several recent translations take this approach: “when he turned his back” (NEB), “at his flight” (JB), and “at his departure” (NIV). This makes better sense contextually (Solomon did not say anything after 5:2a), and it provides a tighter parallelism with the preceding line that also describes his departure: “My beloved had turned away (חָמַק, khamaq); he was gone (עָבַר, ʿavar)” (NIV).
Song of Solomon 5:8 tn The genitive construct חוֹלַת אַהֲבָה (kholat ʾahavah, “sick of love”) denotes “lovesick.” This is an example of a genitive of cause, that is, the Beloved was (physically/emotionally) sick because of her unrequited love for him. See study note on Song 2:5.
Song of Solomon 5:9 tn Heb “How is your beloved [better] than [another] lover?”
Song of Solomon 5:10 sn The Beloved’s praise of his appearance follows the typical literary structure of the ancient Near Eastern love songs: (1) introductory summary praise (5:10), (2) detailed descriptive praise from head to foot (5:11-16a), and (3) concluding summary praise (5:16b). There are several striking features about this song that are unique from the typical love songs. (1) The ordinary setting of the ancient Near Eastern love songs was the wedding night. (2) They were ordinarily sung only by a man in praise of his bride. (3) Normally, the love song will conclude with the feet after the legs; however, the Beloved concludes by praising his mouth after his legs.
Song of Solomon 5:10 sn The term צַח (tsakh, “dazzling”) is ordinarily used to describe the shining surface of jewelry or of smoothed rocks (Ezek 24:7-8; 26:4, 14; Neh 4:7). Likewise, אָדֹם (ʾadom, “ruddy”) can describe the redness of rubies (Lam 4:7). Throughout 5:11-15 she compares his appearance to valuable jewels, gems, and precious metals.
Song of Solomon 5:10 tn The adjective אָדֹם (ʾadom) denotes either “manly” or “ruddy,” depending upon whether it is derived from אָדָם (ʾadam, “man”; HALOT 14 s.v. I אָדָם) or אָדֹם (“red”; HALOT 14 s.v. אָדֹם). If it is “manly,” the idea is that he is the epitome of masculinity and virility. On the other hand, the emphasis would be upon his health and virility, evidenced by his ruddy complexion, or it could be a comparison between his ruddy coloring and the redness of rubies (Lam 4:7).
Song of Solomon 5:10 tn Heb “outstanding.” The participle דָּגוּל (dagul) functions as a predicate adjective: “My beloved is…outstanding among ten thousand.” The verb דָּגַל (dagal) is relatively rare, being derived from the noun דֶּגֶל (degel, “banner”) which often refers to a military standard which, when lifted up, was conspicuous for all to see (Num 2:3-4; 10:14-15). The verb דָּגַל only occurs three other times, all referring to raising military banners for all to see (Ps 20:6; Song 6:4, 10). Song 5:10 uses the term figuratively (hypocatastasis) to denote “outstanding” (HALOT 213 s.v. דֶּגֶל). This sense is closely related to the cognate Akkadian verb dagalu “to look, contemplate” and the noun diglu “eyesight, view (what is looked at).” Like a banner lifted high, he attracted the attention of all who looked at him.
Song of Solomon 5:10 tn Heb “from, among.” The preposition מִן (min) prefixed to רְבָבָה (r^evavah, “ten thousand”) is taken in a comparative, locative sense: “outstanding among ten thousand” (e.g., KJV, RSV, NASB, NIV, NJPS).
Song of Solomon 5:10 tn Heb “among ten thousand.” The numeral “ten thousand” is the highest number used in comparisons in Hebrew poetry (1 Sam 18:7-8; 21:12; 29:5; Ps 91:7). It is not used to mark out a specific number, but to denote an indefinite number of persons of the largest possible proportions (Gen 24:60; Num 10:36; Deut 33:2; Ps 3:7). Her point is simply this: no other man could possibly compare to him in appearance, even if he were in a group of an infinite number of men.
Song of Solomon 5:11 tn Heb “his head is gold of pure gold.” In the genitive construct phrase כֶּתֶם פָּז (ketem paz, literally, “gold of pure gold”) the genitive noun פָּז (paz, “pure gold”) functions as an adjectival genitive modifying כֶּתֶם (“gold”), that is, “pure gold.” The repetition of two different words for “gold” suggests that the phrase should be nuanced “the purest gold.” This phrase is a predicate nominate in a metaphorical statement: “his head is (like) the purest gold.” In the OT gold is frequently used in comparisons to emphasize the idea of beauty, value, or rarity (Job 28:12-19; Pss 19:11; 119:127; Prov 8:19; Isa 13:12; Lam 4:2). Palestine had no known sources of gold, but had to import it, making it a rare and precious commodity (Ruth V. Wright and R. L. Chadbourne, The Gems and Minerals of the Bible, 65).
Song of Solomon 5:11 tn Literally “his locks [of hair] are curls.” The Hebrew adjective תַּלְתָּל (taltal) is a hapax legomenon whose meaning is somewhat unclear. BDB suggests that תַּלְתָּל is from the root תּלל (“mound, heap”; BDB 1068 s.v. I תּלל) which is related to Arabic tl “mound, hill, top” (E. W. Lane, Arabic-English Dictionary, 311) and Akkadian tilu “hill, mound” (AHw 3:1358). On the other hand, HALOT suggests that תַּלְתָּל means “date-panicle” and that it is related to the Akkadian noun taltallu “pollen of date-palm” (HALOT 1741 s.v. תַּלְתַּלִּים). The term occurs in Mishnaic Hebrew as תַּלְתָּל “curls, locks” (Jastrow 1674 s.v. תַּלְתָּל). It is used in the same way in the Song. The form tltl is a reduplicated pattern used for adjectives denoting an intense characteristic (S. Moscati, Comparative Grammar, 78-79, §12.9-13). It functions as a predicate adjective to the subjective nominative קוּצוֹתָיו (qutsotayv, “his locks of hair”).
Song of Solomon 5:13 sn In the genitive construct phrase עֲרוּגַת הַבֹּשֶׂם (ʿarugat habbosem, literally, “beds of balsam”) the term בֹּשֶׂם (bosem) is a genitive of composition, identifying what these gardens were composed of. The term עֲרוּגַת (“garden-beds”) refers to a private garden terrace or garden bed, a rare luxury in Palestine and very expensive to own (Ezek 17:7, 10) (BDB 788 s.v. עֲרוּגָה). The term בֹּשֶׂם (bosem, “balsam”) refers to balsam trees which yielded sweet-smelling oils from which perfumes were produced. The balsam trees should be identified either as Astragalus tragacantha which grew everywhere in Palestine and exude resin from its thorns, or as Commiphora opobalsamum which was not native to Israel but to South Arabia from whence it had to be imported at great cost (2 Chr 9:1) (Fauna and Flora of the Bible, 177-78). She is comparing the beautiful scent of his cologned cheeks to fragrant beds of spice.
Song of Solomon 5:13 tn Alternately, “towers of perfume.” The MT reads מִגְדְּלוֹת (migd^elot) which yields the awkward “towers of perfume.” The term מִגְדָּל (migdal, “tower”) is normally used in reference to (1) watch-towers, defended towers along the city wall, and individual towers in the countryside to protect the borders, (2) storehouses, and (3) a tower in a vineyard (HALOT 543-44 s.v. I מִגְדָּל). It is never used in OT in association with a flower garden. On the other hand, LXX reads φυουσαι (phuousai, “yielding”) which reflects an alternate vocalization tradition of מְגַדְּלוֹת (m^egadd^elot; Piel participle feminine plural from גָּדַל, gadal, “to increase, produce”). This makes good sense contextually because the Piel stem of גָּדַל means “to grow” plants and trees (Isa 44:14; Ezek 31:4; Jonah 4:10) (HALOT 179 s.v. I גדל 2). This revocalization is suggested by BHS editors, as well as the Hebrew lexicographers (HALOT 544 s.v. 2; 179 s.v. I 2; BDB 152 s.v. גָּדַל 1). Several translations follow LXX and revocalize the text (RSV, NIV, NJPS margin): “His cheeks are like beds of spice yielding perfume” (NIV) and “His cheeks are like beds of spice producing perfume” (NJPS margin). The other translations struggle to make sense of the MT, but are forced to abandon a literal rendering of מִגְדְּלוֹת (“towers”): “banks sweet herbs” (ASV), “banks sweetly scented” (JB), “treasure-chambers full of perfume” (NEB), “banks of sweet scented herbs” (NASB), and “banks of perfume” (JPS, NJPS).
Song of Solomon 5:14 tn The term מֵעֶה (meʿeh) is used in reference to several things in the Old Testament: (1) the womb of a woman (Gen 25:23; Isa 49:1; Ps 71:6; Ruth 1:11), (2) a man’s loins (Gen 15:4; 2 Sam 7:12; Isa 48:19; 2 Chr 32:21), (3) the “inward parts” of a person, such as the stomach or intestines which are used to digest food (Num 5:22; Job 20:14; Ezek 3:3; Jonah 2:1-2), and (4) the external stomach or abdominal muscles: “abdomen” (Song 5:14).
Song of Solomon 5:16 tn Heb “sweetnesses.” Alternately, “very delicious.” The term מַמְתַקִּים (mamtaqqim, “sweetness”; HALOT 596 s.v. מַמְתַקִּים; BDB 609 s.v. מַמְתַקִּים) is the plural form of the noun מֹתֶק (moteq, “sweetness”). This may be an example of the plural of intensity, that is, “very sweet” (e.g., IBHS 122 §7.4.3a). The rhetorical use of the plural is indicated by the fact that מַמְתַקִּים (“sweetness”) is functioning as a predicate nominative relative to the singular subjective nominative חִכּוֹ (khikko, “his mouth”).
Song of Solomon 5:16 tn The term מַחֲמַדִּים (makhamaddim, “desirable”) is the plural form of the noun מַחְמַד (makhmad, “desire, desirable thing, precious object”; HALOT 570 s.v. מַחְמָד 1; BDB 326 s.v. מַחְמַד). Like the plural מַמְתַקִּים (“sweetness”) in the preceding parallel line, this use of the plural is probably an example of the plural of intensity: “very desirable.”
Song of Solomon 6:1 tn The phrase “Tell us!” does not appear in the Hebrew but is supplied in the translation for the sake of smoothness.
Song of Solomon 6:1 tn Heb “And we may seek him with you.” The vav-conjunctive on וּנְבַקְשֶׁנּוּ (un^evaq^eshennu, “and we may seek him with you”) denotes purpose/result.
Song of Solomon 6:2 sn The term גַּן (gan, “garden”) is used six other times in the Song. In five cases, it is used figuratively (hypocatastasis) to describe her body or the sexual love of the couple (4:12, 15, 16a, 16b; 5:1). There is only one usage in which it might refer to a real garden (8:13). Thus, this usage of “garden” might be figurative or literal: (1) He went to a real garden for repose. Solomon did, in fact, own a great many gardens (Eccl 2:4-7; 1 Chr 27:27). (2) The “garden” is a figurative description referring either to: (a) the young woman, (b) their sexual love, or (c) Solomon’s harem.
Song of Solomon 6:2 sn The phrase כַּעֲרוּגַת הַבֹּשֶׂם (kaʿarugat habbosem, “flower-beds of balsam”) is used elsewhere in the Song only in 5:13 where it is a simile comparing his cheeks to a flower-bed of balsam yielding perfumed spices. The term הַבֹּשֶׂם (“balsam-spice”) by itself appears five times in the Song, each time as a figure for sexual love (4:10, 14, 16; 5:1; 8:14). Thus, the two options are: (1) the term refers to a real flower-bed of balsam to which Solomon had gone or (2) this term is a figure for sexual love.
Song of Solomon 6:2 tn The verb לִרְעוֹת (lirʿot, “to browse”; so NAB, NIV) is from the root רָעָה (raʿah, “to feed, graze”) which is used seven times in the Song (1:7, 8a, 8b; 2:16; 4:5; 6:2, 3). All its uses appear to be either literal or figurative descriptions of sheep grazing. The verb is used twice in reference to sheep “grazing” in a pasture (1:7, 8). The participle is used once to designate “shepherds” (1:8), once in reference to two fawns which “which graze among the lilies” as a figurative description of her breasts (4:5), and twice as a figurative description of Solomon as “the one who grazes among the lilies” which is probably also a comparison of Solomon to a grazing sheep (2:16; 6:3). Therefore, it is likely that the usage of the term לִרְעוֹת (“to graze”) in 6:2 is also a figurative comparison of Solomon to a sheep grazing among garden flowers. Thus, there are two options: (1) nuance the term לִרְעוֹת as “to browse” (NAB, NIV) and take this as a literal action of Solomon walking through a real garden or (2) nuance the term לִרְעוֹת as “to graze” (NLT) and take this as a figure in which Solomon is pictured as a gazelle grazing on the flowers in a garden.
Song of Solomon 6:2 sn The term שׁוֹשַׁנָּה (shoshannah, “lily”) or שׁוֹשַׁנִים (shoshanim, “lilies”) appears eight times in the Song (2:1, 2, 16; 4:5; 5:13; 6:2, 3; 7:2). Of these five are unequivocally used figuratively as descriptions of a woman or women (2:1, 2), the color and softness of her breasts (4:5), the attractiveness of his lips (5:13), and her waist (7:2). The closest parallel to 6:2 is the description “the one who grazes among the lilies” (2:16; 6:3) which is a figurative expression comparing his romancing of his Beloved with a sheep feeding on lilies. However, this still leaves a question as to what the lilies represent in 2:16; 6:2, 3. The phrase “to gather lilies” itself appears only here in the Song. However, the synonymous phrase “to gather myrrh and balsam spice” is used in 5:1 as a figure (euphemistic hypocatastasis) for sexual consummation by the man of the woman. There are three basic options as to how “lilies” may be taken: (1) The lilies are real flowers; he has gone to a real garden in which to repose and she is picking real lilies. (2) The term “lilies” is a figure for the young woman; he is romancing her just as he had in 2:16 and 5:1. He is kissing her mouth just as a sheep would graze among lilies. (3) The term “lilies” is a figure expression referring to other women, such as his harem (e.g., 6:8-9). Two factors support the “harem” interpretation: (1) Solomon had recently departed from her, and she was desperate to find him after she refused him. (2) His harem is mentioned explicitly in 6:8-9. However, several other factors support the Beloved interpretation: (1) She expresses her confidence in 6:3 that he is devoted to her. (2) The immediately following use of “lilies” in 6:3 appears to refer to her, as in 2:16 and 5:1. (3) He praises her in 6:4-7, suggesting that he was romancing her in 6:2-3. (4) Although his harem is mentioned in 6:8-10, all these women acknowledge that he is disinterested in them and only loves her. (5) Her exultation “I am my beloved’s and my beloved is mine; the one who grazes among the lilies” (6:3) is a statement of assurance in their relationship and this would seem quite strange if he was cavorting with his harem while she said this.
Song of Solomon 6:3 sn This is the second occurrence of the poetic refrain that occurs elsewhere in 2:16 and 7:11. The order of the first two cola are reversed from 2:16: “My beloved is mine and I am his” (2:16) but “I am my beloved’s and he is mine” (6:3). The significance of this shift depends on whether the parallelism is synonymous or climactic. This might merely be a literary variation with no rhetorical significance. On the other hand, it might signal a shift in her view of their relationship: Originally, she focused on her possession of him, now she focused on his possession of her.
Song of Solomon 6:3 tn Or “I belong to my beloved, and my lover belongs to me.” Alternately, “I am devoted to my beloved, and my lover is devoted to me.”

1 Peter 2:19-25

¹⁹For this finds God’s favor,^[a] if because of conscience toward God^[b] someone endures hardships in suffering unjustly. ²⁰For what credit is it if you sin and are mistreated and endure it? But if you do good and suffer and so endure, this finds favor with God.^[c] ²¹For to this you were called, since Christ also suffered for you, leaving an example for you to follow in his steps. ²²He^[d] committed no sin nor was deceit found in his mouth.^[e] ²³When he was maligned, he^[f] did not answer back; when he suffered, he threatened^[g] no retaliation,^[h] but committed himself to God^[i] who judges justly. ²⁴He^[j] himself bore our sins^[k] in his body on the tree, that we may cease from sinning^[l] and live for righteousness. By his^[m] wounds^[n] you were healed.^[o] ²⁵For you were going astray like sheep^[p] but now you have turned back to the shepherd and guardian of your souls.

Footnotes

1 Peter 2:19 tn Grk “For this [is] favor/grace,” used as a metonymy of that which pleases him, which he looks on with favor (cf. BDAG 1079 s.v. χάρις 2). Cf. 1 Pet 2:20.
1 Peter 2:19 tc The expression “consciousness/conscience of God” (συνείδησιν θεοῦ; suneidēsin theou) is unusual, occurring only here in the NT. Because θεοῦ was liable to misinterpretation, several witnesses altered the text, either replacing it with ἀγαθήν (agathēn; C Ψ 323 442 614 630 945 1175 1241 1243 1505 1611 1739 1852 2492 sy) or expanding the expression by adding ἀγαθήν before θεοῦ (P⁷² [A* 33 2344] 81). Replacing θεοῦ with ἀγαθήν conforms to other NT phrases, notably in this same letter (Acts 23:1; 1 Tim 1:5, 19; 1 Pet 3:16, 21), suggesting that such a reading is motivated. The reading θεοῦ, however, has superior support (א A^c B P 049 5 436 1735 M lat co), and best explains the rise of the others.tn Grk “conscious(ness) of God,” an awareness of God and allegiance to him.
1 Peter 2:20 tn Grk “For this [is] favor/grace with God,” used as a metonymy as in vs. 19 of that which pleases him, which he looks on with favor (cf. BDAG 1079 s.v. χάρις 2).
1 Peter 2:22 tn Grk “who,” referring to Christ and applying the quotations from Isa 53 to him. Because of the length and complexity of the Greek sentence, a new sentence was started here in the translation.
1 Peter 2:22 sn A quotation from Isa 53:9.
1 Peter 2:23 tn Grk “who being maligned,” continuing the reference to Christ. Because of the length and complexity of the Greek sentence, a new sentence was started here in the translation.
1 Peter 2:23 tn Grk “he did not threaten, but.”
1 Peter 2:23 sn An allusion to Isa 53:7.
1 Peter 2:23 tn Grk “to the one”; the referent (God) has been specified in the translation for clarity.
1 Peter 2:24 tn Grk “who.” Because of the length and complexity of the Greek sentence, a new sentence was started here in the translation.
1 Peter 2:24 sn A quotation from Isa 53:4, 12.
1 Peter 2:24 tn The verb ἀπογίνομαι (apoginomai) occurs only here in the NT. It can have a literal meaning (“to die”; L&N 74.27) and a figurative meaning (“to cease”; L&N 68.40). Because it is opposite the verb ζάω (zaō, “to live”), many argue that the meaning of the verb here must be “die” (so BDAG 108 s.v.), but even so literal death would not be in view. “In place of ἀποθνῃσκιεν, the common verb for ‘die,’ ἀπογινεθαι serves Peter as a euphemism, with the meaning ‘to be away’ or ‘to depart’” (J. R. Michaels, 1 Peter [WBC 49], 148). It is a metaphorical way to refer to the decisive separation from sin Jesus accomplished for believers through his death; the result is that believers “may cease from sinning.”
1 Peter 2:24 tn Grk “whose.” Because of the length and complexity of the Greek sentence, a new sentence was started here in the translation.
1 Peter 2:24 tn Grk the singular: “wound”; “injury.”
1 Peter 2:24 sn A quotation from Isa 53:5.
1 Peter 2:25 sn A quotation from Isa 53:6.

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Revised Common Lectionary (Semicontinuous)

Footnotes

The Trials of Love: The Beloved’s Dream of Losing Her Lover

The Beloved about Her Lover:

The Lover to His Beloved:

The Beloved to Her Lover:

The Triumph of Love: The Beloved Praises Her Lover

The Beloved to the Maidens:

The Maidens to The Beloved:

The Beloved to the Maidens:

The Lost Lover Found

The Maidens to the Beloved:

The Beloved to the Maidens:

Poetic Refrain: Mutual Possession

The Beloved about Her Lover:

Footnotes

Footnotes