Song of Solomon 7

Song of Solomon 7:1

VII. (1) How beautiful . . .—Literally, How beautiful are thy feet (or thy steps) in the sandals. This description of the beauty of the bride— “From the delicate Arab arch of her feet To the grace that, bright and light as the crest Of a peacock, sits on her shining head”— is plainly connected with the dance mentioned in the last verse, and possibly proceeds in this order, instead of from the head downwards, because the feet of a dancer would first attract attention. See end of Excursus III. O prince’s daughter!—Heb. Bath-nadib (the LXX. keep Ναδαβ)—evidently again suggested by Amminadib, in Son 6:12. But as the allusion there cannot be recovered, nothing relating to the rank of the heroine can be deduced from the recurrence of nadib (= noble) here. The reference may be to character rather than descent, just as in the opposite expression, “daughter of Belial” (1 Samuel 1:16). Joints.—Heb. chamϋk, from chamah—went away, probably refers to the rapid movements in dancing, and the image is suggested by the graceful curves formed by a chain or pendulous ornament when in motion. Or the reference may be to the contour of the person.

Song of Solomon 7:2

(2) Heap of wheat set about with lilies.—Wetstein (quoted by Delitzsch in his Appendix) remarks that in Syria the colour of wheat is regarded as the most beautiful colour the human body can have; and after remarking on the custom of decorating the heaps of winnowed corn with flowers in token of the joy of harvest, says:—“The appearance of such heaps of wheat, which one may see in long parallel rows on the threshing-floors of a village, is very pleasing to a peasant; and the comparison of the Song (Son 7:5) every Arabian will regard as beautiful.”

Song of Solomon 7:4

(4) Fishpools in Heshbon.—Literally, pools. The Authorised Version follows the Vulg. piscinœ, for which there is no authority. For Heshbon, see Note on Numbers 21:26. The ruins still remain, with the same name Hesban, in the Wady of that name (Robinson, p. 278). “There are many cisterns among the ruins; and towards the south, a few yards from the base of the hill, is a large ancient reservoir, which calls to mind the passage in Son 7:4” (Smith’s Bib. Dict.). Captain Warren took a photograph of “the spring-head of the waters of Hesban,” published by the Palestine Exploration Fund. In regard to the image, comp.— “Adspicies oculos tremulo fulgore micantes Ut sol a liquida sœpe refulget aqua.” Ovid. Art. Am., ii. 722. Comp. also Keats:— “Those eyes, those passions, those supreme pearl springs. The gate of Bath-rabbim.—Doubtless the name of an actual gate, so called from the crowds of people streaming through it: daughter of multitudes.

Song of Solomon 7:5

(5) Carmel.—Marg., crimson, from reading charmξl, which preserves the parallelism with the next clause better. But the whole passage deals in the author’s favourite figures from localities; and certainly the comparison of a finely-set head to a mountain is at least as apt as that in the preceding verse, of the nose to a “tower in Lebanon.” Besides, there may be a play on words, which in turn may have suggested the allusion to purple in the next clause, or possibly the vicinity of Carmel to Tyre may have led to the thought of its famous dyes. Hair.—Heb. dallath, most probably = flowing tresses. For comparison— “Carmine purpurea est Nisi coma.” “Et pro purpureo dat p�nas Scylla capillo. (Comp. πορφύρεοςπλόκαμος in Lucian., and πορφυρᾶιχᾶιται in Anacreon.) So Collins:— “The youths whose locks divinely spreading, Like vernal hyacinths in sullen hue.” Ode to Liberty.The king is held (Marg., bound) in the galleries.—For galleries, see Note on Son 1:17. Translate “A king caught and bound by thy tresses,” i.e., they are so beautiful that a monarch would be caught by them. (Comp.— “When I lie tangled in her hair And fettered in her eye.”)

Song of Solomon 7:7

(7) This thy stature.—Comp. Sir 24:14. Not only was the tall and graceful palm a common figure for female beauty, but its name, tamar, was common as a woman’s name (Genesis 38:6; 2 Samuel 13:1, &c). Clusters of grapes.—The italics were probably added by the English Version to bring the verse into agreement with “clusters of the vine” in the next verse; but no doubt the rich clusters of dates are at the moment in the poet’s thought.

Song of Solomon 7:8

(8) Boughs.—Heb. sansan; only here. Probably a form derived from the sound, like salsal, zalzal, &c, denoting the waving of the long feathery branches of the palm. Smell of thy nose—i.e., “fragrance of thy breath,” ap = nose being used apparently because of the resemblance of its root, anap = breathe, with that of tappuach = apple.

Song of Solomon 7:9

(9) Causing the lips.—The text in this verse has evidently undergone some change. The LXX., in stead of siphtheξ yesheynξm, lips of sleepers, read sephathaξm veshinnayξm, χέιλεσίμουκαὶὸδοῦσι. The Marg., instead of yesheynξm, sleepers, reads yeshanξm, the ancient, which Luther adopts, translating “of the previous year.” Ledτdξ, for my beloved, is evidently either an accidental insertion of the copyist, the eye having caught dτdξ in the next verse, or more probably is wrongly vowelled. The verse is untranslatable as it stands; but by reading ledτdaξ, “to my caresses” (comp. Son 1:2; Son 4:10; Son 7:12), we get a sense entirely harmonious with the context, and this is a change less violent than to reject ledτdξ altogether. It is the old figure, comparing kisses to wine (comp.

Son 1:2; Son 2:4; Son 5:1). “The roof of the mouth” (comp. Son 5:16), or palate, is put by metonymy for the mouth generally. Dτbeb is either from the root dτb, cognate with zτb = flow gently, and means suffusing, in which case we translate “Thy mouth pours out an exquisite wine, which runs sweetly down in answer to my caresses, and suffuses (LXX. ἱκανούμενος, accommodating itself to) our lips as we fall asleep”—or, according to the Rabbinical interpretation, followed by the Authorised Version (which connects dτbeb with dabab, a Talmudic word = speaking), there may be in it the idea of a dream making the lips move as in speech. In this case the lines of Shelley suggest the meaning:— “Like lips murmuring in their sleep Of the sweet kisses which had lulled them there.” Epipsychidion.

Song of Solomon 7:10

(10) I am my beloved’s.—This verse ends a section, not, as in the Authorised Version, begins one.

Song of Solomon 7:11

(11) Forth into the field.—Comp. Son 2:10; Son 6:11. The same reminiscence of the sweet courtship in the happy “woodland places.” It has been conjectured that this verse suggested to Milton the passage beginning, “To-morrow, ere fresh morning streak the East,” &c. (P. L. 4:623, &c)

Song of Solomon 7:12

(12) Tender grape appear.—Literally, vine blossome open. (See Note on Son 2:13.) My loves—i.e., caresses. LXX., as before, read “breasts.”

Song of Solomon 7:13

(13) Mandrakes.—Heb. dûdaîm = love-apples. Suggested probably by the word loves immediately preceding, as well as the qualities ascribed to the plant, for which see Note, Genesis 30:14.