The young man seems to want to add to his lover’s beauty by offering her more jewelry.

We will make: in verse 9 the young man began his comparison with the words “I will compare you,” but here we have a first person plural We. Who does this We refer to? We note there is a close resemblance between this passage and the one in 1.4. There also the text shifted from first person singular to first person plural, and we saw that the “we” could refer to the young woman and her group of friends, to the young woman herself, or to the couple. What is the case here? Is the young man including his friends, or is he speaking on his own? Or is he possibly using a form of endearing speech? The context, we believe, indicates he is speaking of himself. In English there are contexts in which we may use first person plural where the meaning is clearly “I.” If there is a similar use of “we” in the translator’s language, we can certainly retain it here. Otherwise we can translate with a singular “I.”

It may also be possible that this expression means that the young man will not be the one making the jewelry. In some languages people make a distinction between ordering something to be done and actually doing that action themselves. If this is the case it is probably the first sense that is in view. In such languages we may need to include this idea in the translation: “Let’s have some [more] jewelry made for you….”

The ornaments are the same as those described in verse 10. Whether he will give her more of the same or will provide other kinds of jewelry is not clear. Jerusalem Bible here uses “earrings,” distinguishing it from the other trinkets she wears. Perhaps it is wisest to retain the same translation of ornaments that was used in the previous verse, though translators may feel it best to use a more particular term in place of the general one. Gold, a rare and highly valued metal, symbolizes the measure of his love for her.

Studded with silver describes the additional decorations. Studded is the Revised Standard Version attempt to render a rare term whose meaning is not fully clear. The root appears to mean spotted or marked in some fashion, so the term itself may well mean that the gold is inlaid with silver. Some translations understand the silver objects to be separate from the gold ones; so Jerusalem Bible has “beads of silver” as a separate item, and New American Bible “silver ornaments.” The text allows both possibilities, but the root of the participle studded seems to suggest that the gold objects are further decorated with silver. While most languages have a word for gold, some may not have a word for silver. If this is the case we can stress the value or the beauty of the jewelry in a general way: “I will make you the most expensive ornaments, set in the finest metal.”

Possible translations:

• I will make you gold jewelry set in silver.

• I will make gold and silver trinkets for you.

• We will make you more precious jewelry [of the highest value].

Note that Good News Translation sees the verse as contrasting with the previous one. Since the translators of Good News Translation take the description in verse 10 to refer to the young woman’s hair, in this verse they see the young man offering her something to enhance her natural beauty—this time real ornaments: “But we will make for you a chain of gold….” This interpretation does not have much support and so should not be followed.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

The description of the carriage continues.

He made its posts of silver: the sedan chair had four corner posts to support the roof or canopy. These were not made of solid silver but were of wood overlaid with silver (compare Exo 26.32). On the word silver see comments on 1.11.

Its back of gold: our difficulty here lies in the term back. The Hebrew noun occurs only here, though the root has already been used in 2.5 (“refresh me”). Its basic sense seems to be something that is spread out, perhaps a cloth. The Syriac translation has “its carpets.” Good News Translation suggests “cloth.” There is some support for a translation “bolster” or “pillow,” probably in the form of a head rest, as in New English Bible. On the other hand King James Version used “bottom,” and New American Bible uses “roof,” which is similar to Jerusalem Bible “canopy.” Snaith, however, states that there is no reason why the term should not refer to the solid “back” of a seat.

Given this wide variety of scholarly opinion, our solution will be to begin with the basic meaning of “spread” and translate back as “its base.” “Carpet” may be given as the footnote. If translators find this solution acceptable, then of gold will have to be translated “overlaid with gold.” If the decision is to use a term like “carpet” or “cloth,” then we shall have to say “embroidered with gold” or “… with threads of gold.”

Its seat of purple: seat here is a term also used for cushions (Lev 15.9 “saddle”), so either “seat” or “cushions” is acceptable. The adjective purple indicates that they are made from purple cloth, the royal fabric. Many languages will not have a word for purple. We can say “dark red” or perhaps add another adjective, “royal…” or “deep red.”

It was lovingly wrought within causes interpreters numerous difficulties. Literally the phrase is “its interior is fitted out [with] love.” Lovingly is a noun (“love”) in the Hebrew text but is treated as an adverb in the majority of translations; for example, Good News Translation “lovingly woven.” New Revised Standard Version uses the phrase “inlaid with love,” which is similar to New Jerusalem Bible, while Revised English Bible omits it altogether. Pope thinks the term “love” identifies love scenes painted on the interior walls of the carriage. Driver suggested that lovingly is related to an Arabic term meaning “leather” and New English Bible accepts this, saying “its lining was of leather.” Some other versions, including Jerusalem Bible have “ebony,” a dark wood, while New American Bible thinks it refers to “ivory.”

Wrought or “worked” is a Hebrew passive participle meaning “fit together,” “joined together,” “built.” It possibly means “fitted out” in the sense of being decorated. One commentator suggests “inlaid.”

Translation will inevitably be a problem with such wide and varied opinions. A footnote can indicate that the Hebrew text is difficult to understand, and offer another translation. We may wish to say “decorated with leather [or, ivory].” “Inlaid with love” is possible, though we consider it less likely.

We can say:

• Its interior was lovingly decorated.

• Love scenes decorated its interior.

We can also use the other option, but with a footnote:

• Its interior was decorated with ivory.*
Footnote: *Hebrew unclear; some versions read “with love.”

By the daughters of Jerusalem: this clause also causes many problems for interpreters. We are surprised to find the daughters of Jerusalem suddenly on the scene. Up till now, and indeed throughout the text, they serve more like observers rather than actors. We note that the word for daughters in the Hebrew text has a prefix, the preposition m-, translated as “by” in several versions (Revised Standard Version, Good News Translation, New International Version, New Jerusalem Bible). Further we note that the printed Hebrew text places this phrase on a separate line, suggesting it may be connected to what follows in verse 11 rather than to what goes before.

There are several possible ways of dealing with the problem. We can follow the versions cited above, despite the rather awkward wording. This leaves us with a translation such as:

• Its interior was lovingly decorated by the women of Jerusalem.

Or, in active voice:

• The women of Jerusalem had decorated the inside with love scenes.

Another possibility, however, is to treat the m- as the last letter of the previous word “love”; in the text. This would change the word “love” to “ivory”; or possibly “ebony.” This last solution has the advantage of placing “daughters of Jerusalem” at the beginning of verse 11, forming a neat chiastic structure.

As noted above, daughters appears on a separate line in the Hebrew text, a fact which we believe supports this last analysis. The translator should choose one solution or the other and note the alternative in a footnote. We recommend either of the following:

• He made the posts of silver;
The curtains were embroidered in gold.
The cushion was deep purple,
And the interior was lovingly decorated
By the women of Jerusalem.

• He had the supports made in silver,
The back of the chair in gold.
The seat was a royal purple,
All inlaid in ivory.*

Daughters of Jerusalem, (11) come out ….
Footnote: * Hebrew obscure. Some versions have “decorated with love by the daughters of Jerusalem.”

Note that in this last proposal “daughters of Jerusalem” is placed in verse 11. To avoid confusion the two verses can be combined, that is, put under one numbering (10-11).

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

His legs: again we have a metaphor rather than a simile, but it is quite acceptable to translate “His legs are like….” The Hebrew noun refers to the leg below the knee in Judges 15.8, while in 1 Sam 9.24 it applies to the thigh or upper leg. It seems best, in view of the ambiguity, to use the general term leg.

Are alabaster columns: “pillars” or columns refers to his straight and powerful legs. To further describe them as made of alabaster or (white) marble does not necessarily mean they are white, but that like marble columns they are straight and sturdy. Again the comparison with alabaster, a highly prized stone, indicates how precious and valued he is.

Set upon bases of gold: the metaphor of legs standing on gold bases is similar to Sirach 26.18, which speaks of a woman’s legs as golden pillars on silver bases. Again we believe that it is not the color that is the focal point. Columns and bases made of different precious metals recall those in the Tabernacle (Exo 26.19). In Job 38.6 there is a similar portrayal of the universe. In 1.5 the young woman described her beauty as like the curtains in Solomon’s Temple, so it seems that the Temple provided the poet with a source of imagery for talking about highly prized beauty.

Set upon: or “based on.” Like the previous examples of the extended simile, this one merely adds to the description of the columns themselves. It does not mean that he was wearing golden shoes!

A model for translation is:

• Like marble columns set in gold bases, so are his legs strong and sturdy.

His appearance focuses attention on the entire outward form and beauty of the lover. In this part of the verse we have a simile rather than a metaphor; he is like Lebanon. On Lebanon see comments in 4.8, 15. What does this imagery refer to? Lebanon, or its mountains, is an image of strength. Other references to Lebanon’s massive cedar trees also confirm this sense, so this reference to Lebanon probably describes the young man’s imposing stature and strength.

Choice as the cedars is a phrase in apposition with the previous one; it defines more closely what the simile is drawing attention to. Cedars, Lebanon’s primary symbol, also refers to strength and size. We may need to add the classifier “trees” if readers do not know that cedar is a kind of tree. Choice here refers to quality, the excellence or preeminence of its cedars. Jerusalem Bible “unrivalled as the cedars” does not give the exact force of the metaphor, whereas Good News Translation “like their towering cedars” is acceptable. New English Bible has “noble.”

For translation we can say:

• His whole appearance is like [the mountains of] Lebanon, strong like its massive cedar trees.

• He stands like [the mountains of] Lebanon, towering like its cedars.

This verse contains many striking images, and the translator should try to retain the poetic effect. We may say:

• Like columns of marble on bases of gold
His legs are sturdy and fine,
Like the towering mountains of Lebanon,
He stands—noble, like its cedars.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

As noted above, this is a very difficult verse, because we cannot immediately identify the speaker or the relationship between the two parts of the verse.

Who is that coming up from the wilderness, leaning upon her beloved?: for a third time “Who?” opens a discourse. But who is asking the question? Good News Translation, Jerusalem Bible, and New International Version believe it is the chorus, or the daughters. It appears that the lovers are walking together, and some other person(s) is asking the question. The most reasonable solution is perhaps that the daughters are indeed speaking, as was the case in 3.6.

The Who? question here raises another problem. In other contexts these questions have introduced wasfs or descriptions, or they set a scene for what is to come. Here there is no direct answer to the question. (The same was true in 5.9). Our solution here is to see the question as also setting the scene for what follows by bringing the young woman back into the picture.

Who is that…?: the demonstrative that is feminine singular and is generally thought to point to the young woman, especially when later in the verse there is mention of “her beloved.” The latter phrase indicates that people already know who it is, otherwise they would not know that the person accompanying her was her beloved. If necessary we can make the reference clear: “Who is this young woman coming out of the desert?” If we prefer to use a statement form, we can also say “Here she comes from the desert now, the young woman leaning on her lover’s arm.”

Coming up from the wilderness: see comments on this phrase in 3.6. If the word “desert” can be interpreted in a wide or figurative sense, meaning an empty, private place, we can imagine the lovers returning from their secret meeting together. This image of a couple coming up out of the wilderness may also be related to the shepherd image, which was so prominent in 1.7-8.

Leaning upon her beloved: the Hebrew participle leaning is from a root that occurs only here, so its meaning is uncertain. From related languages we can narrow its sense to “clinging to” or “leaning on.” A general expression like “leaning on [her lover]” or “holding closely to [her lover]” will serve well.

As noted above, the question form here is not a real question, so in many languages it will not be natural or even comprehensible. We can then render the question as an exclamation, expressing surprise or joy, “Look who is coming [back]…!”

Under the apple tree I awakened you: obviously there is a change of speaker here. Translations generally indicate this division by leaving a blank line between the two clauses, as in Revised Standard Version.

Our first question concerns the speaker. If we accept that the introduction in the previous half of the verse is presented by the chorus, then we presume it is one of the lovers speaking here. But which one? The problem is complicated by the fact that there are different versions of the ancient texts. The Hebrew text has first person verbs with masculine pronoun objects, “I awakened you [masculine].” This indicates that the young woman is speaking. However, the Syriac translation (second century A.D.) has feminine object markers, suggesting the young man is speaking. Both views can be found in translations. New English Bible, New American Bible, and Jerusalem Bible present the young man as the speaker, while Good News Translation, New International Version, Traduction œcuménique de la Bible, and Bible en français courant consider it to be the young woman. If the latter view is accurate, this is the first time the young man’s mother is referred to (see following line). We will follow the Hebrew text and suggest it is the young woman speaking.

We note that this verse is built on grammatical parallelism. Each poetic line begins with a location phrase: “under the apple tree…,” “there…,” “there….”

Apple tree: see comments on 2.3. It refers to a place of lovemaking. A footnote may be required to indicate this sense.

I awakened you: the verb is the same as in verse 4 (and all the other examples of this refrain). It carries the idea of awakening someone from sleep. Though some commentators relate its meaning to “arouse,” it is not explicitly sexual. A general word like awakened or “roused” is adequate. In translation we can say “I roused you from sleep when you were under the apple tree” or “I woke you when you were sleeping under the apple tree.”

There your mother was in travail with you: this is the first of two parallel clauses, each beginning with the adverb There. It presumably refers back to the phrase “under the apple tree.” However, some believe There speaks of the house to which the couple are walking. It is not obvious from the text that they are walking somewhere, and so this must be considered an overinterpretation. The connection between the apple tree and lovemaking is clear in this setting.

Was in travail with you is the attempt of Revised Standard Version to render the Hebrew root, which can mean “get pregnant” as well as “give birth,” but not travail (as Revised Standard Version, New English Bible). The following clause contains a different verb, which is the more precise and recognized term for giving birth. In Psa 7.15 the two verbs occur in association with each other, meaning “conceive” and “give birth” respectively. Therefore “conceive” should be used here in place of in travail with: “it was there that your mother conceived you.”

There she who bore you was in travail repeats the adverb there for parallel effect. She who bore you parallels the noun phrase “your mother.” It is the subject for the verb referred to above (Revised Standard Version travail) that should be rendered “conceived.” For the verb here we can also say “she who gave birth to you.” We can give its meaning as “[there] she who conceived you gave birth to you,” “[there] she gave you birth,” or “[there] you were born.”

Notice that Good News Translation combines both these parallel clauses into one and simply says “in the place where you were born.” The meaning is not lost, but combining phrases like this sacrifices some of the Hebrew poetic balance and expressiveness.

We have little trouble in determining what the individual clauses mean, but it is difficult to know what the point of this whole passage is. Does it mean the mother conceived and gave birth under the apple tree? Even if the mother conceived her child there, it is not very likely that she would actually give birth to a child under the tree. We cannot be sure of the precise meaning of this half of the verse, so we are forced to render the text as it stands. For translation we can say:

• Under the apple tree I woke you,
There where your mother conceived you,
There where she gave birth to you.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

Although the pronoun “I” forms a bracket or inclusio around verses 1-5, we note that in verse 6 the two lovers are in the same place as in verse 5. Even stylistically verse 5 is linked to the previous verses by the same repetitive sounds. We note, however, that in 8.3 an almost identical verse leads up to the refrain. So in some sense verses 6 and 7 are very closely linked; together they form the refrain that ends the first poem. It is interesting to note that, though the refrain closes many units (2.7; 3.5; 5.8; 8.4), it is only the first and last sections that share this reference to the young man’s arms enclosing his loved one. This feature can also be considered a kind of envelope that surrounds the whole book.

Here we feel the deep longing the woman has for her lover. In Hebrew the opening phrase is without a verb, simply noting that his left hand is under her head. There is a verb phrase in the second half of the verse, so it is this verb embraced that catches our attention. Additionally the verb form is emphatic, stressing the young woman’s pleasure at being “held very close.”

This verse, however, raises certain problems. For example, how are we to interpret its return to third person reference? The addition O that shows that Revised Standard Version/New Revised Standard Version understand the sense as expressing a wish. This is in keeping with the previous verses, where the young woman expresses her intense desire for her lover. At least one version has proposed changing third person into second person imperatives: “Place your left hand under my head and embrace me….” However, many other versions see this more as a descriptive statement rather than a command or request. Good News Translation, Jerusalem Bible, New International Version, Revised English Bible, New American Bible, and Bible en français courant render a simple present: “His left hand is under my head and his right hand caresses [or, embraces] me.” This interpretation provides a better introduction to verse 7, where the daughters of Jerusalem are asked not to disturb their love. We suggest following that interpretation here.

Left hand … right hand: in Hebrew only the words “his left” and “his right” appear. The translator should, of course, use whatever idiom is most appropriate: “hand,” “arm,” or other expression. In some languages it will be more natural or more poetic to use “hand” or “arm” only once.

In many cultures there is an important distinction between the functions of the right and the left hands. The right hand is used for eating, shaking hands, touching, and caressing, while the left hand is reserved for “unclean” tasks. This probably applied in biblical times, so it is only logical that the young man’s left hand is under the woman’s head, while his right hand caresses her. It is important, therefore, to keep this distinction in the translation, especially where the same cultural norms apply.

Embraced has sexual connotations in Pro 5.20, supporting the Good News Translation rendering “caress.” “Hold close” is another possible verb to use.

For translation we can have:

• His left hand is under my head, his right hand holds me close.

• His left hand cradles my head; his right hand caresses me.

• With his left hand, he cradles my head,
with his right, he holds me close.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

The young man continues his praise, with growing intensity. We note that his speech repeats two key expressions from the young woman’s first declaration of love (1.2-3), “love better than wine” and “fragrance of your oils.” Translators should use the same wording to translate in both places so as to highlight the similarity.

Parallel lines are also featured. Two lines begin with the exclamation How…! each time referring to your love. Parallelism also occurs in the last two lines of the comparison. This can be seen if we set out a more literal translation:

How sweet is your love,
my sister, my bride
How good is your love
more than wine
And the fragrance of your oils
more than any spice

Similar Hebrew sounds are also evident in this passage, involving repetition of the sounds a, u, and m. In the last line the two words your oils and spice sound somewhat alike in Hebrew. It will certainly be impossible to imitate these sounds in translation, but there may be some sounds or ideophones that can help portray either the sweetness of the fragrances or the ecstasy of the young man.

How sweet is your love: the young man exclaims in praise of the woman’s beauty. Sweet is from the root “be beautiful,” as in 1.15, 16. As we are dealing with lovemaking, it may be more appropriate to use an adjective like “wonderful.” Some languages may use “delightful,” “charming,” or “delicious,” while many, in fact, use “sweet.” Jerusalem Bible translates “What spells lie in your love.” Though effective in English this can easily lead the translator astray, and so it is not a good model. Our word choice here will certainly be dictated by how we translate the word love below.

Your love: this word was first used in 1.2 by the young woman in addressing her lover. See comments there. But here it is the young man speaking to her. We noted above in the discussion that love is a general word; while it includes emotions, it further refers to every demonstration of love, including sexual activity. Many versions translate your love abstractly, while others refer to particular expressions of love such as “your caresses.” In 1.2 the young woman referred to the young man’s kisses. This is certainly included in the meaning. Certain other languages will only be able to say something like “I love the way you hold me.”

In the Hebrew text the form of the word rendered love is dual rather than the normal plural. Early translations like the Septuagint have taken the text to mean “your breasts,” a phrase with the same Hebrew consonants but slightly different vowels. This probably accounts for the Revised English Bible rendering “how beautiful are your breasts.” We recommend against this interpretation and translation.

The word love occurs twice, once in each of the first two lines, so we have the option of repeating the word or of rendering it by two different words. It may be possible, for example, to use a more general term with a more particular one:

• How wonderful your love is, my sister, my bride!
Your kisses are sweeter ….

• How wonderful are your caresses, my darling, my bride!
Your love is sweeter ….

My sister, my bride: see notes on the previous verse.

How much better is your love than wine: this is similar to the expression used in 1.2. Refer to comments there. Here the adjective better presumably refers to the sweetness of the wine. For wine see 1.2.

The word “good” (better) appears only once in the Hebrew text of this verse, but it applies to the two comparisons. It says that the young woman’s love is better than the taste of wine, and the aroma of her perfume (or oils) is better than all kinds of spices. If possible the translator can find one verb or adjective that applies equally well to both contexts; for example, “better,” “is sweeter,” or “is more pleasing.” If such a word does not exist, then two separate words must be found: “your love is sweeter than wine … your perfume more fragrant than all kinds of spices.”

We noted that these lines open with an exclamatory How…! in Hebrew. This can be expressed following the Revised Standard Version model How …; or alternatively we can add an intensifier such as “so” to the clause: “Your caresses are so wonderful, my sister, my bride! Your caresses are so much sweeter than wine [or, drink]!”

And the fragrance of your oils than any spice: most of the vocabulary here has been used already in 1.3. Refer to comments there. The aroma of the young woman’s oils is more fragrant than any spice. As the woman anointed herself with spiced oils, the significance of his comment can only be guessed at. Perhaps he means to say that she improved the aroma of the spices, or perhaps your oils has a sexual meaning. In any event, a more or less literal translation will be acceptable. The Septuagint here has “your clothes,” probably under the influence of verse 11. We advise against following this minority view. Any spice, from Hebrew “than all spices,” is of course an exaggeration, but this is not surprising, given the young man’s state of mind! We may have to make the basis of comparison clear: “Your perfume smells better than any spice” or “Your oils are more fragrant than any spice.”

There is a rhythmic repetition in this verse which can be rendered if the Hebrew text is followed rather literally:

• How wonderful is your love,
my sister, my bride
How wonderful are your caresses!
They are sweeter than wine!
And the smell of you,
sweeter than any spice!

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .

The song praising the young woman ends on this note. The final clause repeats 6.4b, rounding off the inclusio for this subsection. Note that some translations divide the text differently. Good News Translation separates this verse from the previous unit and ties it with what follows (uniting verses 10-12). New International Version and New Jerusalem Bible isolate it from both the previous and following verses. Elsewhere in the Song questions are most often used as discourse openers, suggesting therefore that verse 10 begins a new section. However, the inclusio “terrible as an army with banners” speaks strongly in favor of its connection to what goes before. For this reason we link this verse with 6.4-9.

The next problem is to determine who is speaking. Bible en français courant and some commentators regard the statement as spoken by the group of women in verses 8 and 9 above, and so end verse 9 with a colon introducing their direct speech. This is certainly a possible interpretation, and if accepted it will have some bearing on the text division. Their speech would be like the refrains that act as closing statements elsewhere. Verse 11 would begin a new unit.

Others see the speech as by the young man, as a final conclusion to his praise of his lover’s unique beauty. This is the approach we will adopt here. In 3.6 a similar rhetorical question was asked by the young woman, so this can be the young man echoing that earlier form. Note, however, that in 3.6 as well the identification of speaker was open to some discussion. Since it is not possible to draw any hard and fast conclusions, the best solution seems to be to regard the speech as either by the young man or by the young women, and indicate the alternative in a footnote.

Who is this …? introduces a rhetorical question. The use of feminine grammatical forms indicates that the focus is on the young woman. The speaker is showing his (or their) delight at her striking beauty. If rhetorical questions can convey wonder and amazement, the translator is urged to preserve the question form, as in Good News Translation and Revised Standard Version. In many languages, however, it will be necessary to modify it to a statement: “This is the one who…” or “She is the one….” Better yet the clause can be rendered as an exclamation. We can also say “Just look at this beautiful woman, gazing down…!” Compare this same feature in 3.6.

Because the comparisons that follow concern the young woman, we can make this clear: “Who, then, is this woman who…?”

That looks forth like the dawn: looks forth is a participle of the Hebrew verb meaning “look down from above.” It is used in the Old Testament to speak of a mountain that overlooks a plain (1 Sam 13.18), of God looking down from heaven (Psa 14.2), or of someone looking out of a window (2 Sam 6.16). In comparing her to the sun and moon, the young man is suggesting that she “shines down on the earth” as they do, bringing warmth and light. Like the dawn seems to refer to the morning star, the last star to remain visible in the morning, though it could also possibly describe the daylight, which chases the darkness away. In any event the young man speaks of his lover as the source of warmth and light. Good News Translation suggests that her “glance” is like the dawn, but this is difficult to understand.

Fair as the moon can be translated “beautiful as the moon.” The adjective “beautiful” is also used in verse 4.

Bright as the sun recalls the description in verse 9, where the daughter is “flawless” in her mother’s eyes. The same adjective is used here. In that context we decided the best translation was “chosen” or “favorite,” but here “pure” seems a more likely interpretation. The sun is indicated by a rare poetic term (in Isa 24.23 and 30.26 it appears in conjunction with “moon” also). It is the sun’s heat which the poet seems to be thinking of, because of the root meaning “hot.” We can render its meaning as “sun’s rays,” giving a possible translation “pure as the sun’s rays.”

Terrible as an army with banners: see comments on verse 4. Good News Translation omits this expression without an adequate explanation and so destroys the inclusio. New English Bible, which omit the phrase from verse 4, preserve it here and translate freely as “majestic as the starry heavens.” We suggest keeping the inclusio by using the same wording used in 6.4. As in verse 4 it will again be necessary to add a footnote to indicate the problem in the Hebrew text.

For translation we can suggest:

• Young man
“Look who’s shining down like the morning star,
beautiful as the full moon,
pure as the sun’s rays,
astonishing to behold.”

• Young man
“Who is this beautiful woman
Shining down like the morning star,
Lovely as the moon, pure as the sun’s rays,
And totally captivating?”*
Footnote: * Hebrew uncertain.

Quoted with permission from Ogden, Graham S. and Zogbo, Lynell. A Handbook on the Book of Song of Songs. (UBS Helps for Translators). New York: UBS, 1998. For this and other handbooks for translators see here .