Armenia in comments -- Book: Song of Solomon (Canticles) (tSong) Երգ Երգոց
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tSong 6:8 8 There are sixty queens,
And eighty concubines,
And virgins without number.
9 One is my dove, my perfect one, -
The only one of her mother,
The choice one of her that bare her.
The daughters saw her and called her blessed, -
Queens and concubines, and they extolled her.
Even here, where, if anywhere, notice of the difference of gender was to be expected, המּה stands instead of the more accurate הנּה (e.g., Gen 6:2). The number off the women of Solomon's court, Kg1 11:3, is far greater (700 wives and 300 concubines); and those who deny the Solomonic authorship of the Song regard the poet, in this particular, as more historical than the historian. On our part, holding as we do the Solomonic authorship of the book, we conclude from these low numbers that the Song celebrates a love-relation of Solomon's at the commencement of his reign: his luxury had not then reached the enormous height to which he, the same Solomon, looks back, and which he designates, Ecc 2:8, as vanitas vanitatum. At any rate, the number of 60 מלכות, i.e., legitimate wives of equal rank with himself, is yet high enough; for, according to Ch2 11:21, Rehoboam had 18 wives and 60 concubines. The 60 occurred before, at Sol 3:7. If it be a round number, as sometimes, although rarely, sexaginta is thus used (Hitzig), it may be reduced only to 51, but not further, especially here, where 80 stands along with it. פילגשׁ (פּלּגשׁ), Gr. πάλλαξ παλλακή (Lat. pellex), which in the form פּלּקתּא (פּלקתא) came back from the Greek to the Aramaic, is a word as yet unexplained. According to the formation, it may be compared to חרמשׁ, from חרם, to cut off; whence also the harem bears the (Arab.) name ḥaram, or the separated synaeconitis, to which access is denied. And ending in is (ש) is known to the Assyr., but only as an adverbial ending, which, as 'istinis = לבדּו, alone, solus, shows is connected with the pron. su. These two nouns appear as thus requiring to be referred to quadrilitera, with the annexed שׁ; perhaps פלגשׁ, in the sense of to break into splinters, from פּלג, to divide (whence a brook, as dividing itself in its channels, has the name of פּלג), points to the polygamous relation as a breaking up of the marriage of one; so that a concubine has the name pillěgěsh, as a representant of polygamy in contrast to monogamy.
In the first line of Sol 6:9 אחת is subj. (one, who is my dove, my perfect one); in the second line, on the contrary, it is pred. (one, unica, is she of her mother). That Shulamith was her mother's only child does not, however, follow from this; אחת, unica, is equivalent to unice dilecta, as יחיד, Pro 4:3, is equivalent to unice dilectus (cf. Keil's Zac 14:7). The parall. בּרה has its nearest signification electa (lxx, Syr., Jerome), not pura (Venet.); the fundamental idea of cutting and separating divides itself into the ideas of choosing and purifying. The Aorists, Sol 6:9, are the only ones in this book; they denote that Shulamith's look had, on the part of the women, this immediate result, that they willingly assigned to her the good fortune of being preferred to them all, - that to her the prize was due. The words, as also at Pro 31:28, are an echo of Gen 30:13, - the books of the Chokma delight in references to Genesis, the book of pre-Israelitish origin. Here, in Sol 6:8, Sol 6:9, the distinction between our typical and the allegorical interpretation is correctly seen. The latter is bound to explain what the 60 and the 80 mean, and how the wives, concubines, and "virgins" of the harem are to be distinguished from each other; but what till now has been attempted in this matter has, by reason of its very absurdity or folly, become an easy subject of wanton mockery. But the typical interpretation regards the 60 and the 80, and the unreckoned number, as what their names denote, - viz. favourites, concubines, and serving-maids. But to see an allegory of heavenly things in such a herd of women - a kind of thing which the Book of Genesis dates from the degradation of marriage in the line of Cain - is a profanation of that which is holy. The fact is, that by a violation of the law of God (Deu 17:17), Solomon brings a cloud over the typical representation, which is not at all to be thought of in connection with the Antitype. Solomon, as Jul Sturm rightly remarks, is not to be considered by himself, but only in his relation to Shulamith. In Christ, on the contrary, is no imperfection; sin remains in the congregation. In the Song, the bride is purer than the bridegroom; but in the fulfilling of the Song this relation is reversed: the bridegroom is purer than the bride. Song of Solomon (Canticles) 6:10 tSong 6:10 10 Who is this that looketh forth like the morning-red,
Beautiful as the moon, pure as the sun,
Terrible as a battle-host?
The question, "Who is this?" is the same as at Sol 3:6. There, it refers to her who was brought to the king; here, it refers to her who moves in that which is his as her own. There, the "this" is followed by עלה appositionally; here, by הנּשׁ looking forth determ., and thus more closely connected with it; but then indeterm., and thus apposit. predicates follow. The verb שׁקף signifies to bend forward, to overhang; whence the Hiph. השׁקיף and Niph. שׁקף, to look out, since in doing so one bends forward (vid., under Psa 14:2). The lxx here translates it by ἐκκύπτουσα, the Venet. by παρακύπτουσα, both of which signify to look toward something with the head inclined forward. The point of comparison is, the rising up from the background: Shulamith breaks through the shades of the garden-grove like the morning-red, the morning dawn; or, also: she comes nearer and nearer, as the morning-red rises behind the mountains, and then fills always the more widely the whole horizon. The Venet. translates ὡς ἑωσφόρος; but the morning star is not שׁחר, but בּן־שׁחר, Isa 14:12; shahhar, properly, the morning-dawn, means, in Heb., not only this, like the Arab. shaḥar, but rather, like the Arab. fajr, the morning-red, - i.e., the red tinge of the morning mist. From the morning-red the description proceeds to the moon, yet visible in the morning sky, before the sun has risen. It is usually called ירח, as being yellow; but here it is called לבנה, as being white; as also the sun, which here is spoken of as having risen (Jdg 5:31), is designated not by the word שׁמשׁ, as the unwearied (Psa 19:6, Psa 19:6), but, on account of the intensity of its warming light (Psa 19:7), is called חמּה. These, in the language of poetry, are favourite names of the moon and the sun, because already the primitive meaning of the two other names had disappeared from common use; but with these, definite attributive ideas are immediately connected. Shulamith appears like the morning-red, which breaks through the darkness; beautiful, like the silver moon, which in soft still majesty shines in the heavens (Job 31:26); pure (vid., regarding בּר, בּרוּר in this signification: smooth, bright, pure under Isa.Isa 49:2) as the sun, whose light (cf. טהור with the Aram. מיהרא, mid-day brightness) is the purest of the pure, imposing as war-hosts with their standards (vid., Sol 6:4). The answer of her who was drawing near, to this exclamation, sounds homely and childlike: Song of Solomon (Canticles) 6:11 tSong 6:11 11 To the nut garden I went down
To look at the shrubs of the valley,
To see whether the vine sprouted,
The pomegranates budded.
12 I knew it not that my soul lifted me up
To the royal chariots of my people, a noble (one).
In her loneliness she is happy; she finds her delight in quietly moving about in the vegetable world; the vine and the pomegranate, brought from her home, are her favourites. Her soul - viz. love for Solomon, which fills her soul - raised her to the royal chariots of her people, the royal chariots of a noble (one), where she sits besides the king, who drives the chariot; she knew this, but she also knew it not for what she had become without any cause of her own, that she is without self-elation and without disavowal of her origin. These are Shulamith's thoughts and feelings, which we think we derive from these two verses without reading between the lines and without refining. It went down, she says, viz., from the royal palace, cf. Sol 6:2. Then, further, she speaks of a valley; and the whole sounds rural, so that we are led to think of Etam as the scene. This Etam, romantically (vid., Jdg 15:8 f.) situated, was, as Josephus (Antt. viii. 7. 3) credibly informs us, Solomon's Belvedere. "In the royal stables," he says, "so great was the regard for beauty and swiftness, that nowhere else could horses of greater beauty or greater fleetness be found. All had to acknowledge that the appearance of the king's horses was wonderfully pleasing, and that their swiftness was incomparable. Their riders also served as an ornament to them. They were young men in the flower of their age, and were distinguished by their lofty stature and their flowing hair, and by their clothing, which was of Tyrian purple. They every day sprinkled their hair with dust of gold, so that their whole head sparkled when the sun shone upon it. In such array, armed and bearing bows, they formed a body-guard around the king, who was wont, clothed in a white garment, to go out of the city in the morning, and even to drive his chariot. These morning excursions were usually to a certain place which was about sixty stadia from Jerusalem, and which was called Etam; gardens and brooks made it as pleasant as it was fruitful." This Etam, from whence (the עין עיטם)
(Note: According to Sebachim 54b, one of the highest points of the Holy Land.))
a watercourse, the ruins of which are still visible, supplied the temple with water, has been identified by Robinson with a village called Artas (by Lumley called Urtas), about a mile and a half to the south of Bethlehem. At the upper end of the winding valley, at a considerable height above the bottom, are three old Solomonic pools, - large, oblong basins of considerable compass placed one behind the other in terraces. Almost at an equal height with the highest pool, at a distance of several hundred steps there is a strong fountain, which is carefully built over, and to which there is a descent by means of stairs inside the building. By it principally were the pools, which are just large reservoirs, fed, and the water was conducted by a subterranean conduit into the upper pool. Riding along the way close to the aqueduct, which still exists, one sees even at the present day the valley below clothed in rich vegetation; and it is easy to understand that here there may have been rich gardens and pleasure-grounds (Moritz Lttke's Mittheilung). A more suitable place for this first scene of the fifth Act cannot be thought of; and what Josephus relates serves remarkably to illustrate not only the description of Sol 6:11, but also that of Sol 6:12.
אגוז is the walnut, i.e., the Italian nut tree (Juglans regia L.), originally brought from Persia; the Persian name is jeuz, Aethiop. gûz, Arab. Syr. gauz (gôz), in Heb. with א prosth., like the Armen. engus. גּנּת אגוז is a garden, the peculiar ornament of which is the fragrant and shady walnut tree; גנת אגוזים would not be a nut garden, but a garden of nuts, for the plur. signifies, Mishn. nuces (viz., juglandes = Jovis glandes, Pliny, xvii. 136, ed. Jan.), as תּאנים, figs, in contradistinction to תּאנה, a fig tree, only the Midrash uses אגוזה here, elsewhere not occurring, of a tree. The object of her going down was one, viz., to observe the state of the vegetation; but it was manifold, as expressed in the manifold statements which follow ירדתּי. The first object was the nut garden. Then her intention was to observe the young shoots in the valley, which one has to think of as traversed by a river or brook; for נחל, like Wady, signifies both a valley and a valley-brook. The nut garden might lie in the valley, for the walnut tree is fond of a moderately cool, damp soil (Joseph. Bell. iii. 10. 8). But the אבּי are the young shoots with which the banks of a brook and the damp valley are usually adorned in the spring-time. אב, shoot, in the Heb. of budding and growth, in Aram. of the fruit-formation, comes from R. אב, the weaker power of נב, which signifies to expand and spread from within outward, and particularly to sprout up and to well forth. ב ראה signifies here, as at Gen 34:1, attentively to observe something, looking to be fixed upon it, to sink down into it. A further object was to observe whether the vine had broken out, or had budded (this is the meaning of פּרח, breaking out, to send forth, R. פר, to break),
(Note: Vid., Friedh. Delitzsch, Indo-Germ. Sem. Studien, p. 72.)
- whether the pomegranate trees had gained flowers or flower-buds הנצוּ, not as Gesen. in his Thes. and Heb. Lex. states, the Hiph. of נוּץ, which would be הניצוּ, but from נצץ instead of הנצוּ, with the same omission of Dagesh, after the forms הפרוּ, הרעוּ, cf. Pro 7:13, R. נץ נס, to glance, bloom (whence Nisan as the name of the flower-month, as Ab the name of the fruit-month).
(Note: Cf. my Jesurun, p. 149.)
Why the pomegranate tree (Punica granatum L.), which derives this its Latin name from its fruit being full of grains, bears the Semitic name of רמּון, (Arab.) rummân, is yet unexplained; the Arabians are so little acquainted with it, that they are uncertain whether ramm or raman (which, however, is not proved to exist) is to be regarded as the root-word. The question goes along with that regarding the origin and signification of Rimmon, the name of the Syrian god, which appears to denote
(Note: An old Chald. king is called Rim-Sin; rammu is common in proper names, as Ab-rammu.)
"sublimity;" and it is possible that the pomegranate tree has its name from this god as being consecrated to him.
(Note: The name scarcely harmonizes with רמּה, worm, although the pomegranate suffers from worm-holes; the worm which pierces it bears the strange name (דרימוני) הה, Shabbath 90a.)
In Sol 6:12, Shulamith adds that, amid this her quiet delight in contemplating vegetable life, she had almost forgotten the position to which she had been elevated. ידעתּי לא may, according to the connection in which it is sued, mean, "I know not," Gen 4:9; Gen 21:26, as well as "I knew not," Gen 28:16; Pro 23:35; here the latter (lxx, Aquila, Jerome, Venet., Luther), for the expression runs parallel to ירדתי, and is related to it as verifying or circumstantiating it. The connection לא יד נפשי, whether we take the word נפשי as permut. of the subject (Luther: My soul knew it not) or as the accus. of the object: I knew not myself (after Job 9:21), is objectionable, because it robs the following שׂמתני of its subject, and makes the course of thought inappropriate. The accusative, without doubt, hits on what is right, since it gives the Rebia, corresponding to our colon, to יד; for that which follows with נפשׁי שׂם is just what she acknowledges not to have known or considered. For the meaning cannot be that her soul had placed or brought her in an unconscious way, i.e., involuntarily or unexpectedly, etc., for "I knew not,"as such a declaration never forms the principal sentence, but, according to the nature of the case, always a subordinate sentence, and that either as a conditional clause with Vav, Job 9:5, or as a relative clause, Isa 47:11; cf. Ps. 49:21. Thus "I knew not" will be followed by what she was unconscious of; it follows in oratio directa instead of obliqua, as also elsewhere after ידע, כּי, elsewhere introducing the object of knowledge, is omitted, Ps. 9:21; Amo 5:12. But if it remains unknown to her, if it has escaped her consciousness that her soul placed her, etc., then naphsi is here her own self, and that on the side of desire (Job 23:13; Deu 12:15); thus, in contrast to external constraint, her own most inward impulse, the leading of her heart. Following this, she has been placed on the height on which she now finds herself, without being always mindful of it. It would certainly now be most natural to regard מרכּבות, after the usual constr. of the verb שׂוּם with the double accus., e.g., Gen 28:22; Isa 50:2; Psa 39:9, as pred. accus. (Venet. ἔθετό με ὀχήματα), as e.g., Hengst.: I knew not, thus my soul brought me (i.e., brought me at unawares) to the chariots of my people, who are noble. But what does this mean? He adds the remark: "Shulamith stands in the place of the war-chariots of her people as their powerful protector, or by the heroic spirit residing in her." But apart from the syntactically false rendering of ידעתי לא, and the unwarrantable allegorizing, this interpretation wrecks itself on this, that "chariots" in themselves are not for protection, and thus without something further, especially in this designation by the word מרכבות, and not by רכב (Kg2 6:17; cf. Kg2 2:12; Kg2 13:14), are not war-chariots. מר will thus be the accus of the object of motion. It is thus understood, e.g., by Ewald (sec. 281d): My soul brought me to the chariots, etc. The shepherd-hypothesis finds here the seduction of Shulamith. Hollnder translates: "I perceived it not; suddenly, it can scarcely be said unconsciously, I was placed in the state-chariots of Amminidab." But the Masora expressly remarks that עמי נדיב are not to be read as if forming one, but as two words, תרין מלין.
(Note: עמּי־נדיב, thus in D F: עמּי, without the accent and connected with נדיב by Makkeph. On the contrary, P has עמּינדיב as one word, as also the Masora parva has here noted חדה מלה. Our Masora, however, notes לית ותרתין כתיבין, and thus Rashi and Aben Ezra testify.)
Hitzig proportionally better, thus: without any apprehension of such a coincidence, she saw herself carried to the chariots of her noble people, i.e., as Gesen. in his Thes.: inter currus comitatus principis. Any other explanation, says Hitzig, is not possible, since the accus. מרך in itself signifies only in the direction wither, or in the neighbourhood whence. And certainly it is generally used of the aim or object toward which one directs himself or strives, e.g., Isa 37:23. Koděsh, "toward the sanctuary," Psa 134:2; cf. hashshā'rā, "toward the gate," Isa 22:7. But the accus. mārom can also mean "on high," Isa 22:16, the accus. hashshāmaīm "in the heavens," Kg1 8:32; and as shalahh hāārets of being sent into the land, Num 13:27, thus may also sīm měrkāvāh be used for sim beměrkāvāh, Sa1 8:11, according to which the Syr. (bemercabto) and the Quinta (εἰς ἃρματα) translate; on the contrary, Symm. and Jerome destroy the meaning by adopting the reading שׁמּתני (my soul placed me in confusion). The plur. markevoth is thus meant amplifi., like richvē, Sol 1:9, and battēnu, Sol 1:17.
As regards the subject, Sa2 15:1 is to be compared; it is the king's chariot that is meant, yoked, according to Sol 1:9, with Egypt. horses. It is a question whether nadiv is related adject. to ammi: my people, a noble (people), - a connection which gives prominence to the attribute appositionally, Gen 37:2; Psa 143:10; Eze 34:12, - or permutat., so that the first gen. is exchanged for one defining more closely: to the royal chariot of my people, a prince. The latter has the preference, not merely because (leaving out of view the proper name Amminidab) wherever עם and נדיב are used together they are meant of those who stand prominent above the people, Num 21:18, Ps. 47:10; Psa 113:8, but because this נדיב and בּת־נדיב evidently stand in interchangeable relation. Yet, even though we take נדיב and עמי together, the thought remains the same. Shulamith is not one who is abducted, but, as we read at Sol 3:6 ff., one who is honourably brought home; and she here expressly says that no kind of external force but her own loving soul raised her to the royal chariots of her people and their king. That she gives to the fact of her elevation just this expression, arises from the circumstance that she places her joy in the loneliness of nature, in contrast to her driving along in a splendid chariot. Designating the chariot that of her noble people, or that of her people, and, indeed, of a prince, she sees in both cases in Solomon the concentration and climax of the people's glory. Song of Solomon (Canticles) 6:13