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@ -236,7 +236,7 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
3:11 zhva rc://*/ta/man/translate/figs-abstractnouns וּ⁠בְ⁠י֖וֹם שִׂמְחַ֥ת לִבּֽ⁠וֹ 1 If your language does not use an abstract noun for the idea of **joy**, you could express the same idea with an adjective such as “joyful” or in some other way that is natural in your language. Alternate translation: “on the day his heart was exceedingly joyful” or “on the day when his heart was very joyful” (See: [[rc://en/ta/man/translate/figs-abstractnouns]])
3:11 ei7z rc://*/ta/man/translate/figs-metonymy וּ⁠בְ⁠י֖וֹם שִׂמְחַ֥ת לִבּֽ⁠וֹ 1 Solomon’s inner being is being described by association with his **heart**, which the Jews viewed as being the center of a persons being and therefore the center of their mind and inner feelings. If it would be helpful in your language, you could use an equivalent expression or plain language as modeled by the UST.
3:11 sj76 gaze on King Solomon “look at King Solomon.” The word “gaze” refers to look at someone or something for a long time, usually with strong emotional feeling.
4:intro r3aw 0 # Song of Songs 4 General Notes\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe man describes the woman he loves as the epitome of beauty and attractiveness in [4:1-4:5](../04/01.md) and in [4:7](../04/07.md). \n\n\n### Feelings of longing to be with one’s lover who seems distant and temporarily inaccessible\n\nIn [4:8](../04/08.md) the man speaks of the woman he loves as if she were far away from him and he invites her to “come with” him and “descend from” the height of three high places and be with him. The woman is not actually dwelling in these places but rather the man is using imaginative and poetic language to describe how he feels about being separated from her and to describe his desire to be with her. In [4:12](../04/12.md) the man uses poetic language to describe the fact that the woman he loves is temporarily inaccessible.\n\n\n## Other possible translation difficulties in this chapter\n\n### Metaphors\n\n\n### The Garden Metaphor \n\n[4:12-5:1](../04/12.md) is an extended metaphor. This metaphor is a conversation between the man and the woman he loves in which the man first compares the woman he loves to “a locked garden” (in [4:12-4:15](../04/12.md)) where many delightful things grow and then the woman responds by inviting the man to come to her garden (in [4:16](../04/16.md)). The man then responds to her invitation in [5:1](../05/1.md). The term **garden** is used as a metaphor for the woman in [4:12](../04/12.md), in [4:16](../04/16.md) (two times), and in [5:1](../05/01.md). You should be consistent in how you translate these terms. In [4:13](../04/13.md) the man speaks of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and then in [4:16](../04/16.md) the woman invites the man to **come to his garden and eat its delicious fruit**. (See: [[rc://*/ta/man/translate/figs-exmetaphor]])\n\n### The “sister” metaphor\n\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase the same way each of the five times that it occurs in this book because the author uses it with the same meaning every time. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.\n\n
4:intro r3aw 0 # Song of Songs 4 General Notes\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe man describes the woman he loves as the epitome of beauty and attractiveness in [4:1-4:5](../04/01.md) and in [4:7](../04/07.md). \n\n\n### Feelings of longing to be with one’s lover who seems distant and temporarily inaccessible\n\nIn [4:8](../04/08.md) the man speaks of the woman he loves as if she were far away from him and he invites her to “come with” him and “descend from” the height of three high places and be with him. The woman is not actually dwelling in these places but rather the man is using imaginative and poetic language to describe how he feels about being separated from her and to describe his desire to be with her. In [4:12](../04/12.md) the man uses poetic language to describe the fact that the woman he loves is temporarily inaccessible.\n\n\n## Other possible translation difficulties in this chapter\n\n### Metaphors\n\n\n### The Garden Metaphor \n\n[4:12-5:1](../04/12.md) is an extended metaphor. This metaphor is a conversation between the man and the woman he loves in which the man first compares the woman he loves to “a locked garden” (in [4:12-4:15](../04/12.md)) where many delightful things grow and then the woman responds by inviting the man to come to her garden (in [4:16](../04/16.md)). The man then responds to her invitation in [5:1](../05/1.md). The term **garden** is used as a metaphor for the woman in [4:12](../04/12.md), in [4:16](../04/16.md) (two times), and in [5:1](../05/01.md). You should be consistent in how you translate these terms. In [4:13](../04/13.md) the man speaks of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and then in [4:16](../04/16.md) the woman invites the man to **come to his garden and eat its delicious fruit**. (See: [[rc://*/ta/man/translate/figs-exmetaphor]])\n\n### The “sister” metaphor\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase the same way each of the five times it occurs in this book because the author uses it with the same meaning every time. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.\n\n
4:1 rg3f rc://*/ta/man/translate/figs-parallelism הִנָּ֨⁠ךְ יָפָ֤ה רַעְיָתִ⁠י֙ הִנָּ֣⁠ךְ יָפָ֔ה 1 See how you translated these two parallel phrases in [1:15](../01/15.md).
4:1 m3g6 rc://*/ta/man/translate/figs-metaphor עֵינַ֣יִ⁠ךְ יוֹנִ֔ים מִ⁠בַּ֖עַד לְ⁠צַמָּתֵ֑⁠ךְ 1 See how you translated the phrase **Your eyes are doves** in [1:15](../01/15.md).
4:1 pnn4 rc://*/ta/man/translate/figs-simile שַׂעְרֵ⁠ךְ֙ כְּ⁠עֵ֣דֶר הָֽ⁠עִזִּ֔ים שֶׁ⁠גָּלְשׁ֖וּ מֵ⁠הַ֥ר גִּלְעָֽד 1 Both the color and the motion of the woman’s **hair** is being compared to **a flock of goats that hop down from the slopes of Gilead**. Goats in Israel were black so the original readers would have understood this comparison to mean that the woman’s hair was black. Seen from a distance, a flock of black goats descending down from the high elevation of **Mount Gilead** would have created a majestic visual effect because the goats would have looked like one long flowing mass of black. If it would be helpful to your readers, you could state explicitly these two points of comparison. Alternate translation: “Your black hair moves in graceful waves like a flock of black goats moving down the slopes of Mount Gilead” or “Your long black hair flows in graceful waves like a flock of black goats coming down the slopes of Mount Gilead”
@ -269,7 +269,7 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
4:8 hwn4 תָּשׁ֣וּרִי 1 The word translated as **Descend** here could mean: (1 to come down from a height. If you choose this meaning you can follow the model of the ULT and UST. Alternate translation: “Climb down” (2) to bend down and look. Alternate translation: “Bend down and look”
4:8 m2km rc://*/ta/man/translate/translate-names מֵ⁠רֹ֣אשׁ אֲמָנָ֗ה מֵ⁠רֹ֤אשׁ שְׂנִיר֙ וְ⁠חֶרְמ֔וֹן 1 **Hermon** is a mountain range in northern Israel and **Amana** and **Senir** are both mountain peaks.
4:8 l03h rc://*/ta/man/translate/figs-parallelism מִ⁠מְּעֹנ֣וֹת אֲרָי֔וֹת מֵֽ⁠הַרְרֵ֖י נְמֵרִֽים 1 These two phrases mean very similar things. The second emphasizes the meaning of the first by repeating the same general idea with different words. Hebrew poetry was based on this kind of repetition, and it would be good to show this to your readers by including both phrases in your translation rather than combining them. However, if saying the same thing twice might be confusing for your readers, you could combine the phrases into one as modeled by the UST.
4:9 waew rc://*/ta/man/translate/figs-infostructure לִבַּבְתִּ֖⁠נִי אֲחֹתִ֣⁠י כַלָּ֑ה לִבַּבְתִּ֨י⁠נִי֙ 1 If it would be more natural in your language, you could change the order of these phrases and add the word to show that two of the lines are being used in order to add emphasis. Alternate translation: “My sister, my bride; you have enchanted my heart. Yes, you have enchanted my heart”
4:9 waew rc://*/ta/man/translate/figs-infostructure לִבַּבְתִּ֖⁠נִי אֲחֹתִ֣⁠י כַלָּ֑ה לִבַּבְתִּ֨י⁠נִי֙ 1 If it would be more natural in your language, you could change the order of these phrases and add the word “yes” to show that the phrase **you have enchanted my heart** is repeated in order to add emphasis. Alternate translation: “My sister, my bride; you have enchanted my heart. Yes, you have enchanted my heart”
4:9 d7n7 rc://*/ta/man/translate/figs-idiom לִבַּבְתִּ֖⁠נִי…לִבַּבְתִּ֨י⁠נִי֙ 1 The phrase translated as **you have enchanted my heart** is an idiom which could mean: (1) to steal or capture a persons heart. In Jewish thinking the **heart** was the center of a persons thinking. To capture a persons **heart** probably also had the added meaning of causing them to be so in love that they could not think clearly because they were so overcome with feelings of love. Alternate translation: “You have captured my heart … you have captured my heart” or “It is as though you have captured my heart … it is as though you have captured my heart” or “You have made me feel so in love with you that it is as if I have lost my mind … you have made me feel so in love with you that it is as if I have lost my mind“ (2) the the woman had made the man’s **heart** beat faster. Alternate translation: “You have caused my heart to beat fast … you have caused my heart to beat fast” (3) that the woman had encouraged the man’s **heart**. Alternate translation: “You have encouraged my heart … you have encouraged my heart” or “You have given me heart … you have given me heart”
4:9 vdf7 rc://*/ta/man/translate/figs-metaphor אֲחֹתִ֣⁠י 1 The man and woman are not actually brother and sister. The phrase **my sister** is a term of endearment which expresses affection between lovers. This phrase indicates that the man and woman have a close companionship and deep emotional bond. If calling a lover **my sister** would be offensive or socially inappropriate in your culture you could use a different term of endearment or indicate the meaning of **my sister** with a footnote. Alternately, you could indicate the meaning explicitly as modeled by the UST.
4:10 qy7v rc://*/ta/man/translate/figs-exclamation מַה־…מַה־ 1 Here, the word **How** is used as an exclamation to introduce two statements about how wonderful the woman’s **love** is. Use an exclamation that is natural in your language for communicating this.
@ -301,14 +301,14 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
4:16 l273 rc://*/ta/man/translate/figs-exmetaphor ע֤וּרִי צָפוֹן֙ וּ⁠ב֣וֹאִי תֵימָ֔ן הָפִ֥יחִי גַנִּ֖⁠י יִזְּל֣וּ בְשָׂמָ֑י⁠ו יָבֹ֤א דוֹדִ⁠י֙ לְ⁠גַנּ֔⁠וֹ וְ⁠יֹאכַ֖ל פְּרִ֥י מְגָדָֽי⁠ו 1 Here, the woman continues the “garden” metaphor (that the man began in [4:12](../04/12.md)) by referring to her body as **my garden** and then **his garden**. In this verse the woman calls to the wind to blow on her **garden** so that **its spices flow** into the air and attract the man she loves. The woman then offers her body to the man she loves by inviting him to **come to his garden** (a poetic way of inviting him to come to her and enjoy her body). You should translate the term **garden** here the same way you did in [4:12](../04/12.md) because both uses refer to the woman’s body. In [4:13](../04/13.md) the man spoke of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and here the woman invites the man to **come to his garden and eat its delicious fruit**. If you translated [4:12-15](../04/12.md) as a simile, you should also translate the sentence **Let my beloved come to his garden\nand eat its delicious fruit** as a simile.
4:16 kdi9 יִזְּל֣וּ בְשָׂמָ֑י⁠ו 1 Alternate translation: “and carry the pleasant smell of its spices through the air” or “and make the pleasant smell of its spices flow through the air”
5:intro kdw4 0 # Song of Songs 5 General Notes\n\n## Structure and formatting\n\nVerses 2–7 describe a dream the woman had.\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe woman is described as the epitome of beauty in ancient Israel. Not all cultures share the same standards of beauty.\n\n## Important figures of speech in this chapter\n\n### Metaphors\n\nIn the ancient Near East, it was common to describe a woman using metaphors involving animals. In many cultures today, this can be considered offensive. Different metaphors of beauty are used in different cultures. (See: [[rc://*/ta/man/translate/figs-metaphor]])\n\n## Other possible translation difficulties in this chapter\n\n### “My sister”\n\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase in 5:1, and 5:2 the same way as you translated it in 4:9; 4:10, and 4:12 because the author uses it with the same meaning in this chapter. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.
5:1 zka3 rc://*/ta/man/translate/writing-poetry 0 # General Information:\n\n(See also: [[rc://*/ta/man/translate/figs-parallelism]])
5:1 m575 I have come 0 It is clearly the woman’s lover who is speaking.
5:1 f2qr rc://*/ta/man/translate/figs-metaphor have come into my garden 0 The word “garden” is a metaphor for the woman. The man is finally able to fully enjoy the woman as they make love. (See also: [[rc://*/ta/man/translate/figs-euphemism]])
5:1 f2qr rc://*/ta/man/translate/figs-exmetaphor בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ אָרִ֤יתִי מוֹרִ⁠י֙ עִם־בְּשָׂמִ֔⁠י אָכַ֤לְתִּי יַעְרִ⁠י֙ עִם־דִּבְשִׁ֔⁠י שָׁתִ֥יתִי יֵינִ֖⁠י עִם־חֲלָבִ֑⁠י 1 The man continues using the “garden” metaphor that he began in [4:12](../04/12.md) by again referring to the woman’s body as a **garden**. Here the man accepts the woman’s invitation (that she gave in the previous verse) to enjoy her body. The lines **I have plucked my myrrh with my spice** and **I have eaten my honeycomb with my honey** and **I have drunk my wine with my milk** are all metaphors for the man enjoying the woman’s body. If you used similes to translate [4:12-16](../04/12.md) you should continue to do so here. Alternate translation: “You who are as dear to me as a sister, my bride, I am ready to go with you and enjoy the delights of your body, it will be as though I will be gathering myrrh with my other spices, and eating my honey and honeycomb, and drinking my wine and my milk”
5:1 dr7h rc://*/ta/man/translate/figs-explicit בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ אָרִ֤יתִי מוֹרִ⁠י֙ עִם־בְּשָׂמִ֔⁠י אָכַ֤לְתִּי יַעְרִ⁠י֙ עִם־דִּבְשִׁ֔⁠י שָׁתִ֥יתִי יֵינִ֖⁠י עִם־חֲלָבִ֑⁠י 1 Though the man is speaking as if he has already done these things, he is actually getting ready to do them as the rest of the verse indicates. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “I am going to come to my garden, my sister, my bride; I will pluck my myrrh with my spice.\nI will eat my honeycomb with my honey;\nI will drink my wine with my milk”
5:1 m575 rc://*/ta/man/translate/figs-go בָּ֣אתִי 1 Your language may say “gone” rather than **come** in contexts such as this. Use whichever is more natural. Alternate translation: “I have gone”
5:1 jf09 rc://*/ta/man/translate/figs-infostructure בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ 1 If it would be more natural in your language, you could change the order of these phrases. Alternate translation: “My sister, my bride, I have come to my garden”
5:1 tgd7 rc://*/ta/man/translate/figs-metaphor אֲחֹתִ֣⁠י 1 See how you translated the phrase **my sister** in [4:9](../04/09.md).
5:1 psq4 my bride 0 This Hebrew word can refer to a woman who is married or to one whom a man has arranged to become his son’s wife. If your language has a polite word that a man would use to his wife and that has not been used yet in this book, you could use it here. Otherwise you could use any polite term a man would use with his wife. See how you translated this in [Song of Songs 4:9](../04/08.md).
5:1 lgr1 rc://*/ta/man/translate/figs-metaphor myrrh … spice … honeycomb … honey … wine … milk 0 These are all metaphors for the man enjoying the woman’s body ([Song of Songs 1:13](../01/12.md), [Song of Songs 2:4](../02/03.md), [Song of Songs 4:11](../04/10.md), and [Song of Songs 4:14](../04/12.md)).
5:1 sq9d spice 0 plants that have a strong smell or taste
5:1 i16q rc://*/ta/man/translate/figs-metaphor Eat … drink … be drunk with love 0 Eating and drinking are metaphors for making love. Alternate translation: “Make love … make love … make love until you are fully satisfied”
5:1 bxja rc://*/ta/man/translate/figs-extrainfo אִכְל֣וּ רֵעִ֔ים שְׁת֥וּ וְ⁠שִׁכְר֖וּ דּוֹדִֽים 1 The author does not say who is speaking to the couple here so you should not indicate the speakers explicitly in the text of your translation. However, if you are using section headers to indicate who is speaking, as the UST does, the speakers could be: (1) the “daughters of Jerusalem” who spoke earlier in the book. The daughters of Jerusalem are speaking to the couple at the couple’s wedding. If you are using section headers you can use a phrase such as “The young women of Jerusalem speaking to the couple” or “The young women of Jerusalem speak to the couple at their wedding” (2) a group of people who are the couple’s. If you are using section headers you can use a phrase such as “The couple’s friends speak ” or “The couple’s wedding guests speak”
5:1 i16q rc://*/ta/man/translate/figs-metaphor אִכְל֣וּ רֵעִ֔ים שְׁת֥וּ וְ⁠שִׁכְר֖וּ דּוֹדִֽים 1 Eating and drinking are metaphors which are used to represent the newly married couple enjoying their sexual union. The phrase **be drunk with love** is an encouragement to fully enjoy the delights of their sexual union. If it would help your readers you could express the meaning with a simile. Alternate translation: “Enjoy your marital intimacy and make love until you are fully satisfied as if you are eating food until full and drinking wine freely”
5:1 doim rc://*/ta/man/translate/figs-abstractnouns וְ⁠שִׁכְר֖וּ דּוֹדִֽים 1 If your language does not use an abstract noun for the idea of **love**, you could express the same idea with a verb phrase, as modeled by the UST, or you could translate it in some other way that is natural in your language.
5:2 a7v6 rc://*/ta/man/translate/figs-euphemism 0 # General Information:\n\nThe fourth part of the book begins here. The young woman uses euphemisms to describe her dream so that it can be interpreted in two different ways: (1) the woman describes a dream about a night when the man came to visit her at her house; and (2) the woman describes a dream about starting to sleep with the man.
5:2 biy3 rc://*/ta/man/translate/figs-idiom but my heart was awake 0 The heart is the center of thought and feeling. Alternate translation: “but I could think clearly” or “but I knew what I was feeling”
5:2 tk43 my beloved 0 This phrase refers to the man whom the woman loves. In some languages it may be more natural for her to refer to him as “my lover.” See how you translated this in [Song of Songs 1:13](./12.md). Alternate translation: “my dear one” or “my lover”

1 Reference ID Tags SupportReference Quote Occurrence Note
236 3:11 zhva rc://*/ta/man/translate/figs-abstractnouns וּ⁠בְ⁠י֖וֹם שִׂמְחַ֥ת לִבּֽ⁠וֹ 1 If your language does not use an abstract noun for the idea of **joy**, you could express the same idea with an adjective such as “joyful” or in some other way that is natural in your language. Alternate translation: “on the day his heart was exceedingly joyful” or “on the day when his heart was very joyful” (See: [[rc://en/ta/man/translate/figs-abstractnouns]])
237 3:11 ei7z rc://*/ta/man/translate/figs-metonymy וּ⁠בְ⁠י֖וֹם שִׂמְחַ֥ת לִבּֽ⁠וֹ 1 Solomon’s inner being is being described by association with his **heart**, which the Jews viewed as being the center of a persons being and therefore the center of their mind and inner feelings. If it would be helpful in your language, you could use an equivalent expression or plain language as modeled by the UST.
238 3:11 sj76 gaze on King Solomon “look at King Solomon.” The word “gaze” refers to look at someone or something for a long time, usually with strong emotional feeling.
239 4:intro r3aw 0 # Song of Songs 4 General Notes\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe man describes the woman he loves as the epitome of beauty and attractiveness in [4:1-4:5](../04/01.md) and in [4:7](../04/07.md). \n\n\n### Feelings of longing to be with one’s lover who seems distant and temporarily inaccessible\n\nIn [4:8](../04/08.md) the man speaks of the woman he loves as if she were far away from him and he invites her to “come with” him and “descend from” the height of three high places and be with him. The woman is not actually dwelling in these places but rather the man is using imaginative and poetic language to describe how he feels about being separated from her and to describe his desire to be with her. In [4:12](../04/12.md) the man uses poetic language to describe the fact that the woman he loves is temporarily inaccessible.\n\n\n## Other possible translation difficulties in this chapter\n\n### Metaphors\n\n\n### The Garden Metaphor \n\n[4:12-5:1](../04/12.md) is an extended metaphor. This metaphor is a conversation between the man and the woman he loves in which the man first compares the woman he loves to “a locked garden” (in [4:12-4:15](../04/12.md)) where many delightful things grow and then the woman responds by inviting the man to come to her garden (in [4:16](../04/16.md)). The man then responds to her invitation in [5:1](../05/1.md). The term **garden** is used as a metaphor for the woman in [4:12](../04/12.md), in [4:16](../04/16.md) (two times), and in [5:1](../05/01.md). You should be consistent in how you translate these terms. In [4:13](../04/13.md) the man speaks of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and then in [4:16](../04/16.md) the woman invites the man to **come to his garden and eat its delicious fruit**. (See: [[rc://*/ta/man/translate/figs-exmetaphor]])\n\n### The “sister” metaphor\n\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase the same way each of the five times that it occurs in this book because the author uses it with the same meaning every time. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.\n\n # Song of Songs 4 General Notes\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe man describes the woman he loves as the epitome of beauty and attractiveness in [4:1-4:5](../04/01.md) and in [4:7](../04/07.md). \n\n\n### Feelings of longing to be with one’s lover who seems distant and temporarily inaccessible\n\nIn [4:8](../04/08.md) the man speaks of the woman he loves as if she were far away from him and he invites her to “come with” him and “descend from” the height of three high places and be with him. The woman is not actually dwelling in these places but rather the man is using imaginative and poetic language to describe how he feels about being separated from her and to describe his desire to be with her. In [4:12](../04/12.md) the man uses poetic language to describe the fact that the woman he loves is temporarily inaccessible.\n\n\n## Other possible translation difficulties in this chapter\n\n### Metaphors\n\n\n### The Garden Metaphor \n\n[4:12-5:1](../04/12.md) is an extended metaphor. This metaphor is a conversation between the man and the woman he loves in which the man first compares the woman he loves to “a locked garden” (in [4:12-4:15](../04/12.md)) where many delightful things grow and then the woman responds by inviting the man to come to her garden (in [4:16](../04/16.md)). The man then responds to her invitation in [5:1](../05/1.md). The term **garden** is used as a metaphor for the woman in [4:12](../04/12.md), in [4:16](../04/16.md) (two times), and in [5:1](../05/01.md). You should be consistent in how you translate these terms. In [4:13](../04/13.md) the man speaks of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and then in [4:16](../04/16.md) the woman invites the man to **come to his garden and eat its delicious fruit**. (See: [[rc://*/ta/man/translate/figs-exmetaphor]])\n\n### The “sister” metaphor\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase the same way each of the five times it occurs in this book because the author uses it with the same meaning every time. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.\n\n
240 4:1 rg3f rc://*/ta/man/translate/figs-parallelism הִנָּ֨⁠ךְ יָפָ֤ה רַעְיָתִ⁠י֙ הִנָּ֣⁠ךְ יָפָ֔ה 1 See how you translated these two parallel phrases in [1:15](../01/15.md).
241 4:1 m3g6 rc://*/ta/man/translate/figs-metaphor עֵינַ֣יִ⁠ךְ יוֹנִ֔ים מִ⁠בַּ֖עַד לְ⁠צַמָּתֵ֑⁠ךְ 1 See how you translated the phrase **Your eyes are doves** in [1:15](../01/15.md).
242 4:1 pnn4 rc://*/ta/man/translate/figs-simile שַׂעְרֵ⁠ךְ֙ כְּ⁠עֵ֣דֶר הָֽ⁠עִזִּ֔ים שֶׁ⁠גָּלְשׁ֖וּ מֵ⁠הַ֥ר גִּלְעָֽד 1 Both the color and the motion of the woman’s **hair** is being compared to **a flock of goats that hop down from the slopes of Gilead**. Goats in Israel were black so the original readers would have understood this comparison to mean that the woman’s hair was black. Seen from a distance, a flock of black goats descending down from the high elevation of **Mount Gilead** would have created a majestic visual effect because the goats would have looked like one long flowing mass of black. If it would be helpful to your readers, you could state explicitly these two points of comparison. Alternate translation: “Your black hair moves in graceful waves like a flock of black goats moving down the slopes of Mount Gilead” or “Your long black hair flows in graceful waves like a flock of black goats coming down the slopes of Mount Gilead”
269 4:8 hwn4 תָּשׁ֣וּרִי 1 The word translated as **Descend** here could mean: (1 to come down from a height. If you choose this meaning you can follow the model of the ULT and UST. Alternate translation: “Climb down” (2) to bend down and look. Alternate translation: “Bend down and look”
270 4:8 m2km rc://*/ta/man/translate/translate-names מֵ⁠רֹ֣אשׁ אֲמָנָ֗ה מֵ⁠רֹ֤אשׁ שְׂנִיר֙ וְ⁠חֶרְמ֔וֹן 1 **Hermon** is a mountain range in northern Israel and **Amana** and **Senir** are both mountain peaks.
271 4:8 l03h rc://*/ta/man/translate/figs-parallelism מִ⁠מְּעֹנ֣וֹת אֲרָי֔וֹת מֵֽ⁠הַרְרֵ֖י נְמֵרִֽים 1 These two phrases mean very similar things. The second emphasizes the meaning of the first by repeating the same general idea with different words. Hebrew poetry was based on this kind of repetition, and it would be good to show this to your readers by including both phrases in your translation rather than combining them. However, if saying the same thing twice might be confusing for your readers, you could combine the phrases into one as modeled by the UST.
272 4:9 waew rc://*/ta/man/translate/figs-infostructure לִבַּבְתִּ֖⁠נִי אֲחֹתִ֣⁠י כַלָּ֑ה לִבַּבְתִּ֨י⁠נִי֙ 1 If it would be more natural in your language, you could change the order of these phrases and add the word to show that two of the lines are being used in order to add emphasis. Alternate translation: “My sister, my bride; you have enchanted my heart. Yes, you have enchanted my heart” If it would be more natural in your language, you could change the order of these phrases and add the word “yes” to show that the phrase **you have enchanted my heart** is repeated in order to add emphasis. Alternate translation: “My sister, my bride; you have enchanted my heart. Yes, you have enchanted my heart”
273 4:9 d7n7 rc://*/ta/man/translate/figs-idiom לִבַּבְתִּ֖⁠נִי…לִבַּבְתִּ֨י⁠נִי֙ 1 The phrase translated as **you have enchanted my heart** is an idiom which could mean: (1) to steal or capture a persons heart. In Jewish thinking the **heart** was the center of a persons thinking. To capture a persons **heart** probably also had the added meaning of causing them to be so in love that they could not think clearly because they were so overcome with feelings of love. Alternate translation: “You have captured my heart … you have captured my heart” or “It is as though you have captured my heart … it is as though you have captured my heart” or “You have made me feel so in love with you that it is as if I have lost my mind … you have made me feel so in love with you that it is as if I have lost my mind“ (2) the the woman had made the man’s **heart** beat faster. Alternate translation: “You have caused my heart to beat fast … you have caused my heart to beat fast” (3) that the woman had encouraged the man’s **heart**. Alternate translation: “You have encouraged my heart … you have encouraged my heart” or “You have given me heart … you have given me heart”
274 4:9 vdf7 rc://*/ta/man/translate/figs-metaphor אֲחֹתִ֣⁠י 1 The man and woman are not actually brother and sister. The phrase **my sister** is a term of endearment which expresses affection between lovers. This phrase indicates that the man and woman have a close companionship and deep emotional bond. If calling a lover **my sister** would be offensive or socially inappropriate in your culture you could use a different term of endearment or indicate the meaning of **my sister** with a footnote. Alternately, you could indicate the meaning explicitly as modeled by the UST.
275 4:10 qy7v rc://*/ta/man/translate/figs-exclamation מַה־…מַה־ 1 Here, the word **How** is used as an exclamation to introduce two statements about how wonderful the woman’s **love** is. Use an exclamation that is natural in your language for communicating this.
301 4:16 l273 rc://*/ta/man/translate/figs-exmetaphor ע֤וּרִי צָפוֹן֙ וּ⁠ב֣וֹאִי תֵימָ֔ן הָפִ֥יחִי גַנִּ֖⁠י יִזְּל֣וּ בְשָׂמָ֑י⁠ו יָבֹ֤א דוֹדִ⁠י֙ לְ⁠גַנּ֔⁠וֹ וְ⁠יֹאכַ֖ל פְּרִ֥י מְגָדָֽי⁠ו 1 Here, the woman continues the “garden” metaphor (that the man began in [4:12](../04/12.md)) by referring to her body as **my garden** and then **his garden**. In this verse the woman calls to the wind to blow on her **garden** so that **its spices flow** into the air and attract the man she loves. The woman then offers her body to the man she loves by inviting him to **come to his garden** (a poetic way of inviting him to come to her and enjoy her body). You should translate the term **garden** here the same way you did in [4:12](../04/12.md) because both uses refer to the woman’s body. In [4:13](../04/13.md) the man spoke of the woman’s body as “an orchard of pomegranate trees with delicious fruits” and here the woman invites the man to **come to his garden and eat its delicious fruit**. If you translated [4:12-15](../04/12.md) as a simile, you should also translate the sentence **Let my beloved come to his garden\nand eat its delicious fruit** as a simile.
302 4:16 kdi9 יִזְּל֣וּ בְשָׂמָ֑י⁠ו 1 Alternate translation: “and carry the pleasant smell of its spices through the air” or “and make the pleasant smell of its spices flow through the air”
303 5:intro kdw4 0 # Song of Songs 5 General Notes\n\n## Structure and formatting\n\nVerses 2–7 describe a dream the woman had.\n\n## Special concepts in this chapter\n\n### Beauty\n\nThe woman is described as the epitome of beauty in ancient Israel. Not all cultures share the same standards of beauty.\n\n## Important figures of speech in this chapter\n\n### Metaphors\n\nIn the ancient Near East, it was common to describe a woman using metaphors involving animals. In many cultures today, this can be considered offensive. Different metaphors of beauty are used in different cultures. (See: [[rc://*/ta/man/translate/figs-metaphor]])\n\n## Other possible translation difficulties in this chapter\n\n### “My sister”\n\n\nThe phrase **my sister** is used in 4:9; 4:10, 4:12, 5:1, and 5:2. The man uses this phrase as a term of endearment for the woman he loves. The woman is not actually his sister. You should translate this phrase in 5:1, and 5:2 the same way as you translated it in 4:9; 4:10, and 4:12 because the author uses it with the same meaning in this chapter. See the note at the first occurrence of this phrase in 4:9 for more information regarding this phrase.
304 5:1 zka3 f2qr rc://*/ta/man/translate/writing-poetry rc://*/ta/man/translate/figs-exmetaphor בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ אָרִ֤יתִי מוֹרִ⁠י֙ עִם־בְּשָׂמִ֔⁠י אָכַ֤לְתִּי יַעְרִ⁠י֙ עִם־דִּבְשִׁ֔⁠י שָׁתִ֥יתִי יֵינִ֖⁠י עִם־חֲלָבִ֑⁠י 0 1 # General Information:\n\n(See also: [[rc://*/ta/man/translate/figs-parallelism]]) The man continues using the “garden” metaphor that he began in [4:12](../04/12.md) by again referring to the woman’s body as a **garden**. Here the man accepts the woman’s invitation (that she gave in the previous verse) to enjoy her body. The lines **I have plucked my myrrh with my spice** and **I have eaten my honeycomb with my honey** and **I have drunk my wine with my milk** are all metaphors for the man enjoying the woman’s body. If you used similes to translate [4:12-16](../04/12.md) you should continue to do so here. Alternate translation: “You who are as dear to me as a sister, my bride, I am ready to go with you and enjoy the delights of your body, it will be as though I will be gathering myrrh with my other spices, and eating my honey and honeycomb, and drinking my wine and my milk”
305 5:1 m575 dr7h rc://*/ta/man/translate/figs-explicit I have come בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ אָרִ֤יתִי מוֹרִ⁠י֙ עִם־בְּשָׂמִ֔⁠י אָכַ֤לְתִּי יַעְרִ⁠י֙ עִם־דִּבְשִׁ֔⁠י שָׁתִ֥יתִי יֵינִ֖⁠י עִם־חֲלָבִ֑⁠י 0 1 It is clearly the woman’s lover who is speaking. Though the man is speaking as if he has already done these things, he is actually getting ready to do them as the rest of the verse indicates. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “I am going to come to my garden, my sister, my bride; I will pluck my myrrh with my spice.\nI will eat my honeycomb with my honey;\nI will drink my wine with my milk”
306 5:1 f2qr m575 rc://*/ta/man/translate/figs-metaphor rc://*/ta/man/translate/figs-go have come into my garden בָּ֣אתִי 0 1 The word “garden” is a metaphor for the woman. The man is finally able to fully enjoy the woman as they make love. (See also: [[rc://*/ta/man/translate/figs-euphemism]]) Your language may say “gone” rather than **come** in contexts such as this. Use whichever is more natural. Alternate translation: “I have gone”
307 5:1 jf09 rc://*/ta/man/translate/figs-infostructure בָּ֣אתִי לְ⁠גַנִּ⁠י֮ אֲחֹתִ֣⁠י כַלָּה֒ 1 If it would be more natural in your language, you could change the order of these phrases. Alternate translation: “My sister, my bride, I have come to my garden”
308 5:1 tgd7 rc://*/ta/man/translate/figs-metaphor אֲחֹתִ֣⁠י 1 See how you translated the phrase **my sister** in [4:9](../04/09.md).
309 5:1 psq4 bxja rc://*/ta/man/translate/figs-extrainfo my bride אִכְל֣וּ רֵעִ֔ים שְׁת֥וּ וְ⁠שִׁכְר֖וּ דּוֹדִֽים 0 1 This Hebrew word can refer to a woman who is married or to one whom a man has arranged to become his son’s wife. If your language has a polite word that a man would use to his wife and that has not been used yet in this book, you could use it here. Otherwise you could use any polite term a man would use with his wife. See how you translated this in [Song of Songs 4:9](../04/08.md). The author does not say who is speaking to the couple here so you should not indicate the speakers explicitly in the text of your translation. However, if you are using section headers to indicate who is speaking, as the UST does, the speakers could be: (1) the “daughters of Jerusalem” who spoke earlier in the book. The daughters of Jerusalem are speaking to the couple at the couple’s wedding. If you are using section headers you can use a phrase such as “The young women of Jerusalem speaking to the couple” or “The young women of Jerusalem speak to the couple at their wedding” (2) a group of people who are the couple’s. If you are using section headers you can use a phrase such as “The couple’s friends speak ” or “The couple’s wedding guests speak”
310 5:1 lgr1 i16q rc://*/ta/man/translate/figs-metaphor myrrh … spice … honeycomb … honey … wine … milk אִכְל֣וּ רֵעִ֔ים שְׁת֥וּ וְ⁠שִׁכְר֖וּ דּוֹדִֽים 0 1 These are all metaphors for the man enjoying the woman’s body ([Song of Songs 1:13](../01/12.md), [Song of Songs 2:4](../02/03.md), [Song of Songs 4:11](../04/10.md), and [Song of Songs 4:14](../04/12.md)). Eating and drinking are metaphors which are used to represent the newly married couple enjoying their sexual union. The phrase **be drunk with love** is an encouragement to fully enjoy the delights of their sexual union. If it would help your readers you could express the meaning with a simile. Alternate translation: “Enjoy your marital intimacy and make love until you are fully satisfied as if you are eating food until full and drinking wine freely”
311 5:1 sq9d doim rc://*/ta/man/translate/figs-abstractnouns spice וְ⁠שִׁכְר֖וּ דּוֹדִֽים 0 1 plants that have a strong smell or taste If your language does not use an abstract noun for the idea of **love**, you could express the same idea with a verb phrase, as modeled by the UST, or you could translate it in some other way that is natural in your language.
5:1 i16q rc://*/ta/man/translate/figs-metaphor Eat … drink … be drunk with love 0 Eating and drinking are metaphors for making love. Alternate translation: “Make love … make love … make love until you are fully satisfied”
312 5:2 a7v6 rc://*/ta/man/translate/figs-euphemism 0 # General Information:\n\nThe fourth part of the book begins here. The young woman uses euphemisms to describe her dream so that it can be interpreted in two different ways: (1) the woman describes a dream about a night when the man came to visit her at her house; and (2) the woman describes a dream about starting to sleep with the man.
313 5:2 biy3 rc://*/ta/man/translate/figs-idiom but my heart was awake 0 The heart is the center of thought and feeling. Alternate translation: “but I could think clearly” or “but I knew what I was feeling”
314 5:2 tk43 my beloved 0 This phrase refers to the man whom the woman loves. In some languages it may be more natural for her to refer to him as “my lover.” See how you translated this in [Song of Songs 1:13](./12.md). Alternate translation: “my dear one” or “my lover”