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front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General Introduction\n\n### Outline of the Song of Songs\n\n1. The bride longs for the bridegroom to arrive (1:1–2:7)\n1. The bridegroom praises the woman he loves (2:8–3:5)\n1. The bridegroom arrives and praises the bride (3:6–5:1)\n1. The bride longs for the bridegroom (5:2–6:9)\n1. The bridegroom praises the beauty of his bride (6:1–8:4)\n1. Final thoughts about love between a man and a woman (8:5–14)\n\n### What is the Song of Songs about?\n\nThe Song of Songs is a poem or a series of poems that celebrate love and intimacy between a man and a woman. Jews traditionally have interpreted the book as a picture of God’s love for his people Israel. In the same way, many Christians interpret it as a picture of love between Christ and his bride, the church of all believers.\n\n### Who wrote the Song of Songs?\n\nThe first verse of the book (“The Song of Songs, which is Solomon’s”) gives the idea that King Solomon of Israel wrote it. However, people have interpreted this verse in different ways, so not everyone is persuaded that Solomon wrote it.\n\n### How should the title of this book be translated?\n\nThis book is traditionally titled “Song of Songs,” which means the very best song, or “Song of Solomon.” It may also be called “Songs of Love,” “Great Poems of Love,” or “The Love Songs of Solomon.” (See: [[rc://*/ta/man/translate/translate-names]])\n\n## Part 2: Important Religious and Cultural Concepts\n\n### What place do the descriptions of sexual behavior have in the Song of Songs?\n\nThe Song of Songs approves of sexual behavior expressing love between a husband his wife.\n\n## Part 3: Important Translation Issues\n\n### How many characters are in the Song of Songs?\n\nThe two main characters in this book are the man and the woman, who love each other. The woman also speaks to a group of women called the “daughters of Jerusalem,” and these women make comments. However, it is possible that the group of women is not real and the woman is only imagining them.\n\nSome interpreters believe there may be more characters than these, but this is not certain. The ULT and UST versions recognize only the man, the woman, and the group of women.\n\n### What are the lines about people speaking?\n\nThe Song of Songs is a poem that shows the thoughts and words of a man, a woman, and the woman’s friends. Throughout the poem, the author does not identify the speakers and their audience. So to help readers understand the poem, some translations attempt to identify the speaker and the audience. It is not always certain who the speaker is, so sometimes translations disagree about who is speaking.\n\nBefore each speech, the ULT identifies the speaker and the audience like this: “The woman speaking to the other women,” “The woman speaking to the man,” “The man speaking to the woman,” or “The woman speaking to herself.” Translators are encouraged to include these ways of identifying the speaker and the audience, and to format them differently from the scripture text. The translators should also include a note explaining that these explanations are not actually part of the scripture.\n\n### How should one translate the Song of Songs if the readers will view certain terms as coarse, vulgar, or improper?\n\nReaders might consider many images or forms appearing in the Song of Songs as improper when translated. The translator should try to avoid offensive language if possible, by using expressions that will not cause offense. (See: [[rc://*/ta/man/translate/figs-euphemism]])\n\n### How do I translate metaphors and similes in this book?\n\nThere are many metaphors and similes in this book. These figures of speech are often unclear. If they have sexual meanings, figures of speech describing feelings or emotions are often used to avoid offense by hiding their meaning. However, since their meanings are often unclear, ambiguity in translation is encouraged. You can translate the words as they are written in order to avoid committing to a specific meaning. (See: [[rc://*/ta/man/translate/figs-metaphor]])
front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General Introduction\n\n### Outline of the Song of Songs\n\n1. The bride longs for the bridegroom to arrive (1:1–2:7)\n1. The bridegroom praises the woman he loves (2:8–3:5)\n1. The bridegroom arrives and praises the bride (3:6–5:1)\n1. The bride longs for the bridegroom (5:2–6:9)\n1. The bridegroom praises the beauty of his bride (6:1–8:4)\n1. Final thoughts about love between a man and a woman (8:5–14)\n\n### What is the Song of Songs about?\n\nThe Song of Songs is a poem or a series of poems that celebrate love and intimacy between a man and a woman. Jews traditionally have interpreted the book as a picture of God’s love for his people Israel. In the same way, many Christians interpret it as a picture of love between Christ and his bride, the church of all believers.\n\n### Who wrote the Song of Songs?\n\nThe first verse of the book (“The Song of Songs, which is Solomon’s”) gives the idea that King Solomon of Israel wrote it. However, people have interpreted this verse in different ways, so not everyone is persuaded that Solomon wrote it.\n\n### How should the title of this book be translated?\n\nThis book is traditionally titled “Song of Songs,” which means the very best song, or “Song of Solomon.” It may also be called “Songs of Love,” “Great Poems of Love,” or “The Love Songs of Solomon.” (See: [[rc://*/ta/man/translate/translate-names]])\n\n## Part 2: Important Religious and Cultural Concepts\n\n### What place do the descriptions of sexual behavior have in the Song of Songs?\n\nThe Song of Songs approves of sexual behavior expressing love between a husband his wife.\n\n## Part 3: Important Translation Issues\n\n### How many characters are in the Song of Songs?\n\nThe two main characters in this book are the man and the woman, who love each other. The woman also speaks to a group of women called the “daughters of Jerusalem,” and these women make comments. However, it is possible that the group of women is not real and the woman is only imagining them.\n\nSome interpreters believe there may be more characters than these, but this is not certain. The ULT and UST versions recognize only the man, the woman, and the group of women.\n\n### What are the lines about people speaking?\n\nThe Song of Songs is a poem that shows the thoughts and words of a man, a woman, and the woman’s friends. Throughout the poem, the author does not identify the speakers and their audience. So to help readers understand the poem, some translations attempt to identify the speaker and the audience. It is not always certain who the speaker is, so sometimes translations disagree about who is speaking.\n\nBefore each speech, the ULT identifies the speaker and the audience like this: “The woman speaking to the other women,” “The woman speaking to the man,” “The man speaking to the woman,” or “The woman speaking to herself.” Translators are encouraged to include these ways of identifying the speaker and the audience, and to format them differently from the scripture text. The translators should also include a note explaining that these explanations are not actually part of the scripture.\n\n### How should one translate the Song of Songs if the readers will view certain terms as coarse, vulgar, or improper?\n\nReaders might consider many images or forms appearing in the Song of Songs as improper when translated. The translator should try to avoid offensive language if possible, by using expressions that will not cause offense. (See: [[rc://*/ta/man/translate/figs-euphemism]])\n\n### How do I translate metaphors and similes in this book?\n\nThere are many metaphors and similes in this book. These figures of speech are often unclear. If they have sexual meanings, figures of speech describing feelings or emotions are often used to avoid offense by hiding their meaning. However, since their meanings are often unclear, ambiguity in translation is encouraged. You can translate the words as they are written in order to avoid committing to a specific meaning. (See: [[rc://*/ta/man/translate/figs-metaphor]])\n\n\n### Translating terms of endearment\n\n\nThe terms “my beloved” and “my darling” appear frequently throughout this book. These terms should be translated the same consistently throughout the book.
1:intro xrm2 0 # Song of Songs 1 General Notes\n\n## Special concepts in this chapter\n\n### Kisses\n\nThe kisses in this chapter are a type of kiss that was only done between a husband a wife. It is an intimate kiss. (See: [[rc://*/ta/man/translate/figs-explicit]])\n\n### Love and affection\n\nThis chapter is centered on the feelings of love, affection, and attraction. Different cultural standards may make translation difficult and the translator may use euphemisms to avoid offending people. (See: [[rc://*/ta/man/translate/figs-euphemism]])\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### “I am dark”\nIn the ancient Near East, rich people usually had lighter skin because they did not need to work outside in the sun. This young woman had to work out in the sun, and her skin became darker than it was when she was younger.
1:1 dsf1 rc://*/ta/man/translate/writing-poetry שִׁ֥יר הַ⁠שִּׁירִ֖ים אֲשֶׁ֥ר לִ⁠שְׁלֹמֹֽה 1 This verse is the title of this book. Use whatever formatting convention is most natural in your language for indicating that something is the title of a poem or song. The ULT places this line further to the left than the other lines in this book to indicate that this verse is the title of the book.
1:1 qbe2 rc://*/ta/man/translate/figs-possession שִׁ֥יר הַ⁠שִּׁירִ֖ים 1 The possessive form is being used here to indicate a comparison with other **songs** and to show that this **song** is the best or greatest of all **songs**. If it would be helpful in your language, you could use another form to indicate this. Alternate translation: “The best song” or “The most excellent song” or “The greatest song”
@ -142,7 +142,7 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
2:9 pppj rc://*/ta/man/translate/figs-explicit זֶ֤ה 1 Here, the phrase **this one** refers to the man who the woman calls **My beloved** in the first part of this verse. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “this man” or “my beloved”
2:9 umf5 rc://*/ta/man/translate/figs-exclusive אַחַ֣ר כָּתְלֵ֔⁠נוּ 1 Here, the word **our** refers to the woman and her family and does not include the man, so use the exclusive form of that word in your translation if your language marks that distinction. Alternate translation: “behind the wall of my house” or “on the other side of the wall of my family’s house”
2:9 kf9u rc://*/ta/man/translate/figs-parallelism מַשְׁגִּ֨יחַ֙ מִן־הַֽ⁠חֲלֹּנ֔וֹת מֵצִ֖יץ מִן־הַֽ⁠חֲרַכִּֽים 1 These two phrases mean basically the same thing. The second emphasizes the meaning of the first by repeating the same 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 it would be helpful to your readers, you could connect the phrases with a word other than **and** in order to show that the second phrase is repeating the first one, not saying something additional. Alternate translation: “gazing through the windows, yes, looking through the lattice”
2:9 nuxr rc://*/ta/man/translate/translate-plural הַֽ⁠חֲלֹּנ֔וֹת…הַֽ⁠חֲרַכִּֽים 1 Here, the words **windows** and **lattices** are plural forms and could: (1) be used with singular meanings here. Because the author says that the man **is standing** instead of indicating that he is walking around the outside of the house, it is likely that these terms have singular meanings here. Alternate translation: “the window … the lattice” (2) have a plural meaning indicating that the man was walking around the house and looking into the house through different windows and lattices. If you decide that these two terms have a plural meaning here you can translate them in a similar way to the ULT.
2:9 nuxr rc://*/ta/man/translate/translate-plural הַֽ⁠חֲלֹּנ֔וֹת…הַֽ⁠חֲרַכִּֽים 1 Here, the words **windows** and **lattices** are plural forms and could: (1) have a plural meaning here indicating that the man was walking around the house and looking into the house through different windows and lattices. If you decide that these two terms have a plural meaning here you can translate them in a similar way to the ULT. (2) be used with singular meanings here. Alternate translation: “the window … the lattice”
2:9 s9xt rc://*/ta/man/translate/translate-unknown הַֽ⁠חֲרַכִּֽים 1 A “lattice” is a cover inside a window frame that is made by weaving strips of wood together. **lattices** have holes that people can look through. If your readers would not be familiar with **lattices**, you could use the name of something similar in your area or you could describe **lattices** as modeled by the UST. Alternate translation: “the screen”
2:10 gr22 rc://*/ta/man/translate/figs-go וּ⁠לְכִי־לָֽ⁠ךְ 1 Your language may say “go” rather than **come** in contexts such as this. Use whichever is more natural. Alternate translation: “and go”
2:11 yv91 rc://*/ta/man/translate/figs-exclamation הִנֵּ֥ה ה⁠סתו 1 The man is using the term **Behold** to focus attention on what he is about to say. Use an exclamation that is natural in your language for communicating this. Alternate translation: “see that the winter”
@ -346,6 +346,7 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
5:12 m6e7 rc://*/ta/man/translate/figs-simile עֵינָ֕י⁠ו כְּ⁠יוֹנִ֖ים עַל־אֲפִ֣יקֵי מָ֑יִם רֹֽחֲצוֹת֙ בֶּֽ⁠חָלָ֔ב יֹשְׁב֖וֹת עַל־מִלֵּֽאת 1 In [1:15](../01/15.md) the man said to the woman, “your eyes are doves.” Here, the woman says this to the man and adds the word **like** and extends the comparison between **doves** and **eyes** by adding the phrase **bathing in milk** which explains what color the doves (eyes) are and by adding two parallel phrases, **beside stream beds of water** and **sitting by the pools**, both of which describe the **doves** as being by water. If it would be helpful to your readers, you could add the words “that are” and “and” to show that the comparison continues throughout the verse. Alternately, you could express the meaning in plain language as modeled by the UST. Alternate translation: “His eyes are like doves beside stream beds of water,\nthat are bathing in milk and sitting beside the pools”
5:12 knr8 rc://*/ta/man/translate/figs-parallelism עֵינָ֕י⁠ו כְּ⁠יוֹנִ֖ים עַל־אֲפִ֣יקֵי מָ֑יִם רֹֽחֲצוֹת֙ בֶּֽ⁠חָלָ֔ב יֹשְׁב֖וֹת עַל־מִלֵּֽאת 1 The phrases **beside stream beds of water** and **sitting by the pools** mean basically the same thing. They both describe the **doves** as being by water. 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 it would be helpful to your readers, you could combine them. Alternate translation: “His eyes are like doves beside stream beds of water, bathing in milk” or “His eyes are like doves bathing in milk, sitting by the pools”
5:13 mem2 rc://*/ta/man/translate/figs-simile לְחָיָ⁠ו֙ כַּ⁠עֲרוּגַ֣ת הַ⁠בֹּ֔שֶׂם מִגְדְּל֖וֹת מֶרְקָחִ֑ים 1 Here, the man’s **cheeks** are compared to a garden, or an area in a garden, used for planting **spices**. The phrase **yielding herbal spices** further describes the first line. The point of this comparison is that the man’s **cheeks** smell **like planters of spices, yielding herbal spices**. If it would be helpful to your readers, you could explain the basis of this comparison. Alternate translation: “His cheeks smell like a bed of spices that produce herbal spices”
5:13 h8iu כַּ⁠עֲרוּגַ֣ת הַ⁠בֹּ֔שֶׂם 1 Here, the term translated as **bed** refers to an area in a garden used for planting. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “like an area for planting spices” or “like a garden bed of spices” or “like planters of spices”
5:13 a4hu rc://*/ta/man/translate/figs-metaphor שִׂפְתוֹתָי⁠ו֙ שֽׁוֹשַׁנִּ֔ים נֹטְפ֖וֹת מ֥וֹר עֹבֵֽר 1 Here, the woman compares the man’s **lips** to **lilies** that are **dripping with flowing myrrh**. The woman probably compares his lips with **lilies, dripping with flowing myrrh** because of the sweet smell of both **lilies** and **myrrh** and because of the beauty and softness of **lilies** and because the man’s kisses are wet like **flowing myrrh**. If it would be helpful to your readers, you could express the meaning with a simile or you could state the meaning plainly. Alternate translation: “His lips are beautiful, fragrant, and soft. His kisses are sweet sweet-smelling and moist”
5:13 t4f1 rc://*/ta/man/translate/translate-unknown שֽׁוֹשַׁנִּ֔ים 1 See how you translated **lilies** in [2:16](../02/16.md).
5:13 x8c2 rc://*/ta/man/translate/figs-explicit מ֥וֹר עֹבֵֽר 1 See how you translated the phrase **flowing myrrh** in [5:5](../05/05.md).
@ -369,15 +370,13 @@ front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General
6:1 emy4 הַ⁠יָּפָ֖ה בַּ⁠נָּשִׁ֑ים 1 See how you translated the phrase **most beautiful woman among women** in [1:8](../01/08.md).
6:1 pypx אָ֚נָה פָּנָ֣ה דוֹדֵ֔⁠ךְ 1 Alternate translation: “Which way did your beloved go”
6:1 ise2 rc://*/ta/man/translate/figs-ellipsis וּ⁠נְבַקְשֶׁ֖⁠נּוּ עִמָּֽ⁠ךְ 1 The women of Jerusalem are leaving out some of the words that a sentence would need in many languages to be complete. If your readers might misunderstand this, you could supply these words from the context. Alternate translation: “tell us, so that we can seek him with you” or “tell us, and let us seek him with you”
6:2 vrq9 rc://*/ta/man/translate/figs-metaphor My beloved has gone down to his 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 the explanation of this metaphor in [Song of Songs 5:1](../05/01.md). (See also: [[rc://*/ta/man/translate/figs-euphemism]])
6:2 v5x3 rc://*/ta/man/translate/figs-metaphor beds of spices 0 gardens or parts of gardens where people grow spices. See how you translated this in [Song of Songs 5:13](../05/13.md).
6:2 w7gn rc://*/ta/man/translate/figs-metaphor to graze in the garden and to gather lilies 0 These words are metaphors for the man enjoying her body.
6:2 st2n rc://*/ta/man/translate/figs-metaphor graze 0 “feeds” or “eats grass.” The woman speaks of the man as if he were “a gazelle or a young stag” ([Song of Songs 2:17](../02/16.md)) that eats plants among the lilies. Grazing is probably a metaphor for lovemaking ([Song of Songs 2:1–2](../02/01.md)). See how you translated “he grazes” in [Song of Songs 2:16](../02/16.md).
6:2 e94c to gather lilies 0 Alternate translation: “to pick lilies”
6:2 gp6q lilies 0 sweet-smelling flowers that grow in places where there is much water. Translate as the plural of “lily” in [Song of Songs 2:1](../02/01.md).
6:3 z5rf 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”
6:3 lr7w I am my beloved’s, and my beloved is mine 0 See how you translated the similar phrase “My beloved is mine, and I am his” in [Song of Songs 2:16](../02/16.md).
6:3 p4l4 he grazes among the lilies with pleasure 0 See how you translated this in [Song of Songs 2:16](../02/16.md).
6:2 vrq9 rc://*/ta/man/translate/figs-metaphor דּוֹדִ⁠י֙ יָרַ֣ד לְ⁠גַנּ֔⁠וֹ לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם לִ⁠רְעוֹת֙ בַּ⁠גַּנִּ֔ים וְ⁠לִ⁠לְקֹ֖ט שֽׁוֹשַׁנִּֽים 1 Here, the word **garden** and **gardens** both refer to the woman’s body. The woman is continuing to use the “garden” metaphor that was used in [4:12-5:1](../04/12.md) by again referring to her body as a **garden**. The phrase **graze in the gardens** and **glean lilies** are both metaphors for the man enjoying the woman’s body. If you used similes to translate [4:12-5:1](../04/12.md) you should continue to use similes here. Alternate translation: “My beloved went to me. I am like a garden where beds of spices grow. He came to me in order to enjoy my body like a gazelle grazing in gardens and like a person gleaning lilies”
6:2 jgeu rc://*/ta/man/translate/figs-explicit דּוֹדִ⁠י֙ יָרַ֣ד לְ⁠גַנּ֔⁠וֹ לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם 1 The phrase **to the beds of spices** explains where in the **garden** the man **went down to** and is not describing a separate location from the **garden** (woman). If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “My beloved went down to the beds of spices in his garden” or “My beloved went to me who is like his garden where beds of spices grow”
6:2 twm5 rc://*/ta/man/translate/figs-go יָרַ֣ד 1 Your language may say “gone” rather than **went** in contexts such as this. Use whichever is more natural. Alternate translation: “has gone down”
6:2 pr3t לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם 1 See how you translated the similar phrase **bed of spices** in [5:13](../05/13.md).
6:2 uprg rc://*/ta/man/translate/figs-explicit בַּ⁠גַּנִּ֔ים 1 Here, the phrase **the gardens** refers to the woman just like the phrase **his garden** earlier in the verse does. If it would be helpful to your readers, you could indicate that explicitly by translating the phrase **the gardens** as “his gardens” or “his garden.” Alternate translation: “in his gardens” or “in his garden”
6:3 lr7w אֲנִ֤י לְ⁠דוֹדִ⁠י֙ וְ⁠דוֹדִ֣⁠י לִ֔⁠י 1 See how you translated the similar phrase “My beloved belongs to me and I belong to him” in [2:16](../02/16.md).
6:3 p4l4 rc://*/ta/man/translate/figs-metaphor הָ⁠רֹעֶ֖ה בַּ⁠שׁוֹשַׁנִּֽים 1 See how you translated the similar phrase “the man grazing among the lilies” in [2:16](../02/16.md).
6:4 q66q 0 # General Information:\n\nHere begins Part Five of the book
6:4 xk88 rc://*/ta/man/translate/figs-simile as beautiful as Tirzah, my love, as lovely as Jerusalem 0 These cities were famous for being beautiful and pleasant to be in. The man thinks the woman is beautiful, and he takes pleasure in being with her.
6:4 nj8w my love 0 “you whom I love.” See how you translated this in [Song of Songs 1:9](../01/09.md).

1 Reference ID Tags SupportReference Quote Occurrence Note
2 front:intro an3g 0 # Introduction to the Song of Songs\n\n## Part 1: General Introduction\n\n### Outline of the Song of Songs\n\n1. The bride longs for the bridegroom to arrive (1:1–2:7)\n1. The bridegroom praises the woman he loves (2:8–3:5)\n1. The bridegroom arrives and praises the bride (3:6–5:1)\n1. The bride longs for the bridegroom (5:2–6:9)\n1. The bridegroom praises the beauty of his bride (6:1–8:4)\n1. Final thoughts about love between a man and a woman (8:5–14)\n\n### What is the Song of Songs about?\n\nThe Song of Songs is a poem or a series of poems that celebrate love and intimacy between a man and a woman. Jews traditionally have interpreted the book as a picture of God’s love for his people Israel. In the same way, many Christians interpret it as a picture of love between Christ and his bride, the church of all believers.\n\n### Who wrote the Song of Songs?\n\nThe first verse of the book (“The Song of Songs, which is Solomon’s”) gives the idea that King Solomon of Israel wrote it. However, people have interpreted this verse in different ways, so not everyone is persuaded that Solomon wrote it.\n\n### How should the title of this book be translated?\n\nThis book is traditionally titled “Song of Songs,” which means the very best song, or “Song of Solomon.” It may also be called “Songs of Love,” “Great Poems of Love,” or “The Love Songs of Solomon.” (See: [[rc://*/ta/man/translate/translate-names]])\n\n## Part 2: Important Religious and Cultural Concepts\n\n### What place do the descriptions of sexual behavior have in the Song of Songs?\n\nThe Song of Songs approves of sexual behavior expressing love between a husband his wife.\n\n## Part 3: Important Translation Issues\n\n### How many characters are in the Song of Songs?\n\nThe two main characters in this book are the man and the woman, who love each other. The woman also speaks to a group of women called the “daughters of Jerusalem,” and these women make comments. However, it is possible that the group of women is not real and the woman is only imagining them.\n\nSome interpreters believe there may be more characters than these, but this is not certain. The ULT and UST versions recognize only the man, the woman, and the group of women.\n\n### What are the lines about people speaking?\n\nThe Song of Songs is a poem that shows the thoughts and words of a man, a woman, and the woman’s friends. Throughout the poem, the author does not identify the speakers and their audience. So to help readers understand the poem, some translations attempt to identify the speaker and the audience. It is not always certain who the speaker is, so sometimes translations disagree about who is speaking.\n\nBefore each speech, the ULT identifies the speaker and the audience like this: “The woman speaking to the other women,” “The woman speaking to the man,” “The man speaking to the woman,” or “The woman speaking to herself.” Translators are encouraged to include these ways of identifying the speaker and the audience, and to format them differently from the scripture text. The translators should also include a note explaining that these explanations are not actually part of the scripture.\n\n### How should one translate the Song of Songs if the readers will view certain terms as coarse, vulgar, or improper?\n\nReaders might consider many images or forms appearing in the Song of Songs as improper when translated. The translator should try to avoid offensive language if possible, by using expressions that will not cause offense. (See: [[rc://*/ta/man/translate/figs-euphemism]])\n\n### How do I translate metaphors and similes in this book?\n\nThere are many metaphors and similes in this book. These figures of speech are often unclear. If they have sexual meanings, figures of speech describing feelings or emotions are often used to avoid offense by hiding their meaning. However, since their meanings are often unclear, ambiguity in translation is encouraged. You can translate the words as they are written in order to avoid committing to a specific meaning. (See: [[rc://*/ta/man/translate/figs-metaphor]]) # Introduction to the Song of Songs\n\n## Part 1: General Introduction\n\n### Outline of the Song of Songs\n\n1. The bride longs for the bridegroom to arrive (1:1–2:7)\n1. The bridegroom praises the woman he loves (2:8–3:5)\n1. The bridegroom arrives and praises the bride (3:6–5:1)\n1. The bride longs for the bridegroom (5:2–6:9)\n1. The bridegroom praises the beauty of his bride (6:1–8:4)\n1. Final thoughts about love between a man and a woman (8:5–14)\n\n### What is the Song of Songs about?\n\nThe Song of Songs is a poem or a series of poems that celebrate love and intimacy between a man and a woman. Jews traditionally have interpreted the book as a picture of God’s love for his people Israel. In the same way, many Christians interpret it as a picture of love between Christ and his bride, the church of all believers.\n\n### Who wrote the Song of Songs?\n\nThe first verse of the book (“The Song of Songs, which is Solomon’s”) gives the idea that King Solomon of Israel wrote it. However, people have interpreted this verse in different ways, so not everyone is persuaded that Solomon wrote it.\n\n### How should the title of this book be translated?\n\nThis book is traditionally titled “Song of Songs,” which means the very best song, or “Song of Solomon.” It may also be called “Songs of Love,” “Great Poems of Love,” or “The Love Songs of Solomon.” (See: [[rc://*/ta/man/translate/translate-names]])\n\n## Part 2: Important Religious and Cultural Concepts\n\n### What place do the descriptions of sexual behavior have in the Song of Songs?\n\nThe Song of Songs approves of sexual behavior expressing love between a husband his wife.\n\n## Part 3: Important Translation Issues\n\n### How many characters are in the Song of Songs?\n\nThe two main characters in this book are the man and the woman, who love each other. The woman also speaks to a group of women called the “daughters of Jerusalem,” and these women make comments. However, it is possible that the group of women is not real and the woman is only imagining them.\n\nSome interpreters believe there may be more characters than these, but this is not certain. The ULT and UST versions recognize only the man, the woman, and the group of women.\n\n### What are the lines about people speaking?\n\nThe Song of Songs is a poem that shows the thoughts and words of a man, a woman, and the woman’s friends. Throughout the poem, the author does not identify the speakers and their audience. So to help readers understand the poem, some translations attempt to identify the speaker and the audience. It is not always certain who the speaker is, so sometimes translations disagree about who is speaking.\n\nBefore each speech, the ULT identifies the speaker and the audience like this: “The woman speaking to the other women,” “The woman speaking to the man,” “The man speaking to the woman,” or “The woman speaking to herself.” Translators are encouraged to include these ways of identifying the speaker and the audience, and to format them differently from the scripture text. The translators should also include a note explaining that these explanations are not actually part of the scripture.\n\n### How should one translate the Song of Songs if the readers will view certain terms as coarse, vulgar, or improper?\n\nReaders might consider many images or forms appearing in the Song of Songs as improper when translated. The translator should try to avoid offensive language if possible, by using expressions that will not cause offense. (See: [[rc://*/ta/man/translate/figs-euphemism]])\n\n### How do I translate metaphors and similes in this book?\n\nThere are many metaphors and similes in this book. These figures of speech are often unclear. If they have sexual meanings, figures of speech describing feelings or emotions are often used to avoid offense by hiding their meaning. However, since their meanings are often unclear, ambiguity in translation is encouraged. You can translate the words as they are written in order to avoid committing to a specific meaning. (See: [[rc://*/ta/man/translate/figs-metaphor]])\n\n\n### Translating terms of endearment\n\n\nThe terms “my beloved” and “my darling” appear frequently throughout this book. These terms should be translated the same consistently throughout the book.
3 1:intro xrm2 0 # Song of Songs 1 General Notes\n\n## Special concepts in this chapter\n\n### Kisses\n\nThe kisses in this chapter are a type of kiss that was only done between a husband a wife. It is an intimate kiss. (See: [[rc://*/ta/man/translate/figs-explicit]])\n\n### Love and affection\n\nThis chapter is centered on the feelings of love, affection, and attraction. Different cultural standards may make translation difficult and the translator may use euphemisms to avoid offending people. (See: [[rc://*/ta/man/translate/figs-euphemism]])\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### “I am dark”\nIn the ancient Near East, rich people usually had lighter skin because they did not need to work outside in the sun. This young woman had to work out in the sun, and her skin became darker than it was when she was younger.
4 1:1 dsf1 rc://*/ta/man/translate/writing-poetry שִׁ֥יר הַ⁠שִּׁירִ֖ים אֲשֶׁ֥ר לִ⁠שְׁלֹמֹֽה 1 This verse is the title of this book. Use whatever formatting convention is most natural in your language for indicating that something is the title of a poem or song. The ULT places this line further to the left than the other lines in this book to indicate that this verse is the title of the book.
5 1:1 qbe2 rc://*/ta/man/translate/figs-possession שִׁ֥יר הַ⁠שִּׁירִ֖ים 1 The possessive form is being used here to indicate a comparison with other **songs** and to show that this **song** is the best or greatest of all **songs**. If it would be helpful in your language, you could use another form to indicate this. Alternate translation: “The best song” or “The most excellent song” or “The greatest song”
142 2:9 pppj rc://*/ta/man/translate/figs-explicit זֶ֤ה 1 Here, the phrase **this one** refers to the man who the woman calls **My beloved** in the first part of this verse. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “this man” or “my beloved”
143 2:9 umf5 rc://*/ta/man/translate/figs-exclusive אַחַ֣ר כָּתְלֵ֔⁠נוּ 1 Here, the word **our** refers to the woman and her family and does not include the man, so use the exclusive form of that word in your translation if your language marks that distinction. Alternate translation: “behind the wall of my house” or “on the other side of the wall of my family’s house”
144 2:9 kf9u rc://*/ta/man/translate/figs-parallelism מַשְׁגִּ֨יחַ֙ מִן־הַֽ⁠חֲלֹּנ֔וֹת מֵצִ֖יץ מִן־הַֽ⁠חֲרַכִּֽים 1 These two phrases mean basically the same thing. The second emphasizes the meaning of the first by repeating the same 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 it would be helpful to your readers, you could connect the phrases with a word other than **and** in order to show that the second phrase is repeating the first one, not saying something additional. Alternate translation: “gazing through the windows, yes, looking through the lattice”
145 2:9 nuxr rc://*/ta/man/translate/translate-plural הַֽ⁠חֲלֹּנ֔וֹת…הַֽ⁠חֲרַכִּֽים 1 Here, the words **windows** and **lattices** are plural forms and could: (1) be used with singular meanings here. Because the author says that the man **is standing** instead of indicating that he is walking around the outside of the house, it is likely that these terms have singular meanings here. Alternate translation: “the window … the lattice” (2) have a plural meaning indicating that the man was walking around the house and looking into the house through different windows and lattices. If you decide that these two terms have a plural meaning here you can translate them in a similar way to the ULT. Here, the words **windows** and **lattices** are plural forms and could: (1) have a plural meaning here indicating that the man was walking around the house and looking into the house through different windows and lattices. If you decide that these two terms have a plural meaning here you can translate them in a similar way to the ULT. (2) be used with singular meanings here. Alternate translation: “the window … the lattice”
146 2:9 s9xt rc://*/ta/man/translate/translate-unknown הַֽ⁠חֲרַכִּֽים 1 A “lattice” is a cover inside a window frame that is made by weaving strips of wood together. **lattices** have holes that people can look through. If your readers would not be familiar with **lattices**, you could use the name of something similar in your area or you could describe **lattices** as modeled by the UST. Alternate translation: “the screen”
147 2:10 gr22 rc://*/ta/man/translate/figs-go וּ⁠לְכִי־לָֽ⁠ךְ 1 Your language may say “go” rather than **come** in contexts such as this. Use whichever is more natural. Alternate translation: “and go”
148 2:11 yv91 rc://*/ta/man/translate/figs-exclamation הִנֵּ֥ה ה⁠סתו 1 The man is using the term **Behold** to focus attention on what he is about to say. Use an exclamation that is natural in your language for communicating this. Alternate translation: “see that the winter”
346 5:12 m6e7 rc://*/ta/man/translate/figs-simile עֵינָ֕י⁠ו כְּ⁠יוֹנִ֖ים עַל־אֲפִ֣יקֵי מָ֑יִם רֹֽחֲצוֹת֙ בֶּֽ⁠חָלָ֔ב יֹשְׁב֖וֹת עַל־מִלֵּֽאת 1 In [1:15](../01/15.md) the man said to the woman, “your eyes are doves.” Here, the woman says this to the man and adds the word **like** and extends the comparison between **doves** and **eyes** by adding the phrase **bathing in milk** which explains what color the doves (eyes) are and by adding two parallel phrases, **beside stream beds of water** and **sitting by the pools**, both of which describe the **doves** as being by water. If it would be helpful to your readers, you could add the words “that are” and “and” to show that the comparison continues throughout the verse. Alternately, you could express the meaning in plain language as modeled by the UST. Alternate translation: “His eyes are like doves beside stream beds of water,\nthat are bathing in milk and sitting beside the pools”
347 5:12 knr8 rc://*/ta/man/translate/figs-parallelism עֵינָ֕י⁠ו כְּ⁠יוֹנִ֖ים עַל־אֲפִ֣יקֵי מָ֑יִם רֹֽחֲצוֹת֙ בֶּֽ⁠חָלָ֔ב יֹשְׁב֖וֹת עַל־מִלֵּֽאת 1 The phrases **beside stream beds of water** and **sitting by the pools** mean basically the same thing. They both describe the **doves** as being by water. 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 it would be helpful to your readers, you could combine them. Alternate translation: “His eyes are like doves beside stream beds of water, bathing in milk” or “His eyes are like doves bathing in milk, sitting by the pools”
348 5:13 mem2 rc://*/ta/man/translate/figs-simile לְחָיָ⁠ו֙ כַּ⁠עֲרוּגַ֣ת הַ⁠בֹּ֔שֶׂם מִגְדְּל֖וֹת מֶרְקָחִ֑ים 1 Here, the man’s **cheeks** are compared to a garden, or an area in a garden, used for planting **spices**. The phrase **yielding herbal spices** further describes the first line. The point of this comparison is that the man’s **cheeks** smell **like planters of spices, yielding herbal spices**. If it would be helpful to your readers, you could explain the basis of this comparison. Alternate translation: “His cheeks smell like a bed of spices that produce herbal spices”
349 5:13 h8iu כַּ⁠עֲרוּגַ֣ת הַ⁠בֹּ֔שֶׂם 1 Here, the term translated as **bed** refers to an area in a garden used for planting. If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “like an area for planting spices” or “like a garden bed of spices” or “like planters of spices”
350 5:13 a4hu rc://*/ta/man/translate/figs-metaphor שִׂפְתוֹתָי⁠ו֙ שֽׁוֹשַׁנִּ֔ים נֹטְפ֖וֹת מ֥וֹר עֹבֵֽר 1 Here, the woman compares the man’s **lips** to **lilies** that are **dripping with flowing myrrh**. The woman probably compares his lips with **lilies, dripping with flowing myrrh** because of the sweet smell of both **lilies** and **myrrh** and because of the beauty and softness of **lilies** and because the man’s kisses are wet like **flowing myrrh**. If it would be helpful to your readers, you could express the meaning with a simile or you could state the meaning plainly. Alternate translation: “His lips are beautiful, fragrant, and soft. His kisses are sweet sweet-smelling and moist”
351 5:13 t4f1 rc://*/ta/man/translate/translate-unknown שֽׁוֹשַׁנִּ֔ים 1 See how you translated **lilies** in [2:16](../02/16.md).
352 5:13 x8c2 rc://*/ta/man/translate/figs-explicit מ֥וֹר עֹבֵֽר 1 See how you translated the phrase **flowing myrrh** in [5:5](../05/05.md).
370 6:1 emy4 הַ⁠יָּפָ֖ה בַּ⁠נָּשִׁ֑ים 1 See how you translated the phrase **most beautiful woman among women** in [1:8](../01/08.md).
371 6:1 pypx אָ֚נָה פָּנָ֣ה דוֹדֵ֔⁠ךְ 1 Alternate translation: “Which way did your beloved go”
372 6:1 ise2 rc://*/ta/man/translate/figs-ellipsis וּ⁠נְבַקְשֶׁ֖⁠נּוּ עִמָּֽ⁠ךְ 1 The women of Jerusalem are leaving out some of the words that a sentence would need in many languages to be complete. If your readers might misunderstand this, you could supply these words from the context. Alternate translation: “tell us, so that we can seek him with you” or “tell us, and let us seek him with you”
373 6:2 vrq9 rc://*/ta/man/translate/figs-metaphor My beloved has gone down to his garden דּוֹדִ⁠י֙ יָרַ֣ד לְ⁠גַנּ֔⁠וֹ לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם לִ⁠רְעוֹת֙ בַּ⁠גַּנִּ֔ים וְ⁠לִ⁠לְקֹ֖ט שֽׁוֹשַׁנִּֽים 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 the explanation of this metaphor in [Song of Songs 5:1](../05/01.md). (See also: [[rc://*/ta/man/translate/figs-euphemism]]) Here, the word **garden** and **gardens** both refer to the woman’s body. The woman is continuing to use the “garden” metaphor that was used in [4:12-5:1](../04/12.md) by again referring to her body as a **garden**. The phrase **graze in the gardens** and **glean lilies** are both metaphors for the man enjoying the woman’s body. If you used similes to translate [4:12-5:1](../04/12.md) you should continue to use similes here. Alternate translation: “My beloved went to me. I am like a garden where beds of spices grow. He came to me in order to enjoy my body like a gazelle grazing in gardens and like a person gleaning lilies”
374 6:2 v5x3 jgeu rc://*/ta/man/translate/figs-metaphor rc://*/ta/man/translate/figs-explicit beds of spices דּוֹדִ⁠י֙ יָרַ֣ד לְ⁠גַנּ֔⁠וֹ לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם 0 1 gardens or parts of gardens where people grow spices. See how you translated this in [Song of Songs 5:13](../05/13.md). The phrase **to the beds of spices** explains where in the **garden** the man **went down to** and is not describing a separate location from the **garden** (woman). If it would be helpful to your readers, you could indicate that explicitly. Alternate translation: “My beloved went down to the beds of spices in his garden” or “My beloved went to me who is like his garden where beds of spices grow”
375 6:2 w7gn twm5 rc://*/ta/man/translate/figs-metaphor rc://*/ta/man/translate/figs-go to graze in the garden and to gather lilies יָרַ֣ד 0 1 These words are metaphors for the man enjoying her body. Your language may say “gone” rather than **went** in contexts such as this. Use whichever is more natural. Alternate translation: “has gone down”
376 6:2 st2n pr3t rc://*/ta/man/translate/figs-metaphor graze לַ⁠עֲרוּג֖וֹת הַ⁠בֹּ֑שֶׂם 0 1 “feeds” or “eats grass.” The woman speaks of the man as if he were “a gazelle or a young stag” ([Song of Songs 2:17](../02/16.md)) that eats plants among the lilies. Grazing is probably a metaphor for lovemaking ([Song of Songs 2:1–2](../02/01.md)). See how you translated “he grazes” in [Song of Songs 2:16](../02/16.md). See how you translated the similar phrase **bed of spices** in [5:13](../05/13.md).
377 6:2 e94c uprg rc://*/ta/man/translate/figs-explicit to gather lilies בַּ⁠גַּנִּ֔ים 0 1 Alternate translation: “to pick lilies” Here, the phrase **the gardens** refers to the woman just like the phrase **his garden** earlier in the verse does. If it would be helpful to your readers, you could indicate that explicitly by translating the phrase **the gardens** as “his gardens” or “his garden.” Alternate translation: “in his gardens” or “in his garden”
378 6:2 6:3 gp6q lr7w lilies אֲנִ֤י לְ⁠דוֹדִ⁠י֙ וְ⁠דוֹדִ֣⁠י לִ֔⁠י 0 1 sweet-smelling flowers that grow in places where there is much water. Translate as the plural of “lily” in [Song of Songs 2:1](../02/01.md). See how you translated the similar phrase “My beloved belongs to me and I belong to him” in [2:16](../02/16.md).
379 6:3 z5rf p4l4 rc://*/ta/man/translate/figs-metaphor my beloved הָ⁠רֹעֶ֖ה בַּ⁠שׁוֹשַׁנִּֽים 0 1 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” See how you translated the similar phrase “the man grazing among the lilies” in [2:16](../02/16.md).
6:3 lr7w I am my beloved’s, and my beloved is mine 0 See how you translated the similar phrase “My beloved is mine, and I am his” in [Song of Songs 2:16](../02/16.md).
6:3 p4l4 he grazes among the lilies with pleasure 0 See how you translated this in [Song of Songs 2:16](../02/16.md).
380 6:4 q66q 0 # General Information:\n\nHere begins Part Five of the book
381 6:4 xk88 rc://*/ta/man/translate/figs-simile as beautiful as Tirzah, my love, as lovely as Jerusalem 0 These cities were famous for being beautiful and pleasant to be in. The man thinks the woman is beautiful, and he takes pleasure in being with her.
382 6:4 nj8w my love 0 “you whom I love.” See how you translated this in [Song of Songs 1:9](../01/09.md).