1. By night] Lit. In the nights. In Psalm 16:7 the same phrase is translated “in the night seasons,” and some understand it here of the night hours. But in none of the few passages in which the plural lçlôth occurs, is it used in this sense. In all it refers to more nights than one, not to the several parts of one night. It would therefore seem that she means to say, that one night after another she dreamt that she missed and sought her lover. More than once that had come to her, so that more than one night must have passed before she told the dream.

on my bed] This means that the dream came to her when she was in her bed. The repetition of I sought expresses well the continued and repeated searching always ending in failure, which is so characteristic of dreams and so painful. The place where she first looked for him is left indeterminate as it often is in dreams.

Chap. Song of Solomon 3:1-5. A Dream

Almost all commentators agree that we have here a dream narrated to some persons, in which the Shulammite seems to herself to have sought her lover in the city and failed to find him. Those who take the dramatic view think of it as narrated to the women of the court. Oettli’s view is that the Shulammite expected her lover to return at sunset. He did not come, and so her agitated heart sought him in this dream, which she tells to her companions, adding the refrain already used in Song of Solomon 2:7, which deprecates the stirring up of love before it arises spontaneously. Ewald, who regards the end of ch. 2 as dealing only with a waking dream, and not a real incident, thinks of this as a narrative of what she remembered to have dreamed during her sad night in the king’s palace. Delitzsch again, who thinks of the lover as Solomon, considers the dream to be one that came to her night after night, when she had become doubtful of the king’s love for her. Budde’s view is one that entirely contradicts his theory that lovers could not meet and have such intercourse as is depicted in the book before marriage. He makes this a strong point in his criticism of the dramatic theory, yet here he says of this section, “The bride speaks. She narrates a dream she had as a girl, for what she narrates can be understood only as a dream. She had so loved her husband for a length of time that she dreamt she was married to him.” Martineau, because of a misunderstanding of the passage and on other insufficient grounds, would strike out the verses altogether. In any case they describe a dream, and of all the suggestions as to the occasion Oettli’s seems the best.Verse 1. - By night on my bed I sought him whom my soul loveth: I sought him, but I found him not. The bride is probably relating a dream. The time referred to is the close of the day on which she had been visited by her lover. She is retired to rest, and dreams that she searches for the beloved object in the neighbouring city (cf. Job 33:15). It is another way of telling her love. She is always longing for the beloved one. She had been waiting for him, and he came not, and retired to rest with a heart troubled and anxious because her lover did not appear as she expected at the evening hour. The meaning may be "night after night (לֵילות)" (cf. Song of Solomon 3:8), or the plural maybe used poetically for the singular. Ginsburg observes that "by night on my bed" is opposed to midday couch (cf. 2 Samuel 4:5), merely to express what came into her thoughts at night in her dreams or as the result of a dream. It is difficult to avoid the conclusion that the bride intends to represent herself as suffering from self-reproach in having grieved her lover and kept him away from her. In that case the typical meaning would be simple and direct. The soul grieves when it is conscious of estrangement from him whom it loves, and the sense of separation becomes intolerable, impelling to new efforts to deepen the spiritual life. 11 For, lo! the winter is past,

     The rain is over, is gone.

12 The flowers appear in the land;

     The time of song has come,

     And the voice of the turtle makes itself heard in our land.

13 The fig-tree spices her green figs,

     And the vines stand in bloom, they diffuse fragrance; -

     Rise up, my love, my fair one, and go forth!

The winter is called סתו, perhaps from a verb סתה (of the same root as סתר, סתם, without any example, since סוּת, Genesis 49:11, is certainly not derived from a verb סוּת), to conceal, to veil, as the time of being overcast with clouds, for in the East winter is the rainy season; (Arab.) shataā is also used in the sense of rain itself (vid., D. M. Zeitsch. xx. 618); and in the present day in Jerusalem, in the language of the people, no other name is used for rain but shataā (not metar). The word סתיו, which the Kerı̂ substitutes, only means that one must not read סתו, but סתו, with long a; in the same way עניו, humble, from ענה, to be bowed down, and שׂליו, a quail, from שׂלה, to be fat, are formed and written. Rain is here, however, especially mentioned: it is called gěshěm, from gāshǎm, to be thick, massy (cf. revīvīm, of density). With עבר, to pass by, there is interchanged חלף, which, like (Arab.) khalaf, means properly to press on, and then generally to move to another place, and thus to remove from the place hitherto occupied. In לו הלך, with the dat. ethicus, which throws back the action on the subject, the winter rain is thought of as a person who has passed by. נצּן, with the noun-ending n, is the same as ניסן, and signifies the flower, as the latter the flower-month, floral; in the use of the word, נצּן is related to נץ and נצּה, probably as little flower is to flower. In hǎzzāmīr the idea of the song of birds (Arab. gharad) appears, and this is not to be given up. The lxx, Aquila, Symm., Targ., Jerome, and the Venet. translate tempus putationis: the time of the pruning of vines, which indeed corresponds to the usus loq. (cf. זמר, to prune the vine, and מזמרה, a pruning-knife), and to similar names, such as אסיף ingathering of fruit, but supplies no reason for her being invited out into the open fields, and is on this account improbable, because the poet further on speaks for the first time of vines. זמר (זמּר) is an onomatopoeia, which for the most part denotes song and music; why should זמיר thus not be able to denote singing, like זמרה, - but not, at least not in this passage, the singing of men (Hengst.), for they are not silent in winter; but the singing of birds, which is truly a sign of the spring, and as a characteristic feature, is added

(Note: It is true that besides in this passage zāmǎr, of the singing of birds, is not demonstrable, the Arab. zamar is only used of the shrill cry of the ostrich, and particularly the female ostrich.)

to this lovely picture of spring? Thus there is also suitably added the mention of the turtle-dove, which is a bird of passage (vid., Jeremiah 8:7), and therefore a messenger of spring. נשׁמע is 3rd:pret.: it makes itself heard.

The description of spring is finished by a reference to the fig-tree and the vine, the standing attributes of a prosperous and peaceful homestead, 1 Kings 5:5; 2 Kings 18:31. פּג (from פּנג, and thus named, not from their hardness, but their delicacy) are the little fruits of the fig-tree which now, when the harvest-rains are over, and the spring commences with the equinox of Nisan, already begin to assume a red colour; the verb חנט does not mean "to grow into a bulb," as Bttch. imagines; it has only the two meanings, condire (condiri, post-bibl. syn. of בּשׁל) and rubescere. From its colour, wheat has the name חטּה equals חנטה; and here also the idea of colour has the preference, for becoming fragrant does not occur in spring-in the history of the cursing of the fig-tree at the time of the Passover, Mark (Mark 11:13) says, "for the time of figs was not yet." In fig-trees, by this time the green of the fruit-formation changes its colour, and the vines are סמדר, blossom, i.e., are in a state of bloom (lxx κυπρίζουσαι; cf. Sol 7:13, κυπρισμός) - it is a clause such as Exodus 9:31, and to which "they diffuse fragrance" (Sol 2:13) is parallel. This word סמדר is usually regarded as a compound word, consisting of סם, scent, and סמדר, brightness equals blossom (vid., Gesen. Thes.); it is undeniable that there are such compound formations, e.g., שׁלאנן, from שׁלה and שׁאן; חלּמישׁ, from (Arab.) ḥams, to be hard, and hals, to be dark-brown.

(Note: In like manner as (Arab.) karbsh, corrugare, is formed of karb, to string, and karsh, to wrinkle, combined; and another extension of karsh is kurnash, wrinkles, and mukarnash, wrinkled. "One day," said Wetstein to me, "I asked an Arab the origin of the word karnasa, to wrinkle, and he replied that it was derived from a sheep's stomach that had lain over night, i.e., the stomach of a slaughtered sheep that had lain over night, by which its smooth surface shrinks together and becomes wrinkled. In fact, we say of a wrinkled countenance that it is mathal alkarash albayt." With right Wetstein gathers from this curious fact how difficult it is to ascertain by purely etymological considerations the view which guided the Semites in this or that designation. Samdor is also a strange word; on the one side it is connected with sadr, of the veiling of the eyes, as the effect of terror; and on the other with samd, of stretching oneself straight out. E. Meier takes סמדר as the name of the vine-blossom, as changed from סמסר, bristling. Just as unlikely as that סמד is cogn. to חמד, Jesurun, p. 221.)

But the traditional reading סמדר (not סמדר) is unfavourable to this view; the middle ā accordingly, as in צלצל, presents itself as an ante-tone vowel (Ewald, 154a), and the stem-word appears as a quadril. which may be the expansion of סדּר, to range, put in order in the sense of placing asunder, unfolding. Symm. renders the word by οἰνάνθη, and the Talm. idiom shows that not only the green five-leaved blossoms of the vine were so named, but also the fruit-buds and the first shoots of the grapes. Here, as the words "they diffuse fragrance" (as at 7:14 of the mandrakes) show, the vine-blossom is meant which fills the vineyard with an incomparably delicate fragrance. At the close of the invitation to enjoy the spring, the call "Rise up," etc., with which it began, is repeated. The Chethı̂b לכי, if not an error in writing, justly set aside by the Kerı̂, is to be read לכי (cf. Syr. bechi, in thee, levotechi, to thee, but with occult i) - a North Palestinism for לך, like 2 Kings 4:2, where the Kerı̂ has substituted the usual form (vid., under Psalm 103 introd.) for this very dialectic form, which is there undoubtedly original.

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