Song of Songs 4
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New English Translation

Song of Songs 4:1

11Oh, you are beautiful, my darling! Oh, you are beautiful! Your eyes behind your veil are like doves. Your hair is like a flock of female goats descending from Mount Gilead.

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Context of Song of Songs 4:1

Oh, you are beautiful, my darling! Oh, you are beautiful! Your eyes behind your veil are like doves. Your hair is like a flock of female goats descending from Mount Gilead. 2Your teeth are like a flock of newly-shorn sheep coming up from the washing place; each of them has a twin, and not one of them is missing. 3Your lips are like a scarlet thread; your mouth is lovely. Your forehead behind your veil is like a slice of pomegranate.

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Song of Songs 4:1 word by word

הִנָּ֨ךְ יָפָ֤ה רַעְיָתִי֙ הִנָּ֣ךְ יָפָ֔ה עֵינַ֣יִךְ יוֹנִ֔ים מִבַּ֖עַד לְצַמָּתֵ֑ךְ שַׂעְרֵךְ֙ כְּעֵ֣דֶר הָֽעִזִּ֔ים שֶׁגָּלְשׁ֖וּ מֵהַ֥ר גִּלְעָֽד׃Read the interlinear

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Notes

  1. 1. Song of Songs 4:1 Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot – comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125. ↩

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