SNG 2:14 Parallel View

Note: This view shows ‘verses’ which are not natural language units and hence sometimes only part of a sentence will be visible. This view is only designed for doing comparisons of different translations. Click on the version abbreviation to see the verse in more of its context.

The OET segments on this page are still very early looks into the unfinished texts of the Open English Translation of the Bible. Please double-check these texts in advance before using in public.

2:14 Note: Marks a place where we agree with BHQ against BHS in reading L.

2:14 Note: Marks an anomalous form.

2:14 Note: We read punctuation in L differently from BHS.

Key: yellow:verbs.
Note: Automatic aligning of the OET-RV to the LV is done by some temporary software, hence the OET-RV alignments are incomplete (and may occasionally be wrong).

ULT My dove, in the clefts of the rock,
 ⇔ in the hiding places of the cliff,
 ⇔ show me your appearance,
 ⇔ make me hear your voice,
 ⇔ for your voice is sweet, and your appearance is lovely.

UST You are like a dove that is hiding far from me in an opening in the rocky cliff.
 ⇔ Allow me to see your form,
⇔ and allow me to hear your voice,
⇔ because your voice sounds sweet,
 ⇔ and your form is comely.”

BSB  ⇔ O my dove in the clefts of the rock,
⇔ in the crevices of the cliff,
 ⇔ let me see your face,
⇔ let me hear your voice;
 ⇔ for your voice is sweet,
⇔ and your countenance is lovely.

OEB  ⇔ O my dove, from your craggy retreat,
⇔ from your hiding-place steep,
 ⇔ show me your face,
⇔ let me hear your voice,
 ⇔ for your voice is so sweet
⇔ and your face is so lovely.

WEB My dove in the clefts of the rock,
⇔ in the hiding places of the mountainside,
⇔ let me see your face.
⇔ Let me hear your voice;
⇔ for your voice is sweet and your face is lovely.

NET O my dove, in the clefts of the rock,
 ⇔ in the hiding places of the mountain crags,
 ⇔ let me see your face,
 ⇔ let me hear your voice;
 ⇔ for your voice is sweet,
 ⇔ and your face is lovely.

LSV My dove, in clefts of the rock,
In a secret place of the ascent,
Cause me to see your appearance,
Cause me to hear your voice,
For your voice [is] sweet, and your appearance lovely.”

FBV My dove is out of sight in the crevices of the rock, in the hiding places of the cliff. Please let me see you! Let me hear you! For you speak so sweetly, and you look so beautiful!

T4T  ⇔ You are like [MET] a dove that is hiding far from me in an opening/crack in the rocky cliff.
 ⇔ Show me your face,
⇔ and allow me to hear your voice,
⇔ because your voice is sweet-sounding
 ⇔ and your face is lovely [CHI].”

LEB • [fn][fn][fn][fn] • Let me see your face, • let me hear your voice; • for your voice is sweet and your face is lovely.

?:? Literally “in the secret place”

?:? Or “in the covering”

?:? Literally “foothold in the rock”

?:? Or “cliff”

BBE O my dove, you are in the holes of the mountain sides, in the cracks of the high hills; let me see your face, let your voice come to my ears; for sweet is your voice, and your face is fair.

MOF No MOF SNG book available

JPS O my dove, that art in the clefts of the rock, in the covert of the cliff, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.'

ASV O my dove, that art in the clefts of the rock,
 ⇔ In the covert of the steep place,
 ⇔ Let me see thy countenance,
 ⇔ Let me hear thy voice;
 ⇔ For sweet is thy voice, and thy countenance is comely.

DRA My dove in the clefts of the rock, in the hollow places of the wall, shew me thy face, let thy voice sound in my ears: for thy voice is sweet, and thy face comely.

YLT My dove, in clefts of the rock, In a secret place of the ascent, Cause me to see thine appearance, Cause me to hear thy voice, For thy voice [is] sweet, and thy appearance comely.

DBY My dove, in the clefts of the rock, In the covert of the precipice, Let me see thy countenance, let me hear thy voice; For sweet is thy voice, and thy countenance is comely.

RV O my dove, that art in the clefts of the rock, in the covert of the steep place, let me see thy countenance, let me hear thy voice: for sweet is thy voice, and thy countenance is comely.

WBS O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.

KJB ¶ O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.
(¶ O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy/your countenance, let me hear thy/your voice; for sweet is thy/your voice, and thy/your countenance is comely. )

BB O stande vp then and come my loue my beautifull, and come I say O my doue, out of the caues of the rockes, out of the holes of the wall, O let me see thy countenaunce and heare thy voyce: for sweete is thy voyce, and fayre is thy face.
(O stand up then and come my love my beautifull, and come I say O my dove, out of the caues of the rockes, out of the holes of the wall, O let me see thy/your countenaunce and hear thy/your voice: for sweete is thy/your voice, and fayre is thy/your face.)

GNV My doue, that art in the holes of ye rocke, in the secret places of the staires, shewe mee thy sight, let mee heare thy voyce: for thy voyce is sweete, and thy sight comely.
(My dove, that art in the holes of ye/you_all rocke, in the secret places of the staires, show mee thy/your sight, let mee hear thy/your voice: for thy/your voice is sweete, and thy/your sight comely. )

CB (my doue) out of the caues of the rockes, out of the holes of the wall: O let me se thy countenaunce and heare thy voyce, for swete is thy voyce and fayre is thy face.
((my dove) out of the caues of the rockes, out of the holes of the wall: O let me see thy/your countenaunce and hear thy/your voice, for sweet is thy/your voice and fayre is thy/your face.)

WYC My culuer is in the hoolis of stoon, in the chyne of a wal with out morter. Schewe thi face to me, thi vois sowne in myn eeris; for thi vois is swete, and thi face is fair.
(My culuer is in the hoolis of stone, in the chyne of a wal with out morter. Schewe thy/your face to me, thy/your voice sowne in mine eeris; for thy/your voice is swete, and thy/your face is fair.)

LUT Meine Taube in den Felslöchern, in den Steinritzen, zeige mir deine Gestalt, laß mich hören deine Stimme! Denn deine Stimme ist süß und deine Gestalt lieblich.
(My Taube in the Felslöchern, in the Steinritzen, zeige to_me your Gestalt, laß me listenn your Stimme! Because your Stimme is süß and your Gestalt lieblich.)

CLV columba mea, in foraminibus petræ, in caverna maceriæ, ostende mihi faciem tuam, sonet vox tua in auribus meis: vox enim tua dulcis, et facies tua decora.[fn]
(columba mea, in foraminibus petræ, in caverna maceriæ, ostende mihi faciem tuam, sonet vox your in auribus meis: vox because your dulcis, and facies your decora.)

2.14 In foraminibus. In vulneribus Christi Ecclesia sedet et nidificat: cum in passione Domini spem suæ salutis ponit, et per hoc ab insidiis accipitris, id est, diaboli se tutandam confidit, et in eodem alios gignit. In foraminibus. In fide, vel in capacitate, in qua fideles locati ab hostibus sunt tuti. Maceries est congeries lapidum, sine cæmento in unum compactorum, sic apostoli eadem fide et eisdem sacramentis sunt uniti. Ostende mihi. Necdum habebat fiduciam, ut revelata facie gloriam Dei contemplaretur; sed quia jam ornata est, dicitur: Ostende mihi faciem tuam; sonet vox tua in auribus meis. Ostenditur Domino facies, recte operando: ostenditur sonus vocis, salubriter prædicando. Ne erubescas prædicare crucem Christi, quamvis stultitia videatur incredulis, quam prædicaverunt Christi apostoli, qui sunt maceries et munimentum Ecclesiæ. Vel, maceries sunt prophetæ et patriarchæ, in quibus apostoli habent refugium. Quod intus pulchritudinis habes, et in secreto quietis didicisti, in publica actione ad utilitatem aliorum demonstra: nam mihi qui intima prospicio, tunc faciem tuam ostendi æstimo, cum utilitati proximorum bonam actionem ostendi considero. Auribus meis. Non alienis, id est, meæ dilectioni, non alicui terreno, et opus et vocem expende. Vox enim tua. Non aliena, sed ea, quam in die desponsationis te mihi servire promisisti.

2.14 In foraminibus. In vulneribus Christi Ecclesia sedet and nidificat: when/with in passione Domini spem suæ salutis puts, and per hoc away insidiis accipitris, id it_is, diaboli se tutandam confidit, and in eodem alios gignit. In foraminibus. In fide, or in capacitate, in which fideles locati away hostibus are tuti. Maceries it_is congeries lapidum, without cæmento in unum compactorum, so apostoli eadem fide and eisdem sacramentis are uniti. Ostende mihi. Necdum habebat fiduciam, as revelata facie gloriam God contemplaretur; but because yam ornata it_is, it_is_said: Ostende mihi faciem tuam; sonet vox your in auribus meis. Ostenditur Domino facies, recte operando: ostenditur sonus vocis, salubriter prædicando. Ne erubescas prædicare crucem Christi, quamvis stultitia videatur incredulis, how prædicaverunt Christi apostoli, who are maceries and munimentum Ecclesiæ. Vel, maceries are prophetæ and patriarchæ, in to_whom apostoli habent refugium. That intus pulchritudinis you_have, and in secreto quietis didicisti, in publica actione to utilitatem aliorum demonstra: nam mihi who intima prospicio, tunc faciem tuam ostendi æstimo, when/with utilitati proximorum goodm actionem ostendi considero. Auribus meis. Non alienis, id it_is, my dilectioni, not/no alicui terreno, and opus and vocem expende. Vox because your. Non aliena, but ea, how in die desponsationis you(sg) mihi servire promisisti.

BRN Thou art my dove, in the shelter of the rock, near the wall: shew me thy face, and cause me to hear thy voice; for thy voice is sweet, and thy countenance is beautiful.

BrLXX Σὺ περιστερά μου, ἐν σκέπῃ τῆς πέτρας, ἐχόμενα τοῦ προτειχίσματος· δεῖξόν μοι τὴν ὄψιν σου, καὶ ἀκούτισόν με τὴν φωνήν σου, ὅτι ἡ φωνή σου ἡδεῖα, καὶ ἡ ὄψις σου ὡραῖα.
(Su peristera mou, en skepaʸ taʸs petras, eⱪomena tou proteiⱪismatos; deixon moi taʸn opsin sou, kai akoutison me taʸn fōnaʸn sou, hoti haʸ fōnaʸ sou haʸdeia, kai haʸ opsis sou hōraia. )

UTN uW Translation Notes:

Note 1 topic: figures-of-speech / explicit

יוֹנָתִ֞⁠י

dove,my

Here, the phrase My dove could be: (1) a form of address in which the man is speaking directly to the woman. Alternate translation: “O my dove” (2) the man speaking about the woman rather than addressing her directly. Alternate translation: “The woman I love is a dove”

Note 2 topic: figures-of-speech / metaphor

יוֹנָתִ֞⁠י בְּ⁠חַגְוֵ֣י הַ⁠סֶּ֗לַע בְּ⁠סֵ֨תֶר֙ הַ⁠מַּדְרֵגָ֔ה

dove,my in/on/at/with,clefts the,rock in/on/at/with,covert the,cliff

Here, the man uses a term of affection for the woman, speaking of her as if she were a dove. He then explains the way in which she is like a dove. If it would be helpful in your language, you could turn this metaphor into a simile and explain the basis of the comparison. Alternate translation: “O my one who is like a dove. You are like a gentle and timid dove which hides in the clefts of the rock and in the hiding places of the cliff” or “You are like a dove. You are like a gentle and shy dove which hides in the clefts of the rock and in the hiding places of the cliff” or “You are like a dove. Far away in the clefts of the rock, in the hiding places of the cliff”

Note 3 topic: figures-of-speech / parallelism

בְּ⁠חַגְוֵ֣י הַ⁠סֶּ֗לַע בְּ⁠סֵ֨תֶר֙ הַ⁠מַּדְרֵגָ֔ה

in/on/at/with,clefts the,rock in/on/at/with,covert the,cliff

These two phrases mean basically the same thing. The second emphasizes the meaning of the first by repeating the same idea (that the woman seems difficult to reach and far away) 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 such as “yes” in order to show that the second phrase is repeating a similar idea to the first one, not saying something additional. However, if saying similar things twice would confuse your readers you could combine the two lines as modeled by the UST. Alternate translation: “in the clefts of the rock, yes, in the hiding places of the cliff”

בְּ⁠חַגְוֵ֣י הַ⁠סֶּ֗לַע

in/on/at/with,clefts the,rock

Alternate translation: “in the cracks of the rock” or “in the cracks of the rock cliff”

Note 4 topic: writing-poetry

הַרְאִ֨י⁠נִי֙ אֶתּ־מַרְאַ֔יִ⁠ךְ הַשְׁמִיעִ֖י⁠נִי אֶת־קוֹלֵ֑⁠ךְ כִּי־קוֹלֵ֥⁠ךְ עָרֵ֖ב וּ⁠מַרְאֵ֥י⁠ךְ נָאוֶֽה

see,me אֶתּ face,your hear,me DOM voice,your that/for/because/then/when voice,your sweet and,face,your lovely

Here two ideas are presented and then they are further explained in reverse order. This is called a chiasm. Biblical Hebrew sometimes uses this literary device. If possible, try to follow this AB-BA sequence of presenting the information here. See the book introduction for more information regarding chiasms.

Note 5 topic: figures-of-speech / imperative

הַרְאִ֨י⁠נִי֙ אֶתּ־ מַרְאַ֔יִ⁠ךְ הַשְׁמִיעִ֖י⁠נִי

see,me אֶתּ face,your hear,me

The phrases show me and make me hear are imperatives, but they communicate a polite request rather than a command. Use forms in your language that communicate a polite request. It may be helpful to add an expression such as “please” or “let” to make this clear. Alternate translation: “please let me see your appearance, please make me hear” or “let me see you, let me hear”

קוֹלֵ֥⁠ךְ עָרֵ֖ב

voice,your sweet

Alternate translation: “your voice is sweet-sounding” or “your voice sounds beautiful”

Parallel SNG 2:14