SNG 5:2 Parallel Verse View

Note: This view shows ‘verses’ which are not natural language units and hence sometimes only part of a sentence will be visible—click on any Bible version abbreviation down the left-hand side to see the verse in more of its context. Normally the OET discourages the reading of individual ‘verses’, but this view is only designed as a tool for doing comparisons of different translations—the older translations are further down the page (so you can read up from the bottom to trace the English translation history). 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.

Text critical issues=none Clarity of original=clear Importance to us=normal (All still tentative.)

OET (OET-RV) I’m asleep, but my heart is awake.
⇔ A sound—my dearest is knocking.
⇔ “Open to me, my girlfriend, my darling, my dove, my perfect one,
⇔ because my head is full of dew—
⇔ my hair is wet with the night dampness.”

5:2 OSHB note: We agree with both BHS 1997 and BHQ on an unexpected reading.

Key: khaki: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).

BrLXX Ἐγὼ καθεύδω, καὶ ἡ καρδία μου ἀγρυπνεῖ. φωνὴ ἀδελφιδοῦ μου κρούει ἐπὶ τὴν θύραν, ἀνοιξόν μοι ἡ πλησίον μου, ἄδελφή μου, περιστερά μου, τελεία μου· ὅτι ἡ κεφαλή μου ἐπλήσθη δρόσου, καὶ οἱ βόστρυχοί μου ψεκάδων νυκτός.
(Egō katheudō, kai haʸ kardia mou agrupnei. fōnaʸ adelfidou mou krouei epi taʸn thuran, anoixon moi haʸ plaʸsion mou, adelfaʸ mou, peristera mou, teleia mou; hoti haʸ kefalaʸ mou eplaʸsthaʸ drosou, kai hoi bostruⱪoi mou psekadōn nuktos. )

BrTr I sleep, but my heart is awake: the voice of my kinsman knocks at the door, saying, Open, open to me, my companion, my sister, my dove, my perfect one: for my head is filled with dew, and my locks with the drops of the night.

ULT I am asleep, but my heart is awake.
⇔ A sound—my beloved is knocking:
⇔ “Open to me, my sister, my darling, my dove, my perfect one,
⇔ because my head is full of dew,
⇔ my hair is full of the drops of the night.”

UST I was asleep, and I had a dream.
⇔ In it I heard the man I love knocking at the door.
⇔ He said, “You who are as dear to me as a sister, my dear one, you who are like a dove, my flawless one.
⇔ Open the door for me
⇔ because my hair is wet from the dew,
⇔ from the mist that has fallen during the night.”

OEB No OEB SNG book available

WEBBE I was asleep, but my heart was awake.
⇔ It is the voice of my beloved who knocks:
⇔ “Open to me, my sister, my love, my dove, my undefiled;
⇔ for my head is filled with dew,
⇔ and my hair with the dampness of the night.”

WMBB (Same as above)

NET I was asleep, but my mind was dreaming.
⇔ Listen! My lover is knocking at the door!
⇔ “Open for me, my sister, my darling,
⇔ my dove, my flawless one!
⇔ My head is drenched with dew,
⇔ my hair with the dampness of the night.”

LSV I am sleeping, but my heart wakes: The sound of my beloved knocking! “Open to me, my sister, my friend,
My dove, my perfect one,
For my head is filled [with] dew,
My locks [with] drops of the night.”

FBV Though I was asleep, my mind[fn] was racing. I heard my love knocking, and calling out, “Please open the door, my sister, my darling, my dove, my perfect love. My head is soaked with dew, my hair is wet from the night mist.”

5:2 “Mind”: literally, “heart,” but in Hebrew the heart is primarily the source of thought. Emotions are more often located in the bowels. (See e.g. KJV for Genesis 43:30; Lamentations 1:20 etc. and even in this very chapter—verse 4, translated here as “deep inside.”)

T4T ⇔ I was partially asleep, but my mind was still awake.
⇔ Then I heard the one who loves me knocking at the door.
⇔ He said, “My darling, you who are dearer to me than my sister, my dear friend, my perfect one, my dove [MET],
⇔ open the door for me!
⇔ My hair is wet from the dew,
⇔ from the mist that has fallen during the night.”

LEB   • I was asleep but[fn] my heart was awake. A sound! My beloved knocking![fn]
• “Open to me, my sister, my beloved,
  • my dove, my perfect one!
• For my head is full of dew,
  • my hair drenched from the moist night air .”[fn]

5:? Or “and”

5:? Or “The sound of my beloved knocking!”

5:? Literally “my locks with drops of night”

BBE I am sleeping, but my heart is awake; it is the sound of my loved one at the door, saying, Be open to me, my sister, my love, my dove, my very beautiful one; my head is wet with dew, and my hair with the drops of the night.

Moff I slept, but my heart lay waking;
⇔ O dreamed--ah! there is my darling knocking!
⇔ “Open to me, my own,” he calls
⇔ “my dear, my dove, my paragon!
⇔ My head is drenched with dew
⇔ my hair with drops of the night.”

JPS I sleep, but my heart waketh; Hark! my beloved knocketh: 'Open to me, my sister, my love, my dove, my undefiled; for my head is filled with dew, my locks with the drops of the night.'

ASV ⇔ I was asleep, but my heart waked:
⇔ It is the voice of my beloved that knocketh, saying,
⇔ Open to me, my sister, my love, my dove, my undefiled;
⇔ For my head is filled with dew,
⇔ My locks with the drops of the night.

DRA I sleep, and my heart watcheth; the voice of my beloved knocking: Open to me, my sister, my love, my dove, my undefiled: for my head is full of dew, and my locks of the drops of the nights.

YLT I am sleeping, but my heart waketh: The sound of my beloved knocking! 'Open to me, my sister, my friend, My dove, my perfect one, For my head is filled [with] dew, My locks [with] drops of the night.'

Drby I slept, but my heart was awake. The voice of my beloved! he knocketh: Open to me, my sister, my love, my dove, mine undefiled; For my head is filled with dew, My locks with the drops of the night.

RV I was asleep, but my heart waked: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, my locks with the drops of the night.

SLT I slept and my heart waked: the voice of my beloved knocks at the door; Open to me, my sister, my friend, my dove, my perfect one: my head was filled with dew, my locks with the drops of the night.

Wbstr I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying , Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night.

KJB-1769 ¶ I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night.
(¶ I sleep, but my heart waketh/wakes: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night. )

KJB-1611 ¶ I sleepe, but my heart waketh: it is the voyce of my beloued that knocketh, saying, Open to me, my sister, my loue, my doue, my vndefiled: for my head is filled with dewe, and my lockes with the drops of the night.
(Modernised spelling is same as from KJB-1769 above)

Bshps I am a sleepe, but my heart is waking: I heare the voyce of my beloued when he knocketh, saying, Open to me O my sister, my loue, my doue, my dearling: for my head is full of deawe, and the lockes of my heere are full of the nyght doppes.
(I am a sleep, but my heart is waking: I hear the voice of my beloved when he knocketh, saying, Open to me Oh my sister, my love, my dove, my darling: for my head is full of dew, and the locks of my hear are full of the night doppes.)

Gnva I sleepe, but mine heart waketh, it is the voyce of my welbeloued that knocketh, saying, Open vnto mee, my sister, my loue, my doue, my vndefiled: for mine head is full of dewe, and my lockes with the droppes of the night.
(I sleep, but mine heart waketh/wakes, it is the voice of my well-beloved that knocketh, saying, Open unto me, my sister, my love, my dove, my undefiled: for mine head is full of dew, and my locks with the drops of the night. )

Cvdl As I was a slepe, & my hert wakynge, I herde the voyce of my beloued, wha he knocked. Open to me (sayde he) o my sister, my loue, my doue, my derlinge: for my heade is full of dew, and ye lockes of my hayre are full of the night droppes.
(As I was a sleep, and my heart waking, I herd/heard the voice of my beloved, what he knocked. Open to me (said he) o my sister, my love, my dove, my darling: for my head is full of dew, and ye/you_all locks of my hair are full of the night drops.)

Wycl Y slepe, and myn herte wakith. The vois of my derlyng knockynge; my sister, my frendesse, my culuer, my spousesse vnwemmed, opene thou to me; for myn heed is ful of dew, and myn heeris ben ful of dropis of niytis.
(I sleep, and mine heart waketh/wakes. The voice of my darling knocking; my sister, my friends, my culver/pigeon, my spouse unwemmed, open thou/you to me; for mine heed is full of dew, and mine hairs been full of dropis of nights.)

Luth Ich schlafe, aber mein Herz wacht. Da ist die Stimme meines Freundes, der anklopfet: Tu mir auf, liebe Freundin, meine Schwester, meine Taube, meine Fromme; denn mein Haupt ist voll Taues, und meine Locken voll Nachttropfen.
(I schlafe, but my heart wacht. So is the voice(n) my friend, the/of_the knocks: Do/Act to_me on/in/to, love(v) girlfriend, my sister, my dove, my pious/devout_(one); because/than my head is full/whole Taues, and my lure(n) full/whole night_drops.)

ClVg Sponsa Ego dormio, et cor meum vigilat. Vox dilecti mei pulsantis: Sponsus Aperi mihi, soror mea, amica mea, columba mea, immaculata mea, quia caput meum plenum est rore, et cincinni mei guttis noctium.[fn]
(The_bride I sleepo, and heart mine watch. The_voice beloved my/mine pulsantis: The_spouse Aperi to_me, sister my, girlfriend my, dove my, immaculate my, because the_head mine full it_is rore, and cincinni my/mine guttis nightum. )

5.2 Ego dormio. Ecclesia gentilium multipliciter commendata ne secura prædicationem dimittat, et soli contemplationi intendat, injungitur ei de aliorum confirmatione. Et hic agit de illa successione Ecclesiæ, quæ est in hoc præsenti sæculo, ab illo scilicet tempore, quo plenitudo gentium intraverat usque ad finem mundi, quando Judæi intrabunt; et hic non, videtur mitti ad omnimodos infideles, sed potius ad eos exhortandos, qui sunt tepidi in Ecclesia, et dicit itaque ipsa Ecclesia: Ego dormio. Aperi mihi, soror mea, etc. Surge ab otio et quiete contemplationis, et aperi corda, ut remotis vitiorum obstaculis lucem veritatis perspicue admittant. De sanguine meo, soror mea; accessu meo, proxima mea; de spiritu meo, columba mea; de sermone meo quam plenius ex otio didicisti, perfecta mea. Caput meum. Id est fides mea, et amor mei in cordibus eorum excæcatis amore terrenorum refrixit, et quasi prorsus defecit. Cincinni mei. Id est amor proximorum, qui sunt mei capilli capiti adhærentes: sunt pleni guttis noctium, id est, patiuntur grave frigus persecutionis tenebrosorum, id est eorum qui et erga me sunt infideles, et proximos persequuntur; et causa horum corrigendorum oportet te dulcedinem contemplationis interpolare interponere.

5.2 I sleepo. Assembly/Church Gentile in_many_ways recommended not secura preaching dimittat, and alone contemplation intendat, inyungitur to_him from/about of_others confirmsione. And this/here acts from/about that successione Assemblies/Churches, which it_is in/into/on this present forever, away that/there namely at_the_time, where fullness nations insideverat until to the_end world, when Jews they_will_enter; and this/here non, it_seems mitti to omnimodos infidels, but rather to them exhortandos, who/which are tepidi in/into/on Assembly/Church, and he_says therefore herself Assembly/Church: I sleepo. Aperi to_me, sister my, etc. Get_up away leisure and quietly contemplation, and aperi hearts, as remotis of_vices obstaculis the_light to_the_truths perspicue admittant. From/About blood mine, sister my; accessu mine, next my; from/about in_spirit mine, dove my; from/about speech mine how more_fully from leisure I_learntsti, perfecta my. The_head mine. That it_is faith my, and love my/mine in/into/on hearts their excæcatis with_love earthly_things refrixit, and as_if completely failed. Cincinni my/mine. That it_is love of_neighbours, who/which are my/mine hair to_the_head adhering: are full guttis nightum, that it_is, they_suffer grave cold persecutionis tenebrosorum, that it_is their who/which and towards me are infidels, and neighbours pursue; and cause of_these corrigendorum it_is_necessary you(sg) sweetnessm contemplation interpolare interponere.

SOTN SIL Open Translator’s Notes:

Section 5:2–6:3: At night the woman searched for the man and praised him

Scholars differ about the meaning of this section and how it relates to the rest of the Song. In 5:2–7 the woman told the Jerusalem women that the man came to her door at night but went away. She told them that now she longed to see him and was searching for him. Then she asked them to give him a message if they saw him (5:8). They asked why she was so attracted to him (5:9), and she replied by describing him (5:10–16). Then they asked her where he went (6:1), and she told them that he went down to his garden (6:2–3).

The section contains several interpretation issues:

In 5:2–7 did the woman describe a dream or a real event, or is 5:2–7 a poetic way to describe her feelings and thoughts about the man? The woman described one type of event (probably dreamed or imagined) as she and the man related to each other. The author did not always tell about events in order, and he repeated certain themes to examine them from different points of view. The Song is not a simple story but a poem, and it uses various ways to describe the romantic love.
Section 3:6–5:1 told about the wedding of the man and woman. Does Section 5:2–6:3 tell about a time after they married? Although 3:6–5:1 told about the wedding of the man and woman, 5:2–6:3 may not refer to a time after the wedding. It may describe something they experienced more than once. In other sections also, the man and woman were apart at the beginning but together at the end (as in 1:2–2:7). If 5:2–6:3 refers to a time before their wedding,Some scholars view the whole book, Song of Songs, as a large chiasm. (For example, Dorsey suggests abcdcʹbʹaʹ, (1999, p.200.)) So, the section, 3:6–5:1 is the central and climactic part of the chiasm, and what comes before and after are related to the center, not chronologically but thematically. So, the material both before and after, may be pointing to the grand central climax, the wedding. What follows the wedding, 5:2–8:14, may actually repeat much of the material in 1:2–3:5. Again, this is more of a cyclical rather than chronological way of understanding the book. it describes the woman’s hopes and fears as she imagined her future with the man (as in 3:1–4). The dream might indicate that she feared that he had stopped loving her, but at the end of 6:2–3, she realized that he continued to love her faithfully.Some scholars believe that this section follows chronologically after the wedding. Some of these scholars interpret it as describing a time of conflict for the newly married couple. But the theme of marital conflict does not seem to fit the overall message or tone of the Song.
How should a translator interpret the figures of speech in this section? Some scholars interpret these figures as euphemisms for sexual organs and sexual activity. However, such interpretations may cause a translator to refer more explicitly to sexual matters than is normal or justified in the Song. (For more information, see “Standards for respectful speech and actions in the Song” in POEM 4:1–7.)

Paragraph 5:2–8 The woman spoke to the women of Jerusalem

There are different ways to interpret what the woman said in 5:2–8:

She told about something that she dreamed or imagined. She described her feelings for the man in a poetic way.
She told what happened when the man actually came to her. She was sleeping, but she woke up when she heard him knocking on her door.

It is recommended that you follow interpretation (1). The verses probably describe something that the woman dreamed or imagined, since some of the descriptions seem unreal or dreamlike. They are a poetic way to express the woman’s feelings for the man.

Does 5:2–8 describe sexual relations between the woman and man?

There are two views about whether 5:2–8 implies that they had sexual relations:

The verses indicate romantic feelings, but they do not describe sexual relations between the man and woman. He stood outside her house knocking, but she was already in bed. She delayed in opening her door, and he left before she opened it.
The verses have a double meaning.For example, in 5:4 they interpret the man’s “hand” and the door “latch” (literally “hole” in Hebrew) as referring to male and female sexual organs. Pope and some other modern commentators follow this view. The man was outside the room knocking on the door. He was also outside the woman’s body, wanting to enter and have sexual relations with her.

It is recommended that you follow option (1), which is followed by many reliable commentaries.See, for example, Assis, Barbiero, Bloch and Bloch, Davidson, Delitzsch, Elliott, Estes, Fox, Ginsburg, Gordis, Hess, Mitchell, and Murphy. Michael Fox argues that this view spoils the true romantic impact and beauty of the book (Fox, pages 144–145). The text indicates that the man did not come inside the woman’s house, but he left before she could open the door.

Common themes

This section has similar themes (motifs) that were part of earlier sections. You should translate such themes in a similar way throughout the book. This helps readers understand the unity of the Song. For example, as in 3:1–4, also here in 5:2–8, the author told about the woman having a dream and searching for her beloved in the town at night. Also, in 2:8–14, the young man stood outside the woman’s house, but she was inside behind a locked door. This theme of the woman being hard to reach is also found in 2:9; 2:14; 4:8; and 4:12.

5:2a

I sleep, but my heart is awake.

While I slept, I began to dream.
One night as I was asleep in bed, I started to dream.

I sleep, but my heart is awake: The phrase I sleep, but my heart is awake probably indicates that as the woman slept, she had a dream. Some other ways to translate this meaning are:

I was sleeping, and I began to dream.

As I slept, I dreamed.

In some languages there may be an idiom that indicates that a person is dreaming. For example:

I slept but my mind was alert.

Use a natural way in your language to refer to dreaming.

heart: The Hebrew word that the BSB translates as heart is used in many idioms in Hebrew. Here it refers to the part of the woman that was aware of what happened around her. In some languages it is not necessary to use a part of the body to describe being aware. For example:

I slept but I was still alert.

5:2b–e

In 5:2b–e the man came to the woman’s house at night and knocked on the door. He asked her to open it and to let him come in. The text does not indicate whether the man had a specific reason to visit her, but he was respectful and spoke in a loving way. He stood outside her house in the damp night air. She did not want to get out of bed, so she said that she was ready to sleep. But he continued to knock, because he wanted to be with her.Her hesitation to let him in may imply that she feared to risk the pain or difficulties that such love might cause. Some commentators think that the man’s comments are a “tease” and that the woman responded in like manner with a “tease.” Then, perhaps because he misunderstood her intent, he left before she could get to the door.

5:2b

A sound! My beloved is knocking:

Listen!^(plur) My beloved is knocking at the door
Then I heard a sound! It was the one I love calling out at the door of my room/house.

A sound! My beloved is knocking: When the woman told her dream to the women of Jerusalem, she spoke as if she were still in her dream. The phrase A sound! My beloved is knocking is more literally, “sound/voice of my lover knocking.” The woman spoke as if she still heard the man knocking and calling to her.

In some languages it is more natural to speak of the dream as happening in the past. For example:

I heard my lover knocking and calling (NLT)

The one I love was at the door, knocking and saying (CEV)

A sound! My beloved: The Hebrew phrase that the BSB translates as A sound! My beloved means either “voice of my beloved” or “sound of my beloved.” In this context it can refer to both the sound of his knocking and his voice.

My beloved: The Hebrew word that the BSB translates as My beloved first occurred in 1:13a. It is the most common way that the woman used to refer to the man in the Song. It is good to translate it in the same way throughout the book. For more information, see the note on 1:13a–b.

is knocking: The word knocking does not specify where the young man knocked. He may have knocked at the door or window of a house. In 2:9 he was outside her window, but here in 5:2 he probably knocked on a door of the house.

In some cultures when a person comes to visit, he calls to the people in the house or makes another sound (like clapping his hands). It is not the custom to knock on their door. Use a natural way in your language for the woman to describe how the man tried to get her attention. For example:

I hear my beloved calling to me

I hear my love knocking… (NJB)

I hear my beloved knocking/clapping on/at the door/window and calling to me…

5:2c–e

In 5:2c–e the woman quoted what the man said to her. In some languages it may be necessary to use a word or phrase to introduce the quote, for example:

He said to me

5:2c

“Open to me, my sister, my darling, my dove, my flawless one.

and saying, “My dear one, you are my love. You are my dove, my perfect one. Please let me in.
He said to me, “My treasure, you are the one I love. You are as gentle/lovely as a dove. You are perfect! Come open the door for me.

Open to me, my sister, my darling, my dove, my flawless one: Here the man used four loving names as he called to the woman. He wanted to persuade her to open the door for him. In some languages it is more natural to begin the sentence with these loving names. For example:

My sister! My darling! My dove! My flawless one! Please open the door to me.

The man used these loving names to call out to the woman through her door. In some languages it is not natural to use four names one after another like this. It may be more natural to translate the meaning of the names as one or more sentences. For example:

You are as precious to me as a sister, my darling. You are as gentle and beautiful as a dove—you are flawless!

Open to me: The phrase Open to me implies that the man wanted the woman to open the door for him to come in and be with her. He was making a polite request. He did not imply that it was an order that she must obey. The request may also imply a romantic sense that the man wanted her to open herself to him as her beloved. Some other ways to translate the phrase are:

please let me come in

open the door for me

my sister, my darling, my dove, my flawless one: Here the man used several loving names to call his beloved and encourage her to open the door for him. The author used three of these names earlier in the book. For a discussion of the phrase my sister, see the note on 4:9a. For a discussion of my darling, see the note on 1:9a–b. For more information on the phrase my dove, see the note in 2:14a–b.

my darling: The Hebrew word that the BSB translates as my darling was also used in 1:9. Translate it as you did there.

my dove: The term my dove is another loving name that the man used for the woman. It indicates that the woman was as beautiful and gentle as a dove. A dove is often used as a symbol for love. For more information and a picture of a dove, see the note on 2:14a–b. Translate dove in the same way as you did there.

my flawless one: The meaning of the phrase my flawless one is similar to the phrase in 4:7 that says, “You are altogether beautiful, my darling; in you there is no flaw.” It probably implies that the woman was physically beautiful and also morally good. Some other ways to translate the phrase are:

You are perfect!

You have no faults!

5:2d–e

My head is drenched with dew, my hair with the dampness of the night: Here the man told the woman a reason why she should let him into the house. The clauses in 5:2d and 5:2e have the same meaning. They indicate that the man’s hair was wet with the heavy mist that was in the air. In the country where they lived, heavy dew often fell at night. People who were outside got wet hair and probably felt cold.

Some ways to translate the clauses in 5:2d and 5:2e are:

Translate them in two slightly different ways. For example:
^2dMy hair is very wet ^2ebecause of the heavy dew that is falling tonight.
Translate the meaning only once. For example:
My head is drenched with evening dew. (CEV)

Translate the meaning in a natural way in your language.

5:2d

My head is drenched with dew,

My head is wet from the mist in the air.
My head is covered with the dew that is falling,

head: Here the word head probably refers to the man’s hair.

5:2e

my hair with the dampness of the night.”

My hair is full of the nighttime dewdrops.”
and my hair is already wet with the cold dampness of the night.”

my hair with the dampness of the night: The clause my hair with the dampness of the night has implied information. The implied phrase is indicated in the following example:

My hair is wet from the dampness of the night.

The phrase “is wet” is implied. In some languages it is more natural to make this information explicit. For example:

The mist in the evening air makes my hair very wet.

My hair is damp from the mist that is falling tonight.

my hair: The Hebrew word that the BSB translates as hair is only used twice in the OT—here and in 5:11. It is probably used to make the poetry more interesting in Hebrew.

the dampness of the night: The phrase the dampness of the night is a poetic way to refer to dew or mist in the evening air.

UTN uW Translation Notes:

Note 1 topic: figures-of-speech / metonymy

אֲנִ֥י יְשֵׁנָ֖ה וְ⁠לִבִּ֣⁠י עֵ֑ר

I slept and,my_of,heart awake

Here the term heart could represent: (1) the woman’s thoughts and mental awareness which would make the phrase my heart is awake mean that her mind is alert and dreaming while she is sleeping. Alternate translation: [I am asleep, but my mind is dreaming] or [I am asleep, but my mind is alert and dreaming] (2) the woman’s entire person which would make the phrase my heart is awake mean that she had been awakened after falling asleep or awakened after she was almost asleep. Alternate translation: [I was almost asleep, now I am awakened] or [I was asleep, but now I have been awakened]

ק֣וֹל ׀ דּוֹדִ֣⁠י דוֹפֵ֗ק

sound/voice my_lover_of,of knocking

Alternate translation: [I hear a sound; it is my beloved knocking] or [I hear a sound; it is the sound of my beloved knocking on my door]

דּוֹדִ֣⁠י

my_lover_of,of

See how you translated the phrase my beloved in [1:13](../01/13.md). Alternate translation: [my lover]

Note 2 topic: figures-of-speech / metaphor

אֲחֹתִ֤⁠י רַעְיָתִ⁠י֙

my_sister_of,O friend_of,my

See how you translated the phrase my sister in [4:9](../04/09.md) and the phrase my darling in [1:9](../01/09.md).

Note 3 topic: figures-of-speech / metaphor

יוֹנָתִ֣⁠י

dove_of,my

See how you translated the phrase my dove in [2:14](../02/14.md).

Note 4 topic: figures-of-speech / idiom

שֶׁ⁠רֹּאשִׁ⁠י֙ נִמְלָא־טָ֔ל

that,my_of,head drenched dew

Here the phrase full of is a Hebrew expression which means “wet with.” If this phrase does not have that meaning in your language, you could use a comparable expression from your language that does have that meaning or you could state the meaning plainly. Alternate translation: [because my head is wet with dew]

Note 5 topic: figures-of-speech / ellipsis

קְוֻּצּוֹתַ֖⁠י

locks_of,my

The writer is leaving out some of the words that in many languages a sentence would need to be complete. You could supply the words is full of from the previous phrase if it would be clearer to your readers.

Parallel SNG 5:2