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ParallelVerse GENEXOLEVNUMDEUJOBJOSJDGRUTH1 SAM2 SAMPSAAMOSHOS1 KI2 KI1 CHR2 CHRPROVECCSNGJOELMICISAZEPHABJERLAMYNA (JNA)NAHOBADANEZEEZRAESTNEHHAGZECMALLAOGESLESESGDNG2 PSTOBJDTWISSIRBARLJEPAZSUSBELMAN1 MAC2 MAC3 MAC4 MACYHN (JHN)MARKMATLUKEACTsYAC (JAM)GAL1 TH2 TH1 COR2 CORROMCOLPHMEPHPHP1 TIMTIT1 PET2 PET2 TIMHEBYUD (JUD)1 YHN (1 JHN)2 YHN (2 JHN)3 YHN (3 JHN)REV

Sng IntroC1C2C3C4C5C6C7C8

Sng 7 V1V2V3V4V5V6V7V8V9V10V12V13

Parallel SNG 7:11

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.

BI Sng 7:11 ©

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

OET (OET-RV)Come, my dearest, let’s go out to the countryside.
 ⇔ Let’s spend the night in the villages.OET logo mark

OET-LV[fn] I belong_to_my_of_lover and_is_towards_me his/its_longing/desire.


7:11 Note: KJB: Song.7.10OET logo mark

UHB12 לְכָ֤⁠ה דוֹדִ⁠י֙ נֵצֵ֣א הַ⁠שָּׂדֶ֔ה נָלִ֖ינָה בַּ⁠כְּפָרִֽים׃
   (12 ləkā⁠h dōdi⁠y nēʦēʼ ha⁠ssādeh nālināh ba⁠kkəfārim.)

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).

BrLXXἘγὼ τῷ ἀδελφιδῷ μου, καὶ ἐπʼ ἐμὲ ἡ ἐπιστροφὴ αὐτοῦ.
   (Egō tōi adelfidōi mou, kai epʼ eme haʸ epistrofaʸ autou. )

BrTrI am my kinsman's, and his desire is toward me.

ULTCome, my beloved, let us go out to the fields;
 ⇔ let us spend the night in the villages.

USTYou whom I love, come with me, and let us go to the countryside,
 ⇔ and sleep in one of the villages.

BSBCome, my beloved,
 ⇔ let us go to the countryside;
 ⇔ let us spend the night among the wildflowers.[fn]


7:11 Or among the henna blossoms or in the villages

MSB (Same as BSB above including footnotes)


OEBNo OEB SNG book available

WEBBECome, my beloved! Let’s go out into the field.
 ⇔ Let’s lodge in the villages.

WMBB (Same as above)

MSG(1-12)Shapely and graceful your sandaled feet,
  and queenly your movement—
Your limbs are lithe and elegant,
  the work of a master artist.
Your body is a chalice,
  wine-filled.
Your skin is silken and tawny
  like a field of wheat touched by the breeze.
Your breasts are like fawns,
  twins of a gazelle.
Your neck is carved ivory, curved and slender.
  Your eyes are wells of light, deep with mystery.
  Quintessentially feminine!
Your profile turns all heads,
  commanding attention.
The feelings I get when I see the high mountain ranges
  —stirrings of desire, longings for the heights—
Remind me of you,
  and I’m spoiled for anyone else!
Your beauty, within and without, is absolute,
  dear lover, close companion.
You are tall and supple, like the palm tree,
  and your full breasts are like sweet clusters of dates.
I say, “I’m going to climb that palm tree!
  I’m going to caress its fruit!”
Oh yes! Your breasts
  will be clusters of sweet fruit to me,
Your breath clean and cool like fresh mint,
  your tongue and lips like the best wine.
The Woman

NETCome, my beloved, let us go to the countryside;
 ⇔ let us spend the night in the villages.

LSVCome, my beloved, we go forth to the field,

FBVCome, my love, let's go out into the countryside, and spend the night among the henna flowers.[fn]


7:11 “Henna flowers”: or “villages.” The same word “henna” is used in 1:14 and 4:13. It seems unlikely that they would wish to go to the villages if they wished to have privacy.

T4TYou who love me, let’s go to the countryside,
 ⇔ and sleep among the henna bushes (OR, in one of the villages).

LEB   • Come, my beloved, let us go out to the countryside ;[fn] let us spend the night[fn] in the villages.


7:? Literally “go forth into the field”

7:? Or “lodge”

BBECome, my loved one, let us go out into the field; let us take rest among the cypress-trees.

MoffCome away to the fields, O my darling,
 ⇔ let us sleep in the blossoms of henna,

JPS(7-12) Come, my beloved, let us go forth into the field; let us lodge in the villages.

ASVCome, my beloved, let us go forth into the field;
 ⇔ Let us lodge in the villages.

DRACome, my beloved, let us go forth into the field, let us abide in the villages.

YLTCome, my beloved, we go forth to the field,

Drby— Come, my beloved, let us go forth into the fields; Let us lodge in the villages.

RVCome, my beloved, let us go forth into the field; let us lodge in the villages.

SLTCome, my beloved, we will go forth to the field; we will lodge in the villages.

WbstrCome, my beloved, let us go forth into the field; let us lodge in the villages.

KJB-1769Come, my beloved, let us go forth into the field; let us lodge in the villages.

KJB-1611Come, my beloued, let vs goe forth into the field: let vs lodge in the villages.
   (Modernised spelling is same as from KJB-1769 above, apart from punctuation)

BshpsO come on my loue, we wyll go foorth into the fielde, and take our lodgyng in the villages.
   (Oh come on my love, we will go forth into the field, and take our lodging in the villages.)

GnvaCome, my welbeloued, let vs go foorth into the fielde: let vs remaine in the villages.
   (Come, my well-beloved, let us go forth into the field: let us remain in the villages. )

CvdlO come on my loue, let vs go forth in to the felde, and take oure lodginge in the vyllages.
   (Oh come on my love, let us go forth in to the field, and take our lodging in the villages.)

WyclCome thou, my derlyng, go we out in to the feeld; dwelle we togidere in townes.
   (Come thou/you, my darling, go we out in to the field; dwell we together in towns.)

LuthMein Freund ist mein und er hält sich auch zu mir.
   (My friend is my and he holds itself/yourself/themselves also to/for to_me.)

ClVgVeni, dilecte mi, egrediamur in agrum, commoremur in villis.[fn]
   (I_came, beloved my, egrediamur in/into/on field, commoremur in/into/on villages. )


7.11 Veni, dilecte. Qui assumptam pro me humanitatem in cœlo locasti, per præsentiam divinæ gratiæ visita me: ut in agrum mundi semen verbi tui possim spargere, et villas cohabitationis in unam fidem constituere. Veni. Ecclesia videns quod nec ad bene operandum, vel egrediendum per se sufficit, nec in bono persistere, vel auditores quantum profecerint discernere, implorat auxilium. In agro, Christiani; in villis, pagani; in vineis, Ecclesiæ; in floribus, fides; in fructibus, virtutes; in malis Punicis, martyrium designatur. In his singulis sponsa dilecti sui præsentiam quærit.


7.11 I_came, beloved. Who assumedm for me humanity in/into/on sky locasti, through presence divine thanks visita me: as in/into/on field world seed words yours(sg) I_can spargere, and villas cohousing in/into/on one faith constituere. I_came. Assembly/Church seeing that but_not to well to_work, or egrediendum through himself enough, but_not in/into/on good persistere, or listeners quantum profecerint discernere, implorat help/aid(n). In field, Christiani; in/into/on villages, pagani; in/into/on vineyards, Assemblies/Churches; in/into/on floribus, faith; in/into/on fruits, by_virtues; in/into/on bad_things Punicis, martyrium is_designated. In his each bride beloved self presence seeks.


HAPHebrew accents and phrasing: See Allan Johnson's Hebrew accents and phrasing analysis.

TSNTyndale Study Notes:

7:11-12 The woman suggests that they go together to check on the status of the vineyards and make love while there.

TTNTyndale Theme Notes:

Beauty in Nature

At the end of God’s work of Creation, God declared that everything he had made was “very good” (Gen 1:31). The beauty and wonder of God’s creation is often reflected on in Scripture, particularly in the psalms (see, e.g., Ps 8:3-4; Ps 104:1-35).

Nature—and imagery from nature—also features prominently in the Song of Songs. The man and woman in the Song often express sexual intimacy in the countryside (2:8-17; 4:12–5:1; 6:2-3, 11-12), a place of pleasant fragrances and secluded meeting places. The garden, vineyard, and orchard create intimate and pleasant settings and evoke a romantic mood. The mystique of nature provides them with the environment in which their love is the most rustic, and at the same time the most exotic and exhilarating. Additionally, the couple uses extensive metaphors from nature to describe each other’s physical attributes and their arousing effects. Their portrayal of each other leads them to use illustrations from God’

Nature points people to the Creator, as it contains evidence of his power, goodness, justice, and love (see Ps 19:1-4; Rom 1:18-20). God’s penchant for redemption, restoration, and new creation is also evidenced in many ways through the beauty of nature—for instance, in the changing of seasons, the growth of plants, and the birth of children.

Passages for Further Study

Gen 2:1-9; Pss 8:3-8; 19:1-6; 96:5-6; Song 2:8-17; 4:12–5:1; 6:2-3, 11-12; 7:10-13; Matt 6:26-30


SOTNSIL Open Translator’s Notes:

Section 6:4–8:4: The man praised the woman and sang about springtime

In this section the man described the woman in two separate speeches (6:4–10 and 7:1–10). Some verses are difficult to understand, especially 6:11–13, and it is important to think about them carefully. The woman responded to the man in 7:11 and continued to speak to the end of the section at 8:4.

The verse numbering in the Hebrew text is different from the BSB and a majority of English versions. The Hebrew text begins chapter 7 where the BSB begins 6:13, so in chapter 7 the verses in the Hebrew text are one number higher than the verse numbers in the BSB. For example, 6:13–7:13 in the BSB is 7:1–14 in the Hebrew text (and also in the NJB and NJPS). It is helpful to be aware that some commentaries follow the Hebrew verse numbering. The Notes will follow the verse numbers in the BSB (along with the majority of English versions).

Paragraph 7:11–13 The woman invited the man to go with her to the fields and vineyards

In these verses the woman responded to the man’s praise (in 7:1–9a) by inviting him to go out into the fields and vineyards with her to enjoy the springtime. As trees and flowers were blooming, their love for each other was also growing. Here she invited him to go there, as he also invited her in 2:10–13.It is also interesting to notice that 8:2a–b is similar to 3:4e–f.

In 7:11–13, all the events are probably not arranged in the order that they happened (as is common in poetry). It is also possible that these verses describe the woman’s desires and feelings or a dream that she had before her wedding (3:6–5:1),Old Testament scholar, David Dorsey, takes a non-chronological approach to the Song. In his book, The Literary Structure of the Old Testament (1999) he proposes a thorough-going symmetrical chiastic structure for the book. (Also see his article, “Literary Structuring in the Song of Songs” in Journal for the Study of the Old Testament 46 (1990) 81–96.) The structure he proposes is a-b-c-d-cʹ-bʹ-aʹ where the central unit “d” describes the wedding day, the climactic portion of the Song. Some scholars differ on the details of his proposed chiastic structure while agreeing in principle with the chiastic approach, while other scholars question whether such a book-level chiastic structure is actually present. But in spite of the disagreements, viewing the book chiastically or cyclically does help to resolve some problems that chronological/narrative approaches tend to overlook. When we look at some of the material in the second half of the Song, much of it appears to be from a pre-wedding perspective (a wedding seems to be described in 3:6–5:1). A symmetrical chiastic or cyclical approach may provide us with a better vantage point for addressing such challenging issues. In the case of this unit, the similarities with 2:10–13 seems fairly clear. So it seems possible, if not likely, that this unit could also be viewed as part of a courtship poem. rather than an event that happened in her life. The exact meaning of 7:11–13 is difficult to determine, but the verses do seem to look forward to the future.

7:11a

Come, my beloved, let us go to the countryside;

Come, my beloved, let us go to the countryside: Here the woman invited the man to go out of the city with her to enjoy the countryside together. He was already with her as she spoke to him, so she was not calling him to come. She wanted him to go with her to the fields.

Some other ways to translate this meaning are:

Come with me, my love, and let’s go out to the fields

My darling, let’s go to the fields together

In some languages it is more natural to put the phrase my beloved in a different place in the sentence, as in the second example above. Use a natural way in your language to give an invitation like this.

my beloved: The Hebrew word that the BSB translates as my beloved is the most common way that the woman used to address the man. It first occurred in 1:13. It is good to translate this word in the same way in all the verses where she used it to address him.

to the countryside: Here the woman invited/urged her beloved to go with her into the countryside. She wanted to go there to the fields to see the springtime blossoms and to be alone with the man. Other ways to translate this are:

let us go out into the fields… (REB)

let us go to the countryside… (NET)

7:11b

let us spend the night among the wildflowers.

let us spend the night among the wildflowers: The word that the BSB translates as spend the night does not imply that the man and woman wanted to stay longer than one night. Other ways to translate this meaning are:

let us lodge in the villages. (RSV)

and stay overnight in one of the villages.

among the wildflowers: The Hebrew word that the BSB translates as wildflowers can also mean “henna bushes,” as in 2:14. Scholars differ about what it means here:

  1. It means “villages.” For example:

    let us spend the night in the villages. (NIV) (CEV, NASB, NET, NIV, NJB, RSV, GNT)

  2. It means “henna bushes.” For example:

    to lie among the henna bushes (REB) (BSB, GW, NJPS, REB, NLT)

It is recommended that you follow option (1), with the majority of English versions. Some scholars think that the meaning “villages” is unlikely, because the man and woman wanted to be alone. However, the villages were not as crowded as the city. The villages were closer to the vineyards and pomegranate trees, so that the man and woman could look at them in the early morning (see the following note in 7:12a).


UTNuW Translation Notes:

Note 1 topic: figures-of-speech / go

לְכָ֤⁠ה

(Some words not found in UHB: I [belong]_to,my_of,lover and_[is],towards,me his/its=longing/desire )

Your language may say “Go” rather than Come in a context such as this. Alternate translation: [Go]

Note 2 topic: figures-of-speech / infostructure

לְכָ֤⁠ה דוֹדִ⁠י֙

(Some words not found in UHB: I [belong]_to,my_of,lover and_[is],towards,me his/its=longing/desire )

If it would be more natural in your language, you could change the order of these phrases. Alternate translation: [My beloved, come]

נָלִ֖ינָה בַּ⁠כְּפָרִֽים

(Some words not found in UHB: I [belong]_to,my_of,lover and_[is],towards,me his/its=longing/desire )

Alternate translation: [and let us stay overnight in a village somewhere]

Note 3 topic: translate-unknown

בַּ⁠כְּפָרִֽים

(Some words not found in UHB: I [belong]_to,my_of,lover and_[is],towards,me his/its=longing/desire )

The word which the ULT translates as in the villages has two possible meanings in the original language. Here it could mean: (1) in the villages as in the ULT. (2) “among the henna bushes” (which produce flowers). If you choose this option, see how you translated the phrase “henna blossoms” in [1:14](../01/14.md). Alternate translation: [among the henna bushes] or [among the wildflowers] or [among the henna blossoms]

BI Sng 7:11 ©