Attributed commentary excerpt
Keil & Delitzsch on Song of Solomon 7:9
A historical reference excerpt for this verse. Read it alongside the biblical text and other available sources.
Commentary on the Old Testament
C. F. Keil & F. Delitzsch · 19th-century historical commentary
Source: BibleWord.ai's local reference edition of this named work.
9aa And thy palate like the best wine. יין הטּוב is wine of the good kind, i.e., the best, as רע אושׁת, Pro 6:24, a woman of a bad kind, i.e., a bad woman; the neut. thought of as adject. is both times the gen. of the attribute, as at Pro 24:25 it is the gen. of the substratum. The punctuation כּיּין הטּוב (Hitz.) is also possible; it gives, however, the common instead of the delicate poetical expression. By the comparison one may think of the expressions, jungere salivas oris (Lucret.) and oscula per longas jungere pressa moras (Ovid). But if we have rightly understood Sol 4:11; Sol 5:16, the palate is mentioned much rather with reference to the words of love which she whispers in his ears when embracing her. Only thus is the further continuance of the comparison to be explained, and that it is Shulamith herself who continues it. 9ab Which goes down for my beloved smoothly, Which makes the lips of sleepers move. The dramatic structure of the Song becomes here more strongly manifest than elsewhere before. Shulamith interrupts the king, and continues his words as if echoing them, but again breaks off. The lxx had here לדודי in the text. It might notwithstanding be a spurious reading. Hitzig suggests that it is erroneously repeated, as if from Sol 7:11. Ewald also (Hohesl. p. 137) did that before, - Heiligstedt, as usual, following him. But, as Ewald afterwards objected, the line would then be "too short, and not corresponding to that which follows." But how shall לדודי now connect itself with Solomon's words? Ginsburg explains: "Her voice is not merely compared to wine, because it is sweet to everybody, but to such wine as would be sweet to a friend, and on that account is more valuable and pleasant." But that furnishes a thought digressing εἰς ἄλλο γένος; and besides, Ewald rightly remarks that Shulamith always uses the word דודי of her beloved, and that the king never uses it in a similar sense. He contends, however, against the idea that Shulamith here interrupts Solomon; for he replies to me (Jahrb. IV 75): "Such interruptions we certainly very frequently find in our ill-formed and dislocated plays; in the Song, however, not a solitary example of this is found, and one ought to hesitate in imagining such a thing." He prefers the reading לדּודים beloved ones, although possibly לדודי, with , abbreviated after the popular style of speech from m, may be the same word. But is this ledodim not a useless addition? Is excellent wine good to the taste of friends merely; and does it linger longer in the palate of those not beloved than of those loving? And is the circumstance that Shulamith interrupts the king, and carried forward his words, not that which frequently also occurs in the Greek drama, as e.g., Eurip. Phoenissae, v. 608? The text as it stands before us requires an interchange of the speakers, and nothing prevents the supposition of such an interchange. In this idea Hengstenberg for once agrees with us. The Lamed in ledodi is meant in the same sense as when the bride drinks to the bridegroom, using the expression ledodi. The Lamed in למישׁרים is that of the defining norm, as the Beth in במי, Pro 23:31, is that of the accompanying circumstance: that which tastes badly sticks in the palate, but that which tastes pleasantly glides down directly and smoothly. But what does the phrase וגו דּובב שׂף mean? The lxx translate by ἱκανούμενος χείλεσί μου καὶ ὀδοῦσιν, "accommodating itself (Sym. προστιθέμενος) to my lips and tee…
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